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The <strong>Journal</strong> of<br />
<strong>San</strong> <strong>Diego</strong><br />
Volume 54 Fall 2008 Number 4 • The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
<strong>History</strong><br />
The Bishop’s School:<br />
Celebrating<br />
100<br />
Years
Publication of The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong> has been partially funded by<br />
generous grants from the Joseph W. Sefton Foundation; Natale A. Carasali Trust;<br />
Quest for Truth Foundation of Seattle, Washington, established by the late James<br />
G. Scripps; the Dallas and Mary Clark Foundation; Philip M. Klauber; and an<br />
anonymous friend and supporter of the <strong>Journal</strong>.<br />
Publication of this issue of The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong> has also been<br />
supported by a grant from “The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong> Fund” of the <strong>San</strong><br />
<strong>Diego</strong> Foundation.<br />
The <strong>San</strong> <strong>Diego</strong> Historical Society is able to share the resources of four museums<br />
and its extensive collections with the community through the generous support of<br />
the following: City of <strong>San</strong> <strong>Diego</strong> Commission for Art and Culture; County of <strong>San</strong><br />
<strong>Diego</strong>; foundation and government grants; individual and corporate memberships;<br />
corporate sponsorship and donation bequests; sales from museum stores and<br />
reproduction prints from the Booth Historical Photograph Archives; admissions;<br />
and proceeds from fund-raising events.<br />
Articles appearing in The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong> are abstracted and<br />
indexed in Historical Abstracts and America: <strong>History</strong> and Life.<br />
The paper in the publication meets the minimum requirements of American<br />
National Standard for Information Science-Permanence of Paper for Printed<br />
Library Materials, ANSI Z39.48-1984.<br />
Front Cover: The Bishop’s School Tower designed by Carleton Monroe Winslow<br />
and placed above the chapel in 1930. Photo by Allen Wynar.<br />
Back Cover: Open Day, 1921. Returning students perform in front of Bentham<br />
Hall, which originally featured El Miradero, a lookout tower designed by Irving<br />
Gill. It was removed in 1930. Photo courtesy of The Bishop’s School.<br />
Cover Design: Allen Wynar
The <strong>Journal</strong> of<br />
<strong>San</strong> <strong>Diego</strong><br />
<strong>History</strong><br />
Volume 54 Fall 2008 number 4<br />
Iris H. W. Engstrand<br />
Molly McClain<br />
Editors<br />
THEODORE STRATHMAN<br />
David miller<br />
Review Editors<br />
Published since 1955 by the<br />
SAN DIEGO HISTORICAL SOCIETY<br />
1649 El Prado, Balboa Park, <strong>San</strong> <strong>Diego</strong>, California 92101<br />
ISSN 0022-4383
The <strong>Journal</strong> of<br />
<strong>San</strong> <strong>Diego</strong><br />
<strong>History</strong><br />
Volume 54 Fall 2008 number 4<br />
Editorial Consultants<br />
MATTHEW BOKOVOY<br />
University of Nebraska Press<br />
DONALD C. CUTTER<br />
Albuquerque, New Mexico<br />
WILLIAM DEVERELL<br />
University of Southern California; Director,<br />
Huntington-USC Institute of California and<br />
the West<br />
VICTOR GERACI<br />
University of California, Berkeley<br />
PHOEBE KROPP<br />
University of Pennsylvania<br />
ROGER W. LOTCHIN<br />
University of North Carolina at Chapel Hill<br />
NEIL MORGAN<br />
<strong>Journal</strong>ist<br />
DOYCE B. NUNIS, JR<br />
University of Southern California<br />
JOHN PUTMAN<br />
<strong>San</strong> <strong>Diego</strong> State University<br />
ANDREW ROLLE<br />
The Huntington Library<br />
RAMON EDUARDO RUIZ<br />
University of California, <strong>San</strong> <strong>Diego</strong><br />
ABE SHRAGGE<br />
University of California, <strong>San</strong> <strong>Diego</strong><br />
RAYMOND STARR<br />
<strong>San</strong> <strong>Diego</strong> State University, emeritus<br />
DAVID J. WEBER<br />
Southern Methodist University<br />
Published quarterly by the <strong>San</strong> <strong>Diego</strong><br />
Historical Society at 1649 El Prado, Balboa<br />
Park, <strong>San</strong> <strong>Diego</strong>, California 92101.<br />
A $60.00 annual membership in the<br />
<strong>San</strong> <strong>Diego</strong> Historical Society includes<br />
subscription to The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong><br />
<strong>History</strong> and the SDHS Times. Back issues<br />
are available at www.sandiegohistory.org.<br />
Articles and book reviews for<br />
publication consideration, as well as<br />
editorial correspondence, should be<br />
addressed to the Editors, The <strong>Journal</strong><br />
of <strong>San</strong> <strong>Diego</strong> <strong>History</strong>, Department of<br />
<strong>History</strong>, University of <strong>San</strong> <strong>Diego</strong>, 5998<br />
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All article submissons should be typed<br />
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Authors should submit three copies of<br />
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The <strong>San</strong> <strong>Diego</strong> Historical Society<br />
assumes no responsibility for the<br />
statements or opinions of the authors<br />
or reviewers.<br />
©2008 by the <strong>San</strong> <strong>Diego</strong> Historical Society<br />
ISSN 0022-4383<br />
Periodicals postage paid at <strong>San</strong> <strong>Diego</strong>, CA<br />
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Note: For a change of address, please<br />
call (619) 232-6203 ext. 102 or email<br />
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ii
CONTENTS<br />
Volume 54 Fall 2008 number 4<br />
ARTICLES<br />
The Bishop’s School, 1909-2009<br />
Molly McClain<br />
235<br />
Irving Gill’s Vision for The Bishop’s School<br />
Nicole Holland, Ashley Chang, and Pieter Stougaard<br />
268<br />
Artists in La Jolla, 1890-1950<br />
Jean Stern<br />
281<br />
Village Memories: A Photo Essay on La Jolla’s Past<br />
Jeremy Hollins<br />
300<br />
BOOK REVIEWS<br />
311<br />
DOCUMENTARIES<br />
321<br />
BOOK NOTES<br />
324<br />
iii
The University of <strong>San</strong> <strong>Diego</strong><br />
and<br />
The <strong>San</strong> <strong>Diego</strong> Historical Society<br />
congratulate<br />
The Bishop’s School<br />
on its<br />
100 th Anniversary Year<br />
2008-2009<br />
The Bishop’s School Centennial Celebration<br />
Exhibition Series 2008-2009<br />
Staged in the Wheeler J. Bailey building on Bishop’s campus, these<br />
exhibitions are open to the public without charge:<br />
• The Bishop’s School <strong>History</strong> Exhibition September 16 – December 15<br />
“Yesterday, Today and Tomorrow” features photographs, uniforms,<br />
student trophies and awards, letters, yearbooks, and other items<br />
from Bishop’s 100-year history<br />
• California Plein Air Art Exhibition January 19 – March 1<br />
“Visions of <strong>San</strong> <strong>Diego</strong>” featuring California Impressionist paintings<br />
from The Irvine Museum<br />
Irving Gill Architecture Retrospective Exhibition<br />
• March 16 – April 30<br />
Images and designs from the work of the renowned early 20th<br />
century architect, Irving Gill
The Bishop’s School, 1909-2009<br />
Molly McClain<br />
The Bishop’s School in La Jolla, founded in 1909, has a long tradition of<br />
celebrating birthdays. In the early twentieth century, a party was held each<br />
year to honor the school’s founder, Episcopal Bishop Joseph Horsfall Johnson.<br />
Ellen Browning Scripps, an important benefactor, described it in a 1916 letter to<br />
her sister, Virginia. She wrote that there was ice cream, an “immense birthday<br />
cake,” speeches and toasts “with the occasional outbreak of college cries from<br />
the side tables.” 1 Scripps, too, was honored on her birthday, an event now known<br />
as “EBS Day.” Every year, alumni and friends sing “Happy Birthday” while a<br />
representative from the Scripps Foundation blows out the candle on her cake.<br />
In 2009, The Bishop’s School celebrates another birthday, its own. For the past<br />
one hundred years, the school has prepared young women and men to meet the<br />
demands of a college education. An independent day-school affiliated with the<br />
Episcopal Church, it values intellectual, artistic, and athletic excellence. It also<br />
maintains a tradition of community service that dates back to World War I.<br />
This article focuses on the early years of The Bishop’s School. It explores the<br />
collaboration between Bishop Johnson and the Scripps sisters, emphasizing<br />
their exceptional vision for women’s education at a time when few girls finished<br />
high school, much less prepared for college. The article also points out the<br />
importance of Progressive-era attitudes on the development of the school. The<br />
founders’ passion for efficiency, economy, and social justice influenced the school’s<br />
culture and curriculum. It also led them to patronize Irving Gill, an advocate<br />
of a reformed style of architecture. The result would be a campus of remarkable<br />
simplicity and serenity.<br />
Women’s Education<br />
The Bishop’s School was founded at a time of expanding educational<br />
opportunities for women. Between 1870 and 1900, the number of women enrolled<br />
in colleges and universities multiplied eightfold, from 11,000 to 85,000. Women’s<br />
colleges such as Vassar (1865), Wellesley (1875), Smith (1875), and Bryn Mawr (1884),<br />
became national institutions. Seminaries such as Mount Holyoke, Mills, and<br />
Rockford, were re-chartered as colleges in the 1880s. Women attended private coeducational<br />
institutions including Boston College, Cornell, Oberlin, Swarthmore,<br />
the University of Chicago, and the University of Southern California. They also<br />
enrolled at large state universities in California, Indiana, Iowa, Kansas, Michigan,<br />
Molly McClain, associate professor and chair of the <strong>History</strong> Department at the University of <strong>San</strong> <strong>Diego</strong>, is<br />
co-editor of The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong>. She was a boarding student at The Bishop’s School in the late<br />
1970s. She is very grateful for the assistance of Judy Harvey Sahak, Librarian, Ella Strong Denison Library,<br />
Scripps College, and the staff of The Bishop’s School.<br />
235
The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
The Bishop’s School offered an innovative curriculum designed to help students pass the rigorous entrance exams<br />
required by women’s colleges like Vassar and Smith. In this photo, members of the Class of 1917 read outdoors.<br />
Courtesy of The Bishop’s School.<br />
Missouri, and Wisconsin. Although elite men’s colleges such as Harvard, Yale,<br />
Princeton, and Columbia did not admit women, reformers continued to press for<br />
access. Their efforts resulted in the creation of Barnard (1889) and Radcliffe (1894)<br />
as affiliated women’s colleges. 2<br />
In the early years, however, relatively few women took up the challenge of<br />
higher education. Some public high schools prepared their students to attend<br />
teacher-training normal schools at state colleges and universities. Most, however,<br />
did not offer a curriculum that would help their students pass the rigorous college<br />
entrance exams required by elite institutions. Private girls’ schools, meanwhile,<br />
236
The Bishop’s School, 1909-2009<br />
generally emphasized the kind of female “accomplishments” that would prepare<br />
women for good marriages and lives of leisure. According to Andrea Hamilton,<br />
“The new women’s colleges faced the reality that very few young women had<br />
adequate academic preparation to undertake true college-level work.” 3<br />
At the turn of the century, educational reformers established independent<br />
girls’ schools that would prepare women for college. The Bryn Mawr School in<br />
Baltimore, established in 1885, offered one of the earliest and most innovative<br />
programs. Students studied English, history, geometry, algebra, laboratory<br />
sciences, German or Greek, and music. They took gymnastics and participated in<br />
sports in an effort to allay parents’ fears that education might be detrimental to<br />
their daughters’ health. According to the 1896 school catalog, the institution sought<br />
“to provide for girls the same advantages that had for some time existed in the best<br />
secondary schools for boys.” 4 Other college preparatory institutions for women<br />
included the Brearley School in New York (1884), the Marlborough School in Los<br />
Angeles (1888), and the National Cathedral School in Washington, D.C. (1889).<br />
The Bishop’s School combined an innovative approach to women’s education<br />
with an emphasis on Christian character. A 1919 article in the Los Angeles Times<br />
expressed teachers’ hopes that “the moral and spiritual characteristics of the<br />
student should be developed along with purely mental attributes.” The school<br />
motto, “Simplicitas, Sinceritas, Serenitas,” expressed a desire to help students<br />
attain “strength and poise in their physical, mental and spiritual lives.” At the<br />
same time, it was intended to be the foundation for a women’s college in <strong>San</strong><br />
<strong>Diego</strong>. According to a 1910 article, Bishop Johnson said “that if the city continues<br />
to grow, and The Bishop’s School for Girls now being inaugurated keeps pace with<br />
the progressiveness of the city, that it will terminate in a women’s college equal to<br />
any in the country.” 5<br />
The Right Reverend Joseph Horsfall Johnson (1847-1928)<br />
The Right Reverend Joseph Horsfall Johnson, the bishop of the Los Angeles<br />
Diocese of the Episcopal Church, was an energetic and enthusiastic supporter<br />
of education. He was born in Schenectady, New York, on June 7, 1847, the son of<br />
Stephen Hotchkiss Johnson and Eleanor Horsfall. His family traced its roots back<br />
to the founding of New Haven, Connecticut, in 1638. He graduated from Williams<br />
College in 1870 along with friends Francis Lynde Stetson, who went on to become<br />
J. P. Morgan’s personal attorney; Francis E. Leupp, Commissioner of Indian Affairs;<br />
and Dr. Harry Pratt Judson, President of the University of Chicago. Johnson<br />
retained great affection for his alma mater, attending alumni events and meetings<br />
of the Alpha Delta Phi fraternity. After graduation, he entered the General<br />
Theological Seminary in 1870. He was ordained deacon in 1873 and priest in 1874.<br />
He served as rector of Trinity Church, Highlands, New York (1874-79); Trinity<br />
Church, Bristol, Rhode Island (1879-81); St. Peter’s Church, Westchester, New<br />
York (1881-86); and Christ Church, Detroit, Michigan (1886-96). He married Isabel<br />
Greene Davis of Worcester, Massachusetts, in 1881 and had one son, Reginald D.<br />
Johnson. 6<br />
Johnson was elected Episcopal Bishop of Los Angeles in February 1896. Until<br />
that time, the Episcopal Church in California had been under the jurisdiction<br />
of the Bishop of California with its headquarters in <strong>San</strong> Francisco. In 1895, eight<br />
237
The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
The Right Reverend Joseph Horsfall Johnson, Episcopal<br />
Bishop of Los Angeles. Courtesy of The Bishop’s School.<br />
counties of Southern California<br />
became a separate diocese. 7<br />
According to Leslie G. Learned,<br />
rector of All Saints, Pasadena,<br />
Johnson arrived to find “very little<br />
except a band of the most devoted<br />
clergy.” The region was struggling to<br />
emerge from the real estate collapse<br />
of 1888 and St. Paul’s Cathedral “was<br />
weak and tottering. The prospect<br />
was not alluring.” 8 The diocese<br />
had thirty-three clergy, thirty-nine<br />
missions and parishes, and 3,600<br />
communicants. It had one institution,<br />
Good Samaritan Hospital in Los<br />
Angeles, and $15,000 worth of debt.<br />
Johnson proved to be a gifted<br />
spiritual leader and a first-rate<br />
administrator. “He possessed a<br />
business sagacity and vision rarely<br />
given to a clergyman,” wrote<br />
Learned. He was not only “trusted<br />
by his own clergy and by his laity,<br />
but financial leaders of Los Angeles<br />
placed exceptional confidence in his business judgment.” By 1910, the diocese had<br />
seventy-three clergy, seventy missions and parishes, 8,000 communicants, and no<br />
debt. 9 He raised money for Good Samaritan Hospital’s new building on Wilshire<br />
Boulevard and helped to establish the Neighborhood Settlement of Los Angeles,<br />
the Church Home for Children, and the Home for the Aged.<br />
A short man, Johnson had a big waistline and an outgoing personality. He<br />
showed “an extraordinary ability to make and keep friends….He could go<br />
nowhere without being greeted by one person after another.” Rev. W. Bertrand<br />
Stevens recalled that it often took nearly an hour for the bishop to return home<br />
after a Los Angeles Philharmonic concert, despite the fact that he lived only a few<br />
blocks away. Each summer Johnson traveled to Europe, usually to a spa at Vichy<br />
or Marienbad. Stevens wrote, “He liked big ocean liners and great hotels,” rather<br />
than secluded spots. If he went to a strange hotel “he would immediately set about<br />
making the acquaintance of all the people there, and within an hour or so after his<br />
arrival, nearly succeed in doing so.” A Baptist minister who met him on the train<br />
to <strong>San</strong> <strong>Diego</strong> described him as “a broad-minded man—kind, genial, and intensely<br />
human.” A college friend, Walter Goodwin Mitchell, said, “He was such a whole<br />
hearted, genial man,” adding, “He was always that way, from a boy.” 10 The bishop<br />
strongly believed in the importance of fellowship, writing: “If a man cannot read<br />
the office of worship and a sermon, he can at least speak a kindly word to a fellow<br />
man.” 11<br />
Johnson took his faith seriously. He held “high church” Tractarian views and<br />
insisted on the strict observance of canons and the rubrics of the new Prayer Book<br />
of 1892. 12 He rarely missed a General Convention or a Synod of the Province of<br />
238
The Bishop’s School, 1909-2009<br />
the Pacific, though he never publicly<br />
took sides on issues under debate. He<br />
conducted himself with great dignity<br />
in the pulpit and gave powerful public<br />
sermons that tackled controversial<br />
issues like divorce. 13 In 1914, he took<br />
his own clergy to task for participating<br />
in “the scramble for numbers, for large<br />
congregations, for large contributions,”<br />
without regard to the methods used. He<br />
reminded them that the church was not<br />
a social club where parishioners could<br />
enjoy “vaudeville” from the pews. “We<br />
may make ourselves popular with the<br />
man in the street…,” he said, “What is<br />
it worth when a great moral issue is at<br />
stake?” 14 At the same time, he retained<br />
a “sunny optimism” about the future<br />
of the church. In 1918, Ellen Browning<br />
Scripps described his reply to an address<br />
given by the socialist writer H. Austin<br />
Adams: “of course, the Bishop’s response<br />
was—as his remarks always are—<br />
especially happy and his dove of peace<br />
and harmony spread his gracious wings<br />
over the assembly.” 15<br />
The bishop traveled throughout<br />
Southern California, informing himself<br />
about the state of the missions in the<br />
region. He was particularly concerned<br />
by the poverty of <strong>San</strong> <strong>Diego</strong>’s Native<br />
American community. He helped Charles<br />
Fletcher Lummis and the Sequoia League<br />
to get the attention of President Theodore<br />
Roosevelt and Francis E. Leupp in order<br />
to assist more than two hundred Cupeño<br />
Bishop Johnson, n.d. Beatrice Payne, Class of 1922,<br />
noted that the bishop had the “most remarkable<br />
memory of names. He could always recall a girl<br />
instantly after once meeting her.” Courtesy of The<br />
Bishop’s School.<br />
Indians who had been evicted from Warner’s Ranch in 1903. 16 He also sponsored<br />
a lace-making school at the Mesa Grande Reservation though he insisted, “I feel<br />
very strongly about the protection of the native industries, basketry and the drawn<br />
linen, and shall do all that I can to see that that is kept in full view.” 17 In 1906, an<br />
article in the Los Angeles Times reported, “The Indians all over this section of the<br />
State have learned to know and love Bishop Johnson. One of them recently wrote<br />
a letter to Miss Grebe, the deaconess of the diocese, in which he said: ‘When is the<br />
Bishop coming? We like that man.’” 18<br />
Johnson also felt strongly about education. He established one of the first<br />
Diocesan Summer Schools in 1902 in <strong>San</strong>ta Monica. He considered creating a<br />
college affiliated with the Episcopal Church. He finally came to the conclusion,<br />
however, that the establishment of good preparatory schools was “the greatest<br />
239
The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
Anna Frances Bentham was the first principal of The<br />
Bishop’s School while her husband, Rev. Charles E.<br />
Bentham, served as teacher, school chaplain, and treasurer<br />
of the board of trustees. Courtesy of The Bishop’s School.<br />
contribution that the Diocese of Los<br />
Angeles could make.” 19<br />
In 1907, the Bishop began laying<br />
plans for a girls’ preparatory school.<br />
He tapped Anna Frances O’Hare<br />
Bentham (ca. 1877-1915) and Rev.<br />
Charles Edward Bentham (ca. 1875-<br />
1914) to head the new school that he<br />
planned to open in Sierra Madre,<br />
not far from Pasadena. At the time,<br />
Charles Bentham was rector of the<br />
Church of the Ascension in Sierra<br />
Madre. He and his wife had come<br />
to California from Boston around<br />
1902 due to ill health. A Harvard<br />
graduate, he had attended Berkeley<br />
Divinity School and was ordained<br />
priest in 1901. Anna Bentham had<br />
been educated at the Boston Normal<br />
School and the Massachusetts<br />
Institute of Technology. After the<br />
death of a daughter, Dorothy, she<br />
committed herself to teaching and<br />
community service. She founded<br />
both the Sierra Madre Club for<br />
Women and, later, the <strong>San</strong> <strong>Diego</strong><br />
College Women’s Club. When Bishop<br />
Johnson offered her the position of<br />
headmistress, she was head of the<br />
English Department at the Marlborough School, at that time located in Pasadena. 20<br />
However, Johnson altered his plan to build his girls’ school in Sierra Madre<br />
when two prominent <strong>San</strong> Diegans offered to become benefactors: Ellen Browning<br />
Scripps and her sister Eliza Virginia Scripps. Two schools would be built: a day<br />
school in <strong>San</strong> <strong>Diego</strong> and a boarding school in La Jolla.<br />
Ellen Browning Scripps (1836-1932); Eliza Virginia Scripps (1852-1921)<br />
Ellen Browning Scripps and her sister Virginia were drawn to the idea of a<br />
preparatory school in <strong>San</strong> <strong>Diego</strong>. Ellen was the only one of her thirteen siblings<br />
to have received a college education, attending the Female Collegiate Department<br />
of Knox College at Galesburg, Illinois, from 1856 to 1859. She supported the<br />
women’s suffrage movement and endorsed progressive political ideas. 21 Her sister,<br />
meanwhile, was a devout Episcopalian who firmly believed in women’s capacity<br />
for work and independence.<br />
The Scripps sisters came from a family of hardworking, entrepreneurial men<br />
and women. Their great-grandfather, William Scripps, had come to the United<br />
States from Great Britain in 1791 to escape a “threatened domestic explosion,”<br />
leaving behind an illegitimate child and his outraged mother. Ellen, matter-of-<br />
240
The Bishop’s School, 1909-2009<br />
Ellen Browning Scripps in the library of her La Jolla home, n.d. Courtesy of Ella Strong Denison Library,<br />
Scripps College.<br />
fact about her family’s “plebian origin,” considered many family members to be<br />
little more respectable than their ancestor. 22 Their grandfather, William Armiger<br />
Scripps, visited his nephews in Rushville, Illinois, in 1833 and 1843, purchasing<br />
some land on the outskirts of town before he left. Their father, James Mogg<br />
Scripps, worked as a bookbinder in London until he decided to emigrate to Illinois<br />
in 1844 “for the good of the children.” 23 In fact, he found his business dwindling<br />
with the introduction of mechanical binding. He married three times. His first<br />
wife, Elizabeth Sabey, died in 1831 after giving birth to two children: William<br />
Sabey and Elizabeth Mary. His second wife, Ellen Mary Saunders, died in 1841<br />
after producing six children: Ellen Sophia, James Edmund, Ellen Browning,<br />
William Armiger, George Henry, and John Mogg. He met his third wife, Julia<br />
Osborn, soon after his arrival in America. She also bore five children: Julia Anne,<br />
Thomas Osborn, Frederick Tudor, Eliza Virginia (called Virginia), and Edward<br />
Wyllis. This large family lived together on an eighty-acre farm in Rushville, not<br />
far from their Scripps cousins. James Mogg tried his hand at coal mining, brick<br />
