Santa

Michael Sánchez received a Bachelor of Science in Landscape Barbara Architecture from Polytechnic State University, San Luis Obispo in 1996. He worked as a landscape architect for |

ten years before deciding to go back to school for a master’s Visually degree in landscape architecture. He plans to continue working in private practice as well as teach. La Misíon de la Sénora Bárbara, Vírgen y Martír

Explored | Visually Explored

Visual imagery is very powerful to how we learn, remember and communicate. Images remain in our A. Sánchez, 2010 psyche long after words have fallen silent and return as helpful references at a later date. This project is Submitted to the UNIVERSITY OF OREGON, Department of Landscape Architecture, College of Architecture and the Allied Arts not a typical historical analysis of the landscape of Mission Santa Barbara, nor a detailed historic rendering of the beautiful architecture and surrounding landscape. Nor is this merely a literary compilation. This project is a unique perspective between all of the professionals that tell stories of the missions – architects, landscape architects, planners, artists, historians, archeologists, anthropologists, Padres, tourists, etc. – and is woven into a product rich in illustrations and backed by interesting facts and sources. This project illustrates elements of the mission that most people might not see from a typical tourist viewpoint. This visual essay communicates the rich history of this influential place in a way that more fully demonstrates the fascinating elements of this mission’s systems and strives to lead the reader to a greater appreciation of this place that is part building, part garden, part lore. Michael A. Sánchez

5 800048 524637 La Misíon de la Sénora Barbara, Vírgen y Martír, Mission Santa Barbara Visually Explored, a terminal project prepared by MICHAEL A. SÁNCHEZ in partial fulfillment of the requirements for the Master’s of Landscape Architecture degree in the Department of Landscape Architecture at the UNIVERSITY OF OREGON.

This project has been approved and accepted by:

Name, Chair of the Committee Date

Name, Committee Member Date

Committee: Elisabeth ‘Liska’ Chan (Chair) Kenneth I. Helphand, FASLA L a M i s í o n d e l a S é n o r a B a r b a r a , V í r g e n y M a r t í r Mission Santa Barbara Visually Explored

Submitted in partial fulfillment of a Master’s of Landscape Architecture at UNIVERSITY OF OREGON Department of Landscape Architecture College of Architecture and the Allied Arts

By MICHAEL A. SÁNCHEZ 2010 T a bl e o f C o n t e n t s

Introduction Mission History Context/Scale Mission Construction Mission Systems Tools of Exploration pg. 8-9 Acknowledgements01 pg. 16-21 How and Why02 were they Named pg.03 24-29 Explanation pg. 36-43 Construction04 Techniques/Materials pg. 52-5705 Livestock/Branding 06pg. 84-97 The Journey pg. 12-13 Influences/Ideas (Legend of Barbara) of context/scale Who Built this Mission? Natural Disasters pg. 58-71 Agriculture/Horticulture pg. 98-99 Conclusion pg. 12-15 Areas of Exploration pg. 30-31 Global Scale - Spanish pg. 44-47 Historical Events that pg. 58-67 Huerta pg. 100-109 Bibliography pg. 22-23 • What is a Mission? Empire/Romo’s Influence Changed the Mission pg. 68-71 Jardín • Why were they Built? pg. 32-33 Regional - Chain pg. 48-49 Influences pg. 72-75 Water • When and Where were they Built? of 21 Missions affecting Appearance pg. 76-83 Ceremony pg. 34-35 Site - Approach pg. 50-51 Earthquakes pg. 78-79 Bells to Mission pg. 82-83 Stations of the Cross I n t r o d u c t i o n 0 1

Areas of Exploration ou may be familiar with the African belief in my abilities to pursue and com- Most master’s committees have one sacrificed the convenience and at times the patience and understanding of my Yproverb, “It takes a village to raise a plete this degree. chair, however, my original chair, Kenny necessity of a full time employee. Carol, family. Their love and loyalty gave me the child”. In her 1996 book, first lady Hillary A most heartfelt thank you to both Helphand, is officially on sabbatical this thank you. strength and courage to continue when I Rodham Clinton said of her same titled Ramona Clark and Cynthia Spivey for year so my other committee member, Every child should be so fortunate to felt like giving up. Words alone can not book, “it takes a village to bring a book opening your homes to my family and Liska Chan, graciously took over the po- have parents like mine. They have always express my deepest gratitude and appre- into this world”. In this case the village myself so that I could spend time explor- sition. Liska has provided immeasurable been supportive of the often wacky en- ciation for their sacrifices. This project turned out to be more like a small city. ing the Mission. help in the editing of my publication and deavors I have pursued throughout my and degree is dedicated to you. Thank you Time does not permit me to list or thank Thank you to Mike Pease, Kelcey Beard- preparation of my presentation. Kenny, life and graduate school was no different. Kathryn, Ethan, Nate and Bela. all those who contributed, however, I sley and Craig Russell for taking time to over the years, continuously inspired me Providing both financial support and en- Finally, none of this would have any rel- would like to take a moment to acknowl- look at or talk to me about my project and with his vast knowledge of history and couragement they have been stalwarts of evance or purpose to me if it were not for edge with utmost gratitude, several indi- give me feedback. I was incredibly in- design, always knowing some artist or strength to me. Thank you mom and dad. my relationship with Jesus Christ. I am viduals. It is because of their help that this spired by your work and appreciate your author I should look up or sharing one Family is crucial when times get tough grateful for the opportunity to have expe- project is even possible. sharing it with me. from his own extensive library. Thank and I appreciate the supportive words of rienced this program – from the wonder- Research can often be intimidating, espe- A very appreciative thank you to the you Kenny and Liska, for your indispens- encouragement that my brother often pro- ful people I have met and worked with to cially at an archive library that is over two Landscape Architecture Foundation and able help. vided to me with the zeal and fervor only a the knowledge and wisdom I have gained. hundred years old. Lynn Bremer (former their affiliation with the Garden Club of Paying for graduate school is a challenge sibling could supply. Thank you JP. I owe it all to Him. 8 director of the Santa Barbara Mission America through the Douglas Dockery any student faces. I have been blessed with While the support of family is certainly 9

Archive Library), was most helpful and Thomas Fellowship which afforded me the world’s most understanding and gen- crucial in an endeavor such as this, it is Michael Anthony Sánchez generous with SBMAL’s resources making the opportunity to complete field research erous employer, Carol Schirmer, who has also family that shoulders the biggest load. my experience there a memorable one. at Mission Santa Barbara. This project been extremely flexible with my school Deadlines, long hours away working on Thank you to my friend, mentor and would not have been what it is without ex- schedule and because of her benevolence, school projects and the many other facets colleague Gere Smith, for your unyielding ploring the Mission first hand. of graduate school all have taken a toll on 01 Introduction: Areas of Exploration As a native Californian I never ap- the outside each mission has features written on all of the missions by so preciated the historical importance or that are comparable to the others and many scholarly historians several of the visual dignity of the Spanish mis- at the same time each is different and whom, being Padres had first hand sions that dot the coastline and inter- has its own history. This makes, not knowledge and experience. No, this coastal valleys of California. Because I only the subject of missions interest- wanted to be a unique collaboration lived out of state during my 4th grade ing, but emphasizes how each mission between all of the professionals that year I missed an experience that all offers distinct insights into their tell stories of the missions – archi- Californian 4th graders have – an op- unique histories. tects, landscape architects, planners, portunity to study the missions with Narrowing it Down artists, historians, Padres, Barbaraños, the final product being a model of the As I began my research I quickly Chumash and so on – and to weave mission of your choice. realized to study all twenty-one mis- all of these into a product rich in il- The first mission I remember in a sions was a lifetime’s worth of work, lustrations and backed by interesting meaningful way was Mission San Luis so I narrowed my focus to six, only to facts and sources. This project cried to Obispo de Tolosa while studying the discover this also was too ambitious. focus on elements of the mission that shadow patterns of the facade during a With more reasonable expectations I most people might not see from their college landscape drawing class. After tourist viewpoint. 10 shortened my list to two missions. In graduating I lived in the San Francis- What I settled on is what a profes- the end the subject became one. And, 2 co Bay Area and visited some of the as I’ve discovered, one mission with sor of mine termed a visual essay. northern missions along the coast. It so many fascinating aspects to explore I chose this method as a way to wasn’t until I moved to Santa Barbara could become a life’s study. communicate the rich history of years later that I started to gain an even these influential places but also more significant interest in missions as Drawing as Thinking as a way to more fully dem- I began drawing, painting and photo- I wanted this project to be different; onstrate the fascinating ele- graphing them. not a typical historical analysis of the ments of the mission systems While listening to a landscape landscape of the mission, nor a de- that would lead the reader to a history lecture on European monastic tailed historic rendering of the beau- greater appreciation of cloister gardens and their influence on tiful architecture and surrounding this complex that architecture and landscapes outside landscape. Nor was this to be merely is part building, of Europe, I was so struck by a photo- a literary compilation. After days part garden, graph of a veranda at Mission San Juan in the archive library at Mission part Capistrano that I immediately knew I Santa Barbara I was over- wanted to study the missions. 1 From whelmed by the volumes 01 Introduction: Areas of Exploration Inspirational works,Left to Right: lore. Visual imagery is very powerful contemporary mediums of computer but an essay that weaves history with great impact on how I approached landscape architecture at the Universi- Raising Hollers, Mississippi Floods: Designing a to how we learn, remember and com- generated line drawings, three dimen- emotion, facts with beauty, and com- this project. Laurie Olin is a land- ty of Oregon, implements in her work shifting landscape, Mathur and da Cunha, 2001. municate. I have an employer who, in sional modeling, digital photography bines them all in a manner that tells a scape architect who implements, as what she calls over-drawings, a term Casebook: Serial Vision, The Concise just about every conversation, turns to and desktop publishing. With the bigger story than may first appear. a design tool, the use of journals to she learned from Kathryn Gleason and Townscape, Gordon Cullen, 1961. paper and pen to communicate what advent and promulgation of the com- Through the course of researching study a subject as well as to design a Fred Biel 5; a system of layering mul- she is talking about by drawing it. It puter, much of today’s graphic com- this project several individuals’ work space or place. In his book Across the tiple drawings, maps at various scales Whirling Disease, Delta Primer a field guide works. Those images remain in my munication does not include to a great excited and influenced me and whose Open Field he writes a series of essays and images to create something that is to the California Delta, Jane Wolff, 2003. psyche long after her words have fallen degree anything that is hand rendered. work I endeavored to emulate. If the on the English countryside inspired part map and part collage. This final Above a Mud Plume, Mississippi Floods: Designing silent and at a later date those images This is unfortunate as many students work presented in this document by drawings he did traveling through illustration highlights details from 4 a shifting landscape, Mathur and da Cunha, 2001. come back as helpful references. and professionals have lost touch with stimulates interest in the reader then those places. The words, while reso- each of the layered elements that to- The same situation occurs both for a form of communicating that is criti- further exploration into the following nant on their own, are ameliorated by gether speaks more than would the Plan of Pusey House and Garden, Across the observer as well as the drawer in cal to the very essence of creativity. individuals is imperative: Chip Sulli- the drawings and vice versa. What individual element by itself. Liska’s the Open Field, Laurie Olin, 2000. communicating and observing any To create a visual essay, this body of van, Jane Wolff, Marc Treib (as editor impressed me though was the fact that overdrawings are done primarily in One of the pavilions and a cedar as the subject. Landscape architecture, as work needed to rely heavily on illustra- of several books on the subject of rep- he wrote the prose to this book some pen and ink, a medium David Macau- deer see them from the park, Buckland House, a profession, inherently uses graphic tive, compelling pictorial-type images. resentational work in landscape ar- thirty years after he drew the pictures. lay primarily uses in much of his work. Across the Open Field, Laurie Olin, 2000. communication as a tool for conveying And while the familiar early twentieth chitecture, art and architecture), Paul The physical act of “seeing” through Macaulay, author of such “Children’s” 12 13 design ideas. Graphic communica- century adage echoes, “ Every picture Hogarth, and many others. 3 drawing what you see is support of the books (many of which are equally

tion is a general term I use to describe tells a story”, no picture completes a However, there were a key handful importance of visual imagery in docu- stimulating and interesting to adults) any type of visual imagery which can story without a literary record. This of professional artists, architects, plan- menting historic elements. as , Underground, and include hand drawing, painting, pho- project therefore is both. Not a strict ners and landscape architects who use Also influential in how I chose to illus- The Way Things Work, uses this simple tography–any of the fine art mediums historical documentary account of drawing or other forms of graphic trate my subject were Liska Chan and yet powerful medium of pen and ink traditionally used–as well as the more what happened on these grounds, imagery in their work that had a David Macaulay. Liska, a professor of to denote texture, mood, emotion, 01 Introduction: Areas of Exploration 01 Introduction: Areas of Exploration perspective and depth; characteristics scape” work, the organizational co- that are often demonstrated through hesiveness behind a town’s architec- the use of color. 6 Another influential ture and a deeper appreciation for the source was landscape architect and ar- various elements of the visual aspects chitect coauthors Anuradha Mathur of a townscape. Clay’s work deals with and Dilip da Cunha, in their book the evolution of the American city, Mississipi Floods Designing a Shifting especially the common elements that Landscape. Simultaneously support- typically get forgotten as background. ing their subject, the Mississippi River, By highlighting these elements he are contemporary and historic photo- shows how others can value more graphs, USGS contour maps, paintings completely the parts of a city or town by the authors, and multiple large scale often take for granted. screen print images that are collages These last two individuals, therefore, of images, maps, historical facts and were influential in how I looked at the figures pertaining to the ever changing mission compound, its architectural river. This compilation of information elements and how they were organized 14 conveys much more appreciation for and worked together as a unit, as well the changing forces of the river than as the “background” components that would detailed written descriptions have often been overlooked compared alone. For example, a short essay ac- to the typical tourist “have-to-sees”– companying each print gives histori- the familiar mission bell towers and cal or scientific explanations, however, fountain. How I chose to present and either element alone leaves the reader represent this information is the result wanting more. of the impact made on me by the work Two other individual’s work key of the aforementioned individuals. to how I approached this project are Gordon Cullen and Grady Clay. 7 Both wrote and researched extensive- ly on the urban environment though from different perspectives. Cullen’s Opposite Page: work involved the aesthetic principles Western bell tower from the Sacred Garden. behind what makes a town or “Town- 01 Introduction: Areas of Exploration 01 Introduction: Areas of Exploration M i s s i o n H i s t o r y 0 2

