Roque Tudesqui House - Historic Santa Fe Foundation
Roque Tudesqui House - Historic Santa Fe Foundation
Roque Tudesqui House - Historic Santa Fe Foundation
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Anne: Each individual pane of glass comes out for cleaning.<br />
There's a little crawl space between the ceiling and the roof On the plaza,<br />
there are a number of buildings that have the same kind of external skylight.<br />
This room has no light except through the dining room. It has no<br />
windows and part of what makes this room is the skylight.<br />
HSFF: What are those nails for all around the edge of the ceiling?<br />
Anne: All those nails are evenly spaced and they all protrude<br />
evenly. This was done so that one can hang anything easily and anywhere<br />
in the room. They were made part ofthe design, but they are extremely<br />
practical. I assume this room must have been Gustave Baumann's gallery.<br />
HSFF: Have people who have visited the house told you stories<br />
about coming here?<br />
Anne: One of my coworkers told me she had lived across the<br />
street at one time. She and the other little kids in the neighborhood would<br />
come here for the puppet shows. Gustave Baumann made most of his<br />
puppets and wrote all his own scripts. When I first came here, there were<br />
little staples all around the exterior of the house. That's where Chinese<br />
lanterns were hung when the Baumanns had their parties. They aren't<br />
there any more because the house has been replastered. The lanterns<br />
must have evoked such a marvelous sense ofleisurely life, and the pleasures<br />
that the artists had when they weren't working. Somehow, this seems<br />
to be the whole notion of old <strong>Santa</strong> <strong>Fe</strong>. During the 1930s, people like<br />
Katharine Hepburn and Cary Grant came to visit across the street from<br />
time to time. It was just a very neighborly situation. No cars. No walls. I<br />
don't know if Jane Baumann had a maid, but she had a liquor cabinet that<br />
was locked with a key.<br />
Ann Baumann, the daughter, wrote me a note some time ago telling<br />
me that I was improperly identifying the hooks on the ceiling in the<br />
living room as hooks for marionettes. In fact, they were for the backdrops<br />
for the marionette plays. Then, a year or two later, she wrote me another<br />
note acknowledging that I had changed the story about the hooks and<br />
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