and tile making, tanning, ice quarrying, lumber milling, and farming. His limited<br />
success encouraged his sons to leave Rushville for Detroit.<br />
Ellen’s brothers took up journalism on the eve of the Civil War. One cousin had<br />
established Rushville’s Prairie Telegraph while another cousin, John Locke Scripps,<br />
was an early proprietor of the Chicago Tribune. After working briefly in Chicago,<br />
James, the eldest brother, moved to Detroit to become business manager and part<br />
owner of the Tribune. In 1864, his brothers George and William joined him. Edward<br />
arrived in 1872. Together, they invested in real estate and founded the Evening<br />
News, later called The Detroit News, in 1873. They gained a foothold in a competitive<br />
market by charging only two cents per issue, half as much as the competition. In<br />
1878, they started the Cleveland Penny Press and put twenty-four-year-old Edward<br />
241
The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
Virginia Scripps, known to her family as “Jennie,”<br />
n.d. She provided considerable financial support and<br />
encouragement to The Bishop’s School. Courtesy of Ella<br />
Strong Denison Library, Scripps College.<br />
in charge. Within a few years, they<br />
had acquired papers in St. Louis,<br />
Buffalo, and Cincinnati. By 1908,<br />
the family had a chain of low-cost,<br />
working-class newspapers in Akron,<br />
Buffalo, Cincinnati, Dallas, Denver,<br />
Des Moines, El Paso, Kansas City,<br />
Los Angeles, Oklahoma City, <strong>San</strong><br />
Francisco, St. Louis, and Tacoma. 24<br />
Ellen Browning assisted her<br />
brothers on the Tribune and the<br />
Evening News. She had worked as a<br />
teacher after graduating from Knox<br />
College but soon realized that she<br />
would not be able to make a living.<br />
She wrote her brother George in<br />
1864, “At present price of labor…, I<br />
shall starve or be compelled to lay<br />
aside the birch and ferule for the dish<br />
cloth or wash tub. I verily believe<br />
the woman who did my washing<br />
and ironing at the rate of five cents a<br />
piece realized a much larger monthly<br />
income than I am blessed with.” 25 As<br />
a result, she left the classroom for the<br />
newsroom, working as a proofreader<br />
and head of the copy desk. She also<br />
cut, trimmed, and rewrote articles from other papers to create a daily miscellany,<br />
occasionally adding her own observations. This would be the germ of a Scripps<br />
institution, the Newspaper Enterprise Association. She worked ten hours a day in<br />
the office before returning to James’s home where she helped with the housework.<br />
Her brother Edward recalled, “She nursed my brother’s children; and when I fell<br />
seriously ill in the same home, she nursed me. All of her small salary, for a time,<br />
went to providing for myself and other of her brothers and sisters, who were<br />
not self-supporting.” 26 Ellen wrote, “I have been a workingwoman—and a hard<br />
one—all my woman’s life, and I have learned the value of property.” 27<br />
A physically slight woman, Ellen had a sharp intellect and considerable<br />
business acumen. Her lawyer recalled, “She did an enormous amount of<br />
reading—magazines, new books, classics. There are few Bible students who were<br />
more familiar with the Scriptures.” 28 Edward, musing on the mental capabilities<br />
of women in general, told her: “Old as you are and female as you are, I am sure<br />
that your vision is clearer and your imagination more vivid in such [business]<br />
matters than that of any man that I know.” 29 He owed her a considerable debt for<br />
she invested in his newspapers and loaned him money after a quarrel with his<br />
brother caused him to be removed from the Scripps Publishing Company in 1889.<br />
Their combined business interests brought Ellen a substantial income that she reinvested<br />
in stocks, real estate, and newspapers. According to her brother, she was<br />
“a very clever accountant” who kept “exact records of transactions” and at no time<br />
242
The Bishop’s School, 1909-2009<br />
Virginia and Ellen Browning Scripps with their brother George H. Scripps, ca. 1890. Ellen founded the Scripps<br />
Institution of Oceanography in George’s memory. Courtesy of Ella Strong Denison Library, Scripps College.<br />
“conducted herself so as to lead me to suppose that she did not intend to exact<br />
from me every penny that was due her.” 30 For his part, Bishop Johnson described<br />
her as “one of the keenest women I have ever known.” 31<br />
Ellen’s younger sister Virginia, meanwhile, had an independent spirit and<br />
a considerable temper. A handsome woman, she never married but, instead,<br />
managed the family farm in Rushville. “Jennie,” as she was known by the family,<br />
worked briefly as a copyeditor on the Evening News before returning home to care<br />
for her sister, Annie, who became chronically ill with rheumatism at the age of<br />
twenty-six. She also looked after her mother until the latter’s death in 1893. She<br />
did not have her sister Ellen’s patience and skill with invalids, however. Family<br />
members described her as an “unpleasant creature” with strong tendency to<br />
“meddle in everything.” Her sister Annie tried to explain her behavior, writing,<br />
“Jennie is a good hearted girl and has nothing vicious in her disposition…I think<br />
the main difficulty with her has been that she has never realized her ambition.”<br />
She complained that James and Edward always bought off Virginia, giving her<br />
money on the condition that she leave them alone. As a result, she was spoiled:<br />
“No one has ever made her feel a hardship resulting from her worst acts.” 32<br />
By the 1880s, the Scripps brothers had made enough money to indulge even<br />
243
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Ellen Browning Scripps built her home, South Moulton Villa, on the cliffs above La Jolla Cove. Photo dated 1902.<br />
©SDHS #22287.<br />
their least favorite sister. The Evening News had sold eighteen million copies in<br />
its first four years; other papers also prospered. James traveled to Europe and<br />
returned home with Old Masters paintings that he would give to the Detroit<br />
Museum of Art. He also contributed $70,000 to the construction of Trinity<br />
Reformed Episcopal Church, completed in 1892. Edward and Ellen traveled to<br />
Europe, North Africa, Turkey, Palestine, Cuba, and Mexico. Ellen sent home long,<br />
descriptive accounts that were published as features in the Scripps papers. 33<br />
Ellen and her brother Fred made their first trip to California in 1890. The latter<br />
purchased 160 acres in Linda Vista, intending to develop a citrus ranch. Their<br />
brother Edward came out the following year to settle in <strong>San</strong> <strong>Diego</strong>, “a busted,<br />
broken down, boom town” that appealed to his need to retreat from business<br />
after his break with James. He bought several hundred acres of land in what is<br />
now “Scripps Ranch” and named his ranch “Miramar” after a palace in Trieste,<br />
Italy. 34 Hoping to develop a family compound, Edward invited his sisters to live<br />
with him. Virginia, for one, was surprised by his offer: “I know I shall enjoy it.<br />
But the question in my own mind is whether the rest of the family will. I am<br />
not very much beloved (as Ellen is) by every one and I doubt if any of you will<br />
consider me anything of an acquisition to the community if not a positive incubus<br />
and a general nuisance.” She suggested, instead, that she be allowed to have her<br />
own home where she might have “the means of being hospitable.” 35 Ellen, too,<br />
thought that she would be best living on her own, away from the “differences and<br />
dissentions, unhappy ‘states of mind,’ carping and criticism” that characterized<br />
family interactions. 36<br />
In 1897, Ellen and Virginia moved to La Jolla and built a large house, South<br />
Moulton Villa, overlooking the Pacific Ocean. At that time, the village was little<br />
more than “a beautiful expanse of grey-green sage brush and darker chaparral<br />
from the top of Mt. Soledad to the Cove.” There were “cow paths in lieu of streets,<br />
244
The Bishop’s School, 1909-2009<br />
deep to the ankle in summer with dust, in winter as deep in mud.” 37 Railway cars<br />
ran from the depot at Prospect Street to Pacific Beach and <strong>San</strong> <strong>Diego</strong>, bringing<br />
back ready-made cottages on flat cars. The La Jolla Park Hotel and bungalows such<br />
as the “Green Dragon” provided accommodation for summer visitors. Ellen and<br />
Virginia built cottages for their extended family—including the “Wisteria” and the<br />
“Iris”—and purchased several acres of land.<br />
In 1900, Ellen inherited the bulk of her brother George’s estate, at that time<br />
worth $36,000 per annum. Litigation began almost immediately. George, an<br />
irascible old bachelor who liked to smoke cigars and play cards, left behind a will<br />
that was described as a “legacy of hate.” James received nothing while Edward,<br />
Virginia, and William received very substantial bequests. 38 Ellen and her attorney,<br />
J. C. Harper, spent over a decade fighting lawsuits aimed at overturning George’s<br />
will. In May 1910, the court decided in her favor. By this time, her estate was<br />
appraised at $1,800,000. Her annual income was estimated at $120,000 per annum<br />
(or approximately $2.6 million per annum in 2006 dollars). 39<br />
Once assured of her inheritance, Ellen began to look for ways to spend money.<br />
At seventy-three years of age, she felt no need to indulge in personal extravagance.<br />
She had always lived frugally. She ate little, dressed simply, and wore little jewelry.<br />
When her sister returned periodically to Rushville, Ellen dismissed the maid,<br />
cooked her own meals, and cleaned up after herself. She slept on a cot on the<br />
porch of her house. 40 Her brother, however, encouraged her to make use of her<br />
new wealth. She wrote to Harper in 1912, “E. W. seems anxious that I should get<br />
rid of as much of my income as possible and, really, the expenditure of $50,000<br />
per annum or even double that sum seems not so difficult an undertaking. It only<br />
needs the habit.” 41 She would develop that habit over the next two decades, donating<br />
generously to the Scripps Institution of Oceanography, the La Jolla Women’s Club,<br />
the Scripps Memorial Hospital, the Community House and Playgrounds, the La Jolla<br />
Children’s Pool, the <strong>San</strong> <strong>Diego</strong> Natural <strong>History</strong> Museum, the Zoological Garden and<br />
Research Laboratory, Scripps College, and the Y.M.C.A, among other institutions.<br />
One of her first bequests, however, went to The Bishop’s School.<br />
The Bishop’s School, 1909-1932<br />
Bishop Johnson first met members of the Scripps family in Detroit during his<br />
ministry at Christ Church. He may have encouraged James to provide money for<br />
the construction of Trinity Reformed Episcopal Church but he failed to persuade<br />
him of the value of the “high church” liturgy that, after 1892, began to be adopted<br />
in many parishes. Although the Scripps sisters had Anglican roots, they had “low<br />
church” sensibilities. Ellen described her creed as “substantially socialistic—the<br />
brotherhood of man—in theory, if not in practice.” She told one educator: “I have<br />
a high appreciation of Bishop Johnson’s character and a great sympathy with his<br />
work and aspirations—as a man, not as a clergyman. My instincts and interests are<br />
educational—not religious (I feel as though I might be sailing under false colors if I<br />
did not explain this to you).” 42<br />
In 1908, Bishop Johnson approached the Scripps sisters about developing two<br />
schools, a day school in <strong>San</strong> <strong>Diego</strong> and a boarding school in La Jolla. They had<br />
played important roles in the construction of St. James by-the-Sea Chapel and,<br />
in August 1907, promised to donate property to the church “for a girls’ school.” 43<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
St. James by-the-Sea Chapel (1907) was built by Irving Gill on a lot donated by Ellen Browning Scripps. A<br />
Bishop’s student recalled, “On Sundays, we all flocked up to the little picturesque chapel St. James by-the-Sea<br />
and here we baptized and confirmed and listened to our baccalaureate sermon.” ©SDHS #84:15150-47..<br />
In January 1908, Ellen wrote: “Bishop Johnson spent the afternoon here. Greatly<br />
admired the church. Had some conversation with him in regard to a plan that he<br />
has for establishing two schools under the direction of the church.” 44 In November,<br />
the bishop spent the night in La Jolla and “walked down to Jenny’s proposed site”<br />
for the school “and seemed favorably impressed with it.” 45<br />
On January 4, 1909, the first students, ranging in age from eight to fourteen,<br />
gathered for classes in a cottage behind a two-story house on Fifth Street. 46 Ellen<br />
noted in her diary, “The Bishop’s School is to begin in <strong>San</strong> <strong>Diego</strong> tomorrow at Miss<br />
Ada Smith’s house” located on Fifth Avenue at Juniper Street. She wrote that the<br />
Benthams “feel encouraged with the school prospects, having already 10 pupils.” 47<br />
The bishop also felt optimistic. Scripps wrote, “His idea is to start a boarding<br />
school in <strong>San</strong> <strong>Diego</strong> eventually to be moved to La Jolla.” 48 Construction of a day<br />
and boarding school located at First Avenue and Redwood Street began in the<br />
summer of 1909.<br />
Ellen recommended that the architect Irving Gill be chosen to design The<br />
Bishop’s School. She had been pleased with his work on St. James by-the-Sea<br />
Chapel in La Jolla (1907) and the Scripps Biological Station (1908-10). 49 The former<br />
was a Mission Revival building while the latter was a flat-roofed, concrete,<br />
“assertively plain” structure that reflected the design philosophy of international<br />
modernists like Adolf Loos. 50 She employed him to renovate her Craftsman-style<br />
house, South Moulton Villa, and mentioned him frequently in her diaries. 51 In<br />
August 1909, she met Bishop Johnson at Gill’s downtown office and discussed<br />
plans for the new school buildings. She wrote in her diary, “by appointment with<br />
Bishop Johnson at Mr. Gill’s in relation to school. He promises him $25,000 for<br />
school at La Jolla.” In October, she wrote, “Bishop Johnson here all the morning<br />
246
The Bishop’s School, 1909-2009<br />
Scripps Hall (1910), designed by Irving Gill, was the first structure on The Bishop’s School campus. Courtesy of<br />
The Bishop’s School.<br />
looking around at lots and buildings. Also brought out plans of new school<br />
building.” 52<br />
Gill’s first structure on the La Jolla campus, Scripps Hall (1910), was a white<br />
concrete building with long arcades. An article in The Craftsman praised it as<br />
fireproof, sanitary, and “so free from superfluous ornament that it furnishes a<br />
new standard for architectural simplicity.” The white walls captured the colors<br />
of the sunset and glowed “like opals.” Inside, plain rooms allowed each girl “to<br />
express her individuality” by choosing the decorations. 53 Doors were made of<br />
a single panel of wood and there were no moldings, cornices, or baseboards to<br />
collect and hold dirt. The architect’s concern with health and sanitation reflected<br />
the contemporary belief that disease and poor health were caused by dampness,<br />
dust, germs, and air pollution. Gill’s realization that buildings could solve social<br />
247
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Anna Bentham, the school’s first principal, was educated at the Boston Normal School and the Massachusetts<br />
Institute of Technology. She founded the Sierra Madre Club for Women and the <strong>San</strong> <strong>Diego</strong> College Women’s<br />
Club. Courtesy of The Bishop’s School.<br />
problems put him at the forefront of the modernist movement in architecture. 54<br />
Ellen became personally interested in The Bishop’s School, contributing more<br />
money than she had planned. She explained to her attorney, “The execution of<br />
the building itself has not exceeded the cost originally contemplated but you<br />
know how things ‘grow,’ how one thing leads to and necessitates another—the<br />
improvement of the grounds, the artistic bills of finish, the furnishing, etc., etc.”<br />
She believed that the school was “destined to be a grand institution” and therefore<br />
worth the investment. She wrote, “I feel more than assured that I have embarked<br />
in an undertaking that is almost limitless in its scope and power for good.” 55<br />
Virginia also felt responsible for the future of the institution. She donated<br />
248
The Bishop’s School, 1909-2009<br />
Anna Bentham led the Class of 1913 and younger students to St. James by-the-Sea on graduation day. Courtesy<br />
of The Bishop’s School.<br />
$20,000 and several parcels of land in 1909. She later turned over most of her La<br />
Jolla properties to the school in return for a scholarship endowment. 56 She worked<br />
on the grounds, planting lawns, vines and flowering shrubs. She also maintained<br />
tennis, croquet, and basketball courts outside school. Her eccentricities (which<br />
included rearranging the drawing room furniture) endeared her to students<br />
who, in 1914, selected her as the senior class mascot. They also included her as a<br />
character in a skit, “a ‘take off’ of the ‘wise and reverend designers’ of the school.” 57<br />
Ellen often gave her sister credit for the success of the institution. After Bishop<br />
Johnson’s inspection in October 1914, she wrote, “I need not tell you (as the bishop<br />
will do, I trust, more thoroughly) how splendid he thinks the work you have<br />
done…(He gave no credit to me, either!).” 58<br />
From the start, The Bishop’s School sought to prepare girls for college. The<br />
headmistress ensured that no student enrolled in the college preparatory program<br />
would be graduated “unless she has satisfactorily completed such subjects as are<br />
required for admission to the best eastern colleges.” Students also had the option<br />
of taking a degree in English or Music, subjects that did not qualify them for<br />
college admission. Many girls, however, chose the more challenging preparatory<br />
course. In doing so, they emulated their teachers, young women with degrees from<br />
Vassar, Smith, Cornell, Wellesley, and the University of California. 59<br />
Anna Bentham served as a role model for many students during her relatively<br />
short tenure. Tall, with auburn hair and a pale complexion, she projected a<br />
theatrical grandeur. Students recalled how she swept into a room in a white satin<br />
dress with a train, causing conversation to cease. 60 When she attended athletic<br />
events, crowds stood up and applauded. Ellen recalled “her gracious majesty of<br />
bearing and white satin and smile moving regally about the audience.” 61 However,<br />
she did not entirely approve of Anna’s influence. “What’s the use of expecting the<br />
school girls to wear simple head gear,” she wrote, “when Mrs. Bentham leads off in<br />
those flaunting white ostrich plumes?” 62<br />
The Benthams, tragically, died within three weeks of each other. Anna<br />
249
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Bentham suffered from severe diabetes and passed away in January 1915, age<br />
38, shortly after her husband’s death from heart disease. 63 Former colleagues at<br />
the Marlborough School said that they “never had another teacher with so wide<br />
a range of subjects, so commanding and loving disposition toward the students,<br />
and such a magnetism for the parents.” An obituary in the Los Angeles Daily Times<br />
described her as one of the “foremost of women educators and leaders in Southern<br />
California.” 64<br />
In 1915, Bishop Johnson decided to integrate the day school and the boarding<br />
school. Teachers would no longer have to travel between one campus and<br />
the other. The Bankers Hill property was leased to a former principal from<br />
Minneapolis who ran the <strong>San</strong> <strong>Diego</strong> Bishop’s School for two years before financial<br />
losses caused it to close. 65<br />
The La Jolla campus, meanwhile, expanded to include three structures designed<br />
by Gill: Scripps Hall (1910), Bentham Hall (1912), and Gilman Hall (1916-17). 66<br />
Scripps toured the newest building “from cellar to roof (which came out in a<br />
‘sleeping porch’).” She said that it was “large enough to accommodate 40 or 50<br />
girls. The rooms are beautiful and every one with a fine outlook.” 67 In 1916, Gill<br />
had finished the La Jolla Women’s Club (1912-14) and was working to complete<br />
Ellen’s new house after her old one had been destroyed by an arsonist. She told<br />
her sister, “The two Gills [Irving and Louis] have been busy all day (albeit Sunday)<br />
in shirtsleeves and overalls down on their knees ‘surfacing’ the cement floors. I<br />
don’t know how you will like the effect, but to me it is ‘a thing of beauty and a joy<br />
forever.’” 68<br />
Margaret Gilman became principal of The Bishop’s School in 1915. She was<br />
the daughter of Arthur and Stella Scott Gilman, pioneers in women’s higher<br />
education. 69 They helped found Radcliffe College and in 1886 founded the Gilman<br />
School for Girls in Cambridge, Massachusetts (later the Cambridge School of<br />
Weston). Margaret spent her early career at Radcliffe where she served as Head<br />
Scripps Hall, left, and Bentham Hall, right, with its small chapel and bell tower, 1912. At this time, the main<br />
entrance to campus was located on Prospect Street. ©SDHS #81:11867.<br />
250
The Bishop’s School, 1909-2009<br />
Gilman Hall (1916-17) provided a vantage point from which visitors could view games on Open Day, 1921.<br />
Courtesy of The Bishop’s School.<br />
of House. She later became principal of the Lincoln School in Providence, Rhode<br />
Island, a Quaker college preparatory school for girls. Bishop Johnson credited<br />
her for bringing that institution “to its present eminence and high standing.” 70<br />
Although she did not have her predecessor’s flair for drama, she was earnest and<br />
well meaning. Ellen Browning Scripps found her to be somewhat trying, telling<br />
her sister, “I think you could ‘meet her needs’ better than I can. She seems to crave<br />
affection, understanding, appreciation, and a confidential friend, more than in me<br />
lies to bestow.” 71 But she admitted that she made a significant impact on campus<br />
life: “The more I see of her the more I esteem her in her official position.” 72<br />
Gilman kept academics foremost in the minds of students. After going to<br />
chapel early in the morning, girls spent the next five hours in the classroom.<br />
They attended two mandatory study halls, from 4:30 to 6 p.m. and from 8 to 9<br />
p.m. Seniors took advanced classes in both geometry and arithmetic. They also<br />
developed a portfolio of their work for display at commencement. By 1916, Bishop’s<br />
students were sufficiently well prepared to pass the often rigorous college entrance<br />
exams. In October 1917, Gilman told a meeting of the board of trustees “what last<br />
year’s graduating class are doing: 1 at Vassar, 1 at Barnard, 1 at Occidental, 2 at<br />
Berkeley, 1 at Mills, and 1 at Syracuse, 1 in business (that is, Mary), 1 in society, and<br />
1 a question mark.” 73<br />
The school also emphasized sports, in particular, tennis and basketball.<br />
Students divided into two teams, “Harvard” and “Yale,” and competed with one<br />
another and, on occasion, girls from <strong>San</strong> <strong>Diego</strong> High School. In 1917, the teams<br />
changed their names to “Army” and “Navy” to recognize the United States’<br />
participation in World War I. In November 1917, Ellen Browning Scripps reported:<br />
“The girls’ basketball league of The Bishop’s School—the Army and the Navy<br />
251
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Members of the faculty softball team, ca. 1920. Courtesy of The Bishop’s School.<br />
opposing forces had their contesting game in the afternoon, the army winning by<br />
one point—a very exciting game, I am told.” On another occasion, she described<br />
girls engaged in “‘high jumping’ over a fixed rod four feet high.” 74 Students later<br />
adopted the team names “Purple” and “Gold” to honor Ellen Browning Scripps’s<br />
alma mater, Knox College.<br />
Educational reformers paid particular attention to physical activity as a way to<br />
prevent the kind of ill health that had plagued nineteenth-century women. Other<br />
solutions included fresh air, balanced meals, adequate ventilation, experimental<br />
water cures, and calisthenics. At Bishop’s, boarders took cold baths intended to<br />
stimulate intellectual activity. On warm nights, they slept outdoors above the<br />
arcade of Scripps Hall. In addition to team sports, students attended calisthenics<br />
classes and competed in swimming contests at Del Mar. 75<br />
Female faculty and students also participated in community service activities.<br />
Many women living in the Progressive Era believed in their capacity for advanced<br />
education and in their need for independence and an equal voice in the public<br />