How and Why were they Named (Legend of ) What is a Mission? • Why were they Built? • When and Where were they Built? aynard Geiger, prolific author of Christianizing the Indians and es- Secularization: Serra. They established one mission in saint for which the city and mission Left (Figure 2-1): The First Mission Buildings in 1787 Timber for this first mission structures was cut by soldiers from of California’s missions writing tablishing the region for , many In 1812 gained her independence from Spain. 3 M The new Mexican government slowly began changing Baja California before moving north are named. the presidio in Santa Barbara. All of these were of palisade or log from the unique perspective of one of the missions played key roles in the the structure of order established by the Spanish. to establish the first mission of Alta Both a noun and a verb, the Spanish construction with roofs of sacate grass, floors of earth and were who lived and worked as a mission development of the cities that grew (upper) California in 1769, La Misión Franciscan missions were outposts es- surrounded by poles. (drawing by Russell A. Ruiz found in Maynard J. Geiger, A Pictorial History of the Physical Development of padre, captures in the introduction of around them. Santa Barbara’s mission Since the missions, founded by the , San Diego de Alcalá, located at the tablished to demonstrate legitimacy of were seen as loyal to Spain, they were eventually Mission Santa Barbara,: From Brush Hut to Institutional Greatness, his book on Mission Santa Barbara rose to prominence above the others. decommissioned as churches and sold as part of land southern most part of contemporary 1786-1963. [Franciscan Fathers of California, 1963],5) the importance and influence of this Her later responsibility as the reposito- grants. This resulted in many of the missions falling California in the region known then as into disrepair and the padres fleeing the country. San Diego. 2 Center (Figure 2-2): The Founding of Mission Santa Barbara mission from all others with these ry for the archives of all the missions, Mission Santa Barbara, the tenth of the California missions, was words: a function she still holds, is some indi- Mission Santa Barbara is known across cation of her importance to the other the world as the Queen of the Missions. missions. Impressively, she is the only She is without a rival among her sisters for mission to have continuous care and her majestic setting and imposing architec- operation by the Franciscans since her ture. The venerable institution contains founding over two hundred years ago. elements captured from dead and distant This places upon her a well deserved civilizations. The tastes of Greek and 18 mantle of honor. 19 Roman, Moor and Mexican, Chumash, Spaniard and American are blended here Stepping back from this individual into one organic whole. Her story is one of mission to understand the beginnings unbroken continuity and has been told by of all the missions will elucidate the every famous visitor from Captain George critical functions Santa Barbara had in Vancouver in 1793 to the uncounted the history of the mission landscape. writers of our own day. What is a mission? At no time did the mission fully disin- The Jesuits (A religious order of the founded on the afternoon of 4,1786, by Fray Fermin tegrate as a building nor did the activity Serra, Father President over all of ) through the direc- covering the regions of today’s Central the missions, would go on to estab- Francisco de Lasuen, when he raised and blessed a large cross of its friars ever cease... Over her towers in a simple ceremony on the hill of Tanayan. (drawing by Russell tive of the Spanish Crown established America and a great portion of North lish nine missions in have flown the flags of three nations... She America), King Carlos III expelled the A. Ruiz, ibid., 3) has adapted herself to the shifting scene of twenty misiónes (missions) in Baja before dying in 1784, two years before Jesuits and replaced them with Fran- Right (Figure 2-3): The First Mission Quadrangle in 1800 every epoch and to the need of every age... (lower) California between 1683 and Padre Fermín Lasuén would found La 1767. Due to a growing concern that ciscans in 1768. Considered more The third mission church was dedicated in March of 1794. It For this reason the history of the mission Misión de La Señora Bárbara, Virgen the Spanish government to claim the occupied the location of the present day stone church and 1 loyal to the king the Franciscans con- cannot be written in isolation. the Jesuits were amassing great power y Mártir on , 1786, the an- land as part of their empire. As a verb, remained in use until December, 1812. (drawing by Russell A. While each mission had their edict and wealth in the frontier of Nueva tinued Spain’s empirical expansion niversary of the death of the patron the Catholic priests from the Order of Ruiz, ibid., 5) España or New Spain (are roughly under the leadership of Fray Junípero 02 Mission History: What is a Mission? 02 Mission History: What is a Mission? Friars Minor, better known as Francis- themselves, which they did primarily of the white man. 5 After time, a name also develops a mented existences the veracity of the The legend of Saint Barbara: cans, along with military accompani- several decades after the seculariza- Regardless of the sensitive nature of history with which events are associ- life and death of Saint Barbara is less Sometime during the 3rd century, Barbara, daughter of Dioscorus, a rich heathen and prominent figure ments, the establishment of these tion (see sidebar previous page) and historic descriptions or the intentions ated, becoming the source of stories, so (see sidebar). Regardless, her im- in the Roman government was confined to a tower new cities (usually based near already decline of the missions. Much of the of the historians, many treasures can tales and folklore, blurring the line portance is demonstrated through the by her father to protect her from potential suitors. developed Indian villages) as their chronicling of activities of mission life be culled describing the extraordinary between truth and legend. Santa naming of the city. The town and pre- Before leaving on a business trip, Dioscorus ordered personal calling from God and their and development of the mission archi- feat accomplished by the padres along Barbara is a clear example of this. As sidio adopted the name in 1782 under a bath-house built for his daughter. Barbara, a church. tecture and grounds were the result with the Indians who helped them in a Spanish colonial settlement whose Father Serra and then Governor Neve recent convert to Christianity, saw that the house had only two windows and ordered the workman Part of the padres’ “mission” was to of late nineteenth and early twentieth building the fantastic we have official religion was Catholicism, the on April 29 from the name which had to add a third, a symbol of the Holy . proselytize the indigenous popula- century padres who wrote not only to come to know as the Spanish Francis- name of each of the missions was at- been given to this passage nearly two Upon his return Dioscorus questioned the addition tion to the Catholic faith, teaching record events of mission history but can Missions of California. tributed to a . In the case hundred years prior when Spanish ex- of the third window and was angered by Barbara’s confession of her new faith and ordered her delivered them new trades and crafts, Spanish in many cases in an attempt to set the Santa Barbara laws, customs and culture eventually record straight. to Martinianus, prefect of the province of Nicodema Known affectionately as (modern day Turkey). Martinianus had her tortured preparing them to become citizens of Fray Zephyrin Engelhardt, writing in “The Queen of the Mis- for proclaiming her belief in Christ and eventually Spain. While Spain’s military capabili- his book The Franciscans in California, sions”, Mission Santa sentenced her to death by beheading. Her father ties were clearly superior to those of points out that the early padres, more Barbara sits impressively carried out the sentence using his own sword. . The story says that, as punishment for his cruelty he 20 these indigenous peoples they chose to interested in their work as missionar- 21 at the base of the Santa was struck down by lightening on his way home. 6 colonize this “new world” through rel- ies serving their fledgling parishes, Inez Mountains where atively friendly methods rather than by failed to document satisfactorily the she commands views of Left, Figure 2-4: force. While their success was mixed, accounts of those early years. As a the Channel Islands and This is one of the most traditional views every tourist their impact on the development of result, much of what is recorded after watches protectively over photographs and is the view most likely seen by the towns and cities that grew around 1785 is based on the research and ob- visitors almost two hundred years ago as they arrived the city. A continuous work from downtown. It is not difficult to understand the these mission compounds is obvious servations of Protestant historian H.H. of over two hundred years, and profound. Contemporary cities Bancroft.4 attraction once you have been here. Nestled amongst the humble beginnings of the rustic Live and Sycamores romantic ideas such as San Diego, , San Ignorant and prejudiced to some this mission elucidate the bloom of lazy summer afternoons. Protected from Jose and San Francisco all had humble degree about Catholic practices Ban- origins of her name. the sun you can almost hear while sitting in the beginnings first as Indian dwellings croft often portrayed the padres in shade of the Pepper trees the Chumash women tell then as missions before becoming the poor light choosing to emphasize a How and why were the stories as they washed laundry by the fountain. major metropolitan landscapes so fa- narrow perspective of mission life – missions named? of Santa Barbara it was La Señora plorer Sebastián Vizcaíno arrived in miliar today. that of the native Indians and their What’s in a name? Invaluable not Bárbara, Virgen y Mártir or the the area on the eve of Saint Barbara’s The prolific documentation of the plight of losing their culture as it had only as a means of identification, a and Lady Barbara. Day in 1602, christening the area after missions is a result of the padres existed for millennia before the arrival name distinguishes a place or person While many have well docu- that saint. from other similar people or places. 02 Mission History: What is a Mission? 02 Mission History: What is a Mission? Mission Santa Barbara acquired its Carlos, Fr. Serra went on to found climate and associated plant and geo- name from the presidio and thriving nine missions before he died in 1784 logical communities are considerably town that were established there before passing on the charge of Father Presi- different between the southern most its own 1786 founding. 7 dent of the Alta California missions to mission San Diego and the northern Fr. Fermin Francisco Lasuén then in most mission Sonoma just northeast When were they built? 9 Leaving San Fernando, Mexico on charge of the mission in San Diego. of San Francisco. July 14, 1767, Fr. Junípero Serra led Mission Santa Barbara was founded Situated along California’s interstate nine padres on a journey that would in a ceremony on December 4, 1786 Highway 101 between San Diego and begin the establishment of a chain of by Fr. Lasuén (see figure 2-2) who Sonoma are sculptural features in the would go on to establish nine more shape of a shepherds staff with a bell twenty-one missions. The expedition 10 grew and eventually included ships missions. While this date marked hanging from the neck of the staff. A dispatched to support the expedition. the beginning of this mission, the familiar landmark to most Califor- Two years later, both land and sea actual building and future com- nians and visitors these bells and staffs expeditions arrived at the small port pound with its associated systems of mark the general location of El Camino village of San Diego. Leader of the ex- gardens, waterways, structures and Real, Spanish for “The Royal or King’s 22 ceremonies would not be completed Highway” whose original path was like 23 pedition, governor Gaspar de Portola 11 chose to continue by sea to search for for another forty years. As the only no highway familiar to drivers today. Monterey Bay. Before leaving San mission to survive the secularization Simple in nature, often just a worn Diego by land to establish additional of the mission chain and maintain path in the soil and rock from many a missions Fr. Serra founded both the her function as an operating church wagon, hoof and foot this “highway”, presidio and mission in San Diego in by the Franciscans, Santa Barbara can more accurately interpreted as “way honor of Saint Didacus of Alacalá, a arguably maintain that its influence or path”, was the connection between 15th-century Spanish Franciscan. 8 on architecture and landscape is yet each of twenty-one Spanish Franciscan Portola eventually found Monterey to be completed. missions established approximately a Bay, having earlier overshot it due Where were they built? day’s journey by foot from each other. to unfamiliarity with the region and Primarily established along the coast, While technology has streamlined the along with Fr. Serra founded El Pre- many with ocean views, some mis- journey for automobiles, adherence to sidio Reál de San Carlos de Monterey sions extend inland but always enjoyed the general form of the Royal Highway and the Mission San Carlos de Mon- some influence from coastal weather. is testament to the astute site-planning terey on June 3, 1770. While all missions are considered capabilities of the early search parties. Along with San Diego and San part of Alta California’s coastline, the Opposite Page: Sunset at the Mission. 02 Mission History: What is a Mission? 02 Mission History: What is a Mission? 0 3 C o n t e x t / S c a l e Global Scale - Spanish Empire/Romo’s Influence Regional - Chain of 21 Missions Site - Approach to Mission he missions’ association with ed by the Franciscans, who were en- in the 1804 fountain out front; and the from Egypt to Santa Barbara that took when he was called to be superior This strong physical connection TSpain, Mexico and the United couraged by their potentate to estab- towers, tiled roofs and inner courtyard him through Sicily, Italy and over Santa Barbara. between the missions unified their States brings about another frame of lish a presence in these lands through exemplify typical Hispanic and His- where he visited monasteries, palaces, Regional Context efforts and distinctly highlights their reference within which to understand the guise of proselytization. Both the panic-American styles. Geiger high- churches, convents, cemeteries, The perceptive visitor to one or regional context despite the fact that 5 them; one of context and scale. Each padres and the neophytes (converted lights that significant parts of western and seminaries along the way. His more of the missions may notice that each of the missions had a unique look mission is not a stand-alone or indigenous peoples) were caught in and eastern culture patterns emanate sojourn through Europe influenced the mission they are visiting is not a and geographical setting. While the monument. It clearly has connections the middle of this imperial struggle. and blend harmoniously here at Santa him eventually leading to the devel- stand- alone monument or artifact, but Romans built cobbled roads between 3 to European influences in architecture, Less controversial was the style of Barbara’s mission. opment of the ornamental courtyard a companion to other historic build- their newly conquered cities as a means garden design and religious practices. architecture implemented at the mis- Another illustration of global context gardens at the mission compound and ings and landscapes. Together, there for efficient circulation and transpor-

Concurrently, a local vernacular is sions. When observing various built is seen in the journey made by Fr. José the adjacent college. are a chain of twenty-one individual tation of their military and equipment, evident in the use of regional build- elements of the church there can be Maria Romo who in 1872 arrived from (Panel, pages 30-31) mission compounds, which at one the padres carved but a simple path ing materials and the many cultural little doubt that the designer, mason a mission outpost in Egypt to shep- Contextually the Franciscan mis- time included associated vineyards, through the rough terrain, affection- customs tied to the various indigenous and builders had outside influenc- herd a fledgling Boy’s College known sions were simply a small outpost of orchards, gardens, livestock , ately known as El Camino Real, the tribes, thereby illustrating a global es. The Roman architect and writer as Colegio Franciscano as well as Nueva España, or New Spain, that in- and in some cases presidios or military Royal Road. Today, that historic path presence and scale of operation. A Marcus Vitruvius Pollio in his service preside over Mission Santa Barbara. 4 finds a parallel in California’s State 26 cluded Louisiana which was annexed compounds. Nonexistent at most mis- 27 provincial or regional context tied ex- to the emperors wrote a series of books By this point in her history, Mission by Spain in 1763 after the Seven Year’s sions and displayed mostly through Highway 101, often referred to as the plicitly to the geography of each mis- known as De Architectura Libri Decem Santa Barbara had seen the rise and War but given back to France in 1801. drawings or artwork are the corre- Mission Trail. sion’s location is noticeable from the or Ten Books on Architecture, which fall of the mission system, had sur- This drawing was created over a map sponding communities of indigenous (Panel, pages 32-33) way and location where each mission has been translated into five or more vived the devastation of secularization made by Cassini in 1790 and is part of Indians where the missions developed. This second drawing illustrates is sited. Additionally, site context and languages and was the standard in and the deterioration of the buildings an historic collection of maps by car- The harvest records of field crops, of Regional context and scale. Santa 2 scale is observed in the craftsmanship Europe during the Renaissance. In and grounds as a result. Hopeful were tographer David Rumsey. Scale-wise, livestock population, of baptisms or Barbara was the tenth mission in a of such features as fountains and the his book Mission Santa Barbara, 1782- the padres that Romo’s presence would this drawing shows the immense land weddings for any individual mission, chain of 21 missions in Alta Califor- placement of aqueducts. 1965, padre and archivist, Maynard turn the tide of decline to one of pros- Spain controlled and how these mis- or the impact of these reports on the nia or upper California. Mission San Global Context Geiger, describes how the mission built perity. sions were only a small, albeit, impor- birth of the state of California as most Diego at the very southern end of These Spanish outposts were multi- for the primitive Chumash borrowed On the origins of California’s tant part of Spain’s imperial ambition. know it today. More obvious from San Alta California was the first mission farious in purpose. One such inten- architectural styles from ancient and Mission gardens, professor Elizabeth Another part of this drawing is the Diego to Sonoma is the similarity of and Carmel Mission was the second, tion was to lay claim to or retain land diverse civilizations. Graeco-Roman Kryder-Reid in her significant article, diagrammatic route of Padre José materials used. An astute observer will located almost at the northern most already claimed from other exploring techniques can be seen in the facade “Perennially New” Santa Barbara and Maria Romo in 1872 previously men- see kiln dried roof tiles, adobe brick, end of Alta California. The majority nations such as or France. 1 A and arched corridor; Moorish in the the Origins of the California Mission tioned in Kryder-Reid’s article. Romo many varieties of carved stone, orna- of the remaining missions were estab- more honorable objective was intend- splayed windows and doorways and Garden, describes Romo’s journey was serving as a missionary in Egypt mental ironwork, and white stucco. lished in between these first two. Un- 03 Context/Scale: Global • Regional • Site 03 Context/Scale: Global • Regional • Site embellished delineation of basic geo- of context. The context of the Old approximately sixty feet of elevation the mission, its prominence due to its scale and context. As scale transitions and was chosen for its prominent loca- logical landmarks such as major rivers Mission in Santa Barbara feels appro- above the presidio. As can be seen overt architecture is today still a land- from the rougher global scale to the tion over the Presidio or military fort and islands along the coastline empha- priate, maybe more so than some of from a historic rendered elevation mark in the area. finer site scale the level of information and the town in general. While not as size the austerity of this rugged land. the other missions, because the archi- from 1798, viewed from the Santa (Panel, pages 34-35) also increases. Working across mul- obvious in this plan view, the siting of Simple crosses indicate the location of tecture of Santa Barbara is heavily in- Barbara Channel, the mission rests This third drawing tiple scales has afforded this author an the mission is conspicuous in the his- each mission and a dashed line indi- fluenced by the mission architecture as as the highest structure in the area. illus- appreciation for the valiant endeavors toric intaglio elevation of the coastline cates El Camino Real also known as well as Spanish colonial architecture. While the siting of the mission affords trates of those early explorers. Emphasized from the channel near the islands. the Royal or Kings highway connect- Whereas, cities that have developed obvious views it also establishes a Site through this drawing are the topog- View from above towers: ing each of the missions. Images of all around other missions in this chain power position over the presidio, or raphy, rivers and estuaries, proximity The Mission’s ideal location for visibility and prominence was specifically chosen for its 21 missions highlights the similarities have utilized other forms of architec- any other structure for that matter, in- of buildings to each other as well as commanding view and presence over the town. of all of the missions while pointing ture. cluding any Chumash villages. While to natural site features. The mission out the contrast between each of the Context also comes in different other buildings developed over time site seen here was called Pedregosa individual designs. scales or sizes. For example, the over- around and eventually above or place of stones by the Spanish Site Context arching benefits of a Red Cross are in- ternational, however, their impact is 28 While the many facets of the global 29 and regional scale and contexts are fas- felt on a regional or local scale as well. cinating, the scale of the site and how The Spanish Franciscan missions were it fits into the larger local landscape no different. The far-reaching power begins to connect the mission with and influence of the Spanish Empire other aspects of the area. These other and their powerful fleet of ships was “aspects” are identified as systems of evidently global in scale, leaving the mission and are highlighted in their mark on continents, countries, Chapter 5. Archeological context is regions, and down to small communi- the environmental and locational glue ties. Evident in visiting these missions that connects elements together and is is that they were influenced by another what gives relational perspective on a time and place. subject when observed. For example, Established four years after the Pre- seeing an igloo in Santa Barbara while sidio of Santa Barbara (military base) visiting the mission would trigger the mission chose as its site a knoll at an awareness that the igloo was out the foot of the Santa Ines Mountains 03 Context/Scale: Global • Regional • Site L o u i s i a n a