world. They rejected the idea that women and men were the same, however,<br />
arguing instead that their compassionate natures made them particularly suited to<br />
helping less fortunate members of society. Some followed the example set by Jane<br />
Addams and her Hull House settlement in Chicago and founded institutions such<br />
as <strong>San</strong> <strong>Diego</strong>’s Neighborhood House. Others volunteered at hospitals, organized<br />
charity rummage sales, sponsored Girl Scout troops, and raised money through<br />
women’s clubs. At The Bishop’s School, students dressed dolls for patients at the<br />
Children’s Hospital and packed supplies for the Mesa Grande Reservation and<br />
other missions in California and Alaska. During World War I, they rolled bandages<br />
for the Red Cross, raised vegetables, and donated money for military vehicles. A<br />
new class, “Surgical Dressings,” was even introduced into the curriculum. 76<br />
Students also applied their education to real world problems. Helen Marston<br />
Beardsley, Class of 1912, attended Wellesley College but returned home each<br />
252
The Bishop’s School, 1909-2009<br />
During World War I, Bishop’s students tended a victory garden and rationed wheat, meat, and other foodstuffs.<br />
Students enrolled in a course, Surgical Dressings, appear in the windows of Bentham Hall. Courtesy of The<br />
Bishop’s School.<br />
summer to work at Neighborhood House where she helped impoverished Mexican<br />
families. She later founded a local branch of the Women’s International League<br />
for Peace and Freedom. Other graduates also embraced progressive reform. Ellen<br />
Browning Scripps wholeheartedly approved of such work, writing in 1920: “It is<br />
so good to find women ‘doing things’ instead of spending their time in cooking<br />
dainties and embroidering underwear.” 77<br />
Bishop Johnson continued to take an active role in the life of the school. During<br />
Bentham’s illness, he often came to campus. On one occasion, he stirred up the<br />
faculty and staff “from principal to cook-and-sauce man.” He went so far as to<br />
call one staff member to account for “finding half a dozen donuts in the garbage<br />
pail.” 78 He presided over meetings of the board of trustees, raised money for new<br />
buildings, created scholarship funds, and worried about budget deficits. Scripps<br />
told her sister that the Bishop took up such tasks “with the understanding of a<br />
man…exercising a sort of paternal interest over the school.” 79<br />
The Bishop’s wife, Isabel Greene Davis Johnson, also contributed to the welfare<br />
of the school by giving money for a chapel in memory of her mother. Gill did not<br />
get the commission, perhaps because his structures were too expensive at that<br />
time. 80 Instead, the job went to Carleton Monroe Winslow who had just completed<br />
his work as architect-in-residence for the Panama-California Exposition in <strong>San</strong><br />
<strong>Diego</strong>. Winslow designed a modest nave with choir stalls, exposed timber beams,<br />
and old Mexican pavement tiles on the floor. 81 Saint Mary’s Chapel, dedicated in<br />
February 1917, became the spiritual center of life on campus. In 1938, Winslow<br />
added transepts and a baptistery while friends of the school donated money for<br />
stained glass windows. 82<br />
Ellen Browning Scripps described Bishop’s events in letters to her sister who,<br />
after 1915, spent most of the year attending to family business in Rushville. She<br />
once wrote, “How I [wish] that in these special functions you were here and I<br />
253
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were ‘there’—anywhere, anywhere out of the world of society!” 83 She maintained<br />
that socializing was difficult for her while, at the same time, participating in a<br />
whirlwind of activity. In June 1918, she wrote: “Mr. [Wheeler] Bailey has engaged<br />
us for dinner at his house Monday evening; Tuesday is the play at the club house;<br />
Wednesday is the Bishop’s reception; Thursday evening a birthday party for the<br />
Bishop at Mr. Bedford-Jones’s; and Friday the commencement exercises and I am in<br />
it for it all.” 84<br />
Ellen Browning Scripps encouraged the school to invite members of the La Jolla<br />
community to events. In 1916, she described the Bishop’s reception that included<br />
dinner, dancing, and festivities in the auditorium “which was hung with Japanese<br />
lanterns and the revelers made a very pretty and festive sight. The entertainment<br />
struck me as unusually gay, elaborately ‘dressy’ and chic generally, with far<br />
less dignity but much more abandon and joyousness than on previous similar<br />
occasions.” However, she noticed a “very marked innovation—there seemed to<br />
be none of the old time ‘bone and sinew’ of the community. You will understand<br />
what I mean when I say none of the ‘Millses and Mudgetts’ were in evidence. In<br />
fact, I saw no one distinctively of other than the Episcopal Church there except<br />
the Browns and the Birchbys. The ‘community of La Jolla’ was conspicuous by<br />
its absence. I don’t know whether this was intentional but if so I think it was a<br />
mistake. The Bishop’s School should be just as much a part of our community of La<br />
Jolla as any other public institution.” 85<br />
Ellen also paid attention to problems at the school. In 1917, she described “a<br />
series of peculiar Bishop’s School troubles,” including a 13-year old runaway who<br />
“was found at 10 o’clock at<br />
night in the <strong>San</strong>ta Fe Station<br />
waiting to take the midnight<br />
train to Los Angeles. She was<br />
homesick and wanted to go<br />
home to her mother.” She said,<br />
“the latest, and ‘peculiarest’<br />
of all” involved “a girl who<br />
received a letter from her lover<br />
saying he had been rejected<br />
by the examining board of the<br />
army on account of a serious<br />
heart trouble which gives him<br />
not much over a year more to<br />
life. He writes to release her<br />
from her engagement; and she<br />
has gone into hysterics and the<br />
infirmary.” 86 In the autumn<br />
of 1918, the outbreak of a<br />
virulent strain of influenza,<br />
known as the “Spanish Flu,”<br />
caused health officials in <strong>San</strong><br />
<strong>Diego</strong> to close public buildings<br />
St. Mary’s Chapel (1917), designed by Carleton M. Winslow,<br />
reflected an Arts & Crafts aesthetic. Courtesy of The Bishop’s School.<br />
to prevent the spread of<br />
disease. Bishop’s students,<br />
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The Bishop’s School, 1909-2009<br />
Sophomores posed for a photograph in front of Gilman Hall, ca. 1919-20. Courtesy of The Bishop’s School.<br />
prohibited from leaving school grounds, were given an atomizer and told to spray<br />
themselves with a solution of bisulphate of quinine twice a day. In December, the<br />
school closed its doors and sent students home. 87<br />
In 1918, Marguerite Barton succeeded Margaret Gilman as headmistress.<br />
Johnson described her as “a very remarkable woman with great intellectual ability<br />
and fine culture.” 88 She had graduated from Radcliffe College, magna cum laude,<br />
in 1898 with a major in English. In 1915, she completed a master’s degree in English<br />
literature and, in 1918, was elected to Phi Beta Kappa. She had taught English at the<br />
Cambridge School for Girls before moving to La Jolla. Gilman, who had decided<br />
to return to her native Boston, did everything she could to ease her successor’s<br />
transition. Ellen Browning Scripps wrote that “Miss Gilman…realizes what her<br />
own mistakes have been—through ignorance of her situation, and intends to do<br />
everything possible to help her successor, and for the benefit of the school itself.<br />
She is working hard to get everything into shape and matters so recorded and<br />
classified as to make Miss Barton’s an easy initiation into the work.” 89<br />
Barton did a great deal in her short tenure at Bishop’s. She reorganized the<br />
school into three units—academic, domestic, and business—headed by members<br />
of the faculty. The result was “an entirely changed organization in character<br />
and conduct,” according to several teachers. Unfortunately, she died in January<br />
1921 after undergoing surgery for a gastric ulcer. Scripps noted, “Miss Barton<br />
had left the school in such admirable condition that the loss will be felt chiefly<br />
as a personal one.” She added, “The school goes on just as though nothing had<br />
happened, the teachers all agreeing that that was the only right way of proceeding,<br />
but they all feel it very keenly. I think she had endeared herself very strongly to all<br />
the inmates of the building and to the community so far as it knew her.” 90<br />
A new headmistress, Caroline Cummins, took charge of Bishop’s in 1921. Like<br />
her predecessor, she had been educated at one of the early women’s colleges,<br />
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Caroline Cummins, a Vassar graduate, served as<br />
headmistress for thirty-two years before retiring in<br />
1953. Courtesy of The Bishop’s School.<br />
Vassar, graduating magna cum laude<br />
in 1910. She took her master’s degree in<br />
classics and taught at the Cambridge<br />
School for Girls. She came to The<br />
Bishop’s School in 1920 to teach Latin<br />
and English in the lower school and<br />
to help with administrative tasks but<br />
Barton’s death led the bishop to choose<br />
her as headmistress. At thirty-three<br />
years old, she was the youngest faculty<br />
member and the most recent arrival.<br />
However, she was also the daughter of<br />
a country doctor and had the reputation<br />
as “cool and clear in decision in times<br />
of emergency.” Scripps felt confident<br />
in Cummins’ abilities. She described<br />
her as “young (33) and pretty, and very<br />
modest about her attainments…She says<br />
she would have preferred to have held<br />
the position of vice principal under a<br />
superior, but she will ‘fill the bill.’” 91<br />
Cummins encouraged academic<br />
excellence during her thirty-two<br />
year tenure. One student recalled,<br />
“Our preparation for college was so<br />
superior that many of us found college work much easier for that training.” 92<br />
The headmistress kept a weekly record of each student’s grades in every subject,<br />
supervised the curriculum, made out the schedules, and edited the Alumnae News.<br />
She invited a wide variety of speakers and performers to campus, including Jane<br />
Addams, naturalist John Burroughs, author-adventurer Richard Halliburton,<br />
historian William James Durant, poet Louis Untermeyer, and pianist Ignace Jan<br />
Paderewski. She also emphasized the school’s connection to women’s colleges. Two<br />
stained glass windows in Saint Mary’s chapel represent seals of the “Big Seven”<br />
women’s colleges as well as Elmira College, which had given Ellen Browning<br />
Scripps an honorary degree. 93<br />
Bishop Johnson spent a great deal of time in La Jolla in the early 1920s. Scripps<br />
noted that he made “frequent visits here. The Bishop’s School is taking up much<br />
of his time and thought and work.” 94 He “felt very proud of his La Jolla school”<br />
and enjoyed showing it off to educators visiting from the East Coast. 95 It compared<br />
favorably to the Harvard School, a boys’ preparatory school in Los Angeles that he<br />
had purchased for the Episcopal Church in 1912.<br />
Ellen Browning Scripps offered the bishop the use of her bungalow and<br />
limousine when he came to La Jolla. Ordinarily, he stayed at the school where<br />
he had his own bedroom and bathroom. However, this proved increasingly<br />
inconvenient, Ellen told her sister Virginia, as “he doesn’t like being the only man<br />
among 100 women and other men enjoy meeting him in an establishment of ‘his<br />
own.’ He will have his breakfasts here, but I shall ask him to other meals for I also<br />
am a ‘lone woman.’” They had long conversations over pancakes and maple syrup<br />
256
The Bishop’s School, 1909-2009<br />
Bishop Johnson and Ellen Browning Scripps in the library of South Moulton Villa, n.d. The open drawers, at<br />
right, show Albert R. Valentien’s watercolors of California’s native plants, now the property of the <strong>San</strong> <strong>Diego</strong><br />
Natural <strong>History</strong> Museum. Courtesy of Ella Strong Denison Library, Scripps College.<br />
for Johnson rose early and made breakfast his principal meal. On one occasion, he<br />
entertained her houseguests: “Bishop Johnson was in his happiest and most jovial<br />
mood at the breakfast table yesterday, which infected the rest of the party.” 96<br />
Johnson’s early-morning breakfasts with Ellen led to the creation of Scripps<br />
College. Although he once had planned to develop a women’s college in La Jolla,<br />
his experience as a trustee of Pomona College showed him how difficult such<br />
an undertaking would be. Instead, he and Dr. James A. Blaisdell, President of<br />
Pomona College, encouraged Ellen to provide the foundation of a women’s college<br />
in Claremont, California, where the existence of another institution created<br />
economies of scale. This was the start of the Claremont College consortium,<br />
modeled on Oxford and Cambridge. 97 Ellen described Scripps College, which<br />
opened in 1926, as a new adventure. She told one reporter, “I am thinking of a<br />
college campus whose simplicity and beauty will unobtrusively creep into the<br />
student’s consciousness and quietly develop a standard of taste and judgment.” 98<br />
In the early 1920s, the bishop and the board of trustees decided that The<br />
Bishop’s School should focus on the education of middle-school and high-schoolaged<br />
girls. There had always been a few boys at Bishop’s but no additional male<br />
students were accepted after this time. The small elementary day school that had<br />
started in 1909 was discontinued in 1924. Until 1971, when The Bishop’s School<br />
merged with the <strong>San</strong> Miguel School, boarders and day students were female,<br />
as were many of the faculty. The sequestered nature of life at the institution,<br />
combined with required attendance at chapel, caused a few students and alumnae<br />
to describe Bishop’s as “The Convent.” 99<br />
The school lost a friend and benefactor when Virginia Scripps died on April 28,<br />
1921. She suffered a heart attack while on an around-the-world tour with a group<br />
of Bishop’s students and their instructor, Caroline Macadam, and died in London<br />
several weeks later. At a memorial service in La Jolla, she was remembered as a<br />
free spirit who “went her own way, heedless of criticism or conventions.” In her<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
will, she left twenty-one lots to<br />
The Bishop’s School. She also<br />
left money to St. James by-the-<br />
Sea Episcopal Church and to<br />
Christ Episcopal Church in<br />
Rushville, Illinois. 100<br />
In 1928, Bishop Johnson<br />
died at his home in Pasadena<br />
from pneumonia following a<br />
year of ill health. Newspaper<br />
articles and editorials praised<br />
the eighty-one-year-old<br />
clergyman for his vision and<br />
his humanity and noted his<br />
many contributions to Southern<br />
California. The Bishop’s School<br />
remembered his great service<br />
to the institution by raising<br />
money for the construction<br />
of a Spanish Renaissancestyle<br />
bell tower, “the Bishop<br />
Ellen Browning Scripps, 1919. Courtesy of Ella Strong Denison Johnson Tower,” over St. Mary’s<br />
Library, Scripps College<br />
Chapel, a project completed in<br />
November 1930. 101<br />
Ellen Browning Scripps continued to support The Bishop’s School until her<br />
death on August 4, 1932. She provided an endowment of $100,000 and, in 1924,<br />
gave $50,000 for a new gymnasium with an auditorium and a swimming pool. 102<br />
She also left a substantial bequest. At the end of her life, she told a friend, “one<br />
of the greatest delights of her life had been teaching.” She believed that schools<br />
should be “an open door to knowledge” and that educational methods should<br />
reflect the “experimental age” in which they lived. 103 For the next seventy-five<br />
years, The Bishop’s School would remain committed to her educational ideals.<br />
The Bishop’s School, 1932-present<br />
The Bishop’s School continued to uphold the high academic principles of the<br />
founders. In 1941, it became a charter member of the California Association of<br />
Independent Schools, a non-profit organization that sought to raise and maintain<br />
standards in private school education. Faculty worked to ensure that students<br />
were prepared for admission to the University of California, Stanford University,<br />
and Pomona College, the three most prestigious co-educational institutions in<br />
the state. 104 College acceptance letters validated the institutional philosophy of<br />
Bishop’s and provided markers of the school’s success. When students failed to<br />
gain entrance to competitive colleges and universities, trustees complained. In<br />
1961, a concerned party informed the bishop, “not one of the ’61 class was admitted<br />
to Stanford…And the class of ’61 has been called the best in many years!” 105 An<br />
exhaustive study of the school’s academic and administrative programs followed.<br />
The Bishop’s School benefited from the leadership of several headmistresses after<br />
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The Bishop’s School, 1909-2009<br />
Boarding students gathered in the Scripps Hall lounge, 1966. Courtesy of The Bishop’s School.<br />
Cummins’ retirement in 1953. Rosamond Larmour headed the school from 1953 to<br />
1962. She and her administrative assistant Mary Moran drew on their experience at<br />
the Hockaday School in Dallas, Texas, to enhance the educational effectiveness of<br />
the school and to generate greater publicity. They also increased enrollments from<br />
an average of 125 to nearly 300. 106<br />
Ruth Jenkins, daughter of the Episcopal Bishop of Nevada and former head<br />
of the Annie Wright Seminary, served as headmistress during the height of<br />
the Vietnam War, from 1963 to 1971. She channeled the desire for change into a<br />
massive building program that would provide new classrooms, chemistry and<br />
biology laboratories, additional dormitory space, tennis and basketball courts,<br />
an enlarged hockey field, and even a new entrance to campus. Her greatest<br />
achievement was Ellen Browning Scripps Hall that provided residence apartments,<br />
a lecture hall, dining room, kitchen, drawing room, terrace, and health center. She<br />
responded to changes in student culture by discontinuing the requirement for<br />
evening chapel, adopting a new school uniform, extending off-campus privileges<br />
for boarders, and reducing chaperonage requirements. At the same time, she<br />
encouraged respect for tradition. 107<br />
In 1971, The Bishop’s School merged with the <strong>San</strong> Miguel School for Boys under<br />
the leadership of Philip Powers Perkins, former head of the Sidwell Friends School<br />
in Washington, D.C. The <strong>San</strong> Miguel School, founded in 1951, was an Episcopal<br />
boys school with a campus in Linda Vista. At this time, many women’s secondary<br />
schools and colleges, including the nearby University of <strong>San</strong> <strong>Diego</strong>, became<br />
co-educational in an effort to remain academically competitive and financially<br />
solvent. Between 1965 and 1979, the number of girls’ schools in the United States<br />
dropped by half, from 1,132 to 551. Women’s colleges experienced a similar<br />
decline. 108 The merger caused many faculty, students, and alumnae to reflect on the<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
The Bishop’s School became co-educational in 1971, bringing male students to campus for the first time since<br />
1922. Photo dated 1973. Courtesy of The Bishop’s School.<br />
value of single-sex education, a subject which gained national prominence with the<br />
publication of Carol Gilligan’s In a Different Voice (1982). 109 It also initiated a period<br />
of unprecedented prosperity for the school.<br />
The Bishop’s School had always catered to a relatively homogenous segment<br />
of society—overwhelmingly white, Protestant, and affluent. The founders had<br />
ensured that the school did not engage in discriminatory admissions policies<br />
but, until the 1960s and 1970s, the administration did not engage in the outreach<br />
necessary to attract a diverse student body. Over the next thirty years, however,<br />
the composition of the school changed to better reflect the ethnic, economic, and<br />
religious diversity of Southern California. 110<br />
Dorothy Williams, who served as headmistress from 1973 to 1983, guided the<br />
school through the turbulent years of the 1970s. According to one faculty member,<br />
“she dealt with discipline problems involving drugs and sex, conflicts with faculty<br />
over their roles as authority figures, changes in religious views, constant tensions<br />
over curriculum, rebellious student attitudes towards traditions.” 111 She also<br />
helped students and alumni come to terms with the end of the boarding program,<br />
a decision announced by the Board of Trustees in 1981. The decision reflected<br />
changing economic realities: more classrooms were needed as the numbers of<br />
day students continued to grow. It also acknowledged the challenge of acting in<br />
loco parentis while, at the same time, accommodating student demands for greater<br />
personal freedom.<br />
Since 1983, The Bishop’s School has thrived under the leadership of Michael<br />
Teitelman who came to La Jolla from the Graland Country Day School in Colorado.<br />
He increased the endowment, built the scholarship program, and energized<br />
faculty, students, alumni, and members of the board of trustees. Changes in the<br />
curriculum included the expansion of the Advanced Placement program and<br />
the addition of electives in almost every department. In 1999, students could<br />
take courses such as Pacific Rim Studies, Contemporary Women’s Authors, and<br />
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The Bishop’s School, 1909-2009<br />
Macroeconomics. Today, students compete for National Merit Scholarships and<br />
win admission to the most prestigious colleges and universities in the country. At<br />
the same time, they participate in an award-winning performing arts program and<br />
play a wide variety of sports, including tennis, water polo, football, lacrosse, and<br />
basketball. They also stay true to the school’s progressive heritage by engaging in<br />
community service before graduation.<br />
One hundred years after its founding, The Bishop’s School remains committed<br />
to its role as a college preparatory institution for both women and men. It<br />
encourages the pursuit of “intellectual, artistic, and the athletic excellence in the<br />
context of the Episcopalian tradition.” It also seeks to foster “integrity, imagination,<br />
moral responsibility, and commitment to serving the larger community.” 112 In<br />
doing so, it honors the hopes and ambitions of Bishop Joseph Horsfall Johnson,<br />
Ellen Browning Scripps, and Virginia Scripps. It also recognizes the investment<br />
made by generations of trustees, parents, faculty, and friends. Happy Birthday to<br />
The Bishop’s School!<br />
NOTES<br />
1. Ellen Browning Scripps (EBS) to Virginia Scripps (VS), June 6, 1916, Scripps College, Denison<br />
Library, Ellen Browning Scripps Collection, Drawer 3, Folder 17 (hereafter SC 3/17).<br />
2. Barbara Miller Solomon, In the Company of Educated Women: A <strong>History</strong> of Women and Higher<br />
Education in America (New Haven and London: Yale University Press, 1985), 58.<br />
3. Andrea Hamilton, A Vision for Girls: Gender, Education, and the Bryn Mawr School (Baltimore and<br />
London: The Johns Hopkins University Press, 2004), 12. See also David Tyack and Elizabeth<br />
Hansot, Learning Together: A <strong>History</strong> of Coeducation in American Public Schools (New York: Russell<br />
Sage Foundation, 1992),<br />
4. Hamilton, A Vision for Girls, 26.<br />
5. “Southern California’s Institutions of Learning Stand Unequaled in America Today,” Los Angeles<br />
Times, August 16, 1919, III.17; “Plans to Build Women’s School: Big College May Be Erected in <strong>San</strong><br />
<strong>Diego</strong>,” Los Angeles Times, March 3, 1910, II.11.<br />
6. W. Bertrand Stevens, A Bishop Beloved: Joseph Horsfall Johnson, 1847-1928 (New York and<br />
Milwaukee: Morehouse Publishing, 1936), passim; “Bishop Johnson Called by Death in<br />
Pasadena,” Los Angeles Times, May 17, 1928.<br />
7. Diocese of Los Angeles, Episcopal Church, A Brief Historical Sketch of the Diocese of Los Angeles (Los<br />
Angeles: N. V. Lewis, the Philocophus Press, 1911), 17-18.<br />
8. Dr. Leslie G. Learned, Draft Tribute to Bishop Johnson, 1928, Episcopal Diocese of Los Angeles<br />
Archive, Bishop Johnson Papers, File Cabinet 3.<br />
9. Learned, “Bishop Joseph H. Johnson,” 1928, Episcopal Diocese of Los Angeles Archive, Bishop<br />
Johnson Papers, File Cabinet 3. See also, “Diocese and Busy Bishop,” Los Angeles Times, April 30,<br />
1910, II.6.<br />
10. E. Herbert Botsford to Reginald Johnson, May 21, 1928, “Joseph H. Johnson,” Williams College<br />
Archives. The author is grateful to Linda L. Hall, Archives Assistant at Williams College, for this<br />
information.<br />
11. Stevens, A Bishop Beloved, 25-26, 29, 47. Eleanor Bennett, who later became a journalist in Long<br />
Beach, wrote in her diary on March 17, 1907: “I called upon Bishop Johnson and took dinner with<br />
the St. Paul’s pro Cathedral people in the Parish House. It was excellent, three courses for 25c. I<br />
never thought I would like the Bishop; I did not care for his looks so fleshy and not handsome but<br />
he is very pleasant to meet and talk with and seems to be kind hearted and sympathetic.” Eleanor<br />
F. Bennett, “<strong>Journal</strong> for 1907,” Huntington Library, HM 64264.<br />
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12. Ruth Nicastro, ed., As We Remember: Some Moments Recalled from the First Hundred Years of the<br />
Episcopal Diocese of Los Angeles (Los Angles: Episcopal Diocese of Los Angeles, 1995), 8. In 1908, he<br />
was honored with a doctorate in sacred theology from the General Theological Seminary. In his<br />
later years, he spent a great deal time on the committee that created the revised Book of Common<br />
Prayer in 1928. Stevens, A Bishop Beloved, 23-24.<br />
13. “Too Many Wives: Bishop Johnson’s Plain Talk on Divorce,” Los Angeles Times, May 17, 1900, I.8;<br />
“Appalling Conditions: Plain Speech from Bishop,” Los Angles Times, January 3, 1910, II.7.<br />
14. “Plain Talk: Bishop Flays Modern Idea,” Los Angeles Times, May 14, 1914, II.6.<br />
15. Stevens, A Bishop Beloved, 49; EBS to VS, June 7, 1918, SC 3/19. Scripps added, “I have a wondered<br />
if Austin Adams is not being lured back into the fold of humanity, among the other miracles that<br />
are being wrought in these wonderful times.” She described him as “too self-centered” to talk<br />
about “anything outside Austin Adams but I fancied last night that he had undergone—or is<br />
undergoing—a sort of spiritual chastening…”<br />
16. Mary C. B. Watkins described the bishop’s visit to Mesa Grande in 1900: “Mr. Restarick and the<br />
Bishop were here. They are splendid. We went to the lower Reserves and then they went over to<br />
Manzanita….The two old women at <strong>San</strong> Jose and Puerta Chiquita are breathing their last, and the<br />
Bishop knelt in the dirt and ashes of those dreadful houses, and prayed, pulled up the blankets<br />
and smoothed the wrinkled cheeks.” Mary C. B. Watkins to Constance G. DuBois, December<br />
17, 1900, Constance Goddard DuBois Papers, 1897-1909, #9167, Division of Rare and Manuscript<br />
Collections, Cornell University Library, Reel 1; “For Our Indians: Bishop Johnson Calls Sequoia<br />
League in Special Session to Consider Relief for Aborigines,” Los Angeles Times, March 3, 1906.<br />
17. The bishop worked with a New York organization, Lace Made By North American Indians, to<br />
bring a teacher to the Mesa Grande Reservation. Sophie Miller and, later, Miss Brunson taught<br />
girls and women to make lace and weave baskets. Joseph H. Johnson to Constance G. DuBois,<br />
November 2, 1904, DuBois Papers, Reel 1.<br />
18. “Indians Like Our Bishop,” Los Angeles Times, June 9, 1906, I.15; “Bishop Johnson is a Friend of the<br />
Indians,” Los Angeles Times, December 21, 1911, I.15.<br />
19. Stevens, A Bishop Beloved, 35-36.<br />
20. Thomas W. Mitchell, Reviewing the Vision: A Story of The Bishop’s Schools (<strong>San</strong> <strong>Diego</strong>: Privately<br />
printed for The Bishop’s School, 1979); Catherine Turney, The <strong>History</strong> of a Parish (Sierra Madre, CA:<br />
Privately printed for the Church of the Ascension, [1985]), chap. 4; “In Death Undivided: Hand in<br />
Hand into Shadows: Charles E. Bentham and Wife are Dead Together,” Los Angeles Daily Times,<br />
January 15, 1915.<br />
21. “Biography by E. W. Scripps, Chapter 27, from E. W. Scripps Autobiography, 1928,” Scripps<br />
Collection, Drawer 1, Folder 9; Patricia A. Schaelchlin, The Newspaper Barons: A Biography of the<br />
Scripps Family (<strong>San</strong> <strong>Diego</strong>: <strong>San</strong> <strong>Diego</strong> Historical Society, 2003), 25, 36. Ellen Browning Scripps<br />
received her certificate from Knox College in 1859 but she was not awarded her degree until 1870<br />
when the school became co-educational. Frances K. Hepner, Ellen Browning Scripps: Her Life and<br />
Times (<strong>San</strong> <strong>Diego</strong>: <strong>San</strong> <strong>Diego</strong> State College, 1966), 13.<br />
22. EBS to VS, July 7, 1918, SC 3/19.<br />
23. Schaelchlin, The Newspaper Barons, 9.<br />
24. Ibid. , chaps. 5-8, passim.<br />
25. Albert Britt, Ellen Browning Scripps: <strong>Journal</strong>ist and Idealist (Oxford: Scripps College, 1960), 34.<br />
26. E. W. Scripps, “Socialism—Individualism—Fatalism,” 1917, Biographical Materials, SC 3/19.<br />
27. Memo by J. C. Harper, undated, SC 1/39.<br />
28. Memo by J. C. Harper, Oct. 5, 1935, SC 1/39.<br />
29. E. W. Scripps to EBS, May 21, 1914, SC 2/49.<br />
30. “Biography by E. W. Scripps, Chapter 27, from E. W. Scripps Autobiography, 1928,” SC 1/9.<br />
31. Bishop Joseph H. Johnson to J. C. Harper, March 19, 1915, Bishop’s School File, SC 11/43.<br />
32. Schaelchlin, The Newspaper Barons, 50, 78, 84-85. In 1967, Judith Morgan interviewed Thomas O.<br />
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The Bishop’s School, 1909-2009<br />
Scripps and other La Jolla residents who remembered Virginia Scripps. Their remarks on her<br />
temper, and frequent use of bad language, can be found in “The Miss Scripps Nobody Knows,”<br />
<strong>San</strong> <strong>Diego</strong> Union, July 30, 1967.<br />
33. Schaelchlin, The Newspaper Barons, chap. 8, passim.<br />
34. In early 1890, Fred and Ellen traveled west to see their sister, Annie, who resided in a sanitarium<br />
owned by the Remedial Institute and School of Philosophy in Alameda, California. In <strong>San</strong> <strong>Diego</strong>,<br />
they visited Fanny Bagby, a journalist who married Paul Blades, managing editor of the <strong>San</strong> <strong>Diego</strong><br />
Union. Schaelchlin, The Newspaper Barons, 110-12, 115; Charles Preece, E.W. and Ellen Browning<br />
Scripps: An Unmatched Pair (Chelsea, MI: Bookcrafters, 1990), 74; EBS, Diary, January 1-March 10,<br />
1890, SC 22/40.<br />
35. VS to E. W. Scripps, September 25, 1892, SC 26/44.<br />
36. Excerpt, EBS to E. W. Scripps, November 14, 1892, Biographical Materials, SC 1/60.<br />
37. Howard S. F. Randolph, La Jolla Year by Year (La Jolla: private printing, 1946), 12, 34, 78-79.<br />
38. Schaelchlin, The Newspaper Barons, chap. 14, passim; E. W. Scripps to L. T. Atwood, February 7,<br />
1906, SC 26/45.<br />
39. E. W. Scripps, “The Story of One Woman” (1910), 32, Biographical Materials, SC 1/54. Calculation<br />
based on the Consumer Price Index, “Measuring Worth.Com,” http://www.measuringworth.com<br />
(accessed October 25, 2007).<br />
40. Memo by J. C. Harper, October 5, 1935, SC 1/39.<br />
41. EBS to J. C. Harper, May 23, 1912, SC 1/28.<br />
42. EBS to James A. Blaisdell, September 24, 1914, SC 1/73; “Questionnaire reply regarding old age,<br />
1921,” Biographical Materials, SC 1/47; Lawrence H. Waddy, A Parish by the Sea: A <strong>History</strong> of Saint<br />
James by-the-Sea Episcopal Church, La Jolla, California (La Jolla: St. James Bookshelf, 1988), 80, 107.<br />
43. EBS, Diary, January 29, 1908, SC 23/12. St. James by-the-Sea was the first parish church built for<br />
St. James by-the-Sea. It was located on a lot donated by Ellen Browning Scripps and, later, moved<br />
to the southwest corner of Draper and Genter Streets. It was dedicated March 9, 1908 by Bishop<br />
Johnson and Rev. Charles L. Barnes of <strong>San</strong> <strong>Diego</strong>. The font was made from two large shells from<br />
the South Seas brought from Honolulu and mounted and presented by Virginia Scripps. Waddy,<br />
A Parish by the Sea, 51.<br />
44. EBS, Diary, January 21, 1908, SC 23/12. In August, she and Virginia entertained Charles and<br />
Anna Bentham who had been chosen to head The Bishop’s School. EBS, Diary, August 13, 1908,<br />
SC 23/12. Scripps had wanted the school to be called “The Bishop Johnson School” but the bishop<br />
demurred, according to one student, “because he wanted each one of his successors to feel that<br />
it was his school as well.” Beatrice Payne, “Memories of a Bishop’s School Alumni from 1907 to<br />
1922,” Scrapbook Album, The Bishop’s School Archive (hereafter TBS).<br />
45. In October, she noted a visit from the bishop, Captain Hinds, and A. G. Spalding who sought to<br />
raise $10,000. EBS, Diary, October 30, November 13, 1908, SC 23/12. The bishop also viewed other<br />
properties. Scripps wrote, “Bishop Johnson came out in afternoon and spent the night. Met him<br />
by E. W. Scripps and Dr. Boal and went with them to look at the site. Dr. B. proposed to confer<br />
with the bishop of the school. Seemed to them rather impractical. Later the bishop walked down<br />
to Jenny’s proposed site and seemed favorably impressed with it.” Boal later sold 40 acres of land<br />
to E. W. Scripps. EBS, Diary, December 11, 1908, SC 23/12.<br />
46. The first students at The Bishop’s School were Alice Wagenheim ’13 (<strong>San</strong> <strong>Diego</strong>), Rose Brown ’14<br />
(Hawaii), Maud Hollows (Chula Vista), Dorothy Clowes ’14 (National City), Christine Simpson<br />
(Siam), Anita Kennedy (<strong>San</strong>ta Ana), Diantha Harvey and “by special permission her small<br />
brother,” John Harvey (England), and Beatrice Payne ’20 (<strong>San</strong> <strong>Diego</strong>). Payne, “Memories of a<br />
Bishop’s School Alumni from 1907 to 1922.”<br />
47. EBS, Diary, January 3, 10, 1909, SC 23/13; Mitchell, Reviewing the Vision, 8-9.<br />
48. EBS, Diary, March 22, 1909, SC 23/13.<br />
49. In early 1907, the board of directors of the Biological Association had decided to find another<br />
architect as they considered Gill’s plans for the Biological Station to be too expensive. Scripps<br />
wrote in her diary, “Mr. Gill (of Hebbard & Gill) called in morning to protest a certain action<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
taken by the Biological Association in discharging his firm and employing another architect to<br />
get up plans for building.” EBS, Diary, January 13, 1907, SC 23/11. She subsequently engaged him<br />
to draw up plans for St. James by-the-Sea at the south-west corner of Draper and Genter. In May<br />
1907, she wrote: “Mr. Gill came out to look at our lot in regard to building a church. He took us to<br />
see the new M[ethodist] E[piscopal] Church in <strong>San</strong> <strong>Diego</strong> of which he is architect. Cost $65,000.<br />
Capable of accommodating 2,500 persons.” He brought plans to her house for her consideration<br />
several times in 1907. EBS, Diary, May 2, July 14, September 14, September 27, 1907, SC 23/11.<br />
50. Thomas S. Hines, Irving Gill and the Architecture of Reform: A Study in Modernist Architectural<br />
Culture (New York: The Monacelli Press, 2000), 12, 136. See also Sarah J. Schaffer, “A Significant<br />
Sentence Upon the Earth: Irving J. Gill, Progressive Architect: Part I: New York to California,” The<br />
<strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong> (hereafter JSDH) 43, no. 4 (1997): 218-39; and Schaffer, “A Significant<br />
Sentence Upon the Earth: Irving J. Gill, Progressive Architect: Part II: Creating a Sense of Place,”<br />
JSDH 44, no. 1 (1998): 24-47.<br />
51. In April 1908, she wrote, “Saw Mr. Gill, gave him orders to go on with the improvements, making<br />
of conservatory, enlargement of sun parlor, etc. Brought out my copy of plans and specifications of<br />
new bungalow, also ground plan of house and park property.” EBS, Diary, April 27, 1908, SC 23/12.<br />
52. In December, she wrote, “Bishop Johnson here this afternoon. Brought plans of new school<br />
building. Also left letters for me asking for $3,000.” EBS, Diary, August 12, October 20, December<br />
15, 1909, SC 23/13. In January 1910, it was decided to use day labor rather than contract workers.<br />
Scripps wrote, “Bishop Johnson, Mr. Gill, and the Benthams here in afternoon to make final<br />
arrangements about school building. Decided to throw off Acton’s bid ($45,000) and undertake<br />
the work by day work instead of contract.” E. W. Scripps loaned them a cement mixer. EBS, Diary,<br />
January 29, February 1, 1910.<br />
53. Eloise Roorbach, “The Bishop’s School for Girls: A Progressive Departure from Traditional<br />
Architecture,” The Craftsman (September 1914), 654.<br />
54. Hines, Irving Gill and the Architecture of Reform, 76.<br />
55. EBS to J. C. Harper, September 15, 1910, November 8, 1910, SC 1/87. On January 31, 1910, Scripps<br />
wrote in her diary, “Bishop Johnson called to tell me about the incorporation of school. There<br />
are to be 5 trustees, himself, Mr. and Mrs. Bentham, and myself. Judge Haines has charge of<br />
incorporation matter. The bishop proposes to have some Scripps on the board perpetually<br />
either by nomination or appointment of predecessor.” The following month, she wrote, “Bishop<br />
Johnson, the Benthams, and Judge Haines here to lunch and to complete incorporation of<br />
‘Bishop’s School on Scripps Foundation.’” EBS, Diary, January 31, February 18, 1910, SC 23/14.<br />
56. EBS to VS, October 5, 1917, SC 3/18. Virginia Scripps also donated the use of several cottages to<br />
the school, including the Domestic Science Building, as annex to the dormitory and for servants’<br />
quarters. The Klein House, across the street, was also used as a dormitory annex and, later, an<br />
infirmary. Payne, “Memories of a Bishop’s School Alumni from 1907 to 1922.”<br />
57. La Leyenda [yearbook], 1914, SDHS, Ephemera/Education: The Bishop’s School; EBS to VS, June 6,<br />
1916, SC 3/17. Ellen Browning Scripps described the skit as “a regular little tempest in a teapot, the<br />
bone of contention being a lot of blueprints supposed to be the plans of the new building that is to<br />
be.” Characters included Irving Gill, Wheeler Bailey, Mr. McKemper, Mrs. Gorham, and Miss Foster.<br />
58. Mitchell, Reviewing the Vision, 13; EBS to VS, October 25, 1914, SC 3/16.<br />
59. Mitchell, Reviewing the Vision, 14-15. Among the members of the Class of 1914 were several girls<br />
for whom admission to either Vassar and Stanford was their main ambition: Louise Fleming,<br />
Helen Logie, Jean Miller, and Erna Reed. La Leyenda [yearbook], 1914, SDHS, Ephemera/<br />
Education: The Bishop’s School. Among the instructors at The Bishops School were Caroline<br />
Macadam, A.B. Vassar, who taught <strong>History</strong>, Mathematics and Travel; Caroline B. Perkins, A.B.<br />
Wellesley, who taught French; Nancy Kier Foster, A.B. University of Southern California; and<br />
Louis Roman, L.L.M. Université de France, who taught Spanish. Scrapbook Album, TBS.<br />
60. One student recalled, “Mrs. Bentham created for those about her the atmosphere of a wellordered,<br />
refined home.” At her dinner table, she used “her personal monogrammed silver and<br />
all of the napkins used in the dining room were hand hemmed, the result of our fireside labors<br />
during the hour of reading in the library.” Payne, “Memories of a Bishop’s School Alumni from<br />
1907 to 1922.”<br />
264
The Bishop’s School, 1909-2009<br />
61.<br />
62.<br />
EBS to VS, May 22, 1919, SC 3/20.<br />
EBS to VS, October 25, 1914, SC 3/16.<br />
63. From 1913, her disease progressed as a “rapid rate.” Faculty noted that she was “losing her<br />
memory fast and doesn’t remember from one hour to the next things she says and does.” In<br />
November, Ellen wrote to her sister, “Bishop Johnson is to be down on Friday (tomorrow) I could<br />
wish he could do a little cleaning up at The Bishop’s School and put Mrs. Bentham away on a<br />
shelf.” EBS to VS, November 7, 1913, November 20, 1913, SC 3/16. On January 10, 1915, Scripps<br />
wrote in her diary, “Mrs. Bentham died at 10:30 a.m. Virginia was there…Board of Trustees of<br />
Bishop’s School meet at school at 9 p.m.—including Bishop Johnson, Mr. Bailey, Mr. McKemper,<br />
and myself. Hold session till 11 p.m.” EBS, Diary, January 10, 1915, SC 23/19.<br />
64. “In Death Undivided: Hand in Hand into Shadows: Charles E. Bentham and Wife are Dead<br />
Together,” Los Angeles Daily Times, January 15, 1915.<br />
65. The <strong>San</strong> <strong>Diego</strong> Bishop’s School, headed by Mrs. Alyda D. MacLain and Miss Isoline L. Lang, was<br />
a separate institution, independent of The Bishop’s School in La Jolla. The <strong>San</strong> <strong>Diego</strong> Bishop’s<br />
School, “Announcement for 1916-1917,” SDHS, Ephemera/Education: The Bishop’s School.<br />
66. Scripps told her sister about the construction of Gilman Hall: “Mr. Gill was out yesterday. Says he<br />
thinks the plans for the new school building are satisfactorily completed but, in letting a building<br />
by contract, there are so many preliminaries to be gone through that actual work is much delayed<br />
in the beginning.” EBS to VS, May 12, 1916, SC 3/17.<br />
67. EBS to VS, November 11, 1916, SC 3/17. In 1915, Bentham Hall was named in memory of Dorothy<br />
Bentham, daughter of the late Rev. and Mrs. Charles E. Bentham.<br />
68. EBS to VS, June 16, 1916, SC 3/17. In 1915, Scripps drove to Los Angeles with her attorney, J. C.<br />
Harper, to see Gill about plans for her new house, South Moulton Villa II. She wrote, “At Mr.<br />
Gill’s office in morning with Mr. Harper, dot crossing building plans with Mr. Gill. Visit on the<br />
occasion the homes of Miss Banning, Mr. Dodge (in process of construction) and Mr. Laughlin to<br />
see certain things Mr. Gill wants to introduce into my building.” EBS, Diary, October 2, 1915, SC<br />
23/19.<br />
69. In an article for Century Magazine, Arthur Gilman described the foundation of Vassar College in<br />
1865 and the “Harvard Annex” (later Radcliffe College) in 1879. He wrote, “It is not a question of<br />
putting all our girls through college; it is not even a question of their being taught in the same<br />
institutions and classes with men when they go to college. The form in which women shall be<br />
taught and subjects that they shall study are of minor importance at the moment, and time will<br />
settle them in a natural way. The great desideratum is that they be given the collegiate education<br />
when they need it, and that they be the judges of their own needs.” Arthur Gilman, “Women<br />
Who Go to College,” Century Magazine 36 (1888), 717-18.<br />
70. <strong>San</strong> <strong>Diego</strong> Union, May 1, 1915.<br />
71. EBS to VS, May 12, 1916, SC 3/17. Scripps admitted to her sister, “I find myself usually rather<br />
antipathetic to Miss Gilman and do things, purposely, which sometimes shock her.” EBS to VS,<br />
November 23, 1916, SC 3/17.<br />
72. EBS to VS, October 5, 1917, SC 3/18.<br />
73. Mitchell, Reviewing the Vision, 17; EBS to VS, October 6, 1917, SC 3/18. The curriculum included<br />
Latin, German, Science, Physical Training, Domestic Economy, Arts and Crafts, Music, Art, Social<br />
Ethics, Riding and Swimming, and Elementary Religion. Scrapbook Album, TBS.<br />
74. EBS to VS, November 20, 1917, SC 3/18; EBS to VS, March 5, 1921, SC 3/22.<br />
75. Mitchell, Reviewing the Vision, 17; EBS to VS, May 7, 1916, SC 3/17. One student recalled, “In the<br />
early years we slept at night on the top of the arcade of Scripps Hall in cots that were covered<br />
with black oil cloth, and awakened in the morning to find pools of water on our beds from the<br />
heavy fog.” Payne, “Memories of a Bishop’s School Alumni from 1907 to 1922.”<br />
76. Hamilton, A Vision for Girls, 64; Caroline Cummins, “Random Reminiscences,” The Bishop’s<br />
School Alumnae News (Summer 1970), SDHS, Ephemera/Education: The Bishop’s School; EBS<br />
to VS, September 16, 1917, SC 3/18. One student recalled that under Gilman’s direction, “the<br />
girls assumed a deep responsibility of war work,” in connection with the Red Cross. Payne,<br />
“Memories of a Bishop’s School Alumni from 1907 to 1922.”<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
77.<br />
78.<br />
79.<br />
Kyle E. Ciani, “Revelations of a Reformer: Helen D. Marston Beardsley and Progressive Social<br />
Activism,” JSDH, 50, nos. 3 and 4 (2004): 102-123; EBS to VS, July 26, 1920, SC 3/21.<br />
EBS to VS, October 25, 1914, SC 3/16.<br />
EBS to VS, February 15, 1921, SC 3/22.<br />
80. In 1917, Scripps wrote, “Mr. Gill has been out 2 or 3 times. He keeps his residence in <strong>San</strong> <strong>Diego</strong><br />
and spends most of his time here. I think the office is closed only temporarily. They still retain<br />
it. Mr. Harper has received word from you to notify Gill not to do any more work at The Bishop’s<br />
School and he has so told him…Building has practically come to a standstill in all this part of<br />
the country, and no one is going to do any spectacular building while financial conditions are so<br />
uncertain.” EBS to VS, September 22, 1917, SC 3/18.<br />
81. In 1916, Ellen wrote that her brother E. W. visited to The Bishop’s School “and went all over the<br />
building with her [Gilman], and gave his opinions and criticisms quite freely. He thinks the<br />
chapel should have had an entrance on the street. By the way, they are having stalls designed for<br />
it, instead of moveable seats. Miss Gilman feels sorry that the whole thing, designing, building,<br />
furnishing, etc., should not have been left entirely to Mrs. Johnson; that that would have<br />
completed the beauty and significance of the tribute to her mother.” EBS to VS, November 25,<br />
1916, SC 3/17.<br />
82. Before the construction of St. Mary’s Chapel, students used St. James Chapel. One student wrote,<br />
“On Sundays, we all flocked up to the little picturesque chapel St. James by-the-Sea and here<br />
we baptized and confirmed and listened to our baccalaureate sermon.” Payne, “Memories of a<br />
Bishop’s School Alumni from 1907 to 1922.”<br />
83. EBS to VS, May 29, 1916, SC 3/17.<br />
84. EBS to VS, June 2, 1918, SC 3/19.<br />
85. EBS to VS, June 7, 1916, SC 3/17. For more information on La Jolla’s early settlers, see Patricia Ann<br />
Schaelchlin, “Anson Peaslee Mills in His Cultural Context: An Interpretation of his Diaries, 1898-<br />
1932,” master’s thesis, <strong>San</strong> <strong>Diego</strong> State University, 1979; and Schaelchlin, La Jolla: The Story of a<br />
Community, 1887-1987 (La Jolla: Friends of the La Jolla Library, 1988).<br />
86. EBS to VS, October 31, 1917, SC 3/18.<br />
87. EBS to VS, October 11, 1918, SC 3/19.<br />
88. EBS to VS, February 16, 1921, SC 3/22.<br />
89. Mitchell, Reviewing the Vision, 24-25; EBS to VS, July 6, 1918, SC 3/19. Gilman hoped to leave an<br />
architectural legacy, a Memorial Gate in honor of the late Anna Bentham. Scripps described it<br />
as “a beautiful and unselfish tribute to a predecessor whom she never knew; and would be in its<br />
inception and construction worthy of its designer and its office.”<br />
90. EBS to VS, January 18, 20, 1921, SC 3/22.<br />
91. Mitchell, Reviewing the Vision, 29; EBS to VS, March 9, 1921, SC 3/22. Cummins wrote, “My<br />
appointment to the position of Headmistress came as a surprise to me and to everyone else. The<br />
Bishop spent several weeks in the East looking for someone with the qualifications he desired,<br />
without success. And so, in March [1921] he asked me to carry on for him at least for a year….<br />
Naturally, the last arrival and the youngest member of the faculty did not appeal to everyone as<br />
leader, but they all hung on!” Cummins, “Random Reminiscences.”<br />
92. Edith Stevens Haney, “Fifty Year Memories,” SDHS, Subject File: The Bishop’s School.<br />
93. Mitchell, Reviewing the Vision, 31-32, 45, 47.<br />
94. EBS to VS, August 9, 1920, SC 3/21.<br />
95. EBS to VS, December 14, 1920, SC 3/21.<br />
96. EBS to VS, January 31, March 16, 1921, 1921, SC 3/22. Cummins wrote, “When Scripps Hall was<br />
the only building and classes met in sections of the drawing room, Mrs. Bentham’s office was the<br />
small room nearest the entrance from Cuvier Street and next to the Bishop’s bedroom and bath.”<br />
Cummins, “Random Reminiscences.”<br />
97. Bishop Johnson imagined integrating Pomona College, Occidental College, Throop (later the<br />
266
The Bishop’s School, 1909-2009<br />
California Institute of Technology), and the University of Southern California “under a kind of<br />
Oxford plan, by which none would lose its identity, but through which all would be enormously<br />
strengthened” at a time when each institution was experiencing administrative and financial<br />
problems. His vision created the Claremont College consortium which includes Pomona College<br />
(1887), Claremont Graduate University (1925), Scripps College (1926), Claremont McKenna College<br />
(1946), Harvey Mudd College (1955), Pitzer College (1963), and Keck Graduate Institute of Applied<br />
Life Sciences (1997). Stevens, A Bishop Beloved, 41.<br />
98. Hepner, Ellen Browning Scripps, 21. Scripps graced the cover of Time Magazine as a result of her<br />
contributions to Scripps College. “Miss Ellen Scripps…Another Oxford Rises,” Time Magazine 7,<br />
no. 8 (February 22, 1926), 20-22.<br />
99. Mitchell, Reviewing the Vision, 46, 49. See also, Gertrude Gilpin, “School Enrolled Boys in the Early<br />
Days,” <strong>San</strong> <strong>Diego</strong> Tribune, April 11, 1958, SDHS, Subject File: The Bishop’s School.<br />
100. Schaelchlin, The Newspaper Barons, 180.<br />