S p a i n Romo’s Santa Barbara Journey 1872

V i c e r o y a l t y o f N e w S p a i n

V i c e r o y a l t y o f n e w G r a n a d a

V i c e r o y a l t y o f p e r u

Territories lost before or during the Hispanic American Wars of Independence (1811-1828). i v e r a n R 6 20 R u s s i Mission and Year Founded: Carmel 2 21 River r 12 i v e 1. San Diego de Alcalá - July 16, 1769 n t o R 3 14 S a c r a m e 2. San Carlos Borromeo de Carmelo - June 3, 1770 8 15 3. San Antonio de Padua - July 14, 1771 r 13 11 i v e s R n a 4. San Arcángel - September 8, 1771 La Purísima Concepcíon S a l i S 11 a n 10 J 16 o a 21 5. San Luis Obispo de Tolosa - September 1, 1772 5 q u i n R i v Santa Barbara e r San Francisco Solano 6. San Francisco de Asís - June 29, 1776 19 20 (Five days before the Declaration of Independence) 9 Santa Barbara San Buenaventura Channel San Rafael 7. San Juan Capistrano - November 1, 1776 Islands 10 9 Arcángel 8. Santa Clara de Asís - January 12, 1777 9. San Buenaventrua - March 31, 1782 San Nicholas 2 6 Island San Carlos Borromeo 10. Santa Bárbara - December 4, 1786 8 San Francisco Santa Catalina 17 de Carmelo Island Santa Clara de Asís de Asís 4 12 P a c i f i c l a R e Sant Cruz San Clemente o n Island i 3 o c e a n a m l C 14 32 E San Antonio de Padua 33 7 San José 17 5 18 San Fernando Mission and Year Founded: Rey de España San Luís Obispo 11. La Purísima Concepción - December 8, 1787 de Tolosa 16 13 1 San Miguel Arcángel Nuestra Señora 12. Santa Cruz - August 28, 1791 de la Soledad 13. Nuestra Señora de la Soledad - October 9, 1791 14. San José - June 11, 1797 15 15. San Juan Bautista - June 24, 1797 7 San Juan Bautista 16 San Miguel Arcángel - July 25, 1797 San Juan 18 Capistrano 4 19 17. San Fernando Rey de España - September 8, 1797 San Luís Rey San Gabriel Arcángel Santa Ines 18. San Luis Rey de Francia - June 13, 1798 de Francia 19. Santa Inés Virgen y Mártir - September 17, 1804 B a j a 20. San Rafael Arcángel - December 14, 1817 1 21. San Francisco Solano - July 4, 1823 c a l i f o r n i a San Diego Acalá A l t a C a l i f o r n i a

Photo Credits: See page 102 a d o R v 03 Context/Scale: Global • Regional • Site r i e r 03 Context/Scale: Global • Regional • Site C o l o Reservoir/Filter House El Estero Mission Orchard

M i s s i o n S a n t a B a r b a r a

Mission Garden Presidio Church

Indian Pueblo S a n t a B a r b a r a

o s a r e g d e P

l e 34 d 35 y o r o

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Downtown Santa Barbara

03 Context/Scale: Global • Regional • Site 03 Context/Scale: Global • Regional • Site M i s s i o n C o n s t r u c t i o n 0 4

Construction Techniques/Materials Who Built this Mission? Historical Events that Changed the Mission ooted in this rocky landscape The orientation and placement of the tered covered brick columns complet- planned housing development in structures of civic importance. Many Left, Figure 4-1: View of Mission Santa Barbara’s facade as of February, or Pedregosa as the Spanish site of the mission by Paterna has re- ed by 1800. Santa Barbara and constituted a house cities boasted well known architectural R 2009. The entablature and pediment of the original called it, is the mission building – bell mained the same. Adobe was an important material with one window and door built back monuments already centuries old. As Graeco-Roman design (See Figure 4-2) and the finished towers, sanctuary, chapel, verandas, The materials used in the second for walls but unlike the stone lintels to back with other houses. These were such, construction in Alta California mission facade show great similarity. The entablature, which appears to be supported by the false ionic columns and dormitories – which together, stage of development were adobe used in the Greek and Roman temples ordered in linear rows facing each is almost directly reproduced from the architrave and are definitively the iconography of and tile roofs, and by the end of 1787 it could not span to provide support, other to form streets that intersected frieze (with its ) from the original Vitruvius mission culture. But who built this Paterna had built four rooms, the be- so timbers of sycamore or poplar were each other at ninety degree angles and illustrations. church, who made the adobe, cut and ginnings of what would become the dressed the stone, fired the tiles, culti- quadrangle of the mission compound. vated the gardens? And what tools and Subsequent padres added onto the techniques did they employ? What work begun by Paterna eventually events over time impacted the way the adding more rooms, a larger chapel mission looks today? and side chapels, the addition of a sac- After her founding in 1786, Mission risty and the siting of the cemetery. By Santa Barbara had very humble begin- 1794, the adobe structure, plastered 38 39 nings. Two missionaries Fray Antonio inside and out, measured 45 by 9 1/2 Paterna and Fray Cristóbal Oramas varas and its adjoining sacristy 9 1/2 were charged with the task of a new by 5 varas (123.4 ft. x 26.1 ft. and 26.1 mission settlement and built the first ft. x 13.7 ft. respectively). Its original buildings, simple, rough, even crude site occupies the same location as the log cabin style structures called pali- present and final stone structure.2 sades, with grass (sacate) and earthen The quadrangle grew over the next used until they began to rot. They were located immediately adjacent to Center, Figure 4-2: roofs.1 several years, first with the addition were eventually replaced by from the front quadrangle. Plate X from the 1787 Spanish edition of Vetruvius’ De Architectura Libri Decem [Los diez libros de Architectura] The first buildings were living quar- of arcades along the exterior facing distant mountain ranges. While all of the missions were built illustrates a Greek Temple with Ionic columns. The three ters for the padres, the chapel and store- the presidio and interior wing looking Various other buildings were con- in a “New” world, their design and bases labeled “A,A,A” are replaced in Santa Barbara’s rooms. But before the mud had dried upon what would someday be the structed around the mission com- construction was most evidently influ- was considerably “behind the times”, facade with statues. 3 between the palisades Paterna already sacred courtyard. In 1797 the second pound serving functions such as enced by the “Old” world. Major cities at least by European standards which, Right, Figure 4-3: had plans for a permanent structure leg of the quadrangle heading in a a guard house, tannery and living of Europe during the late 18th century stylistically speaking, had already seen Statues of Faith, Hope and Charity (from left to right) are with a southeast exposure overlook- northerly direction from the original quarters for the Indian converts. The already possessed many significant the eras of Baroque, Renaissance and placed on the pediment. A niche carved out in the center ing the presidio and channel islands. leg was begun with corridors of plas- Indian homes were the first formal buildings such as churches, palaces and Gothic periods, all of which improved of the pediment makes room for a statue of St. Barbara. 04 Mission Construction: Built Elements 04 Mission Construction: Built Elements or altered in one form or another the Included in this comparison of con- These generic images are not specific the padres lived in modest rooms al History of Mission Santa Barbara an was proposed. Construction began in styles of the classical architecture of tinents is an illustration of a Greek to a part of the mission but describe themselves, these were adjoined to a engineer’s drawing illustrates the posi- 1950 and completed in 1953. 5 antiquity, those of and Rome. Temple as shown in Vitruvius’s Ten some of the materials used in the con- much grander edifice – the church. tions of hundreds of cracks and fissures While the cracks shown in the en- However, European influencesBooks on Architecture, of which the struction of the mission. The perspective showing the facade on the facade of the mission prior to gineer’s drawings were not the result played a major part in the design and facade of Mission Santa Barbara was Santa Barbara Church Floor Plan of the church, as illustrated in the 1950. At first glance these cracks and of earthquakes, these geologic con- look of Mission Santa Barbara. While modeled. While not a direct copy of (Panel, pages 46-47) lower right-hand corner of the panel, fissures appeared to be the result of vulsions most certainly impacted the Europe was well into the Neoclassical the ancient temple design, much of the Five floor plans of the church as was chosen in particular for its impos- damage due to earthquake or tremor. mission in two separate centuries. The Era its historic influences could be di- detail and proportions can be seen in it changed during early develop- ing angle. This formidable prospect A mystery to all for the mission facade first quake struck on December 21, rectly seen in the architectural design the mission design. ment over a roughly thirty four year put for all who lived in, near or around and been completely rebuilt after the 1812, the second on the morning of of this mission’s facade. Overlaid on the world map is part of period are overlaid on a floor plan of the mission a frame of reference el- devastating earthquake of 1925. Con- June 29, 1925. After a devastating earthquake in the coastline of California with some the church as it stood in 1963. While evating the mission and all it stood for cerned that these cracks would lead to The epicenter of the 1812 earthquake 1812, Fathers Gil and Amestoy con- of the landmark cities and geologic many smaller changes and remodels as the most dominant feature in the further damage and make the facade is of uncertain location. However, curred that the December 21 earth- features such as the Channel Islands. occurred after the period of seculariza- landscape; second only to the moun- vulnerable to another earthquake, a because of the widespread damage it quake had inflicted so much damage While most of California’s coastline tion (term used to describe the decom- tains whose feet the mission rested. decision was made to facilitate more caused, it was estimated to be as large that it made more sense to rebuild than runs north south, this part of the coast- missioning of the missions under the Choosing to render this illustration research into the cause of the cracks. as magnitude 7. Studies locate the epi- 40 4 41 to repair. Construction on this fourth line, due to the geologic collision of the new Mexican government after their through pixilation emphasized the It was found the that the cracks were center somewhere offshore, possibly church began in 1815, completed in North American and Pacific plates the independence from Spain) most of the depth and prodigious exterior over the not the result of shifting footings, in- in the Santa Barbara channel, but an 1820, and is the basis for the magnifi- Transverse Range of the Santa Inez original design has remained intact. diminutive structures surrounding it, ferior materials or poor craftsmanship. inland epicenter, somewhere in pres- cent structure that exists today. mountains shift and the coastline here Overlaying the floor plan of the none of which came close to the scale It was determined the cause of the ent-day Santa Barbara County, or even Mission Construction runs east west. The solar exposure due church from different periods on top of the mission. Not until many years cracks was due to a chemical reaction Ventura County, cannot be ruled out. (Panel, pages 44-45) to this different orientation creates of the floor plan from 1963 highlights later as the city developed during the between the cement and aggregate. As This earthquake destroyed the This over drawing of maps and il- conditions that make Santa Barbara a couple of interesting observations. late nineteenth century years after the a result it was decided that the facade church at Mission Santa Barbara, lustrations describes the influence of and much of the surrounding coast- One, is the contrast of a Western reconstruction period of the missions, must be replaced. and caused near-total destruction at European architecture on the archi- line more amenable to growing crops design mind set to that of the indig- did civic and private structures rival These cracks mysteriously appeared several other missions most notably tectural design of Mission Santa Bar- than other coastal cities north of this enous peoples. The Chumash in this that of the old mission. By this point a mere twenty five years after the Mission Purisma Concepcion, near bara’s facade. One plan view is scaled latitude. area lived in single room domed struc- the position and importance of the repair and construction of the towers present-day Lompoc. to show Western Europe, the Mediter- Pictographs illustrating a stone tures and the Indian Pueblos they built mission in the landscape had passed. destroyed as a result of the earthquake Despite the extent of destruction this ranean Sea and North Africa as well quarry, timber harvesting and adobe within the mission compound were Construction and Earthquakes of 1925. Two new towers and the quake caused, no deaths were report- as a portion of North America as it production again speak to a different simple single room abodes connected (Panel, pages 48-49) facade were rebuilt on deeper stronger ed. was mapped in approximately 1790. scale than the world or coastline maps. wall to wall with their neighbor. While In Maynard Geiger’s book, A Pictori- footings and more durable material The 1925 quake was altogether a dif- 04 Mission Construction: Built Elements 04 Mission Construction: Built Elements ferent scenario. During the late 19th tant because they link the history of the rological activity such as rain storms century, building standards were not earthquakes not only to the mission and wind have on the material adobe. keeping up with the rapid growth and facade but also to the unique character Exploration of this material and na- as a result much of the business district of Santa Barbara architecture. ture’s affect on it lead to the proposal was ill prepared for even a consider- After the 1925 earthquake, Santa of an art installation. ably smaller magnitude quake of 6.3. 6 Barbara created an architectural As a result thirteen deaths were re- review committee to guide the look Adobe Brick and 1925 Earthquake: 1. All images of adobe bricks and the making of ported from this earthquake. Many and development of the architectural the adobe bricks are by Kenneth I. Helphand. deaths were avoided by the fortunate design of the downtown core. 2. Title: Old Mission, Santa. Barbara Quake, 6-29-25 timing of the early morning shocker, Identifier: :421 Adobe and Earthquakes Collection: James D. Phelan Photograph which would certainly have taken (Panel, pages 50-51) Albums, Volume 94 Old Mission, more lives as the business district Santa. Barbara Quake, 6-29-25, The images and text on these pages Contributing Institution: The Bancroft Library. which was almost completely leveled. were the result of an assignment for a University of California, Berkeley. This district was eventually rebuilt to class in landscape perception. Arguing strict seismic standards as well as ar- 42 that because the mission buildings and 43 chitectural guidelines that make Santa

Barbara the iconic Riviera of North other similar architecture were con- America. structed of adobe, they were in essence, The crack lines which are made up part of the landscape. Adding to mere of text describing the earthquakes that perception is the affect geological ac- occurred in 1812 and 1925 are impor- tivity such as earthquakes and meteo- 04 Mission Construction: Built Elements 04 Mission Construction: Built Elements S to n e Q ua r ry a n d C r a f t s m a n s hip