101. The tower built by Irving Gill was removed when a permanent second floor was added to the east<br />
wing of Bentham Hall in the fall of 1930. The Bishop Johnson Tower was built at the same time<br />
and dedicated on December 13, 1930. Mitchell, Reviewing the Vision, 36; La Jolla Light, July 7, 1998,<br />
SDHS, Subject File: The Bishop’s School.<br />
102. J. C. Harper, “Memorandum: New Building for Bishop’s School,” July 22, 1924, SC 11/43.<br />
103. Excerpts from an address by Mary B. Eyre, 1935; letter read by Dr. James A. Blaisdell at a<br />
Memorial Service on October 18, 1932, “In Memoriam: Ellen Browning Scripps, 1836-1936,<br />
complied by J. C. Harper,” SC 1/32.<br />
104. <strong>San</strong>dee Mirell, California Association of Independent Schools, 60 th Anniversary, 1941-2001 (<strong>San</strong>ta<br />
Monica: California Association of Independent Schools, 2001).<br />
105. Anonymous letter to Right Rev. Eric Bloy, [1961], Episcopal Diocese of Los Angeles Archive,<br />
Institutions: The Bishop’s School, File Cabinet 8. The following year, six out of forty-eight<br />
graduating seniors were admitted to Berkeley, three went to Scripps College, and two attended<br />
Pomona. “College Acceptances (as of June 24, 1962), Class of 1962,” Episcopal Diocese of Los<br />
Angeles Archive, Institutions: The Bishop’s School, File Cabinet 8.<br />
106. “Changes, Additions, Improvements, 1953-1962,” Episcopal Diocese of Los Angeles Archive,<br />
Institutions: The Bishop’s School, File Cabinet 8.<br />
107. Mitchell, Reviewing the Vision, 63-68.<br />
108. Ilana Debare, Where Girls Come First: The Rise, Fall, and Surprising Revival of Girls’ Schools (New<br />
York: Jeremy P. Tarcher/Penguin, 2004), 172. Between 1960 and 2006, the number of women’s<br />
colleges in the United States dropped from 233 to 58. Leslie Miller-Bernal and Susan L. Poulson,<br />
eds., Challenged by Coeducation: Women’s Colleges Since the 1960s (Nashville: Vanderbilt University<br />
Press, 2007), 1.<br />
109. Carol Gilligan, In a Different Voice: Psychological Theory and Women’s Development (Cambridge, MA:<br />
Harvard University Press, 1982). Gilligan’s work forced psychologists to think about the role of<br />
gender in human development. A later work suggested that girls might learn differently from<br />
boys. Gilligan, Nona P. Lyons and Trudy J. Hanmer, Making Connections: The Relational Worlds of<br />
Adolescent Girls at Emma Willard School (Cambridge, MA: Harvard University Press, 1990).<br />
110. For information on housing discrimination in La Jolla, see Mary Ellen Stratthaus, “Flaw in the<br />
Jewel: Housing Discrimination Against Jews in La Jolla, California,” American Jewish <strong>History</strong> 84,<br />
no. 3 (1996): 189-219. In 1998-99, 26 percent of the school body identified themselves as students<br />
of color. Jane Bradford, “The Vision Revisited,” unpublished manuscript, 1999, 36, The Bishop’s<br />
School Archives.<br />
111. Bradford, “The Vision Revisited,” 4-5.<br />
112. “Bishop’s Philosophy,” http://www.bishops.com/aboutbishops.aspx?id=1180 (accessed November<br />
14, 2007).<br />
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Irving Gill’s Vision for The Bishop’s School<br />
Nicole Holland, Ashley Chang, and Pieter Stougaard<br />
Irving J. Gill (1870-1936), founding architect of The Bishop’s School, produced<br />
an essay in 1916 while construction was underway on Gilman Hall. He submitted<br />
it to The Craftsman, an important design and architecture magazine published<br />
by Gustav Stickley and devoted<br />
to the promotion of an American<br />
Arts & Crafts style. His essay was<br />
entitled “The Home of the Future:<br />
The New Architecture of the West:<br />
Small Homes for a Great Country.” 1<br />
A photo illustration shows the<br />
school’s first structure built on<br />
Banker’s Hill with the caption:<br />
“Honesty, frankness and dignified<br />
simplicity mark this house<br />
designed to rest upon the crest of<br />
a canyon: Seen from the bottom<br />
of the slope, this section of the<br />
Bishop’s School, designed by Mr.<br />
Gill, rises like a natural monument<br />
of stone.” 2<br />
Gill produced some of his most<br />
innovative and path-breaking<br />
work for The Bishop’s School. He<br />
created an architecture based on a<br />
modernist stripping down or near<br />
elimination of ornamental elements<br />
in favor of the straight line, the<br />
Portrait of Irving J. Gill, 1915. ©SDHS #80:7818.<br />
arch, the circle, and the square. His work reflected the vision of Episcopal Bishop<br />
Joseph H. Johnson and Ellen Browning Scripps for a progressive school founded<br />
on the motto, “Simplicity, Sincerity, Serenity.” Gill fused together American<br />
pragmatism and idealism, much like his mentor Louis Sullivan (who declared<br />
“form ever follows function”). He also drew on the work of European architects<br />
and artists such as the Viennese modernist Adolf Loos and the Dutch artist Piet<br />
Mondrian and his circle. In a 1914 essay, Eloise Roorbach, an architectural critic<br />
Nicole Holland, a Ph.D. candidate at UC <strong>San</strong> <strong>Diego</strong>, is an Advanced Placement art history instructor<br />
at The Bishop’s School. Ashley Chang (’09) and Pieter Stougaard (’09) are students at The Bishop’s<br />
School. The authors extend their appreciation to the <strong>San</strong> <strong>Diego</strong> Historical Society and the Architecture<br />
and Design Collection, University Art Museum, UC <strong>San</strong>ta Barbara. They thank Molly McClain for her<br />
editorial assistance and also thank Kurt Helfrich, Greer Hardwicke, Gregg R. Hennessey, Thomas S.<br />
Hines, Jane Kenealy, Roswell Pund, (‘81) Susie O’Hara, Sarah Schaffer Cooper, (‘93) John C. Welchman,<br />
and Terry Whitcomb.<br />
268
The Bishop’s School, 1909-2009<br />
for The Craftsman and a close friend of Gill, wrote that the architect “recently<br />
built a school at La Jolla down by the sea, known as The Bishop’s School for Girls,<br />
which embraces the most radical theories. Its originality must certainly remain<br />
unquestioned.” 3<br />
Irving Gill was born in a small town in upstate New York. In 1890, he moved<br />
to Chicago, the birthplace of the skyscraper. He obtained a job in the renowned<br />
office of Dankmar Adler & Louis Sullivan and worked as a draftsman under the<br />
supervision of chief draftsman Frank Lloyd Wright. A pioneer in the development<br />
of steel framework skyscrapers, Sullivan preached a reductivist aesthetic that<br />
attracted international architects like Loos. The latter visited the Chicago office<br />
and wrote an essay “Ornament and Crime” (1908) advocating simplicity. Gill,<br />
who worked on Sullivan’s Transportation Building project for the 1893 World’s<br />
Columbian Exposition, wrote in his 1916 essay, “Any deviation from simplicity<br />
results in a loss of dignity. Ornaments tend to cheapen rather than enrich, they<br />
acknowledge inefficiency and weakness.” His years in Chicago helped him<br />
develop a language of architecture at once ethical, moral, symbolic and aesthetic.<br />
In his writing, he chose words such as “simplicity,” “honesty,” “chaste,” and<br />
“beautiful” to characterize his practice. 4<br />
Suffering poor health, Gill moved from Chicago to <strong>San</strong> <strong>Diego</strong>, a young town<br />
offering both a healthy climate and “the newest white page,” as he described<br />
the West. 5 Gill’s professional partnerships for the design and construction of<br />
residences, churches, schools, and commercial buildings included Falkenham &<br />
Gill; Hebbard & Gill; Gill & Mead; and, with his nephew Louis J. Gill, the firm Gill<br />
& Gill.<br />
In 1909, Gill designed structures for The Bishop’s School’s two campuses: a day<br />
school in downtown <strong>San</strong> <strong>Diego</strong> and a boarding school in La Jolla. Kate Sessions,<br />
pioneering horticulturist of Balboa Park, helped landscape the campus at First<br />
Avenue and Redwood Street and may have advised on the La Jolla campus.<br />
An important and previously unpublished lot plan in the archives of the <strong>San</strong><br />
<strong>Diego</strong> Historical Society, done in Gill’s fine hand, shows his first plan for the La<br />
Jolla campus. It contains a central pond and parterre gardens bordered by flowers,<br />
suggesting a Victorian carved picture frame. Although it is dated ca. 1912, it must<br />
have been designed much earlier as it bears little, if any, relation to the actual<br />
buildings. It is, instead, a very early presentation drawing, probably done in 1908<br />
or 1909. It reveals his vision of a balance of indoor and outdoor spaces, connected<br />
by halls and arcades. It shows two formal gardens, one nearly four times the size<br />
of the other, as well as tennis courts. The smaller garden centered on a statue; the<br />
larger focused on a pond.<br />
Gill’s plan for The Bishop’s School campus resembled a utopian design for a<br />
medieval monastery in its dominant axes, ordered cubical spaces, and overall<br />
balance and symmetry. In his essay, he referred to “the arched cloisters of the<br />
Missions” that had been “seized upon and tortured until all semblance of their<br />
original beauty has been lost.” He wanted to return such spaces to their “meaning<br />
and definite purpose—that of supporting the roof or the second story and thus<br />
forming a retreat or quiet walk for the monks.” 6 In a drawing for Gilman Hall, he<br />
labeled the arcade “cloisters.” 7<br />
Gill’s buildings for the La Jolla campus—Scripps Hall (1910) with its living<br />
spaces, Bentham Hall (1912) with its small chapel and watchtower, and Gilman<br />
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Irving Gill, Sketch for Lot Plan, pen and ink on tracing paper, ca. 1909. This utopian design for The Bishop’s<br />
School resembles the plan for a medieval monastery and bears little formal relation to Gill’s built structures. One<br />
exception is the annotated “Assembly Room,” a term which reflects Gill’s Quaker background, marking the space<br />
for the first chapel and an area known today as Taylor Performing Arts <strong>Center</strong>. Striking are the formal, parterre<br />
gardens centering on a pond in the present-day Quadrangle. ©SDHS Archives, #1009-013.<br />
View of The Bishop’s School in 2008, seen across the Quadrangle. Left and center, Gilman Hall (1916); right of Gilman<br />
Hall, St. Mary’s Chapel (1916-17) and the Bishop Johnson Tower (1930); at right, Bentham Hall (1912) with tower by<br />
Carleton Winslow (ca. 1930) that replaced Gill’s earlier belvedere-style tower. Photograph by Pablo Mason.<br />
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The Bishop’s School, 1909-2009<br />
Hall (1916-17)—show a geometric approach that fused reformist Modernism with<br />
Mission Revival. In his essay, Gill wrote that the arch signified ”the dome of the<br />
sky, exultation, reverence, and aspiration,” the square symbolized “power, justice,<br />
honesty and firmness,” and the straight line indicated “greatness, grandeur<br />
and nobility.” 8 His structures reflected the core values of physical, mental and<br />
spiritual well being that informed the built architecture, the college preparatory<br />
curriculum, and school’s community engagement.<br />
Gill did not design all of the buildings on campus, however. Carleton Monroe<br />
Winslow (1876-1946) designed St. Mary’s Chapel in the romantic Spanish Baroque<br />
Revival style that became popular after the Panama-California Exposition of 1915<br />
in Balboa Park. Winslow, who had worked in Bertram Goodhue’s New York office,<br />
arrived in <strong>San</strong> <strong>Diego</strong> in 1911 to participate in the construction of the exposition’s<br />
central buildings. In 1916, he received a commission from Isabel Johnson, wife of<br />
the bishop, to design a chapel in memory of her mother. Winslow later removed<br />
Gill’s original belvedere “watch tower” from Bentham Hall in favor of a dome at<br />
some time during his work for the Bishop Johnson Tower (1930) and the Wheeler<br />
J. Bailey Library (1934). 9 To Winslow’s credit, he attempted to maintain Gill’s<br />
architectural vocabulary along with his simplicity in design and materials.<br />
Gill opened an office in Los Angeles in 1913 and rarely visited <strong>San</strong> <strong>Diego</strong> after<br />
1920. His vision of a utopian community, however, helped to define the village<br />
of La Jolla in architectural terms. His works there, besides The Bishop’s School,<br />
include the La Jolla Women’s Club (1912-14), the Scripps Recreation <strong>Center</strong> (1913-15),<br />
and South Moulton Villa II (1915), now the Museum of Contemporary Art<br />
<strong>San</strong> <strong>Diego</strong>. 10 He was aware that he was creating an architectural legacy,<br />
writing in The Craftsman, “If we,<br />
the architects of the West, wish to do<br />
great and lasting work we must<br />
dare to be simple, must have the<br />
courage to fling aside every<br />
device that distracts the eye from<br />
structural beauty, must break<br />
through convention and get down<br />
to fundamental truths.” 11 His<br />
courageous pursuit of beauty and<br />
truth continues to inspire<br />
students and faculty on The<br />
Bishop’s School campus.<br />
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Students and faculty gather for a photograph in front of Bishop’s day school campus in <strong>San</strong> <strong>Diego</strong>. The property<br />
formerly had belonged to a botanist, Professor Townsend Stith Brandegee, who had planted a large number of<br />
rare trees and plants. The <strong>San</strong> <strong>Diego</strong> Union described it “the greatest collection of Lower California specimens in<br />
existence.” Courtesy of The Bishop’s School.<br />
Irving Gill, The Bishop’s Day School (1909), 3068 First Avenue, <strong>San</strong> <strong>Diego</strong>, California, photograph, n.d. This<br />
photograph, doubtless taken by Gill himself, served as an illustration for his only major essay, “The Home of the<br />
Future: The New Architecture of the West: Small Homes for a Great Country.” Courtesy of the Architecture and<br />
Design Collection, University Art Museum, University of California, <strong>San</strong>ta Barbara 1968.105.259.p.2.<br />
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The Bishop’s School, 1909-2009<br />
Irving Gill, perspective rendering, Scripps Hall and Bentham Hall, ink and watercolor on paper, signed and<br />
dated 1910. This ink and watercolor image of Scripps and Bentham Halls is done in a palette of soft, tender blues<br />
and greens, suggesting climbing vines and wisteria that provided “ornamentation” for the arches, or, as Gill<br />
wrote: “unornamented save for the vines that soften a line or creepers that wreathe a pillar or flowers that inlay<br />
color more sentiently than any tile could do.” Courtesy of the Architecture and Design Collection, University Art<br />
Museum, University of California, <strong>San</strong>ta Barbara, 1968.105.10.0.51.<br />
The Bishop’s School, La Jolla, ca. 1920s. This photograph features Scripps Hall, left, and Bentham Hall, center,<br />
with the original belvedere “watch tower,” the design of which is echoed in the Gilman sleeping porch, behind. At<br />
right is St. Mary’s Chapel, built by Winslow in 1916-17. The classical detail of the ground story “tabernacle” on<br />
Bentham Hall contrasts with the Mission Revival roofline above, a design deriving from Mission <strong>San</strong> <strong>Diego</strong> de<br />
Alcalá. Gill, who had consulted on the mission’s condition, used some design features in the façade for St. James<br />
Chapel, no longer extant. ©SDHS #5463.<br />
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Louis J. Gill, Rough Sketch No. 1, Revised Plot Plan, ink on paper, signed and dated February 19, 1916. Louis<br />
Gill ran the <strong>San</strong> <strong>Diego</strong> office of Gill & Gill after his uncle left for Los Angeles. This sketch marks already<br />
constructed buildings with parallel line hatching. Winslow’s 1916 chapel is in outline, as are the projected spaces<br />
for Gilman Hall dormitory, library, and offices, upper left, as well as dormitory, music building, and support<br />
services, below. Gill proposes an astonishing and never-built Greek amphitheater, an architectural feature then<br />
much in vogue, here set on an axis with Bentham Hall. ©SDHS Archives, #1022-001.<br />
The living room in Scripps Hall, ca. 1910, reflected an Arts & Crafts aesthetic with its large tile fireplace, beamed<br />
ceilings, inset bookcases, and comfortable seating. The walls were painted “warm gray” and surfaced “so that<br />
they will catch color from sky and garden,” according to a 1914 article in The Craftsman. ©SDHS #81:11868.<br />
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The Bishop’s School, 1909-2009<br />
A dorm room in Scripps Hall, ca. 1910. Eloise Roorbach praised Gill for his “modern efforts to encourage<br />
individuality instead of molding it along arbitrary lines.” Each room was “severely plain, identical in finish and<br />
furnishings, in fact merely a white page upon which each girl may express her individuality.” ©SDHS #81:11898<br />
Maurice Braun, Wheeler J. Bailey house, colored pencil drawing, ca. 1920s. Leading <strong>San</strong> <strong>Diego</strong> plein air artist<br />
Maurice Braun (1877-1941), an avid student of Theosophy and a firm believer in <strong>San</strong> <strong>Diego</strong>’s Edenic qualities,<br />
illustrated Gill’s 1907 La Jolla house for Wheeler J. Bailey, a long-time Bishop’s trustee and donor of the 1934<br />
Library. Dating from Braun’s middle period, this colored pencil drawing denotes the sweeping seascape and<br />
accents the Mediterranean feeling of the Southern California coastline. Braun’s vignette is a rarity; it portrays the<br />
only accurately identifiable Gill building in Braun’s overall work. Courtesy of the Braun Family Collection.<br />
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Irving Gill, Bentham Hall East, West, North and South Elevations, graphite and ink on linen, dated in title<br />
block, July 3, 1912. The south elevation, seen at the foot of the sheet, features Gill’s original tower, designed in<br />
the Italian “belvedere” or “watchtower” style, with unglazed openings on each side, a design echoed in the extant<br />
upper story of Gilman Hall, once the sleeping porch. Carleton M. Winslow replaced Gill’s tower with a domed<br />
version around 1930. Courtesy of the Architecture and Design Collection, University Art Museum, University<br />
of California, <strong>San</strong>ta Barbara, 1968 105.11.D.56.<br />
Tilt-slab concrete construction method, La Jolla Women’s Club, 1912. The tilt-slab method was invented by<br />
U.S. Army Colonel Aiken for barracks construction during the Spanish-American War. Wheelbarrow loads of<br />
concrete are poured into horizontal forms articulated by steel bars, marking heights and outlining openings for<br />
doors or windows. Here, an entire wall is seen being hoisted into place. Gill purchased equipment in 1912 and<br />
used the process in building Gilman Hall in 1916. Gill’s recently rediscovered 1910 specifications for The Bishop’s<br />
School refer to it as a “reinforced concrete school” and give no indication that he used the tilt-slab method for the<br />
earlier buildings. Courtesy of the Architecture and Design Collection, University Art Museum, University of<br />
California, <strong>San</strong>ta Barbara 1968.105.130.p. 20.<br />
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The Bishop’s School, 1909-2009<br />
Scripps Hall, Wrought Iron Balconies, revised North Elevation to show balconies, Wrought Iron Cross, revised<br />
West Elevation to show cross, graphite and ink on linen, dated in title block 9/1/1910. Scripps Hall, the first of the<br />
three Gill buildings, was intended for living quarters and included bedrooms, kitchen, dining room, and parlor. Its<br />
west elevation featured the original entrance to the school, surmounted by a wrought iron cross, shown here, with<br />
a pathway to Prospect Street. Gill’s attention to detail is noted in the precision of measurements and patterning,<br />
seen in the balcony and the Celtic-Mozarabic-style cross. Courtesy of the Architecture and Design Collection,<br />
University Art Museum, University of California, <strong>San</strong>ta Barbara, 1968.105.10.D.37.<br />
Students gathered on the arcade of Gilman Hall, 1916. Courtesy of The Bishop’s School.<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
The school’s first gymnasium and swimming pool were designed by Louis J. Gill, the nephew of Irving Gill, in<br />
1924-25. They were located on the site of a cottage that had served as the domestic science building. Courtesy of<br />
The Bishop’s School.<br />
Aerial view of La Jolla showing The Bishop’s School at the corner of Prospect Street and La Jolla Boulevard, April<br />
16, 1935. ©SDHS #79:741-8.<br />
278
The Bishop’s School, 1909-2009<br />
St. Mary’s Chapel (1917) was designed by Carleton<br />
M. Winslow in the Mission Revival style. In 1933,<br />
the <strong>San</strong> <strong>Diego</strong> Chapter of the American Institute<br />
of Architects awarded a certificate of honor to The<br />
Bishop’s School, recognizing the “exceptional merit”<br />
of the chapel’s architectural design. The jury took<br />
particular note of the woodwork, windows, and tile<br />
floor. Courtesy of The Bishop’s School<br />
Gilman Hall’s arcade represents Gill’s modernist<br />
interpretation of a medieval cloister. ©SDHS<br />
#93:18897-1.<br />
Wheeler J. Bailey Library (1934), photograph by Erickson. This photograph shows the bridged pathway over<br />
the ravine—called by Bishop’s students “the jungle”—that was later cleared and filled. Carleton M. Winslow’s<br />
customary Spanish Baroque Revival style appears in the interior stained glass lancet windows, beamed ceiling,<br />
and cruciform plan, but the architect pays homage to founding architect Gill in the arches and clerestory windows<br />
on the exterior. Courtesy of The Bishop’s School.<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
NOTES<br />
1.<br />
2.<br />
3.<br />
4.<br />
5.<br />
6.<br />
7.<br />
8.<br />
9.<br />
10.<br />
11.<br />
Irving J. Gill, “The Home of the Future: The New Architecture of the West: Small Homes for a<br />
Great Country,” The Craftsman (May 1916): 140-51, 220. All quotations in illustration captions come<br />
from this essay. For monographs and critical writings on Gill see: Thomas S. Hines, Irving Gill and<br />
the Architecture of Reform (New York: The Monacelli Press, 2000); Bruce Kamerling, Irving J. Gill,<br />
Architect (<strong>San</strong> <strong>Diego</strong>: <strong>San</strong> <strong>Diego</strong> Historical Society, 1993); Esther McCoy, Five Architects (New York:<br />
Reinhold Publishers, 1960); Marvin Rand, Irving J. Gill Architect 1870-1936 (Layton, UT: Gibbs<br />
Smith, 2006); Sarah J. Schaffer, “A Significant Sentence Upon the Earth: Irving J. Gill, Progressive<br />
Architect: Part I: New York to California,” The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong> (hereafter JSDH) 43, no.<br />
4 (1997): 218-39; and Schaffer, “A Significant Sentence Upon the Earth: Irving J. Gill, Progressive<br />
Architect: Part II: Creating a Sense of Place,” JSDH 44, no. 1 (1998): 24-47.<br />
Gill, “The Home of the Future,” 144. In the article, the photograph is misidentified as a structure<br />
on the La Jolla campus. The former Bishop’s Day School, on the edge of a canyon, is now the site<br />
of the Self-Realization Fellowship Temple at 3072 First Avenue at Redwood Street.<br />
Eloise Roorbach, “The Bishop’s School for Girls: A Progressive Departure from Traditional<br />
Architecture,” The Craftsman (September 1914), 654. In her essay, Roorbach misidentified a<br />
photograph of the St. James by-the-Sea as The Bishop’s School Chapel. Bentham Hall contained a<br />
small chapel.<br />
Gill, “The Home of the Future,” 142, 144.<br />
Ibid, 141.<br />
Ibid, 151. Gill’s vision has endured to the present day, as one participant in a 2007 student survey<br />
of attitudes toward the campus commented: “We have a beautiful campus and grounds, which<br />
creates a warm, safe, and comfortable feeling. There is a lot of open space, which makes offices<br />
and classrooms feel accessible.”<br />
Drawing, Architecture and Design Collection, University Art Museum, University of California,<br />
<strong>San</strong>ta Barbara 1968.105.9.D.18.<br />
Gill, “The Home of the Future,” 142.<br />
In honor of the centennial of The Bishop’s School, an exhibition of drawings and photographs of<br />
The Bishop’s School will feature the designs of Irving Gill and Carleton Winslow, Sr., as well as<br />
subsequent campus architects Mosher/Drew; Frank Hope; KMA Architects; and Tucker, Sadler,<br />
Noble, Castro.<br />
Gill’s original design was recreated with considerable modifications by architect Robert Venturi.<br />
The Museum of Contemporary Art opened in 1996. See: Laurie Ann Farrell, Hugh Davies, and<br />
Robert Venturi, Learning from La Jolla: Robert Venturi Remakes a Museum in the Precinct of Irving Gill<br />
(<strong>San</strong> <strong>Diego</strong>: Museum of Contemporary Art, 1998).<br />
Gill, “The Home of the Future,” 141-42.<br />
280
Artists in La Jolla, 1890-1950<br />
by Jean Stern<br />
The small seaside village of La Jolla evolved into an art community in 1894<br />
when Anna Held established her Green Dragon Colony. The Green Dragon was a<br />
cluster of cottages designed by Irving Gill (1870-1936), a young architect who, at the<br />
time, had been in <strong>San</strong> <strong>Diego</strong> just over one year. The colony also served as a center<br />
for musicians and artists who came from throughout the United States to entertain<br />
both colony residents and Hotel del Coronado visitors. All the while, these creative<br />
individuals gathered in kindred energy and exchanged ideas in an atmosphere of<br />
friendship and art.<br />
Although none could foresee it, the next significant development in the<br />
young but dynamic La Jolla art community came when newspaper heiress Ellen<br />
Browning Scripps (1836-1932) retired and settled in La Jolla in 1897. Uncomfortable<br />
with her great wealth, she became La Jolla’s best loved philanthropist and set about<br />
to improve the lives of her new neighbors.<br />
Ellen Browning Scripps was responsible for the creation of the Scripps Institute<br />
of Oceanography (1903), The Bishop’s School (1909), the La Jolla Women’s Club<br />
(1914), La Jolla Recreation <strong>Center</strong> (1913), the Birch Aquarium at Scripps (1915),<br />
Scripps Park (1915), Scripps Aviary at the <strong>San</strong> <strong>Diego</strong> Zoo (1923), Scripps Memorial<br />
Hospital (1924), and Scripps College in Claremont (1926). Upon her death in 1932,<br />
she willed the entire collection of nearly 1,200 Albert R. Valentien watercolors of<br />
the California flora, which she had personally commissioned from the artist in<br />
1908, to the <strong>San</strong> <strong>Diego</strong> Museum of Natural <strong>History</strong>. In 1941, her home, designed<br />
by Irving Gill in 1915, became the La Jolla Art <strong>Center</strong>, later to be remodeled and<br />
renamed the La Jolla Museum of Contemporary Art.<br />
At the turn of the twentieth century, La Jolla, positioned between two active art<br />
communities: Los Angeles to the north, and <strong>San</strong> <strong>Diego</strong> to the south, would play<br />
host to many of the great California Impressionist painters.<br />
Franz Anton Bischoff (1864-1929) first painted in the <strong>San</strong> <strong>Diego</strong> area in 1915<br />
when he participated in the Panama-California Exposition. He continued to paint<br />
there, and in La Jolla, all through the mid-1920s, producing a number of paintings<br />
of the distinctive coast.<br />
Born in Bohemia, Austria, Bischoff mastered the difficult art of porcelain<br />
painting before coming to the United States in 1885. Over the following<br />
twenty years, he established himself as the foremost American china painter, a<br />
designation he retains to this day. He moved to California in 1906 and settled in<br />
South Pasadena.<br />
Once in California, Bischoff turned to landscape painting, finding less and<br />
less time to continue his flower paintings and his porcelain work. Through the<br />
Mr. Jean Stern, executive director of the Irvine Museum, is a recognized authority on California impressionism.<br />
He frequently lectures on the subject and has written numerous books and articles, including<br />
monographs on artists such as Franz A. Bischoff, Alson S. Clark, Sam Hyde Harris and Elsie Palmer Payne.<br />
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1920s, he painted the coastal areas of Monterey and Laguna Beach, <strong>San</strong> <strong>Diego</strong>,<br />
the Sierra Nevada, and the desert near Palm Springs. Some of his most charming<br />
works were painted in the small central California village of Cambria. In 1928, he<br />
and his friend John Christopher Smith traveled to Utah, where they painted in<br />
Zion National Park. He died on February 5, 1929, in his home in South Pasadena,<br />
California.<br />
Maurice Braun (1877-1941) was a founding member of the La Jolla Art<br />
Association in 1918 and continued to paint and exhibit in La Jolla throughout his<br />
life. Born in Hungary, Braun emigrated to the United States with his family when<br />
the artist was four years of age. An exceptional talent, he copied works of art at<br />
the Metropolitan Museum and, in 1897, enrolled in the School of the National<br />
Academy of Design. After three years there, he studied under William Merritt<br />
Chase (1849-1916) for an additional year.<br />
In 1909, Braun moved to <strong>San</strong> <strong>Diego</strong>. An active member of the Point Loma<br />
Theosophical Community, he was given studio space in the Isis Theater building<br />
in downtown <strong>San</strong> <strong>Diego</strong> by Katherine Tingley. He became an active member of<br />
the art community and founded the <strong>San</strong> <strong>Diego</strong> Academy of Art in 1910. One of his<br />
most important pupils was Alfred R. Mitchell.<br />
In 1921, Braun returned to the East and established a studio in New York City.<br />
He also established studios in Connecticut—one at Silvermine and finally in the<br />
art colony in Old Lyme. After a few years he returned to <strong>San</strong> <strong>Diego</strong> but continued<br />
from 1924 to 1929 to spend part of each year in the East. In 1929 he joined nine<br />
other artists in forming the Contemporary Artists of <strong>San</strong> <strong>Diego</strong>.<br />
Braun enjoyed a national reputation and his paintings were exhibited in<br />
Chicago, Philadelphia, Pittsburgh, and New York. In 1915, he received a Gold<br />
Medal at the Panama-California Exposition in <strong>San</strong> <strong>Diego</strong> for his painting California<br />
Hills. Other prizes included the Hallgarten Prize from the National Academy of<br />
Design in 1900 and a purchase award from the Witte Memorial Museum in <strong>San</strong><br />
Antonio, Texas, in 1929. He died November 7, 1941, in <strong>San</strong> <strong>Diego</strong>, California.<br />
Alson Skinner Clark (1876-1949), an unconfined traveler, had wandered<br />
throughout the world before settling in Pasadena in 1920. Always looking for<br />
beautiful scenery, he spent most of his summers through the 1920s vacationing and<br />
painting along the coast in Laguna Beach, La Jolla, and <strong>San</strong> <strong>Diego</strong>.<br />
Born to a wealthy family in Chicago, Clark enrolled in Saturday classes at<br />
the Art Institute of Chicago in 1887 at the age of eleven. He also received private<br />
tutoring from a German painter while visiting Europe with his family a few years<br />
later. After completing his public school education, he studied at the Art Institute<br />
for several months from November 1895 through March 1896. Not satisfied with<br />
the teaching methods at the Institute, he left for New York where he enrolled in the<br />
newly formed school of William Merritt Chase (1849-1916).<br />
After four years of study, Chase advised Clark to continue his art education<br />
in Europe. Late in 1899, Clark went to Paris where he enrolled in the Académie<br />
Carmen, the atelier of James Abbott McNeill Whistler (1834-1903). He remained<br />
there for about six months, during which time he traveled in France, Holland and<br />
Belgium. He continued his studies in Paris at the Académie Delecluse and with<br />
Alphonse Mucha (1860-1939).<br />
Clark returned to the United States and, early in 1902, opened a studio in<br />
Watertown, New York. Newly married, he returned to Paris in the fall of 1902. He<br />
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Artists in La Jolla, 1890-1950<br />
and his wife thereafter divided their time between France and the United States<br />
until the outbreak of World War I. Clark exhibited at the Art Institute of Chicago,<br />
which held a one-man show for him in January 1906.<br />
On a summer trip in France in 1907, Clark began to lighten his palette to the<br />
higher key of his first teacher, Chase. The change in his style to a stronger<br />
impressionist method was reinforced during a trip to Spain in 1909 and was regularly<br />
seen in his work thereafter. In October and November 1910, he visited Giverny where<br />
he saw former classmate Lawton Parker, Frederick Frieseke, and Guy Rose.<br />
An inveterate tourist, Clark traveled throughout Europe and the United States.<br />
In 1913, on his way to Paris, he stopped in Panama and decided to undertake<br />
the project of recording the construction of the Panama Canal. Eighteen of those<br />
paintings were exhibited at the Panama-Pacific International Exposition in <strong>San</strong><br />
Francisco in 1915.<br />
The Clarks returned to America in August 1914 at the outbreak of World War I.<br />
After the United States entered the war in 1917, he enlisted in the Navy and was sent<br />
to France to work as an aerial photographer. In the winter of 1919, Clark visited<br />
California for reasons of health. In January 1920, he decided to remain, acquiring a<br />
home and studio along the Arroyo Seco in Pasadena. He renewed his acquaintance<br />
with Guy Rose who had returned to California in 1914. In 1921, along with Rose,<br />
Clark began teaching at the Stickney Memorial School of Art. Attracted to the<br />
southwest landscape, Clark made numerous painting trips in California and in<br />
Mexico. He sent works for exhibition to New York and Chicago, was represented<br />
by Stendahl Galleries, and also received mural commissions. He died in Pasadena<br />
on March 23, 1949, while painting in his studio.<br />
One of America’s great Impressionist painters, Colin Campbell Cooper<br />
(1856-1937) had come to California to visit the 1915 <strong>San</strong> Francisco Panama Pacific<br />
International Exposition early in the year. He went south to spend the winter of<br />
1915 in Los Angeles and the spring of 1916 in <strong>San</strong> <strong>Diego</strong> to paint and attend the<br />
Panama-California Exposition. In those few months, he produced a large number<br />
of elegant works, from small mixed-media pieces to full-size oil paintings, many of<br />
which represented the expositions.<br />
Born in Philadelphia, Cooper attended the Pennsylvania Academy of the Fine<br />
Arts beginning in 1879. In 1886 he went to Europe, first painting in Holland and<br />
Belgium before moving on to Paris. In Paris he studied at the Académie Julian, the<br />
Académie Delecluse, and the Académie Viti, three of the more popular art schools<br />
among American art students.<br />
After his return to the United States in 1895, Cooper taught watercolor painting<br />
for three years at the Drexel Institute in Philadelphia. He returned to Europe<br />
in 1898, traveling and painting in Holland, Italy, and Spain, and developing a<br />
reputation as a painter of the great architectural treasures of Europe. He continued<br />
to be interested in the interpretation of architecture after his return to the<br />
United States in 1902, painting a series of impressionist cityscapes of New York,<br />
Philadelphia, and Chicago. Over the next several years he continued his European<br />
sojourns and in 1913 went to India, returning to California in 1914. In January 1921<br />
Cooper established permanent residency in <strong>San</strong>ta Barbara. During the 1920s, he<br />
served as Dean of the School of Painting at the <strong>San</strong>ta Barbara School of the Arts.<br />
He made another trip to India and visited England, France, and Spain in 1923. He<br />
died in <strong>San</strong>ta Barbara, on November 6, 1937.<br />
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Alfred R. Mitchell (1888-1972) left his home in Pennsylvania in 1908 to come<br />
to <strong>San</strong> <strong>Diego</strong>, California. Wanting to become a professional artist, he began a<br />
course of study in 1913 at the <strong>San</strong> <strong>Diego</strong> Academy of Art under Maurice Braun. His<br />
talents were acknowledged just two years later when he received a Silver Medal<br />
at the Panama-California Exposition in <strong>San</strong> <strong>Diego</strong>. Encouraged by Braun, Mitchell<br />
returned to his native Pennsylvania in 1916 and enrolled in the Pennsylvania<br />
Academy of the Fine Arts where he came under the powerful artistic influence<br />
of two of Bucks County’s leading figures, Daniel Garber (1880-1958) and Edward<br />
Redfield (1869-1965). In 1920, Mitchell was awarded the highly coveted Cresson<br />
European Traveling Scholarship, which allowed him to spend the summer of 1921<br />
in England, France, Italy, and Spain.<br />
Upon completion of his studies, Mitchell returned to <strong>San</strong> <strong>Diego</strong> where he<br />
became an active member of the art community. He played a leading role in<br />
the formative years of both the La Jolla Art Association and, later, the Fine Arts<br />
Gallery of <strong>San</strong> <strong>Diego</strong>. In 1929, he was a founding member of the Associated Artists<br />
of <strong>San</strong> <strong>Diego</strong>. Mitchell remained a popular art teacher well into his senior years.<br />
He was active in every facet of the <strong>San</strong> <strong>Diego</strong> and La Jolla art communities and<br />
was widely mourned when he died on November 9, 1972, in <strong>San</strong> <strong>Diego</strong>.<br />
Charles Arthur Fries (1854-1940) began his art career at the age of fifteen as<br />
an apprentice lithographer in the firm of Gibson and Company in Cincinnati.<br />
While there, he began studying under Charles T. Webber (1825-1911) in 1872, at<br />
the McMicken School of Design which later became the Cincinnati Art Academy.<br />
Fellow students there included future masters John Twachtman (1853-1902), Frank<br />
Duveneck (1848-1919), Henry Farny (1847-1916), and Robert Blum (1857-1903).<br />
Fries worked for a few years as an illustrator and staff photographer for the<br />
Cincinnati Commercial Gazette. In 1876 he went to London and Paris where he saw<br />
the works of the Impressionists. After returning to the United States, he opened<br />
a studio in Cincinnati where he made lithographs from views painted in his<br />
journeys in the Southeast which were also published in Harper’s Weekly, Century<br />
Magazine, and Leslie’s Magazine. His lithograph Bird’s Eye View of Cincinnati, a scene<br />
from a hot air balloon, was used for the poster of the Cincinnati Exposition of 1886.<br />
After his marriage in 1887, he moved his studio to New York City where he<br />
continued to illustrate for books and magazines, among them McGuffey’s Reader<br />
and Eggleston’s <strong>History</strong> of the United States. In 1890 he purchased a farm in Vermont.<br />
He met Charles F. Lummis, the great booster of the American Southwest, who<br />
advised him to go to California. In 1896, he moved his family west, living at the<br />
Mission <strong>San</strong> Juan Capistrano for several months.<br />
While in Capistrano, Fries’ daughter became seriously ill and required the<br />
attention of the local doctor. She recovered, but the episode resulted in the most<br />
renowned painting of his career. Too Late, painted in 1896, depicts a grieving<br />
mother prostrate over the recently deceased body of a young girl. A doctor, bag<br />
in hand, stands just inside the doorway, apparently unable to arrive in time to<br />
save the child. The painting was widely reproduced with copies displayed in<br />
numberless pharmacies and doctors’ offices throughout the United States. The<br />
artist never sold the painting and lent it out for display on numerous occasions<br />
during his career. It was eventually purchased by Henry Ward Ranger and is now<br />
in the collection of the Corcoran Gallery of Art, Washington, D.C.<br />
After his move to California, Fries put aside illustration work and devoted all<br />
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his energy to painting. He was a founding member of the La Jolla Art Association<br />
and the Fine Arts Gallery of <strong>San</strong> <strong>Diego</strong>. He was an active member of the art<br />
community, teaching and painting in Yosemite, Death Valley, Baja California,<br />
and the back country of <strong>San</strong> <strong>Diego</strong>. He kept a journal record of his paintings that<br />
documents nearly seventeen hundred paintings from 1896 to 1940. He was known<br />
as the dean of <strong>San</strong> <strong>Diego</strong> painters. Charles Fries died on December 15, 1940, in <strong>San</strong><br />
<strong>Diego</strong>, California.<br />
Guy Rose (1867-1925) the most respected and distinguished California<br />
Impressionist painter visited La Jolla in 1917. Captivated by the beautiful scenery,<br />
he painted several majestic views of the beaches and coves.<br />
Born in <strong>San</strong> Gabriel, Rose attended the California School of Design in <strong>San</strong><br />
Francisco in 1886 and 1887, studying under Virgil Williams and Emil Carlsen (1853-<br />
1932). In 1888, he went to Paris and enrolled in the Académie Julian. Becoming an<br />
exceptional student who won every award the school offered, he soon found his<br />
paintings accepted for the annual Paris Salon exhibitions.<br />
In 1894 Rose experienced a bout of lead poisoning that forced him to<br />
temporarily abandon oil painting. He returned to the United States in the winter of<br />
1895 and moved to New York where he turned to a career as an illustrator as it did<br />
not require using oil paints. He also taught drawing and portraiture at the Pratt<br />
Institute in Brooklyn, gradually regaining his health. He took up oil painting again<br />
around 1897. In 1899, Rose returned to Paris where he painted landscapes and<br />
earned money as an illustrator for Harper’s Bazaar and other American magazines.<br />
He was greatly influenced by Claude Monet and, in 1904, Rose and his wife Ethel<br />
settled in Giverny, becoming members of the small American art colony there.<br />
He befriended artists Richard Miller (1875-1943), Lawton Parker (1868-1939), and<br />
Frederick Frieseke (1874-1939). In 1910, Frieseke, Miller, Parker, and Rose exhibited<br />
in New York as “The Giverny Group.”<br />
Rose returned permanently to the United States in 1912, settling for a time in<br />
New York. He moved to Pasadena at the end of 1914 and served for several years<br />
on the board of trustees of the Los Angeles Museum of <strong>History</strong>, Science, and Art.<br />
He became the director of the Stickney Memorial School of Fine Arts in Pasadena<br />
and persuaded Richard Miller to visit and teach at the school in 1916. Rose painted<br />
primarily in the southern part of the state until about 1918, at which time he<br />
began to spend summers in Carmel and Monterey. He developed a serial style<br />
of painting, like Monet, in which the same scene would be depicted at different<br />
times of day. Arthur Millier, the art critic for the Los Angeles Times, expressed great<br />
admiration when he remarked that Rose was “almost more a French Impressionist<br />
than an American painter.”<br />
Rose suffered a debilitating stroke in 1921, rendering him unable to paint for the<br />
last years of his life. He died on November 17, 1925, in Pasadena, California.<br />
Cincinnati-born Albert R. Valentien (1862-1925) entered the School of Design<br />
of the University of Cincinnati (now called the Cincinnati Art Academy) in 1875<br />
at the age of thirteen. He studied under Thomas S. Noble (1835-1907) and Frank<br />
Duveneck (1848-1919). His favorite subject was pottery decoration. In 1879, at the<br />
age of sixteen, he was competent enough to start a class taught with fellow artist<br />
John Rettig (1855-1932).<br />
In 1881, Maria Longworth Nichols offered the young but well-established<br />
Valentien the position as chief decorator at her newly founded Rookwood Pottery, in<br />
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Cincinnati. He was the first full-time decorator at the venerable firm and remained<br />
as chief artist for over twenty years.<br />
At Rookwood, Valentien met his future wife, Anna Marie Bookprinter (1862-<br />
1947), who was also employed as a decorator starting in late 1884. They were married<br />
three years later, on June 1, 1887. The marriage, as well as their artistic collaboration,<br />
would prove to be happy, lasting, and productive. Albert’s years at Rookwood would<br />
establish him as one of the leading American art pottery decorators of his day.<br />
In 1899, the couple took a leave of absence from Rookwood so that Anna might<br />
study in Paris. She took sculpture classes under Auguste Rodin (1840-1917) and at<br />
the Académie Colarossi. Both Valentiens submitted work for display at the Spring<br />
Salon and the prestigious Universal Exposition of 1900. Albert was awarded a Gold<br />
Medal for his pottery decoration. His success at the exposition caused his work to be<br />
purchased by several European museums, including the Luxembourg Museum in<br />
Paris, the Victoria and Albert Museum in London, and the Museum of Decorative<br />
Arts in Budapest.<br />
While in Europe, Albert’s health began to fail. In order to relax, he started<br />
painting wildflowers. This passion for floral painting would later lead to a second<br />
career and much critical acclaim as a painter. In 1900, the couple returned to<br />
Cincinnati where Anna tried to get Rookwood to produce a line of pottery that<br />
featured more sculptural elements. Her ideas were turned down.<br />
In the spring of 1903, the couple came to <strong>San</strong> <strong>Diego</strong> for a short visit with Anna’s<br />
brother Charles. They immediately fell in love with the beautiful little city and<br />
decided to stay there for the rest of the year. While in <strong>San</strong> <strong>Diego</strong>, they rediscovered<br />
wildflower painting and Albert produced a series of 130 detailed studies of the<br />
abundant local flora. This group is now part of the collection of the Cincinnati Art<br />
Museum.<br />
Albert and Anna Valentien returned to Cincinnati in 1905. They tendered their<br />
resignations from Rookwood and Albert turned to full-time flower painting. In<br />
1908, they again traveled to <strong>San</strong> <strong>Diego</strong>. Soon after their arrival, Albert accepted a<br />
commission from noted philanthropist Ellen Browning Scripps to paint the entire<br />
California flora, which he estimated to be about 1,000 different plants (it is, in fact,<br />
more than five times larger). Scripps had a large, private library in La Jolla and she<br />
wanted these paintings to be a centerpiece.<br />
In 1911, Albert and his wife Anna opened the Valentien Pottery Company in<br />
<strong>San</strong> <strong>Diego</strong>. It operated for only a brief time and examples are scarce. Their pottery<br />
featured stylized sculptural designs under monochrome vellum glazes, very much<br />
like what Anna had unsuccessfully offered to Rookwood. Anna created the etched<br />
door hardware and a brass-framed art glass lantern on the outside of the Wednesday<br />
Club in <strong>San</strong> <strong>Diego</strong> in 1911,<br />
The Scripps commission would occupy nearly ten years of their lives, from 1908<br />
to 1918. Anna collected and Albert painted every specimen of California plants<br />
and wildflowers they found. The couple visited all parts of the state, from the Sierra<br />
Nevada to the Mojave Desert, including every valley, meadow, desert wash, and<br />
coastal plain they could reach in search of their artistic quarry. In many cases, Albert<br />
had to look through a microscope to draw the delicate parts of even the smallest<br />
plant accurately. It was an achievement unequalled in its scope and artistic merit.<br />
Moreover, it was a scientific accomplishment that may never be duplicated since<br />
some of these plants are now rare or thought to be extinct. In the end, the series<br />
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Artists in La Jolla, 1890-1950<br />
numbered just under 1,200 paintings, all produced on sheets of light green paper<br />
measuring 20 inches by 14 inches. The Valentien paintings of California flora are<br />
now in the collection of the <strong>San</strong> <strong>Diego</strong> Natural <strong>History</strong> Museum.<br />
From 1914 to 1916, Anna Valentien taught art at the State Normal School (Teacher’s<br />
College) in <strong>San</strong> <strong>Diego</strong>, and from 1917 to 1938 at <strong>San</strong> <strong>Diego</strong> Evening High School. One<br />
of her evening school students, Donal Hord (1902-1966), would become <strong>San</strong> <strong>Diego</strong>’s<br />
best known sculptor.<br />
When he finished the Scripps commission, Valentien turned to painting<br />
landscapes but worsening health limited his sketching trips. In an interview late in<br />
his life, Albert Valentien stated that his only complaint was that “there are so many<br />
wonderful things waiting to be done and such little time is given to us in which to<br />
do them.” Albert died in his home at 3905 Georgia Street, in <strong>San</strong> <strong>Diego</strong>, on August<br />
5, 1925. Anna Marie Valentien survived him by more than twenty years and died in<br />
<strong>San</strong> <strong>Diego</strong> on August 25, 1947, at the age of 85.<br />
The following pages include Plein Air paintings to be featured at The Bishop’s<br />
School exhibition sponsored by the Irvine Museum January 19 to March 1, 2009.<br />
Albert R. Valentien<br />
Matilija Poppies,<br />
1903 watercolor and<br />
gouache, 28” x 20”<br />
Private Collection<br />
287
Louis Betts (1873-1961), Mid-Winter, Coronado Beach, ca. 1907. Oil on canvas, 29” x 24”. The Irvine Museum.