3

M a d r i d A l t a C a l i f o r n i a

H o n d o

o i n t P E s pa ñ a M e d i t e r r a n e a n S e a A r g u e l l o

G av i ota T a j i g ua s G o l e ta P o i n t M o n t e c i to C o n c e p t i o n N a p l e s C a r pi n t e r i a S a n ta B á r b a r a A d o b e P r o d u c t io n a n d C o n s t r u c t io n T imb e r H a rv e s t i n g a n d C o n s t r u c t io n B a j a C a l i f o r n i a

V e n t u r a 2 N Mission Construction: 1. Timber Harvesting: This area was characterized by chaparral hillsides 1 with mixed live woodlands. Much of the woodlands were felled as timber was needed for constructing the village and mission. 2. Adobe Production: The original church was built of with thatch S roof but a much more durable material was needed. Adobe became the material of choice since it utilized a material readily available. S a n M i g u e l 3. Stone Quarry: When an even more durable material was needed stone was S a n ta C r u z s l a n d I s l a n d I n ac a pa quarried from the local hills to create the facade of the mission. S a n ta R o s a A I s l a n d I s l a n d 1 1 8 0

1 7 0 2

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2 0 1 6 P o r t i c o 1 8 1 1 9 1 0 1 0 5 0 1 1 F i r s t C h u r c h S e co n d C h u r c h T hi r d C h u r c h F o u r t h C h u r c h 1 2 1 3 1 5 1787 1789 1794 1820 F o u r t h C h u r c h 1820-P r e s e n t

1 4 Chapel/Church Construction: Early Chapel and Four Successive Churches of the Old Mission Santa Barbara L e f t T o w e r R i g h t T o w e r 1 8 3 1 - 1 8 3 3 1 8 2 0

Plan of the Mission Church as of 1963: 1. Sacristy since 1927. 7. Nave of the church, 1820. 1820, and the belfries probably built in 1831-1833. 2. Door cut into stone wall from sacristy to sanctuary, 1927. 8. Side chapels built in 1815-1820. 13. Facade of church of 1953 replacing the one of 1820. 3. Sanctuary. 9. Choir loft area built in 1820 remodeled in 1909, 1927 and 14. Original stone steps f 1820 partially replaced in 1927. 4. Communion railing . 1953. 15. East tower of 1953 replacing tower of 1927 which in turn 5. Original sacristy, 1820. 10. Baptistry since 1953. Above the baptistry is the blower replaced an earlier one of 1820. 6. Columns and arches of cut stone forming ambulatory room for the pipe organ, 1925-1953. 16. Stone stairs of 1820 (replaced in 1927) covering the built in 1927 replacing an earlier one of cement columns 11. Buttress of 1953 replacing the one probably built in 1833. earlier stone stairs of 1794. of 1893. 12. West tower built in 1953 replacing the foundation built in 04 Mission Construction: Built Elements

he Spanish word adobe, translated via the event of an earthquake(s) and blackness that results from the void left Figure 4-4, Background Tas ‘mud brick’, has been part of the chronicled time in its use in the religious by stones or crumbling earth. Disinte- Image: American Southwest for thousands of and cultural landscapes of the Missions. gration and decay reveal aging, a simile Seismic map years. Most notable are the Pueblo vil- Sun-dried adobe bricks will be used to for the corresponding conditions of the showing fault lages of Mesa Verde and the twenty one build a series of twenty one walls com- extant Missions. lines around the region of Lompoc, eighteenth-century Spanish Franciscan posed in a radial pattern. This circle Chaparral and other indigenous flora California. Red Missions of California. of walls, symbolizing the cyclical and will be allowed to grow freely through indicates fault lines The bricks were used with mud boundless qualities of time, will span and around the aging walls signifying that project would mortar to build structures ranging portions of an earthquake fault in the the healing of time that still may be be located over. from walls and simple rooms to large area of Lompoc, California – location of needed by those descendants whose an- Figure 4-5, churches and compounds. While aging Mission La Purísima – in order to in- cestors were displaced or exploited by Opposite Bottom: and the use of this ephemeral material crease the probability of cracks in the the Spanish and ensuing Mexican set- Experimental art installation plays a significant factor in the demise walls. Various United States Geologic tlers and eventually American settlers. exploring the of any adobe structures, a more critical Survey Probabilistic Seismic Hazards Adobe can be a durable material but material Adobe. component, especially in the American Assessment Maps (See Figure 4-4) will if left unprotected it will return to the Southwest, rendered these particular be analyzed to determine prime fault lo- earth as mud and dust. While the mis- Figure 4-6, Right: Illustrative poster buildings asunder more quickly – earth- cations to build the adobe walls. sions are cultural icons of California’s submitted for LA quakes. Inextricably tied to geologic The walls represent the expansion history, preserved as state monuments, 585 Landscape time an earthquake’s impact on built and boundaries imposed on the land much of the original materials have Perception, structures varies from simple cracks to and the indigenous people through the been lost or since replaced. This semi- exploring the use of adobe as a complete destruction. construction of the Missions by neo- temporary installation seeks to spe- building material This experimental installation (See phytes (recent converts) for Franciscan cifically draw attention to the mission in the landscape. Figure 4-5) seeks to explore the short- priests. Each wall will be the width of landscape of past and present through Images of adobe lived, yet ancient material of adobe and a brick module (approximately 18x24x4 the impermanent and historical nature being made, an art installation by its relationship to both geologic time inches) and will vary in height and of the adobe material and impact future Andy Goldsworthy length as each of the twenty one Mis- generations through image or written combined with sions are similar yet unique. record only. graphics of maps and data measuring Cracks and fissures, the result of earth- This installation (never installed) was part of a proposal geologic movement based on an assignment for a class in Landscape quakes and weather will demonstrate are combined to Perception, taught by Kenneth Helphand. The poster the passage and effect of geologic time, explore adboe and graphics in Figures 4-4 through 4-6 were supporting through time. drawing visitors to the rich, infinite graphics. M i s s i o n S y s t e m s 0 5

Livestock/Branding Agriculture/Horticulture Water Ceremony ike an organism that has bio- these animals. As each mission was es- While it was common for each of the Professor Kenneth Helphand men- nition is found in any of the records. Figure 5-1, Left: Branding iron with Mission Santa Barbara’s brand. Llogical systems critical to the or- tablished a certain quantity of livestock missions to support each other with tions in Gates of the Southwest Contributing to misinformation about ganism’s survival, so too the mission were given to the newly established supplies and equipment, especially that brands were often “beautifully this brand is its orientation which Figure 5-2, Right: had several systems that were pivotal mission by the crown along with when a new mission was established, decorated and highly ornamental”, car- often shows the symbol Woodblock print of Mission Santa Barbara brand. to how the individual mission func- grain, seedlings, hardware and other each mission had its own identity when rying on from a long line of tradition upside down. The circle By Author. tioned. These systems were also crucial supplies. Similarly to agriculture, live- it came to . Unique cattle brands extending then to Spain’s practice but should be shown at to how well the regional mission chain stock would multiply, however, more were created at each of the twenty one harkening to an even older exercise the top with the Meaning of 4 Brand: managed and ultimately how success- exponentially than any plant, leaving missions, carrying on an ancient tradi- begun by the Egyptians. Santa Bar- cross-like shape Circles have ful the mother country of Spain was a larger mark on the landscape and an tion as well as direct orders from the bara’s cattle brand is no less a splendid below. (See often in at proliferating colonies around the industry that would begin the era of Crown of Spain. 3 Most of the brands example. Its unique combination of Figure 5-1 Christianity represented world. large ranchos throughout many other and 5-2) unity and/or 1 These systems included the physical parts of California. (Panel, eternity. The symbol below buildings or compound of the mission, Barbed wire fencing would not be pages 56-57) 2 the circle in the agricultural and horticultural invented for yet another century. Described many of its gardens, livestock and animal hus- Growing herds were allowed to roam variations 54 in this 55 bandry, the water system and its ancil- and the majority of cattle spotted the appears as drawing is the a growing lary components of dams, aqueducts, extensive lands surrounding the mis- vast range of tree or plant. In reservoirs and fountains. And while sions. Some of the neophytes were land controlled some instances not wholly physical, ceremony, was as allowed to learn and were trained the “branch-like” by Mission Santa horizontal line(s) have much a part of the everyday life of the how to cowboy, but it was much more Barbara and the partial been shown straight making mission as our own circadian rhythm, common a job for Spanish soldiers. lands controlled by Santa it look more like a cross. Either and as such can be seen as a metaphor Since the range of cattle was so exten- of these uses can represent life, whether Inés and La Purissíma, divided by the qualities of a biological organism or the for how the mission operated. sive it required Spanish cowboys, or the Santa Inez Mountain Range. As “life-giving” sacrifice of Christ who died Livestock/Branding vacqueros as they were called, to be a reference for scale, it took approxi- on the cross. Together with the circle away from the mission for extended these two adjoined Critical to the survival of each mately a days journey by horse to glyphs may mission was a steady supply of live- periods of time. Asensticias or small were typical of the day utilizing capital symbols is distinctly ornamental with go from mission to represent stock: beef and dairy cattle, oxen for mission-like chapels were built on the letters or numerals. However, some a rugged beauty, however, somewhat mission and a long day the concept range land in order for padres to ad- were completely symbolic employing of a mystery with mission historians of eternal life – a fitting plowing and hauling, horses, sheep in this particular case representation for a mission brand. 5 and all of the by-products made from minister daily to those working glyphs, in this case circles, crosses or who have applied basic assumptions as because of the mountains afar. decorative serifs on the capital letters. to the meaning since no specific defi- 05 Mission Systems: Agriculture•Livestock•Water•Ceremony R a n g e o f M i s s io n L a P u r i s s í m a

M i s s i o n S a n ta I n é s

R a n g e o f M i s s i o n S a n ta I n é s

R a n g e o f M i s s io n S a n ta B a r b a r a

M i s s io n S a n ta B a r b a r a E l C a mi n o R e a l S a n ta B a r b a r a P r e s i dio

Santa Barbara Mission Brand: Image of brand is made up of products used, bought, N sold, traded and made from livestock raised on each of the mission ranchos. P ac i f i c O c e a n S Mission Garden H u e r t a by Michael A. Sánchez

Darting droplets of sun pierce frost blanketing Ground warms, welcomes, verdant stretching. Olive branch arching strange new visitor Dropping fruit among resident acorns. Exotic flower buds burst at first day’s light Transporting bliss from faraway lands. Cultivated beds of peculiar species Substitute familiar chaparral expanses.

Neophytes tend curious crops and shepherd livestock New livelihood on ancient soil. Children pursue water rivulets a garden labyrinth, Life sprouts where none existed. Familiar footprints wear dusty garden paths, Daily ritual at communal lavandería.

Meals of atole y pozole heedlessly served Gone the bounty of the hunt or gather. Life stories myth bequeathed to little ones Unfamiliar principles a Padre’s calling. Stars twinkle through ‘ap bulrush and thatch Opaque adobe tile, narrow light through clerestory. Compound, gardens, paddocks heavy on the land Earth revolts and shakes wanting to go back. here. Figure 5-3, Top Left: customed to simple lives of servitude, Livestock was a form of currency and Passionfruit, often with meager living conditions. Granadilla, as such was documented in the form Passiflora edulis. Simply because of their hunter-gather- of annual reports comparing different er lifestyle, the native Indians out of ne- types of livestock. Tables from Robert Figure 5-4, Bottom Left: cessity also lived fairly scant. However, Citrus, Orange, Archibald’s The Economic Aspects of Nananja, ( 1792, 1804) as a method for luring Indian converts the California Missions show animals mission oranges were the padres would often offer meat and divided into major livestock that in- initially see-propagated clothes with the appeal of a more con- cluded cattle, horses and mules while (later grafted) sistent daily constitution compared minor livestock included sheep, goats Figure 5-5, Top Right: to their typical routine that may have 6 and pigs. These reports , produced Guava, Guayaba, included hunger for many days if food by every mission were used to inform Strawberry/Purple Guava, was scarce. Many Indians chose to the Viceroyalty and Spain of the prog- Psidium cattleianum (=P. explore the padre’s offerings, eventu- littorrle longipe) (likely). ress. Similar records were kept for ally leaving their traditional ways to be agriculture harvests, births, deaths, Figure 5-6, Bottom Right: part of this new culture which affected 60 61 baptisms and marriages, chronicling Citrus, Lemon, Limon, their traditional diets as well as their the lives of those living at the mission Limonero, Citrus Limon. landscape. compound. Life during the mission While some of the Indian’s tradi- era was not always as neat and orderly tional practices were incorporated into as these tables and reports made them their new lives at the mission – mostly appear, but they do provide an inter- their gathering techniques for acorns, esting picture into aspects of daily life herbs and wild vegetables – they were we normally would consider docu- also allowed to supplement, especially menting. during the meager early days of the Agriculture/Horticulture missions, to hunt. Their methods of hunting and gathering were light on Huerta the land, often leaving the land appear Important as identification was, sus- untouched. A certain respect and ad- tenance was paramount. Providing for oration for the land was common to their own needs the padres were ac- the Chumash (Santa Barbara region’s 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony Figure 5-11, Top Left: Bay, California/ Oregon Myrtlewood, Umbellularia californica Figure 5-7, Top Left: ( wood, furniture) Pecan, Pacana, Carya illinoieninsis (=C. illinoiensis) Figure 5-12, Top Right: 62 Hazelnut, Avellana, 63 Figure 5-8, Top Right: California, Corylus cornuta , californica (=C. robusta Granada; Alelilla, californica) [native]. ( 1792) sweet and sour strains, Punica granatum. Figure 5-13, Bottom Left: Jujube, Jinol, Figure 5-9, Bottom Left: Zizyphus jujaba. , Almedra, soft-shell, Prunus Figure 5-14, Bottom Right: dulcis var. dulcis (=P. – Nogal, amygdalus, P. communis) Walnut, English regia & Walnut, Figure 5-10, Bottom Right: California Black Juglans Banana – Banana, californica [native] Plantain – Plátano, Note: some native (1792) Musa acuminata produced quality nuts; (=Musa paradisiaca & Musa English walnut was grafted sapientum) & crosses. onto the native rootstock. 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony Figure 5-15, Left: Figure 5-18, Top Left: Grape, Grano, (1769) Dates – Datil, Eating, Juice Grapes (1771), 1) arabian Desert Date Raisin – Pasa (1778), Palm, Phoenix dactylifera – Vino (1778), 2) Canary Island Date Palm, – (1778) Phoenix canariensis – Angelica, a blend: half (Palms are non-woody mission wine & half mission monocots) The fruit brandy. Red & White grapes and sap of the Canary from European grape stock Island Date Palm were were brought in from Mexico used by the Spanish. into the Alta territory: European grape, Vitis Figure 5-19, Right: vinifera: Criolla & Monica Oregon Grape, Berberis types: ‘Alba’, ‘Albilla’, aquifolium (=Mahonia a.), ‘Diego Rubra’, ‘Molar’, One of the native plants ‘Paragrande’, ‘Torrontes’ used by the Spanish . were seed bred quite true, perhaps 60% of the time. Figure 5-20, Bottom Left: Native grapes and adjacent Beavertail Cactus, mission grapes sometimes Nopal, Manso, naturally cross-bred. Hybrid Opunita basilaris. crosses occurred between (V. vinefera) & native grapes, Vitis californica & V. girdiana. From these random crosses new California grape “selections” resulted and were added to the vineyard inventory.

Figure 5-16, Top Right: , Spanish, Castaña, Castanea sativa.

Figure 5-17, Bottom Right: Carob, Algarroba, Ceratonia siliqua ‘Santa Fe’ (hermaphrodite cv.) 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony native Indians) as was typical of many to signify the agricultural garden or ful garden, a few rods from the church, sur- (Panel, pages 58-67, Plants of the compendium of plants found at the Figure 5-21, Left: West elevation of the chapel from the courtyard other native American Indian cultures. orchard. These gardens were vital rounded it with a high, substantial of Huerta Garden) Spanish missions entitled Changes in garden, also known as the sacred garden. Interestingly, stone laid in Roman cement, and planted this drawing underlines the different styles, both One practice the Chumash exercised to the survival of the Mission. Each The pen and ink drawings on these Landscape, The Beginnings of Horticul- architectural and horticultural, from different eras was that of annual burning. Burning mission was given seed and starts from it with limes, , apricots, peaches, pages give prominence to but a ture in the California Missions. 11 employed over time as the mission developed. For apples, pears, quinces, etc., which are now example, Moorish windows successfully reside controlled the typical chaparral under- Spain as part of a medley of establish- smidgen of the many edible woody Selected for their visual qualities, the annually yielding their several fruits in beside Roman arches. Similarly, the cactus and succulent plants shown were not part of the growth from becoming overgrown, a ment tools to begin the mission with 10 trees, shrubs and vines grown at the abundance... original courtyard but an introduction most likely condition that provided hiding places the intention that each mission would mission. Other categories of plants during the reconstruction period and later adding Later, during the reconstruc- to the horticultural variety of the garden. for prey but also contributed to poten- be self sustaining within five years. A tion period when the huerta was no grown at the mission were edible her- 7 tially dangerous wild fires. fascinating aspect of the Huerta is their longer a necessity and the agricultural baceous perennial plants, edible sea- These practices were almost com- biodiversity. While the padres brought pletely lost and most certainly dramat- with them starts from European strains ically minimized by the introduction of basic fruits like olives, pomes, citrus, of field agriculture and husbandry of stone-fruit such as peaches, apricots, livestock. Cattle and to some degree and cherries many of the plants sheep most certainly impacted the that were cultivated over the mission’s 66 67 topography and texture of the land lifespan were cultivars that were devel- through repeated compaction and re- oped by the padres themselves or were sulting erosion. While deceptively introduced by visiting traders and ex- subtle, a direct result of introducing plorers who exchanged their goods for livestock was the establishment of supplies. 9 exotic plants such as food and forage While the intent of the huerta was crops. Indirectly, the spread of Euro- not ornamental in nature, there was a Figure 5-22, Center: pean annual grasses through physical irresistible quality and beauty to them gardens were abandoned for more or- sonal plants or “vegetable gardens”, Both the physical structure and the courtyard contact with shipped livestock from even visitors who looked upon them herb garden plants, utilitarian plants, plants create depth and mystery, inviting the namental enterprises it is surprising visitor to explore what is just around the corner. Europe have had their own impact to could not resist. J.T. Farnham, in his to see many of the qualities expressed native plants used for utilitarian pur- California’s native perennial bunch visit to Mission Santa Barbara in 1840 poses, décor plants or ornamental Figure 5-23, Left: in the huertas – symmetry, order and The enormous Morton Bay Fig, found in the 8 grasses and wildflowers. described the gardens in this way: pattern – revealed in the design and plants and native plants. An exten- cemetery garden attests to the extremely adaptable The old padres seem to have united with climate of the Santa Barbara area and the ability Another more pragmatic type of layout of the the ornamental gardens sive list of individual species found in species chosen to highlight the plants of the padres to grow many unique varieties their missionary zeal a strong sense of garden was the Huerta, Spanish from of the jardín. each of these categories can be found of the huerta were picked more for collected or traded with early visitors. the Latin hortis, “garden” was used comfort and taste. They laid off a beauti- in Michael Hardwick’s invaluable their illustrative value and horticultur- 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony Figure 5-24 through J a r d í n 5-28, Top to Bottom: Patterns of a Mission Garden.

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Figure 5-29, Left: al uniqueness than for some histori- rancho garden. 12 The town house viable, were certainly ornamental in on the degradation to the city which Chicago in 1893 as a representative of Ruins of an elevated aqueduct. At the top of this stone structure is a channel which conveyed water cal significance. Drawing these plants garden and rancho garden were most nature and appearance as many visi- extended well to the mission when Scottish nobility. The second was Mrs. 14 from the reservoirs to one of the orchard gardens. reinforced the cognitive imprint over likely gardens influenced or inspired tors to the early missions attested. he observed that “Grass grows in the William McKinley who was accompa- seeing images of these plants and dra- by mission gardens in the develop- However, their purpose was not that of streets and cattle feed in the gardens...” nying her husband, then President of Figure 5-30, Center: matically over reading about the plants ing homes and structures of the era fancy or horticultural ornamentation, 16 With very little money to make im- the United States. The third woman’s Carved stone bear water supply to Lavendería (wash basin). After water left the 1804 fountain alone. but particular to the mission gardens but of production, nourishment and provements even for maintenance name was unknown, but her entrance above it gravity fed this laundry basin. Jardín the jardín was primarily an ornamen- sustenance. the mission continued to languish for was overlooked as she disguised herself tal garden reaching its zenith during After secularization in 1834, Santa several more years. Not until a regular as a man and later boasted about her income from a newly established boys’ exploit. 18 college become available and the vi- Superimposed over a photograph of sionary ideas of Father José Maria the 1872 fountain in the cloister garden Romo did the buildings and grounds of the main quadrangle is a plan view of the mission begin to change. 17 of the plant beds. This drawing was (Panel, pages 68-71, Jardín) reproduced from Samuel Newsome’s 1903 plan of the cloister garden which 72 At one time the inner courtyard, also 73 known as the “Sacred Garden” or “For- included lists in the plant beds of the bidden Garden” created by the wings plantings used in the original 1872 of the quadrangle was experienced design (plant names excluded from by only the padres and very special this drawing). An early design influ- quests. It was off-limits to women, enced by Romo, this particular layout hence the name forbidden and was utilized the four rivers of paradise due to their vow of a single life; a prac- theme and parterres laid out in sym- Thomas Brown in his 1980 article tice of all Franciscans the world over. metrical patterns which became the Figure 5-31, Right: Landscapes and Gardens of the Mission the reconstruction period of the mis- Barbara Mission’s gardens and build- Before the courtyard garden became inspiration of many Mission Revival Ruins of upper reservoir. The remains of an aqueduct 19 Era speaks of three garden types em- sions during the latter half of the 19th ings declined and did not see im- available to tourists, including women, gardens throughout California. feeding this reservoir can be seen in the foreground. 13 Built in 1827 to store water for the grist mill, the ployed during that time not only at century. provement until the church received only three women were known to Today, the courtyard garden is no 15 penstock (circular hole at base of wall) was fitted the missions but in the cities that de- Santa Barbara’s early gardens, the the property and title back in 1861. have seen the special garden. The longer considered a secret or private with a wooden gate that controlled the flow of water orchards, vineyards and vegetable During a Yale University scientific ex- garden admissible to only a few but is which turned the wheel of the mill’s grindstones. veloped around the old mission and first was the Duchess of Argyle, who presidios. Those gardens were the gardens during the thirty plus year pedition to Santa Barbara in 1861, sci- visited Santa Barbara after attending open to all. Much of the plant material jardín, the town house garden and period in which this mission was most entist, William H. Brewer commented the World’s Columbian Exposition in has been replaced with lawn with the 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony k e e r G r i s t M i l l M i s s io n C r e e k C 1804 a m n D o u n ta i n o F s i i s M

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E l e vat io n /S e c t i o n edges of the courtyard still planted in But our guide now conducted us to a Water System because of informational signage and been the originally intended uses for west of the church entry, the fountain symmetrical beds. doorway in the right wall of the church, Equally interesting to the gardens is maps. Other elements from the water the 1804 fountain or lavandería, or the and lavandería were centrally located Details are included of iron and and fitting in its lock a ponderous key, the water system of the mission. Of system, such as the Santa Barbara secret courtyard fountain installed by between the mission, the Indian village, stonework found on the building (see flung it open; and as we stepped forth ill to the extensive hydraulic infrastructure fountain and Lavandería (laundry) of Romo in 1872, but it was the outcome, the orchards, the vegetable gardens the ancient burying ground it seemed that Figures 5-24-5-28), revealing the in- created to provide water to all parts of 1804 are the best preserved of all the nonetheless. Positioned to the south- and the majordomo’s (work foreman) the day’s enchantment had but just begun, terconnected patterns of the parterres for a lovelier or more flowery garden in the compound, only fragments remain hydrologic features. However, it’s house. This location was most and these built elements. which to sleep the eternal sleep it would (see Figures 5-29 through 5-31). Pieces apparent that even these familiar likely the primary feature a visitor While not a formal ornamental seem impossible to imagine! 20 of aqueduct are now separated by con- may not survive another would see upon entering this garden, the cemetery is most certain- The drawing centers on the enormous temporary streets, private homes and two hundred years. compound. In essence it was the ly a vibrant collection of fascinating Morton Bay Fig which is estimated to public open spaces but harken to a time To be sure, water was more than “hub” for activity at the mission. plants and newsworthy tombstones, have been planted around 1890. Other where they were the primary feature in critical for the success of any of (Panel, pages 74-75, Water many of which give a rich history of large specimens loom throughout the the landscape. Other elements such as the missions. Many a mission System) this Mission. garden adding mystery and patina to reservoirs, settling tanks and clay pipes was relocated because of issues This over-drawing includes three An article from an 1901 Sunset the stone and adobe walls. only remain because of photographs, of proximity to a dribbling water plan views at different scales. Magazine eloquently characterizes the This black and white pen and ink ex- old surveys and much lore. Many ele- source or a well going dry. The 76 One scale shows the Pedregosa 77 cemetery as a garden equal to no other pressed through hatches and line work ments of the water system, such as the three primary purposes of the or Mission Creek Dam. Once and captures the essences of what this capture the mystery of this garden by dam in Pedregosa Creek (now Mission water system at Santa Barbara passing over the dam water was pen and ink drawing tries to describe. not being a photograph showing every Creek) in Mission Canyon as well were to irrigate crops, vegetable conveyed via a stone aqueduct Yet, strangely enough, so supremely minute detail, but, by allowing the as a dam in Rattlesnake Canyon are gardens and orchards, to provide down the canyon, diverting it does the heart dominate the perceptions, viewer to imagine what some of the shrouded by overgrown riparian vines, water for drinking and washing that the uncertain coloring, the angular from the creek to the reservoirs shapes, the patterns, the textures might shrubs and trees. for those living in the mission lines and questionable curves of figure above the mission. Water was be. What might the colors, the atmo- Originally created to furnish the compound, and to produce and flower traced by the patient, toil- then gravity fed from the reser- sphere, the mood be? These questions, mission with a reliable supply of life- power for one of Alta California’s worn fingers of those unselfish shepherds voirs through aqueducts to supply of wilderness souls, these appealed to and put forward by this drawing, provoke sustaining water the Mission Canyon earliest industries–the grist mill. 21 orchards, gardens, fountains and touched me more profoundly than all the the viewer to appreciate more about Dam can be seen today in the Santa laundry as well as many other in- rare canvases that hung above the altar! this place than merely viewing a pretty Barbara Botanic Garden near the But water was more than just Figure 5-32, Bell Echo: dustries that required water, such Thus eloquent is the work of the padres of picture, thereby allowing the observer Redwood Forest. The reservoirs, grist a life-giving substance. While used Woodblock print by Author. Sound, like a pebble hitting a still pool of water, emanates from the origin. This as the grist mill and tannery. the devoted endeavor and of the peculiar to relive the history through an unpar- mill and filter houses are noticeable sparingly water was also used in cel- difficulties under which these marvelous illustration was a study in expressing the way sound In a 1939 speech for the Sisquoc Bar- alleled experience. remnants rising out of grasses and ebration, ceremony and as a way to might look if it were visible. missions were reared. shrubs gone wild, recognizable only enliven space. These may not have beque, Fray Maynard Geiger implores 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony

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L a M e s a y le e i r P ac i f i c O c e a n Ki . son his audience that, “...if Santa Barbara the screened photograph in the back- comfort, whether they participated in forth the first genuine musical notes ten through the natural mislaying of that of a hanging mobile, where each was awakened to the historical im- ground. a ceremonial event at this mission or in the civilized communities along time. individual “shape” (bell) has its own These bells had a direct impact on portance of this ancient water system Ceremony any other. the Camino Real. They were a call to integrity, but those “shapes” (bells) all the people living in and around the they would at once spare nothing to The system of ceremony could be Therefore, ceremony also serves as worship three times daily at morning, revolve and interact in ever-changing mission grounds. For example, the 25 preserve and restore this invaluable re- seen, heard and felt at Mission Santa a type of order that gives structure to noon and evening, reminding all to ways. 22 bells were used to call all to worship as source.” Barbara. It most certainly had an the day, the space or during a specific the Angelus, a devotional prayer re- (Panel, pages 78-79, Bells of Mission well as demarcating important times One way in which those who read impact as a means of connecting the event or time. Mission Santa Barbara calling the Incarnation of the Son of Santa Barbara) of day such as when work should begin and study this drawing can appre- explorers and indigenous people to has over the last two hundred-plus God. They rang in celebrations such While the traveling sound waves or end, much the same way school bells ciate the historic connection of the this historic religious place. Ceremo- years remained an operating church as weddings or festivals, greeted dis- of bells may be difficult to express or work to call children to class. water system to modern-day realities ny is an integral part of many religious and elements of ceremony can still be tinguished guests such as presidents represent illustratively their impact on In a recent discussion with Craig is through the inclusion of the con- institutions, most definitely Roman seen in and around the compound, or governors as well as lamenting such those living at the mission were direct 23 Russell, author of From Serra to Sancho temporary street layout beneath the Catholicism, but will not be evaluated during the daily masses, but especially events as funerals. and absolute. Like the daylight trig- (a compendium of mission period footprint of the original mission com- specifically as part of this religion but during festivals and religious holidays. The Santa Barbara Mission currently gering our body’s circadian rhythm the music) and recording artist playing pound. Seeing the feat these builders rather harken back to the biological However, some elements of ceremony has eleven bells divided amongst it’s bells triggered the rhythm of life at the baroque guitar in his latest release overcame to build miles of aqueduct, analogy; simply a part of a larger or- manifested in the landscape and archi- two towers, however, it wasn’t always mission. In fact every aspect of life at 80 Mission Roads, I learned the mission 81 reservoirs that held close to a million ganism. tecture are not so obvious yet have a this way. When a mission was estab- the mission was regulated by the bell; gallons of water and an extensive, well rich history that must be told. lished it was given, as a gift from the bells were not used as a musical in- be it work, meals, sleep or prayer. irrigated garden, builds appreciation Mission Bells One such aspect of ceremony are King of Spain, two bells – one large strument playing specific or indepen- In an attempt to convey the far for these accomplishments. Ceremony, as a means of organiza- the mission bells and the music of the and one small. 24 Acquiring the funds dent notes, “songs” or “melodies”, but reaching reverberations of the bells the Rounding out this drawing is a plan tion, as a method for learning and mission period. The sound of church to purchase new bells or repair bells rather, through the art of tolling the accompanying illustration begins by and section of the 1804 fountain. This as an instrument for connecting the bells new or old have a curious and damaged by earthquakes were made bells were used to create rhythmic pat- expressing the distance the sound of of the mission is the focus of padres and their parish to God and intriguing affect on us. Whether you possible by wealthy parishioners or terns of sounds for different events. the bells traveled in overlapping plan many a tourist and artist, local and country, was critical in unifying Santa have a religious background or not, fund raising. In reviewing Geiger’s Russell went on to say that through views of the mission site at two differ- international. The relationship of the Barbara Mission to the other missions the silvery sound of bells tolling can Mission Bells of Santa Barbara, it is the art of bell-tolling there are rhyth- ent scales: one inch equals a mile and fountain to the mission, the laundry, and Spain. It comes in many forms; be mesmerizing, taking you back easy to see the difficulty in keeping mic loops and each bell is part of these one inch equals two hundred feet. The the Indian village, and the gardens, etc. from the simple reciting of prayers to distant memories; or they can be track of the history of these bells as revolving loops or circles that overlap importance of the bells to all those is emphasized by showing the foun- to the more complex procedures of alarming or exhilarating, calling you they were also given as gifts to padres in ever-changing patterns where the living in the mission compound is un- tain at different scales, highlighting a mass, wedding or funeral. It is also to attention or celebration. Accord- starting other smaller nearby churches, patterns are based on the regularity deniable. Through a thread on the its design elements through the eleva- the familiar ground on which many ing to Maynard Geiger’s study, Mission brought back in some cases, destroyed of a particular bell’s loop. In a visual American Bell Association’s blog-site, tion and associating all of this through believers of the Catholic religion find Bells of Santa Barbara, these bells gave by natural disasters and simply forgot- analogy he compared this process to bells of this era and form or struc- 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony Stations of the Cross: ture could be heard from a distance old Camino Real and helps to where this staff contains six lines and mission are the symbols that identify 1. Jesus is condemned Stations of the Cross: to death by of ¾ of a mile to as far as eight miles draw comparisons between five spaces. Another difference is the Santa Barbara from all the other mis- 8. Jesus meets Pontius Pilate. depending on the condition of the air historic place and contem- presence of a single staff that includes sions. Breakaway renderings of the the daughters and other objects that may disrupt porary space. While the bells notes for four separate parts instead towers reveal all eleven of the bells. A of Jerusalem. 2. Jesus is given the sound waves from traveling, such were intended primarily for of having two staffs differentiated by chart highlights the unique character- his cross. as land forms. These sounds were those living at the mission istics of each of the bells. 9. Jesus falls the 1 third time 14 3. Jesus falls the perhaps even heard further out at sea first time Stations of the Cross where the sound waves could travel 10. Jesus is stripped 26 The Stations of the Cross is 4. Jesus meets much farther. a ceremony where individuals of His garments His Mother. Therefore, the one inch equals a mile can follow the various stages of scale reflects concentric circles repre- 11. Crucifixion: Jesus is 5. Simon of Cyrene the crucifixion of Jesus Christ nailed to the cross carries the cross. senting sound waves at various ranges such as these sculptures shown from a mile to three miles. The ambient here. Once, this was a ceremony 12. Jesus dies on 6. Veronica wipes the sound of the 1790’s would have includ- compound their peal became the cross 2 adhered to by Pilgrims to the Holy face of Jesus. ed horses, wagons and people making part of the fabric of the land- a treble 13 Land, but became unsafe when 13. Jesus’ body is 7. Jesus falls the various sounds of work and play, most scape far beyond the walls of the clef and a bass clef. The four the Muslims took over the region. In removed from the second time. of which would be in relatively low to mission. separate parts in this illustration are order to protect their believers, Church cross (Deposition mid range frequencies. Contrasting This drawing also touches on distinguished by color and fill. There officials created the stations within the or Lamentation) this with the higher frequency sound the music of the mission era. At are solid red and hollow red notes as church through paintings or other waves from the bells and one could the one inch equals two hundred well as solid black and hollow black 14. Jesus is laid in the artwork, in order for their members to tomb and covered easily imagine the mission bells being feet scale a partial music score notes. celebrate this ceremony safely. in incense heard from most parts of town. In- of the song Kiri Eleyson circles This music, written in Latin, was 3 cluded in this illustration is major state the mission similar to the scale sacred music and as such was only 12 highway 101 which closely follows the showing the sound traveling. played inside the church. Secular There are several items music was also popular and of interest in how the often played on the veran- music is depicted. The das or steps of the mission first is the staff. Con- but always played outside temporary staff have of the church. 27 five lines and four spaces The two bell towers along 4 5 6 7 with the facade of the 8 9 10 11 05 Mission Systems: Agriculture•Livestock•Water•Ceremony 05 Mission Systems: Agriculture•Livestock•Water•Ceremony T o o l s o f E x p l o r a t i o n 0 6