Alson S. Clark (1876-1949), Yacht Race, <strong>San</strong> <strong>Diego</strong> Bay. Oil on board, 18” x 22”. Private Collection, Courtesy of The Irvine Museum<br />
Alson S. Clark (1876-1949), La Jolla, 1924. Oil on board, 18” x 21”. Private Collection, Courtesy of The Irvine Museum.
Guy Rose (1867-1925), La Jolla Beach, ca. 1918. Oil on canvas, 24” x 29”. Private Collection, Courtesy of The Irvine Museum.<br />
Alson S. Clark (1876-1949), La Jolla Seascape. Oil on board, 35” x 47”. This very large painting was painted en plein air. Private<br />
Collection, Courtesy of The Irvine Museum.
Guy Rose (1867-1925), Indian Tobacco Trees, La Jolla, ca. 1918. Oil on canvas, 24” x 29”. Private Collection, Courtesy of The Irvine Museum
Maurice Braun (1877-1941), California Hills, 1914. Oil on canvas, 40” x 50”. Winner of the Gold Medal at the 1915 Panama-<br />
California Exposition, <strong>San</strong> <strong>Diego</strong>. The Irvine Museum.<br />
Maurice Braun (1877-1941), La Jolla, ca. 1918-20. Oil on canvas, 24” x 36”. Private Collection.
Colin Campbell Cooper (1856-1937), Ramona’s Marriage Place, <strong>San</strong> <strong>Diego</strong>. Oil on board, 10.5” x 13.25”.<br />
This painting shows Old Town, <strong>San</strong> <strong>Diego</strong>. Private Collection, Courtesy of The Irvine Museum.<br />
Colin Campbell Cooper (1856-1937), Balboa Park, <strong>San</strong> <strong>Diego</strong>, 1916. Gouache on board, 6” x 9”.<br />
Private Collection, Courtesy of The Irvine Museum.
Alfred R. Mitchell (1888-1972), La Jolla Shores. Oil on canvas, 40” x 50” (unsigned). Courtesy of The Irvine Museum
Village Memories:<br />
A Photo Essay on La Jolla’s Past<br />
Jeremy Hollins<br />
La Jolla is a part of the city of <strong>San</strong> <strong>Diego</strong> with a strong community identity.<br />
Henry Fitch of Old Town mapped the area in his survey of 1845 as “pueblo land,”<br />
containing about sixty lots. John C. Hayes mapped it again as part of the pueblo,<br />
then city of <strong>San</strong> <strong>Diego</strong>, in 1858. Long known for its spectacular coastline and<br />
enchanting rock formations, La Jolla remained sparsely settled during the early<br />
American period. In 1870, Charles Dean received pueblo lots 1283 and 1284 from<br />
the city trustees and, after acquiring several more lots, subdivided an area that<br />
became known as La Jolla Park. Even though Dean promoted La Jolla’s “charming<br />
rocks and their caves with the attractions of moss, shells and beautiful nooks,” he<br />
was unable to develop his land.<br />
In December 1880 he advertised La Jolla Park “For Sale to the Highest Bidder,”<br />
and, still unsuccessful, left <strong>San</strong> <strong>Diego</strong> for St. Louis in 1881. The “Boom” of the 1880s<br />
nevertheless brought speculators such as Frank T. Botsford and George W. Heald<br />
to La Jolla and they again scheduled a public auction in 1887. Heald bought a onefourth<br />
interest in La Jolla Park and worked to carefully lay out the community. La<br />
Jolla began to “take off” and by the turn of the twentieth century, it boasted 350<br />
residents and some one hundred buildings. It became a popular resort area and a<br />
perfect location for the founding of The Bishop’s School in 1909.<br />
Cows at the Beach, 1906. At the beginning of the twentieth century, La Jolla Shores was an enjoyable resting<br />
place for Holstein cows that were part of the nearby Long Beach Dairy run by the family of early resident<br />
Jeremiah Lee Holliday. The shores were used at times to grow lima beans and grapes. Photo courtesy of the La<br />
Jolla Historical Society, VM001.0104.<br />
Jeremy Hollins is an architectural historian who has worked for the La Jolla Historical Society, IS Architecture,<br />
and URS Corporation. He has a masters of arts from the University of <strong>San</strong> <strong>Diego</strong> and presently lives<br />
in North County. He enjoys studying vernacular buildings and historic maps.<br />
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The real estate “boom” of the 1880s brought speculators to La Jolla. Frank T. Botsford, a New York stockbroker, and<br />
George W. Heald bought a considerable amount of property, subdivided it, and scheduled a public auction. This<br />
photo shows Robert Pennell, auctioneer and manager of the Pacific Coast Land Bureau, 1887. ©SDHS #5511.<br />
The Mills family. Anson Mills (third from left), his daughter Ellen Mills (fifth from left), and wife Eleanor Mills<br />
(seventh from left) are shown fishing and having a picnic in the La Jolla Shores area, ca. 1895. The Mills family<br />
first came to La Jolla in 1890 following Anson’s retirement. Eleanor “Nellie” Mills became one of La Jolla’s first<br />
real estate brokers and property managers. ©SDHS #4998.<br />
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A Photo Essay on La Jolla ‘s Past<br />
Tourists and La Jolla residents enjoyed the Cove’s picturesque surroundings, enhanced by rock formations like<br />
Alligator Head and Sphinx Rock (foreground), pictured here in 1895. Ocean erosion and storms caused the<br />
formations to deteriorate significantly. Alligator Head’s arch collapsed in 1978 and the rest of the landmark fell in<br />
1983. ©SDHS #3344-1.<br />
As early as 1890, Scripps Park became home to a “Tent City” that housed vacationers, guests, and people from<br />
inland areas eager to escape the summer heat. The tents, pictured here in 1899, were raised each year around<br />
Memorial Day and taken down at the end of the summer. The bathhouse and swings seen above the Cove were<br />
built in 1894 by the <strong>San</strong> <strong>Diego</strong>, Pacific Beach, and La Jolla Railway. The company also built a dance pavilion and<br />
belvederes to encourage visitors to the area. ©SDHS #80:8104-130.<br />
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The bathhouse and swings above the Cove, pictured here ca. 1900, were early tourist attractions at Scripps Park.<br />
The bathhouse had a short-order restaurant that served lunch, coffee, and cold drinks. On August 28, 1905, a<br />
small fire, caused by an exploding gasoline stove, destroyed the building. The swings remained part of the park’s<br />
landscape until ca. 1906. ©SDHS #1282.<br />
Modest, single-family cottages and bungalows above La Jolla Cove provided accommodations for summer visitors.<br />
©SDHS #22403.<br />
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A Photo Essay on La Jolla ‘s Past<br />
Prospect Hill Golf Camp in front of the Green Dragon Colony, ca. 1910. The first tee was located at what is now<br />
the corner of Exchange Place and Prospect Street. ©SDHS #88:16848.<br />
La Jolla’s first library, known as the Reading Room, was built on the northeast corner of Wall and Grand (Girard)<br />
Streets in 1898. It is now located on The Bishop’s School property on the corner of Prospect and Cuvier Streets.<br />
©SDHS #17468-2.<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
A McKeen Motorcar known as the “Red Devil” parked in front of Hotel Cabrillo (1909). The gasoline motor<br />
car made a loop around the village, heading north on Ivanhoe, west along Prospect Street, and south on Fay<br />
Avenue before returning to <strong>San</strong> <strong>Diego</strong>. The Hotel Cabrillo was incorporated into the La Valencia Hotel in<br />
1956. ©SDHS #4506.<br />
Diving from La Jolla’s seaside bluffs, seen here in 1914, was a popular activity in early La Jolla. Local teens<br />
organized diving groups throughout the early twentieth century and earned an appreciation for La Jolla’s unique<br />
coastal location. ©SDHS #7222.<br />
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A Photo Essay on La Jolla ‘s Past<br />
Panoramic view of the La Jolla Shores area, ca. 1921, prior to the construction of the La Jolla Beach and Yacht<br />
Club in 1927 (which became the La Jolla Beach and Tennis Club in 1935). Seen in the right-hand corner is the<br />
Scripps Institution of Oceanography, which relocated to La Jolla Shores from the Cove in 1907, and the southern<br />
portion of Torrey Pines State Reserve. ©SDHS #15320.<br />
The bathhouse pictured here, ca. 1923, was the second bathhouse built at the Cove. It was completed in 1906 and<br />
featured a bowling alley, a pool (covered in 1907 and used as a dance floor), cafe, 180 dressing rooms, and lockers.<br />
Plans for the removal of the bathhouse began in 1919 due, in part, to its unsanitary condition. It was finally<br />
removed in 1925. Seen in the background are the Red Rest and Red Roost bungalows which have been above<br />
Scripps Park since 1894 and are two of the oldest remaining bungalows in La Jolla. ©SDHS #90:18138-94.<br />
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The present-day Colonial Hotel opened in 1929 with ninety apartments and rooms. The original Colonial,<br />
designed in 1911-1912 by Richard Requa, was relocated to the rear of the new hotel. The hotel advertised itself as<br />
fire-proof (evidenced by its penthouse) after recent fires at the Dining Car restaurant, the La Jolla Garage, and five<br />
major fires in 1915 devastated the community. ©SDHS Sensor #32-44.<br />
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A Photo Essay on La Jolla ‘s Past<br />
Horseback riding on La Jolla Shores, ca. 1920. La Jolla residents enjoyed swimming, golf, tennis, and horseback<br />
riding, among other activities. ©SDHS #5736.<br />
Shops along Prospect Street in 1929 included, from left to right, the La Jolla Chocolate Shop Café, Pickwick<br />
Stages System, H. & R. Grocery Co., Geo. Henderson Jewelry, Shoe Repair, Dames Café,<br />
and the Jack-O-Lantern. The Hotel Cabrillo is at far right. ©SDHS #5268.<br />
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In 1926, the <strong>San</strong> Carlos Electric Railroad Station of the La Jolla and <strong>San</strong> <strong>Diego</strong> Electric line stood alone in the<br />
virtually undeveloped La Jolla Hermosa area. The <strong>San</strong> Carlos station was completed in 1924 and remained in<br />
service until 1940 when the “Last Car” took its last trip. The La Jolla United Methodist Church acquired the<br />
building in 1953 and, after extensive alterations, converted the former station into a home for its congregation.<br />
©SDHS #9199.<br />
The <strong>San</strong> <strong>Diego</strong> Electric Railway named stations along the La Jolla and <strong>San</strong> <strong>Diego</strong> Electric line after California’s<br />
missions, according to the December 12, 1924 edition of the La Jolla <strong>Journal</strong>. It adopted the Spanish Colonial<br />
architectural style for the <strong>San</strong> Carlos Electric Railway Station in La Jolla. In 1929, the railway planned an upscale<br />
restaurant for the <strong>San</strong> Carlos station with the intention of attracting locals and out-of-towners. ©SDHS #92:18728.<br />
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A Photo Essay on La Jolla ‘s Past<br />
In the background of this photograph, ca. 1927, is the Scripps Institution of Oceanography’s one-thousand-foot<br />
pier, dedicated in 1916. In the foreground are three of the first residences built in La Jolla Shores, constructed<br />
during a building boom in the early 1920s. ©SDHS #5269.<br />
Aerial view of La Jolla, 1921. Ellen Browning Scripps’ home, South Moulton Villa II, and her landscaped gardens,<br />
open to the public, appears in the foreground at the corner of Prospect and Silverado Streets. ©SDHS #S-20A.<br />
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BOOK REVIEWS<br />
The Anza Trail and the Settling of California. By Vladimir Guerrero. Berkeley, CA:<br />
Heyday Books, 2006. Maps. 240 pp. $16.95 paper.<br />
Reviewed by Donald T. Garate, Historian and Chief of Interpretation,<br />
Tumacácori National Historical Park, Arizona.<br />
At long last, a highly readable, comprehensive single volume account of<br />
Juan Bautista de Anza’s expeditions to, and settlement of, the <strong>San</strong> Francisco Bay<br />
Area is now available. Dr. Vladimir Guerrero, a professor of Spanish language<br />
and literature, has compiled a concise, 220-page account of both the 1774 and<br />
the 1775-76 expeditions. This is especially good news to enthusiasts of the Juan<br />
Bautista de Anza National Historic Trail who have struggled for years to know<br />
and understand this dynamic story by relying on bits and pieces of information<br />
gleaned from various publications or the Internet, or by struggling through<br />
Herbert Bolton’s long, out-of- print (and thus difficult to find) five volumes on the<br />
subject. Even more so, to tourists and travelers along the 1200-mile route that lies<br />
within the United States, this new book will provide a quick and easy read to get<br />
all the basics of these phenomenal expeditions.<br />
Beyond the basics, Guerrero also offers some welcome interpretation that<br />
has been lacking. His most significant contribution shows how important, even<br />
vital, Indians Sebastian Tarabal and Salvador Palma were to the success of the<br />
expeditions. The book includes writings and viewpoints from the diaries of<br />
Anza, Francisco Garcés, and Pedro Font as well as the writings of Father Junípero<br />
Serra, and combines them into a highly readable and interesting day-by-day<br />
account of the expeditions. As a trained linguist, Guerrero is able to provide new<br />
interpretations of the original Spanish, which will undoubtedly be of great help to<br />
those who are not bilingual, and certainly to those who want to examine the finer<br />
shades of meaning in what the original authors’ intent might have been.<br />
While Guerrero’s translations are generally reliable, a word of caution about<br />
livestock is in order. In the numerous instances in which the author uses the word<br />
“steer” and in one instance “bull,” the Spanish word from which these translations<br />
came was res, which is literally a “head of livestock” of unspecified gender (and<br />
proper English in its plural form is “head of cattle” not “heads of cattle,” which the<br />
editors let slip). Even more importantly, caballería cannot universally be translated<br />
as “horse” as Guerrero does here. Caballería literally means “mount,” or “riding<br />
animal,” and could just as well have referred to a mule as a horse. In spite of the<br />
author’s postulation that mules would have been useless if the expedition was<br />
attacked, soldiers on the frontier were often mounted on mules and knew them to<br />
have many qualities not possessed by horses.<br />
A major drawback of the book, from the viewpoint of a researcher or historian, is<br />
its lack of an index and footnoting. The book follows the trajectory of the expeditions<br />
closely because the author has drawn his information mostly from the original<br />
Spanish writings. Readers who desire to learn more about any specific detail in the<br />
story, however, have no notes to direct them to the relevant primary sources. And<br />
without an index, the book will be extremely difficult to use as a reference work.<br />
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Along these lines, since the author used only the writings specific to the<br />
expeditions, some of his interpretations of the people and places are inaccurate,<br />
or at least speculative and undocumented, since the original diaries do not treat<br />
those subjects. For instance, how can we know that Fernando de Rivera was a<br />
“big, powerful, mestizo” when his birth record says he was pure Spanish? How<br />
could Father Tomás Eixarch have been a “guest at Tumacácori” when he was the<br />
assigned minister there in the years before he left on the second expedition? How<br />
could Juan Capistrano Felix, the “healthy boy” born at La Canoa have “live[d] to<br />
maturity in Alta California” when <strong>San</strong> Gabriel Mission records show that he died<br />
at eleven months of age?<br />
These reservations are not to suggest that Guerrero’s book is not a successful<br />
account of the Anza expeditions. Rather, the reader needs simply to be aware<br />
that he or she is not reading a history of Sonoran missions or early California<br />
military personnel. Nor is this a biography of any person or persons on the<br />
Spanish frontier. It is, plain and simple, an excellent retelling of the story of finding<br />
a route through a formidable wilderness to the Bay of <strong>San</strong> Francisco, and then<br />
the transporting of several hundred people and livestock over 1800 miles of that<br />
wilderness to establish what is today one of the largest and best known cities of the<br />
United States.<br />
Beloved Land: An Oral <strong>History</strong> of Mexican Americans in Southern Arizona.<br />
By Patricia Preciado Martin. Tucson, AZ: University of Arizona Press, 2004.<br />
Illustrations and photographs. vi + 151 pp. $17.95 paper.<br />
Reviewed by Richard Griswold del Castillo, Professor, Department of Chicana<br />
and Chicano Studies, <strong>San</strong> <strong>Diego</strong> State University.<br />
The Mexican Americans of southern Arizona have a rich history dating back<br />
to the seventeenth-century missions and presidios. They have survived in a harsh<br />
and unforgiving environment and their way of life is an inspiration for us today.<br />
Living descendants of the first European pioneers of this region tell the stories of<br />
their lives in this collection of oral histories. Patricia Preciado Martin has devoted<br />
her life to preserving the oral history of the elders who grew up on the ranchos<br />
surrounding modern-day Tucson. This is a beautiful book, not only because of the<br />
wonderfully rich first-person narratives about daily life, but also because of the<br />
photographs by José Galvez, a Pulitzer Prize-winning photographer.<br />
As mentioned in the preface by Thomas Sheridan, the ranchos surrounding<br />
Tucson have slowly given way to developers, and the way of life described in<br />
these oral histories has faded. The Mexican rancheros, the men and women<br />
who led rugged lives in the desert, are documented in this book’s collection of<br />
ten individuals. There are tales of children and their parents working, playing,<br />
praying, learning, and singing together. There are stories of suffering and tragedy,<br />
such as Ellena Vásquez Cruz’s memories of how babies died for lack of access<br />
to doctors. There are tales that will make us smile, as when Rafael Orozco Cruz<br />
remembered how his friends learned about the birds and bees by accident. The<br />
smells of the roasting meat and pan-fried tortillas come up to us through pages<br />
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describing the details of food preparation on the rancho. The songs they sang—the<br />
lyrics at least—are in the book, too. The reader almost hears the way they used<br />
to sing every morning and on special occasions such as Christmas. We learn first<br />
hand of how the real cowboys—the Mexican vaqueros—worked and lived on this<br />
forgotten frontier.<br />
For those unfamiliar with Hispanic culture, this book is an excellent<br />
introduction to the strong values of the parents, their love and discipline, and the<br />
customs and celebrations of the wider community. Those who criticize the new<br />
immigrants coming to the United States should remember that they too share in<br />
the customs and heritage of some of the oldest families in the Southwest, and this<br />
heritage is one of respect, hard work, and love for family and God. This book will<br />
be a beautiful addition to anyone’s library. The next time you drive through Tucson<br />
remember the beautiful faces and stories you encounter in Beloved Land thanks to<br />
the work of Patricia Preciado Martin.<br />
Inescapable Ecologies: A <strong>History</strong> of Environment, Disease, and Knowledge. By Linda<br />
Nash. Berkeley, CA: University of California Press, 2006. Maps, photos, index, and<br />
notes. xiii + 332 pp. $24.95 paper.<br />
Reviewed by N. Pieter M. O’Leary, J.D., M.A. Attorney and historian, <strong>San</strong> <strong>Diego</strong>,<br />
California.<br />
Linda Nash has produced a brilliant survey of California’s Central Valley<br />
from early nineteenth-century settlement to the inundation of the valley (and the<br />
bodies of its inhabitants) with pesticides, herbicides, and other “modern” means<br />
of increasing agricultural productivity during the latter half of the twentieth<br />
century. Nash restores the human body to the center of environmental history<br />
after prolonged efforts by scholars and non-scholars alike to separate the study<br />
of human bodies from the rest of nature. This is a thoroughly researched work,<br />
expertly conveyed, which analyzes key events from California’s history from the<br />
perspectives of human health and the natural environment.<br />
In her first two chapters, Nash chronicles the concepts of healthy and unhealthy<br />
landscapes in nineteenth-century California. She suggests that while historians<br />
of American expansion have not neglected the study of disease and its role in<br />
the nation’s settlement, these historians have overwhelmingly focused on the<br />
“disease experience of Native Americans” (p. 16). Nash focuses on white and<br />
non-white bodies alike, which she describes as “malleable and porous entities<br />
that were in constant interaction with their surroundings” (p. 18). She argues that<br />
human bodies became important means through which settlers and migrants (as<br />
well as the physicians who examined them) understood the new environments<br />
of California and especially the Central Valley. From the onset of fever to the<br />
fluctuations of menstrual cycles, bodies facilitated colonial expansion and<br />
registered the physical effects of that expansion.<br />
Nineteenth-century California was a place of contrasts. State Board of Health<br />
officials viewed the state’s many different environments as having their own<br />
effects on health. Physicians of the time even divided the state into three separate<br />
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regions to assess scientifically the relationship between environment and health.<br />
For example, coastal regions like <strong>San</strong> <strong>Diego</strong> were generally believed to foster<br />
convalescence for certain patients. The Central Valley, however, was seen as an<br />
“insalubrious region” (p. 51). Apparently beneficial characteristics like the warm<br />
temperatures, long growing season, and fertile soils actually brought a physical<br />
danger to the body of the settler.<br />
Nash also argues that ideas about health influenced human alterations of<br />
the environment. Her history of the eucalyptus tree is one good example. From<br />