Drawing • Painting • Pen & Ink Photography • Woodblock • Graphic Design Overleaf: ecause of my love for drawing project more fully infused with knowl- this project as an opportunity to help through drawing and literary research, well as a plein-air line or tonal draw- Woodblock print of Agave victoriae-reginae . Band most artistic media in edge and experiences of Mission Santa all students become excited about ex- through painting and journaling, ings. I drew details, panoramas, eleva- Below – Left to Right: general and my passion for landscape Barbara at a level deeper than perhaps ploring a subject in a way they may through photography, writing and the tions of the mission and the landscape Figure 6-1, Mission La Purissíma: Plein-air watercolor of the chapel and bell tower. spaces both contemporary and histor- only writing supported with historic never have thought. artistic process in general as I explored it dwelt in, plan view diagrams and ic, I wanted to incorporate heavily the images could provide. As a hopeful I have obviously never seen drawing Mission Santa Barbara’s landscape. It various other visual snippets. What Figure 6-2, Cemetery Garden: Pen and ink rendering on mylar film. This drawing could exercise of drawing into this project. academic I was also looking for peda- or any form of visual communication is also meant to inspire the curious was common in all of these was a be said to be simply a line drawing as some form of line Mission Santa Barbara is one of the gogical methods to help students use a as simply a means to an end, however, and those tempted to dabble in art but desire to capture the essence of what I makes up the outlines as well as shadows and tonal most visually celebrated historic icons tool that is left virtually obsolete today I’ve worked with enough visually afraid to try it as a method of learning, was studying and not a final or finished value. of California and because this Queen by the computer – drawing. challenged individuals to know how exploring or documenting a subject. rendering. In some cases I came back Figure 6-3, Bell Echo: of the Missions is so identified through Many variety of courses in drawing painful it is to want to express oneself and embellished with color in order to Woodblock print. This woodblock is printed with Journaling the Place watercolor inks. visual means it seemed natural to are offered at every school where land- graphically only to be frustrated with Many mediums or forms of art were understand a different element of my extend the instructional goal of helping scape architecture is taught and because the physical limitations of a hand-eye- subject – mood, atmosphere, temper- Figure 6-4, Doorway to Cemetery: used to explore the various aspects Digital Photograph. Nikon D80, AF-S DX Zoom-Nikkor others better understand and appreci- ours’ is a field that is based in the visual brain connection. Everyone learn- of Mission Santa Barbara’s buildings, ature, wetness or dryness – qualities 18-135mm. ISO 1600, 18mm, 0ev, f/5.6, 1/320. A ate this incredible place through the it makes sense to have courses that ing to draw has experienced this. To landscape and systems, the most basic that often cannot be documented by curious sight, the three skull and bones depicted over the context of art and graphic design. teach visual communication. Many be clear, however, this is not a project black and white alone. 86 doorway are meant to signify the entry of the cemetery. of which was simple graphite pencil 87

Figure 6-5, Vent: Watercolor study of circulation vent. sketching. Using primarily a pencil Drawing as well as other forms of students though (especially those who on how to teach drawing, nor is it an and sometimes a pen I studied the While mood can be illustrated in Figure 6-6, Mission Santa Barbara Facade: visual communication were the keys to are not naturally artistically inclined) analysis of the importance of drawing black and white it often fails to com- Pencil study of the facade for a possible experiment mission landscape by journaling what similar to Gordon Cullen’s Serial Vision shown in his book attaining these goals. An equally am- see these classes as a means to an end. in visual communication. I saw. Journaling in this context in- The Concise Townscape. bitious goal was to myself finish this As such I see what I’ve learned through It is an analysis of what I learned cludes both notes and annotations as ... continued page 90 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey The following experiment and supporting drawings use that history and the gardens in their were part of a class in Contemporary Landscape present state to indelibly etch into the Theory taught by Professor Kenneth Helphand. minds of tourists what they see on their exploration of the gardens. How many times do people walk through a landscape soaking in the This experiment seeks to use odor as a views, perhaps stopping at a designated means of stimulating the portions of the overlook to take a picture of their com- brain to remember what is seen. To fa- panions or to have a picture taken of cilitate this frames will be set on a large them? Every single day. How many of rotating ring that can be oriented to those same individuals would remember capture different points of view and per- what that vista was, the special qualities spective from a single point. The frames of the place they sought to memorialize will vary in size, shape and orientation. if they were to lose that image or print? Depending on the selected scenery an Most likely very few to none. odor or aroma dependent upon the view will be released into the air connecting Very rarely anymore do Americans and both the visual and the olfaction. 88 perhaps most tourists sketch or as 89 a way to remember a place or to ingrain For example if a frame is oriented the scene into their memories through toward the tallow vats, perhaps the smell similar types of memory techniques. of soap, or fat would fill the air. If a frame However, those with little or much life were directed toward the lavenderia or experience can recall vividly images of communal clothes washing area a scent times past when stimulated by a passing of clean sun-dried laundry could be de- stench or lovely fragrance. Our sense of tected. Or even smells of farm animals smell in fact is the longest-lived of the when the frame is positioned toward the senses bring back to the moment even paddocks. the earliest memories of our lives. The possibilities are endless and the The gardens of Mission La Purissíma frame rings could be moved to different are loaded with memories. To visitors locations to provide numerous view- today, those memories are conveyed point and scent combinations and could through the museum and educational be done in different times of the year to venues setup throughout the Mission take advantage of seasonal smells. grounds. But what if there were a way to 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey municate certain emotions or atmo- places, holding paper and pencil and and forty years ago when the mis- of digital photography, many images tograph which is to capture an image this project was as a means of captur- sphere that are easily communicated simply being in that place and time sions were founded, photography was are easily taken without thought to of an object freezing it in time in a way ing a large amount of information in a through color. Shadows, through capturing what will never be the same still some sixty-some years from being what one is actually looking at. After that would be difficult or impossible relatively short amount of time. Oppo- color, line or other tone emphatically again in time and space. invented. The way we see our world all, without the expense of having to through a painting or drawing. Re- site of drawing, in this case, the digital add depth, time of day, mystery and Photography changed when cameras were made pay for printing or developing, one can member, photo realism needed pho- camera became a tool for freezing time reality to a drawing, but without color Photography is an interesting and accessible to the masses and film pro- shoot as many pictures as time allows. tography to be invented before there and space rapidly. Because unlimited the observer is left wondering whether fascinating medium. Two hundred cessing convenient for the average This practice, however, strays from the was some type of “realism” to emulate. time was not available to sit and draw the moment captured happened in the person. Today, with the common use original intent of the camera and pho- One way photography was used in everything I saw, I relied on the camera morning, mid-day or evening. to encapsulate in seconds what would But drawing is more than just the have taken me hours to draw. medium one uses to record what one This has its advantages and draw- sees. Through drawing the opportuni- backs however. Lost to some degree in ty to observe a subject and its relation- this form of photography is the focus ship to other elements is fundamen- and observation skills used in drawing. tal. As Laurie Olin, author, landscape While a professional artist certainly 90 91 architect and artist points out in his spends intentional time crafting an book of essays and drawings of the image before activating the shutter, English landscape, “Drawing is not more effort was made to quickly docu- merely a manual skill or craft depen- ment elements of the landscape that dent upon physical dexterity... drawing I wanted to evaluate more deliber- is an attitude and a mode of seeing and ately and purposefully at a later time. being that is essentially quiet.” 1 A Perhaps because of my artistic inclina- certain concentration overcomes the tions the images I captured were not all drawer as he focuses on his subject, an merely “snapshots” but had qualities attention that is more strident than the of that reflected an intentional appli- actual activity of drawing. cation of balance, composition, depth If there is anything else that can be Figure 6-7, Sketchbook Thumbnails: of field and attention to light. This at- said of drawing, it might be, that there Integral to exploring both the place as well as crafting a publication is the organization of thoughts graphically. In tention to detail would later be useful order to “see” what I was thinking I drew it using a quick notation called thumbnails where text simply becomes lines is nothing to equal the experience of and detailed information becomes shapes. as I “played” with the images on the personally being in special and unique computer. 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey Another aspect of photography that can match the beauty of professional ferent light. goes beyond the actual taking of the painting in any medium. Painting Pen and Ink picture is manipulation of the image in this project was used similarly to At one time a fountain pen, often through some type of digital imaging drawing, as a tool to explore elements a feathered quill, was the primary software. While historically belong- of my subject that could not have been method of transferring ink to paper or ing solely to the realm of the dark- discovered through the use of other parchment. Today, felt-tip pens or re- room artist, amateur photographers mediums. Included in this chapter is fillable technical pens are the methods today can, through the help of software a finished watercolor I did of Mission of application for India or permanent such as Adobe’s Photoshop produce La Purissíma (see Figure 6-1) as an ink. Photographic Progression: amazing works of art. Such has been example of ways that I have in the The four images on this page represent a typical pattern attempted here. illustrating the progression a photographic image Beyond basic corrections like color, went through in order to be used as a graphic in this exposure, saturation and contrast, publication. digital manipulation ventures into Above: editing or altering the actual image as 92 93 The original raw image, unedited and uncropped. a way to create mood and appreciation for something that otherwise might Above, Right: The initial step was to crop this image to a proportion have been considered common or or- that matched the landscape format of this publication. dinary, thereby transforming some- thing that was originally intended as Right, Center: The next step was to create a vignette filter over the documentation into an artistic expres- image in order to focus the attention on the fountain in sion. Arguably, there is also a level the background and in preparation for the plan graphic of of understanding and appreciation of the cloister garden that would be reversed in white. (see the subject through the time spent in pages 68-69) looking manipulating the original. Below, Right: Painting The final step was to create a dynamic effect. Wanting Painting is another medium that Carving Woodblock: this to be more than just a photograph an additional past captured the essence of a place. Author, Michael Sánchez working on Bell Echoes, a filter was added to this image in order to accentuate the was used to study this mission. While Rather, watercolor in this project was woodblock print exploring the visualization of sound. colorful plants in the foreground and creating a darker a “final” or “finished” painting was (see Figure 5-32) background for the cloister garden plan. not the goal of this exercise, nothing used to see parts of the mission in dif- 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey Black and white drawings can be with historical pieces and contempo- and valley in a medium by carving mission, they did encapsulate aspects challenging as a way of capturing or rary alike, both of which fit well with whereby paint is applied to the ridges of the mission relative to a topic of the documenting a subject. Because there the objectives of this project; to tell and transferred to paper either by a mission I was studying. For example, are no grays or tonal variations inher- the story of Mission Santa Barbara roller or in the case of Japanese print in my study of branding and livestock ent in pure black ink, other methods through visual studies. making, a barren, or round flat bur- I made a woodblock of Mission Santa must be used to represent tonal Woodblock nisher. Barbara’s brand. While not a complex value. In most of the drawings pro- There are various forms of wood- The act of carving the wood in my woodblock, being only a single color, duced in this publication tonal value case was like farming of gardening. the act of print making in this case is expressed was akin to the act of branding through the itself. Where in branding, a hot density or prox- iron is used to mark the hide of imity in hatch- livestock; a pattern carved in ing of lines or wood was used to mark a piece pointalism. of paper. (see Figure 5-2) Many artists 94 Intaglio 95 masterfully use The meaning of intaglio, pro- pen and ink to nounced |in'talyō; -'täl-|, is to represent their engrave or etch into a medium, ideas and con- typically a metal such as copper. cepts. Drawing The process is very similar to inspiration that of woodblock print making from David described above. Because of the Macaulay’s ac- block print. Western print making nature of the materials used in intaglio, complished work Cathedral: The traditionally use oil based and Rather than cultivating soil to produce different effects can be achieved using Figure 6-8, Plein-air sketch, Left: Figure 6-10, Intaglio Print, Right: Field documentation to capture the spirit of the place. Etched on a copper plate through scraping and burnishing story of its construction, the primary the blocks range from wood to lino- a bounty of fruits or vegetables I was a variety of techniques. method used in this study was ink sculpting a flat piece of wood in hopes Quick notation of objects, proportions, shadows and over multiple layers of rosin and spray lacquer to create leum. The woodblock prints done The process as described by Professor overall mood. different depths of “valleys” that would eventually hold on mylar. It was chosen as a way to for this project were inspired by Japa- of bringing forth a new understand- Emeritus Margaret Prentice paints an ink creating the various tones of the final print. extract the quintessential elements of nese woodblock or moku hanga and ing or appreciation of Mission Santa image of hills and valleys etched into Figure 6-9, Studio Detail, Center: the mission, the spirit of a bygone era. Barbara. While none of the woodblock Plein-air sketch was further delineated to show full range use watercolor. Both forms utilize a the surface of a copper plate, where the of tonal values and detail of elements. Black and white goes hand-in-hand similar technique of creating ridges prints I did were specifically of the valleys in this print making medium 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey i v e r a n R 6 20 R u s s i Carmel 2 21 River 12 e r Mission and Year Founded: R i v 14 S a c r a m e n t o 1. San Diego de Alcalá - July 16, 1769 3 8 2. San Carlos Borromeo de Carmelo - June 3, 1770 15 r 13 11 i v e s R 3. San Antonio de Padua - July 14, 1771 n a La Purísima Concepcíon S a l i S 11 a n 4. San Gabriel Arcángel - September 8, 1771 10 J o 21 16 a q u i Santa Barbara 5 n R i v e r 5. San Luis Obispo de Tolosa - September 1, 1772 San Francisco Solano 19 20 9 Santa Barbara 6. San Francisco de Asís - June 29, 1776 San Rafael (Five days before the Declaration of Independence) San Buenaventura Channel 10 Islands Arcángel 7. San Juan Capistrano - November 1, 1776 9 8. Santa Clara de Asís - January 12, 1777 San Nicholas 2 6 Island San Carlos Borromeo 9. San Buenaventrua - March 31, 1782 8 San Francisco Santa Catalina 17 de Carmelo 10. Santa Bárbara - December 4, 1786 Island Santa Clara de Asís de Asís 4 12 P a C i f i C l a r e Sant Cruz San Clemente o n Island i 3 o C e a n a m 14 e l C San Antonio de Padua 7 San José 17 32 5 33 18 San Fernando Rey de España San Luís Obispo de Tolosa 16 13 1 San Miguel Arcángel Nuestra Señora de la Soledad Mission and Year Founded: 11. La Purísima Concepción - December 8, 1787 15 12. Santa Cruz - August 28, 1791 7 San Juan Bautista 13. Nuestra Señora de la Soledad - October 9, 1791 San Juan 18 Capistrano 4 19 14. San José - June 11, 1797 San Luís Rey San Gabriel Arcángel Santa Ines 15. San Juan Bautista - June 24, 1797 de Francia 16 San Miguel Arcángel - July 25, 1797 B a j a 17. San Fernando Rey de España - September 8, 1797 1 18. San Luis Rey de Francia - June 13, 1798 a l i f o r n i a San Diego Acalá C a l t a C a l i f o r n i a 19. Santa Inés Virgen y Mártir - September 17, 1804 20. San Rafael Arcángel - December 14, 1817 21. San Francisco Solano - July 4, 1823 e r C o l r i v o r a o d Photo Credits: See page ?? 96 03 Context/Scale: Global • Regional • Site 03 Context/Scale: Global • Regional • Site 97

Graphic Design Process copper, etching tools and tarlatan, the such as Adobe’s InDesign or Illustrator Conclusion overlaying historic site plans on a con- smell of etching inks, solvents, rosins much of the design or creative thought There are many aspects of the Mission temporary street plan, perhaps ex- Figure 6-11, Left: Map from historic book. Elements of map are copied. and lacquers, the sound of the wheel has already been initiated, apparently landscape to observe, many of which plaining choices in site planning that turning on the etching press, embed leaving only the placement of graphics by themselves could be a stand alone frame, rather than block the incredible Figure 6-12, Center: in my mind the image I created of an on the page for display. This couldn’t subjects of research. Through the il- views of the channel islands. These Copied drawing from map is warped as a perspective in Adobe Photoshop to create a “bird’s eye” affect. arcade at Mission La Purissíma. (see be further from the truth. Many an lustrative process described and dis- and many other relationships are made Figure 6-10) InDesign user will tell you bringing played in this project, spatial, tempo- more relevant and obvious through Figure 6-13, Right: Graphic design the images into the software is only the ral, cultural and historic relationships drawings, like the ones included in this Text, Color, Photographic images are added to scanned beginning. between each of the mission elements, project, over word pictures alone. base to round out graphic and create a new drawing. Often overlooked as a medium for discovery or exploration is graphic Design in any medium is a cyclical be it landscape, building or both, the While there are many similar styles of process and requires the artist to re- viewer’s perceptions or insights would representation in the field of landscape take the ink as opposed to the hills design. Perhaps, because often by evaluate the representation often to not have been accessible through a lit- architecture, I believe the combination taking the ink in woodblock. Again, the time a drawing or image makes observe whether it is meeting the ob- erary process alone. of mediums and techniques demon- the visceral experience of touching the it into some type of graphic software jectives or not. For example, patterns emerge by strated in this project culminate, in a 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey new contribution to the field, hopeful- ly giving designers ideas of new ways to access or understand a place. However, my greatest disappoint- ment in this project was that while a picture may be worth a thousand words, it certainly may not be the one thousand words I was intending to communicate. So, while I may have learned some wonderful treasure of observation from creating these draw- ings, it may unfortunately be a differ- ent treasure that you walk away with. My only solace is the hope that all who read and view this project will walk 98 99 away with a new and appreciative un- derstanding of this magnificent place known as the Queen of the Missions.

Figure 6-14, Right: The Diagram to the right is a “flow chart” of sorts describing the process and time frame of this master’s project. One can see simply by the date set for completing this project and the date on this publication the diagram was not accurate.

It does incorporate many of the processes, if in spirit only, used to implement the research and production of this project.

06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey B ib l i o g r a ph y Notes lay uses black and white to create many of the 9. Ibid., 17. 1782-1965. Franciscan Fathers, 1965., 41. 6. Archibald, Robert. The Economic Aspects of ifornia Missions Source Book: Key Information, Chapter 1 emotions and atmospheres typical through ar- the California Missions 1978 Edition. AAFH, Dramatic Images, and Fascinating Anecdotes 10. Geiger, Maynard J. A Pictorial History of 2. Egenhoff, Elisabeth L. Fabricas: A Collection 1. Kenneth I. Helphand is Knight Professor of tistic mediums that employ color. 1978, Table 21, 179, Table 22, 181. Covering All Twenty-One Missions. Univer- the Physical Development of Mission Santa of Pictures and Statements on the Mineral Landscape Architecture at the University of sity of New Mexico Press, 2009., 40-41. Title 7. Cullen, Gordon. Concise Townscape. Architec- Barbara,: From Brush Hut to Institutional Materials Used in Building in California Prior 7. Conversation with Jerry Sortomme, professor Oregon where he has taught courses in land- – Kryder-Reid, Elizabeth, “Perennially New” tural Press, 1995. Clay, Grady. Close-Up: How Greatness, 1786-1963. Franciscan Fathers of to 1850. State of California, Department of emeritus of horticulture at Santa Barbara City scape history, theory and design since 1974. Santa Barbara and the Origins of the Califor- to Read the American City (Phoenix Book; California, 1963. Natural Resources, 1952, 10. College and Director of the Huerta Project at He is the author of several books, his most nia Mission Garden, Journal of the Society of P863). University Of Chicago Press, 1980. Old Mission Santa Barbara, February 2009. recent being Defiant Gardens: Making Gardens Architectural Historians 69, no. 3 (September 11. Brunt, Jessie Van. California Missions / 3. Geiger, Maynard J. A Pictorial History of in Wartime (2006). 2010), 385. Chapter 2 Painted and Described By Jessie Van Brunt. the Physical Development of Mission Santa 8. Ibid. Los Angeles, Calif.: Wetzel Publishing, 1932., Barbara,: From Brush Hut to Institutional 2. Elisabeth ‘Liska’ (Clemence) Chan is an Asso- 1. Geiger, Maynard. Mission Santa Barbara, 16. Geiger, Maynard J. Mission Santa Barbara, 10. Greatness, 1786-1963. Franciscan Fathers of 9. Ibid. ciate Professor of Landscape Architecture and 1782-1965. Franciscan Fathers, 1965. 1782-1965. [Franciscan Fathers of California], California, 1963, 10-11. department head at the University of Oregon 1965, 182. Chapter 3 10. Hardwick, Michael R. Changes in Landscape where she teaches design studios, theory and 2. Berger, John Anton. The Franciscan missions of 4. Glenn, Frater, O.F.M. Mission Santa Barbara - California Missions. Paragon Agency, 2005, 17. Ibid., 186-7 media classes. California. Doubleday, 1948. (pp190-191) 1. Vega, Gilberto. Ringers of Bells and Teachers “Queen of the Missions” , 3. 63. of Civilization: The Work of the California 18. McGroarty, John S., The Place of the Sacred 3. Chip Sullivan’s Drawing the Landscape, Jane 3. James, George Wharton. In and Out of the Old Franciscan Missionaries, 1769-1821. , 1983. 5. Geiger, Ibid., 62-64. 11. Ibid., 107-120. Garden, The West Coast Magazine, Vol. VII, Wolff’s Delta Primer: A Field Guide to the Missions of California: An Historical and Picto- rial Account of the Franciscan Missions. Nabu Print., 15. No. 1, October 1909, 238-239. California Delta and Marc Treib’s Representing 6. Southern California Earthquake Data Center, 12. Brown, Thomas, “Landscapes and Gardens of Landscape Architecture all deal with the rep- Press, 2010. (p33) 102 2. Geiger, Maynard J. Mission Santa Barbara, http://www.data.scec.org/chrono_index/san- the Mission Era”, 1981, pp. 5-7. 19. Kryder-Reid, Elizabeth, “Perennially New” 103 resentation of the landscape in engaging and 4. Engelhardt, OSF. Fr. Zephyrin. The Francis- 1782-1965. [Franciscan Fathers of California], tabar.html. Santa Barbara and the Origins of the Califor- dynamic ways. Artist Paul Hogarth was able cans in California. Harbor Springs MI: Holy 1965, 48-49. 13. Ibid., 17. nia Mission Garden, Journal of the Society of through his drawings and paintings to com- Childhood Indian School, 1897 1st prtg. 516p, Chapter 5 Architectural Historians 69, no. 3 (September municate critical and often politically sensi- plates, folding map., 1897., 1. 3. Geiger, Maynard J. A Pictorial History of 14. DuHaut-Cilly, Viaggio Intorno Al Mondo, Vol. 2010), 387. tive issues without saying a word. It is often the Physical Development of Mission Santa 1. Olsen, Daniel M., 1963, Ranch gates of the I. pp. 207-280. This author saw the Mission assumed – incorrectly – that words alone are 5. Ibid. 2-3. Barbara,: From Brush Hut to Institutional Southwest / Daniel M. Olsen, Henk van Assen 30 March, 1827 and had this to say regard- 20. Srein, Evaleen, A December Morning at an only means of communication. Greatness, 1786-1963. Franciscan Fathers of ; introduction by Lucy R. Lippard ; text by ing the early gardens: “The management of Mission Santa Barbara, Sunset Magazine, Vol. 6. Catholic Encyclopedia (1913)St. Barbara by California, 1963., 10. Kenneth I. Helphand, San Antonio : Trinity the Mission was committed to Fr. Antonio VII No. 4, August 1901, 94-95. 4. Olin, L., Across the open field: essays drawn Johann Peter Kirsch, http://en.wikisource. University Press, c2009 Ripoll. He was at the time attending to affairs from English landscapes. Penn studies in land- org/wiki/Catholic_Encyclopedia_(1913)/St._ 4. Kryder-Reid, Elizabeth “Perennially New” elsewhere, so we took advantage of his absence 21. Allen, Rebecca., Felton, David L., The Water scape architecture. 2000, Philadelphia, Pa.: Barbara. Santa Barbara and the Origins of the Califor- 2. Ibid. to visit his garden which we found to be large, System at Mission Santa Barbara, California University of Pennsylvania Press. xiii, 352 p. nia Mission Garden. Journal of the Society of well cultivated and planted with trees. Very Mission Studies Association, Occasional Paper 7. Geiger, Ibid. Architectural Historians 69, no. 3 (September 3. Ibid. fine olive trees shaded the straight paths, and 1, 1998, 1. 5. Liska Chan first heard the term over-drawings 2010), 378-405., 385. you could see fruits of the temperate and torrid from professors Kathryn Gleason and Fred 8. McLaughlin, David J. The California Mis- 4. Ibid. zones at one and the same time. The Adam’s 22. Geiger, Maynard J., Speech given at Sisquoc Biel at Cornell University. sions Source Book: Key Information, Dramatic 5. Ibid., 385. figs spread their broad leaves between the Barbecue, July 1, 1939, 2. Images, and Fascinating Anecdotes Covering 5. California Missions Resource Center, http:// apples and pears, and the gold of the oranges 6. Cathedral: The Story of Its Construction, Build- All Twenty-One Missions. University of New Chapter 4 www.missionscalifornia.com/ate/does-brand- mingled with the red of the cherries. 23. Geiger, Maynard, O.F.M., Ph.D., Mission Bells ing the Book Cathedral and Rome Antics are Mexico Press, 2009. santa-barbara-mission-meaning-behind.html of Santa Barbara: Their History and Romance, prime examples of how artist David Macau- 1. Geiger, Maynard. Mission Santa Barbara, 15. Secularization – McLaughlin, David J. The Cal- 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey 1. The following credits are in reference to the images collections/permanent/projects/survey/mis- tions/permanent/projects/survey/missions/ Albums, Volume 94 Old Mission, Santa. 5. Byne, M.S. and A. Byne, Spanish gardens and of the twenty one missions shown in the Re- sions/connell/co_img/90.24.288.1.jpg connell/co_img/90.24.284.42.jpg Barbara Quake, 6-29-25, patios. 1924, Philadelphia & London, New 24. Ibid., 2. gional Scale and Context Drawing on pages Contributing Institution: The Bancroft Library. York: J. B. Lippincott company; The Architec- 32-33. 10. Santa Barbara - http://www.cmp.ucr.edu/col- 20. San Rafael Arcángel- http://www.missiontour. University of California, Berkeley. tural record. 305 p. 25. (email conversation with Craig Russell, 27, lections/permanent/projects/survey/missions/ org/sanrafael/images/sr_exteriormain.jpg May 2010) 1. San Diego Acalá http://www.cmp.ucr.edu/col- Pidgeon/pi_img/86.34.703.jpg 6. Cameron, R., Above Washington: a collec- lections/permanent/projects/survey/missions/ 21. San Francisco Solano- http://www.cmp.ucr. Works Consulted tion of nostalgic and contemporary aerial 26. http://www.americanbell.org/forum/viewtop- connell/co_img/90.24.282.9.jpg 11. La Purísima Concepción - http://www.cmp.ucr. edu/collections/permanent/projects/survey/ The body of work represented here comprises re- photographs of the District of Columbia. Rev. ic.php?f=6&t=399&p=960 edu/collections/permanent/projects/survey/ missions/Other search on the missions themselves; looking printing; 1986. ed. 1993, San Francisco, Calif.: 2. San Carlos Borromeo de Carmelo - http:// missions/connell/co_img/90.24.284.27.jpg at these places historically, politically, horti- Cameron. 158 p. 27. (email conversation with Craig Russell, 27, www.cmp.ucr.edu/collections/perma- Intaglio elevation pages 34-35 culturally and culturally. Several books also May 2010) nent/projects/survey/missions/Hoxie/hx_ 12. Santa Cruz - http://farm5.static.flickr. describe the missions through historic images, 7. Casa Valdés, T.O.y.S., Spanish gardens. 1987, img/97.6.19.2.2.jpg com/4050/4393799580_23d861527d.jpg 1. Collection: David Rumsey Collection drawings, maps and paintings. Woodbridge [Eng.]: Antique Collectors’ Club. 28. Descriptions and history of the Stations of the Author: Vancouver, George, 1757-1798 299 p. Cross: http://www.fisheaters.com/stations. 3. San Antonio de Padua - http://www.cmp.ucr. 13. Nuestra Señora de la Soledad - http:// Date: 1798 The following references also represent research on html#1, http://www.cptryon.org/prayer/child/ edu/collections/permanent/projects/survey/ t0.gstatic.com/images?q=tbn:ANd9GcT877E Short Title: Views of Parts of the Coast of North how to read/study/document the landscape, 8. Conan, M., J. Tito Rojo, and L. Zangheri, His- stations/index.html, http://www.catholic.org/ missions/Pidgeon/pi_img/86.34.716.jpg Fo48a3UBiFrVEO7DdUXEM6Gs6b149F9TH West America. different theories of landscape design, repre- tories of garden conservation: case-studies and clife/prayers/station.php xK_BNeTbxbg&t=1&usg=__WWuwK-AOB- Publisher: G.G. & J. Robinson London sentation as well as books that represent differ- critical debates: colloquio internazionale sulla 4. San Gabriel Arcángel - http://www.cmp.ucr. C7MVeinlgKSBCHOGpM= Note: Uncolored views including Punto de los ent graphic styles. My interest in these books storia della conservazione dei giardini. Giar- Chapter 6 edu/collections/permanent/projects/survey/ Reyes and the Bay of Sir Francis Drake, Port is how others display and express illustrative dini e paesaggio. 2005, Firenze: L. S. Olschki. of St. Francisco, Point Pinos, Santa Barbara, 104 missions/vroman/vr_img/ACV205.JPG 14. San José - http://www.californiamissionsfoun- information, how they portray historical data xiii, 449 p. 105 1. Olin, L., Across the open field: essays drawn dation.org/uploads/images/Missions/SanJose. the entrance to the Port of St. Diego, and Cape and how others have written and told the story Colnett. from English landscapes. Penn studies in land- 5. San Luis Obispo de Tolosa - http://www. jpg of landscape.. 9. Corner, J. and A.S. MacLean, Taking measures: scape architecture. 2000, Philadelphia, Pa.: Reference: P197; Streeter 3497; Sabin 98443; Cowan cmp.ucr.edu/collections/permanent/ 1933; Wagner 853-860. across the American landscape. 1996, New University of Pennsylvania Press. xiii, 352 p., 1. Baer, K. and H. Rudinger, Architecture of the projects/survey/missions/connell/co_ 15. San Juan Bautista - http://k43.pbase.com/ Country: Mexico Haven [Conn.]: Yale University Press. xix, 185 California missions. Photos. by Hugo Ruding- 28. img/90.24.286.1.jpg o4/75/47975/1/53390562.MissionSanJuan- State/Province: California p. Bautista_22960.jpg Published May 1st 1798, by R. Edwards New Bond er. 1958, Berkeley: University of California 6. San Francisco de Asís (Mission Dolores) Street, J. Edwards Pall Mall and G. Robinson Press. 196 p. 10. Cosgrove, D.E., Mappings. Critical views. Photo/Image Credits - http://www.cmp.ucr.edu/collections/per- 16. San Miguel - http://www.cmp.ucr.edu/collec- Paternoster Row. J. Fittler sculp. 1999, London: Reaktion Books. viii, 311 p. Other than those images listed below or cited at the manent/projects/survey/missions/connell/ tions/permanent/projects/survey/missions/ 2. Berger, A., Drosscape: wasting land in urban image, all photographs illustrated in this pub- co_img/90.24.278.16.jpg connell/co_img/90.24.283.6.jpg The following credits are in reference to the images America. 1st ed. 2006, New York: Princeton 11. Cosgrove, D.E., The Palladian landscape: geo- lication are those of the author. on pages 42-43. Architectural Press. 255 p. graphical change and its cultural representa- 7. San Juan Capistrano - http://www.cmp.ucr. 17. San Fernando Rey de España - http:// tions in sixteenth-century Italy. 1993, Univer- Page 30-31 edu/collections/permanent/projects/survey/ www.cmp.ucr.edu/collections/permanent/ 1. All images of adobe bricks and the making of 3. Birksted, J., Landscapes of memory and expe- sity Park, Pa.: Penn State University Press. xv, missions/km/km_Img/23026.jpg projects/survey/missions/connell/co_ the adobe bricks are by Kenneth I. Helphand. rience. 2000, London; New York: Spon Press. 270 p. 1. David Rumsey Historical Map Collection: img/90.24.289.15.jpg 272 p. World Globe 1790, Jean-Dominique, comte 8. Santa Clara de Asís - http://www.cmp.ucr.edu/ 2. Title: Old Mission, Santa. Barbara Quake, 12. Cosgrove, D.E. and S. Daniels, The Iconog- de Cassini was a French astronomer and car- collections/permanent/projects/survey/mis- 18. San Luís Rey de Francia -http://www.orderal- 6-29-25 4. Brewer, P.L., et al., Lines of discovery: 225 raphy of landscape: essays on the symbolic tographer of Italian French descent and one of sions/haines/ha_img/81.33.266.jpg hambra.org/218benziri/slr.jpg years of American drawings. 2006, Columbus, representation, design, and use of past envi- the last globe makers active at the end of the Identifier: :421 Ga. London: The Columbus Museum: Giles. ronments. Cambridge studies in historical ge- 18th century. 9. San Buenaventura - http://www.cmp.ucr.edu/ 19. Santa Ines- http://www.cmp.ucr.edu/collec- Collection: James D. Phelan Photograph 251 p. 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey ography. 1988, Cambridge [Cambridgeshire]; 21. James, G.W., The old Franciscan Missions of 31. Olin, L., B. Hodge, and Harvard University. 40. 40. Reps, J.W., Panoramas of promise: Pacific 50. Treib, M., The architecture of landscape, 1940- is required as well as additional sites not yet New York: Cambridge University Press. ix, 318 California. 1928, Boston: Little, Brown. xiv, Graduate School of Design., Transforming the Northwest cities and towns on nineteenth- 1960. Penn studies in landscape architecture. explored. p. 260 p. common place: selections from Laurie Olin’s century lithographs. 1984, Pullman, Wash.: 2002, Philadelphia: University of Pennsylvania sketchbooks. 1996, Cambridge, Mass. Washington State University Press. 93 p. Press. x, 311 p. 13. Costo, R. and J.H. Costo, The Missions of 22. Knowles, A.K., Past time, past place: GIS for General Mission California: a legacy of genocide. 1987, [San history. 2002, Redlands, Calif.: ESRI Press. xx, 32. New York: Harvard University Graduate 41. 41. Reps, J.W., Washington on view: the na- 51. Treib, M., Settings and stray paths: writings on 58. http://missions.bgmm.com/index.htm Francisco]: Published by The Indian Histo- 202 p. School of Design; Princeton Architectural tion’s capital since 1790. 1991, Chapel Hill: landscapes and gardens. 2005, London; New rian Press for the American Indian Historical Press. 79 p. University of North Carolina Press. xi, 297 p. York: Routledge. xiii, 237 p. 59. http://www.californiamissions.com/ Society. x, 233 p. 23. Koch-Nielsen, H., Stay cool: a design guide for the built environment in hot climates. 2002, 33. Padilla, V., Southern California gardens: an il- 42. 42. Reynolds, J., Courtyards: aesthetic, social, 52. Treib, M. and D. Imbert, Sanctuaries of 60. http://www.ca-missions.org/contact.html 14. Crump, S., California’s Spanish missions: their London, UK: James & James. 159 p. lustrated history. 1994, Santa Barbara, Calif.: and thermal delight. 2002, New York, NY: John Spanish New Mexico. 1993, Berkeley: Univer- yesterdays and todays. 1st ed. 1975, Corona del A.A. Knoll. xviii, 359 p., [8] p of plates. Wiley. xi, 243 p. sity of California Press. xvi, 352 p. 61. http://sanbuenaventuramission.org/ Mar, Calif.: Trans-Anglo Books. 95 p. 24. Levick, M. and S. Young, The missions of Cali- links_mission.html fornia. Rev. and updated. ed. 1998, San Fran- 34. Panich, P., Cultivating words: the guide to 43. 43. Smyth, E.L., The missions of California. 53. Tuan, Y.-f., Space and place: the perspective of 15. Edwards, B., Courtyard housing: past, present cisco: Chronicle Books. 134 p. writing about the plants and gardens you love. 1899, Chicago: A. Belford & Co. [38] leaves of experience. 1977, Minneapolis: University of 62. http://missionsofcalifornia.org/ and future. 2006, Abingdon [England]; New 2005, Northampton, Mass.: Tryphon Press. plates. Minnesota Press. vi, 235 p. York: Taylor & Francis. xix, 248 p., [8] p. of 25. Masson, K. and J. Chen, Santa Barbara style. xviii, 129 p. 63. http://www.ac.wwu.edu/~stephan/ 2001, New York: Rizzoli. 207 p. 44. 44. Solomon, B.S., Green architecture and 54. United States. Congress. Senate. Committee plates. anthony/missions.html 35. Polyzoides, S., R. Sherwood, and J. Tice, the agrarian garden. 1988, New York: Rizzoli. on Energy and Natural Resources., California 16. Francis, M. and R.T. Hester, The meaning of 26. Mathur, A. and D.d. Cunha, Mississippi floods: Courtyard housing in Los Angeles: a typo- 137 p. Missions Preservation Act: report (to accom- 106 gardens: idea, place, and action. 1990, Cam- designing a shifting landscape. 2001, New logical analysis. 2nd ed. 1992, New York, N.Y.: pany H.R. 1446). 2004, [Washington, D.C.: 64. http://ekryderr.iupui.epsilen.com/107 bridge, Mass.: MIT Press. ix, 283 p. Haven [Conn.]: Yale University Press. xv, 161 Princeton Architectural Press. x, 216 p. 45. 45. Starr, K., Americans and the California U.S. G.P.O. 7 p. content/personal/universal/public/home/ p. dream, 1850-1915. 1973, New York: Oxford index.aspx?pr=ekryderr 17. Francis, M. and A. Reimann, The California 36. Potteiger, M. and J. Purinton, Landscape nar- University Press. xviii, 494 p. 55. Venturi, R., D. Scott Brown, and S. Izenour, landscape garden: ecology, culture, and design. 27. Miller, N.F. and K.L. Gleason, The Archaeol- ratives: design practices for telling stories. Learning from Las Vegas: the forgotten sym- 65. http://www.indiana.edu/~arch/saa/ 1999, Berkeley, Calif.: University of California ogy of garden and field. 1994, Philadelphia: 1998, New York: J. Wiley. xii, 340 p. 46. 46. Stewart, G.R., U.S. 40; cross section of bolism of architectural form. 1977, Cam- matrix/cv/kryder-reid.html Press. xx, 234 p. University of Pennsylvania Press. xv, 228 p. the United States of America. 1953, Boston: bridge, Mass.: MIT Press. xvii, 192 p. 37. Power, N.G. and M. Hales, The gardens of Cal- Houghton Mifflin. viii, 311 p. 66. http://www.cuca.k12.ca.us/lessons/mis- 18. French, J.S., The California garden: and the 28. Norworth, H., The pathway of the padres. ifornia: four centuries of design from mission 56. Watts, M.T., Reading the landscape of America. sions/contents/index.html landscape architects who shaped it. 1993, 1951, Los Angeles, Calif.: Shield-Way Pub. Co. to modern. 1st ed. 1995, New York: C. Potter. 47. 47. Swaffield, S.R., Theory in landscape- ar Rev. and expanded ed. 1975, New York: Mac- Washington, D.C.: The Landscape Architec- [8], 144, [1] p. xii, 196 p. chitecture: a reader. Penn studies in landscape millan. x, 354 p. 67. http://www.ca-missions.org/ ture Foundation. 256 p. architecture. 2002, Philadelphia: University of 29. Novak, B., Nature and culture: American land- 38. Powers, L.B., The missions of California: their Pennsylvania Press. xii, 265 p. 57. Yenne, B., The missions of California. 2004, 68. http://www.sahscc.org/ 19. Harris, D.S. and B.R. Maybeck, Maybeck’s scape and painting, 1825-1875. 3rd ed. 2007, establishment, progress and decay. 1897, San San Diego, Calif.: Thunder Bay Press. 191. New York, NY: Oxford University Press. xxix, 48. 48. Taylor, C., The archaeology of gardens. landscapes: drawing in nature. 2004, San Fran- Francisco: W. Doxey. vi, 106 p., 20 leaves of 69. http://www.missionart.com/ cisco: William Stout Publishers. 159 p. 296 p. plates. 1983, Aylesbury, Bucks, U.K.: Shire Publica- The following references are loosely organized into tions. 72 p. general mission websites, archive libraries and 70. http://missionsofcalifornia.org/founda- 20. Hildrup, J.S., The missions of California 30. O’Malley, T. and M. Treib, Regional garden 39. 39. Reps, J.W., Bird’s eye views: historic litho- research sites and Mission specific sites for and the old Southwest. 1907, Chicago: A. C. design in the United States. 1995, Washington, graphs of North American cities. 1998, New 49. Taylor, J.M. and H.M. Butterfield, Tangible both Santa Barbara and La Purísima. Further tion/missions2000.html McClurg. ix, 100 p. D.C.: Dumbarton Oaks Research Library and York: Princeton Architectural Press. 115 p. memories: Californians and their gardens, review and documentation of these websites Collection. vi, 321 p. 1800-1950. 2003, [S.l.]: Xlibris Corp. 475 p. 71. http://www.missionsjc.com/edu_lessons. 06 Tools of Exploration: The Journey 06 Tools of Exploration: The Journey html 85. http://www.cr.nps.gov/hps/tps/briefs/ 99. http://www.centralcoasttourist.com/Mis- brief05.htm sions/Santa_Barbara_Mission/santa_ 72. http://www.loc.gov/topics/hispanicher- barbara_mission.html itage/missions/ 86. http://www.oac.cdlib.org/

73. http://en.wikipedia.org/wiki/Spanish_ Mission La Purísima Mission Santa Barbara 100. http://www.lapurisimamission.org/ missions_in_California 87. http://www.sbmal.org/

74. http://en.wikipedia.org/wiki/Architec- 88. http://www.californiamissions.com/ca- ture_of_the_California_Missions history/santabarbara.html

75. http://en.wikipedia.org/wiki/Mission_ 89. http://www.sbmission.org/history.shtml Revival_Style_architecture 90. http://gocalifornia.about.com/cs/ 76. http://en.wikipedia.org/wiki/Spanish_ missioncalifornia/a/barbarahist.htm Colonial_Revival_Style_architecture 91. http://www.santabarbara.com/points_of_ 77. http://architecture.about.com/od/pe- interest/mission/#map riodsstyles/ig/House-Styles/mission- 108 92. http://www.missionart.com/hSB/p-SB. 109 724232.htm html

Archive/Research/Mapping 93. http://missiontour.org/santabarbara/ 78. http://www.davidrumsey.com/ history.htm 94. http://memory.loc.gov/ammem/collec- 79. http://bancroft.berkeley.edu/ tions/habs_haer/index.html

80. http://www.californiahistory.net/ 95. http://santabarbaramission.org/

81. http://geography.berkeley.edu/Proj- 96. http://www.geog.ucsb.edu/~apcg2001/ ectsResources/californiastudies.html fieldtrips/sb_water/

82. http://www.calarchivists.org/ 97. http://members.tripod. com/~ArtistFromHungary/mission/san- 83. http://www.lib.washington.edu/subject/ tabarbara.htm History/RUSA/ 98. http://www.californiagenealogy.org/mis- 84. http://www.caviews.com/sbarbara.htm sionsofca/santa_barbara.htm

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