a nineteenth-century medical standpoint, these trees were seen as the most<br />
important in California. Few questioned the tree’s ability to “render healthy<br />
otherwise uninhabitable districts” (p. 72). The strong aroma was said to have a<br />
“prophylactic effect” and was also said to protect the soil from heat as well as<br />
allowing it to “absorb excess water and humidity” (p. 72). Due to the apparently<br />
salubrious effects of the eucalyptus, more than a million of them were planted<br />
by 1874. Locals in Tipton reported a “significant decrease in disease” after they<br />
planted over 120,000 of the trees (p. 72). As a result, the eucalyptus was well on its<br />
way to becoming a fixture in the California landscape.<br />
In general, Nash writes, “nineteenth century understandings of health required<br />
physicians to pay close attention not only to the sufferer’s body but also the<br />
surrounding landscape” (pp. 44-45). With the development of the germ theory of<br />
disease, however, physicians began to focus more tightly on the human body and<br />
the laboratory. The study of the natural environment and its impact on human<br />
health, for the most part, fell to others.<br />
In the following two chapters, Nash takes the reader through the “rise of germ<br />
theory and the corresponding decline of environmental medicine” (p. 81). The<br />
focus was now the human body. As theories of disease-causing agents and disease<br />
transmission gained currency, the state’s Public Health Services and Public Health<br />
Boards developed irrigation, sewage treatment, and sanitation plans. In places<br />
like <strong>San</strong> Francisco, for example, Dr. Rupert Blue of the U.S. Marine Health Service<br />
pushed for the replacement or removal of wooden homes and structures, for the<br />
paving of city sidewalks and markets, and finally the proper handling of animal<br />
manure and human trash.<br />
As the germ theory of disease blossomed, so too did the citrus groves,<br />
vineyards, and orchards of the Central Valley, as ever increasing acreage was<br />
cultivated. Nash’s fifth chapter examines the 1970s and 1980s as a toxic period<br />
in the history of the Valley. Using the cancer clusters located in and around<br />
McFarland to drive home her point, Nash discusses the movement of pesticides,<br />
defoliants, and other toxic chemicals through the region’s soil, aquifers, and air.<br />
As these chemical pollutants were dumped into the region, cases of new, more<br />
complex illness such as cancer, asthma, and neurological disorders appeared<br />
with increased frequency. Studies of these ailments led to a renewed awareness<br />
of the importance of the environment on human health. Human bodies alter the<br />
environment they inhabit, and that same environment affects the bodies within it.<br />
After nearly one hundred years, the study of human health and disease<br />
again links the human body and the natural environment. Nash’s contribution<br />
is to reveal how alterations of California’s environments have helped scientists<br />
recognize the interrelationship between the two.<br />
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Writing the Trail: Five Women’s Frontier Narratives. By Deborah Lawrence. Iowa<br />
City, IA: University of Iowa Press, 2006. Illustrations, index, and notes. x + 158 pp.<br />
$29.95 cloth.<br />
Reviewed by Paige Griffith, Master’s Candidate, New York University.<br />
The myth of the American West has been dominated by notions of physical<br />
strength, moral weakness, and above all, masculinity. This mythical West is hardly<br />
a place for the “true woman” of the nineteenth century. But as Deborah Lawrence<br />
exhibits in Writing the Trail, women were not only present, but a significant<br />
component of westward expansion. The plethora of western writings by men,<br />
and their failure to recognize women, has blinded many to these contributions.<br />
Throughout her book, Lawrence emphasizes that “To truly appreciate [the<br />
American frontier’s] complexity, we must look to noncanonical women’s diaries<br />
and journals that have for too long been ignored by us in literature” (p. 3). These<br />
works, though previously considered “subliterary,” provide information that<br />
can only enrich the public’s understanding of true western heritage. Through<br />
the analysis of five writings, Lawrence presents both a general introduction to<br />
the female narrative genre and specific examples of how women adapted to and<br />
persevered against demanding situations.<br />
The five women that Lawrence chose reflect the variety of circumstances<br />
western travelers faced. Susan Shelby Magoffin accompanied her new husband<br />
down the <strong>San</strong>ta Fe Trail into Mexico and back home to Kentucky. Luckier than<br />
most, Magoffin traveled in her own wagon with a maid. Her description of “the life<br />
of a wandering princess, mine” hardly begins to describe her good fortune (p.16).<br />
One of the primary themes running through all five narratives is transformation<br />
both on and through the journey. Magoffin, who found herself a temporary<br />
shopkeeper by the end of her travels, is a fine example of the transformative nature<br />
of the trip west.<br />
So too is Sarah Bayliss Royce, one of the first women to participate in the<br />
California gold rush and author of the second narrative. During a time when a<br />
woman was defined by the house she kept, western women like Royce were forced<br />
to create a home without the actual structure. Things that defined a woman as<br />
middle class (extra clothing, musical instruments, books) were always the first to<br />
be dumped on the trail, and the constant invasion of dirt made the whole process<br />
unbearable. But Royce, stripped of the majority of her defining substances, found<br />
salvation in her sex. Lawrence points out that many women were paid well, even<br />
better than their husbands, for the performance of domestic tasks. And paid labor<br />
was just one way that these women found some modicum of autonomy: “Contrary<br />
to the nineteenth-century stereotype of feminine helplessness, narratives like<br />
Royce’s indicate that pioneer women took action to manage their lives” (p. 54).<br />
The inclusion of the famous Dame Shirley letters serves two purposes. The<br />
notoriety of Louise Smith Clappe and the contents of her letters make Lawrence’s<br />
work much more accessible. But more importantly, Dame Shirley’s writings parallel<br />
the theme of Writing the Trail. Dame Shirley provides observations about and<br />
examples of women and their shifting place in the California mining camps. A<br />
camp could provide many opportunities for almost any woman, but not without<br />
intense sacrifice.<br />
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The final two narratives provide evidence of demographic groups previously<br />
neglected by scholars. Eliza Burhans Farnham was a widow traveling west.<br />
Taking up a rancho after her husband’s death, she comes to appreciate her hard<br />
work for what it can bring her as opposed to what it is denying her. Although<br />
Farnham is a good example of the possibility of physical change, her prejudices<br />
against her neighbors and the native people, and her emphasis on bringing order<br />
and “gentility” to the West indicate the limits of the transformative power of the<br />
western voyage. The final narrative is written by Lydia Spencer Lane, an officer’s<br />
wife. She provides insight into the female-centered community of the military<br />
outpost, and the importance of friends in general. Her changing attitude towards<br />
physical appearance and Native Americans are two examples of how life in the<br />
West could alter perceptions.<br />
Writing the Trail, though an excellent introduction to the works of pioneer<br />
women, is not without its flaws. The primary sources are so dissected that the<br />
reader has little chance to interpret anything for him or herself. Furthermore, some<br />
of the examples of transformation and connection to nature seem strained. Most<br />
notably, if one has any familiarity with scholarship concerning pioneer women,<br />
this book provides little new insight. However, Writing the Trail would be an<br />
excellent resource for introducing students to the social history of the westward<br />
movement. It would also be a useful text for women’s studies groups or anyone<br />
interested in augmenting his or her knowledge of the great American West.<br />
The Devil in the Silicon Valley: Northern California, Race, and Mexican Americans.<br />
By Stephen J. Pitti. Princeton: Princeton University Press, 2003. Bibliography,<br />
illustrations, index and notes. xiv + 297 pp. $19.95 paper.<br />
Reviewed by Linda Heidenreich, Associate Professor, Department of Women’s<br />
Studies, Washington State University.<br />
In The Devil in the Silicon Valley, Stephen Pitti explores <strong>San</strong> José and the <strong>San</strong>ta<br />
Clara Valley, where “Latinos…helped to shape this region…for more than<br />
two hundred years” (p. 1). His dense study analyzes the many roles of Latinos<br />
in building the region and the role of the devil – racism – in facilitating their<br />
exploitation. Pitti’s work serves as a counter narrative to the booster literature of<br />
the region, making visible the lives of those workers whose labor built it. He brings<br />
to his study a broad lens, beginning with eighteenth-century contact and conflict<br />
between Spanish-Mexican settlers and the Ohlone people, and closing with the late<br />
twentieth-century rise of the Service Employees Industrial Union (SEIU). For each<br />
generation that he studies, Pitti maps their struggles and conflicts. The devil of<br />
racism is a consistent thread bringing cohesiveness to his expansive narrative.<br />
Like other historians of his generation, Pitti brings no romance to his subject.<br />
In Pitti’s telling, the early contact between the indigenous peoples of the area and<br />
Spanish-Mexican colonizers is rooted in violence. Enlightenment philosophies<br />
prevented both church and state from seeing the Ohlone and other indigenous<br />
peoples of the region as fully human. With the U.S.-Mexico War and the gold<br />
rush, indigenous peoples were once again hyper-exploited, this time by American<br />
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settlers, and the Californio population of the region was displaced from positions<br />
of economic and political influence into unskilled, high-risk occupations.<br />
While this tale of displacement is a familiar one, Pitti’s careful attention to this<br />
particular region allows him to map resistance, including labor organizing in the<br />
mercury mines of New Almadén. Segregated by mine owners into an area called<br />
“Spanishtown,” the workers of New Almadén founded their own school, cemetery,<br />
and butcher shop. They also established mutual aid societies, institutions that<br />
would serve as a means of resistance throughout the history of the region.<br />
Pitti’s attention to the early twentieth century, a much under-studied time<br />
period in the history of the West, makes this work especially important. For it is in<br />
the early twentieth century that a new wave of boosterism masked the struggles<br />
of ethnic Mexicans living and laboring in the valley. Like their nineteenth-century<br />
counterparts, ethnic Mexicans in this period were confined to the secondary labor<br />
sector and, like their predecessors, they too engaged in resistance. Pitti’s pages<br />
are replete with histories of mutual aid societies, labor organizing, and coalitions<br />
among workers from different ethnic backgrounds. His careful attention to labor<br />
organizing helps make the success of later organization such as the National Farm<br />
Labor Union and the Community Service Organization (CSO) understandable.<br />
As he describes the rise of the CSO in <strong>San</strong> José, Pitti is able to weave together<br />
the lives and work of well-known historical figures such as Ernesto Galarza and<br />
César Chávez with those of lesser known organizers such as Helen Valenzuela.<br />
The CSO, in Pitti’s narrative, did not introduce any new way of organizing to<br />
the area; instead, it built on a long tradition of local resistance, making possible<br />
the later activism of the Chicano Movement. In this context, the organizations<br />
of the Chicano Movement were yet another wave of resistance, building on the<br />
old, making possible the new. In this text they are neither climax nor anti-climax,<br />
they are an important part of a long tradition. And so Pitti ends not with the rise<br />
of the Chicano civil rights organizations of the 1970s, but with the emergence of<br />
service workers’ unions and the successful resistance of ethnic Mexicans to white<br />
supremacist boosterism at the close of the twentieth century.<br />
Pitti’s work is a pleasure to read. His careful attention to a specific place<br />
introduces readers to narratives of resistance that are often overlooked in other<br />
California histories. By focusing on the “devil” of racism, he is able to reveal<br />
exploitation and resistance as well as critical coalition building among workers.<br />
While the text may be a bit encyclopedic for lower division students, those<br />
teaching upper division and graduate courses in western history, Chicano history,<br />
and/or labor history will find in it a great aid for introducing students to the<br />
complex and layered struggles of which history is made.<br />
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Book Reviews<br />
Fit to Be Citizens?: Public Health and Race in Los Angeles, 1879-1939. By Natalia<br />
Molina. Berkeley, CA: University of California Press, 2006. Illustrations, notes,<br />
bibliography, and index. xvi + 279 pages. $50.00 cloth. $19.95 paper.<br />
Reviewed by Sylvia Hood Washington, Research Associate Professor,<br />
University of Illinois, School of Public Health, Institute for Environmental Science<br />
and Policy.<br />
Natalia Molina’s first monograph, Fit to Be Citizens?, is a well written and<br />
impressively researched study that poignantly elucidates how the ever changing<br />
notions of race—and particularly “whiteness”—not only influenced social status<br />
but also the health of those communities who did not fit neatly into the traditional<br />
“white versus black” racial dichotomy in the United States. Furthermore, Molina<br />
provides the reader with strong evidence of how the fate of these communities was<br />
determined by varying measures of medical and legal discipline that accompanied<br />
their identities as “non-whites.” Throughout the book Molina provides a wide<br />
array of evidence that supports her primary argument that not only did “medical<br />
discourse [have] the power to naturalize racial categories, it also had the effect of<br />
naturalizing social inequalities…By shaping racial categories and infusing them<br />
with meaning, health officials helped define racialized people’s place in society”<br />
(p. 8). Although the book’s title specifies “race,” Molina informs the reader in the<br />
beginning that the study is specifically focused on the public health consequences<br />
of the fuzzy social constructions of race for individuals of Mexican or Asian<br />
descent in Los Angeles. According to Molina, the larger percentage of Asians and<br />
Mexicans in the Los Angeles population resulted in racial prejudices which were<br />
normally “reserved for African Americans” being applied to people of Chinese,<br />
Japanese, and Mexican descent.<br />
This compact monograph tells its story succinctly in five chapters totaling a<br />
mere 188 pages. Molina examines decades-long public health struggles of Asian<br />
and Mexican communities against forced sterilization, tuberculosis, typhus,<br />
and the plague. These communities, economically marginalized and physically<br />
separated from Anglo neighborhoods by a range of legal and extralegal practices,<br />
suffered under the burden of poor housing conditions and neglect on the part<br />
of public health officials. When these factors led to outbreaks of disease, as in<br />
episodes of typhus and plague in the 1910s and 1920s, health officials blamed<br />
Asian and Mexican residents. These officials frequently maintained that disease<br />
stemmed from non-white Angelenos’ cultural practices and ignorance of the<br />
principles of sanitation. Such complaints led some to conclude that ethnic Chinese,<br />
Japanese, and Mexicans were not only disease-carrying vectors who threatened<br />
the larger social body but also that they were essentially inassimilable. Indeed,<br />
Molina highlights connections between such public health discourses and both<br />
immigration restriction and the repatriation of ethnic Mexicans in the 1930s.<br />
When Los Angeles’s non-white residents did receive medical attention from city<br />
authorities, they found it in racially segregated health clinics “that proved to be not<br />
only separate but also unequal” (p. 90).<br />
My only criticism of this work is the immediate dismissal of African Americans<br />
from the study. Her thematic points would have been stronger if she had<br />
addressed how Asians’ and Mexicans’ public health problems compared to those<br />
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of blacks in the same geography, particularly when they were all were considered<br />
medical and public health anathemas in the same era. This is a critical question<br />
particularly because Molina argues that both Asians and Mexicans were preferred<br />
as labor sources over African Americans and as a direct consequence were<br />
allowed into the area in larger numbers. It is not apparent to this reader that their<br />
experiences were uniquely different from those of African Americans on the West<br />
Coast.<br />
The documentation for Fit to Be Citizens? is impressive. Students as well as<br />
senior scholars who read this work should take advantage of the insights and<br />
knowledge provided in Molina’s copious notes and detailed bibliography. This<br />
reader strongly recommends this monograph as a must read for historians of<br />
public health, environmental scholars, and scholars interested in the role of<br />
ethnicity and race in shaping America’s public policies during the early modern<br />
era, when Social Darwinism wielded its greatest impact on immigrants and ethnic<br />
groups who found themselves at the racial margins of “whiteness.”<br />
César Chávez, the Catholic Bishops, and the Farmworkers’ Struggle for Social<br />
Justice. By Marco G. Prouty. Tucson, AZ: The University of Arizona Press, 2006.<br />
Bibliography, illustrations, index, and notes. iii +185 pp. $40.00 cloth.<br />
Reviewed by Richard A. Garcia, Professor of <strong>History</strong>, California State<br />
University, East Bay.<br />
The title of this text is a misnomer. It should be “The Catholic Bishops’ Ad Hoc<br />
Committee and Its Role in César Chávez’s Farmworkers’ Struggle.” The central<br />
focus is not the farm workers or even Chávez. Instead it is the American Catholic<br />
Church, specifically the role of the Bishops’ Ad Hoc Committee and its attempt<br />
to provide mediation between the growers and Chávez’s United Farm Workers<br />
(UFW) in the 1965 to 1970 grape strike and then the 1970-1977 lettuce boycotts. The<br />
Catholic Church created the committee, led by Monsignor Higgins, the “Labor<br />
Priest,” to forge a partnership with Chávez and the farmworkers. Prouty’s thesis is<br />
straightforward: “During this epoch the [American] Catholic Church, through the<br />
Bishops’ Ad Hoc Committee on Farm Labor, played an invaluable role in bringing<br />
peace to the California valley and victory to César Chávez’s movement—La Causa<br />
(the Cause)” (p. 3).<br />
Prouty builds his arguments, especially the theory that the Church played the<br />
central role in Chávez’s two victories, around the Catholic Church’s newly opened<br />
archival communiqués. Adhering to the Church’s interpretations, Prouty asserts<br />
that these successes were a result of a “partnership” with Chávez (p. 3). Prouty<br />
argues that three basic institutional changes led to Chávez’s victories: “the end of<br />
the Bracero Program, the rise of the Civil Rights movement, and the support of the<br />
Catholic Church” (p. 3). He suggests that the farmworkers’ victory in the lettuce<br />
strike was a result of the Church’s move from mediation to more outright support<br />
of Chávez’s union. There is very little mention, however, of the social, cultural, and<br />
political forces in the sixties that supported the farmworkers’ movement. Prouty<br />
presents a historical context that is synchronic and not diachronic. He does not<br />
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Book Reviews<br />
really develop a historical analysis, but one, it seems, emanating from institutional<br />
historicism which relies on David Easton’s systems theory that analyzes “power”<br />
based on the different “strengths and weaknesses” of the institutional “players”<br />
struggling for systematic power and institutional hegemony. In Prouty’s telling,<br />
the Church was the mediating institution that could bring stability to the<br />
California valley.<br />
The author’s readings and interpretations of the archival sources seem to be<br />
accepted without much scrutiny. In short, Prouty is led by the sources and his own<br />
biases. Prouty’s book should have focused on the role and activities of Higgins<br />
who, in fact, was the central figure in this drama. Higgins guided the Bishops’ Ad<br />
Hoc Committee’s fight for what he believed was the true “intellectual framework”<br />
of the Church: social activism, as outlined in the major Papal encyclicals, from<br />
Pope Leo XIII’s 1891 Rerum Novarum, the Catholic Magna Carta, through the<br />
1965 Vatican II reforms. Historically, these encyclicals were to be the core of the<br />
Church’s intellectual mandate, but they conflicted with the Church’s traditions<br />
and bureaucratic nature. The strength of Prouty’s book is that it allows us to see<br />
the central ideological split between the residue of Aquinas’s scholasticism and the<br />
traditionalism of the Institutional Church as it sharply conflicts with Erasmus’s<br />
humanitarianism, the Papal social encyclicals, and Vatican II’s reforms echoing<br />
Martin Luther’s Reformation. This central religious and philosophical conflict in<br />
the U.S. Catholic Church is, in fact, the hidden textual core of the book but Prouty<br />
does not fully address it.<br />
Overall, Prouty accepts the Church’s logic that its lack of full support for the<br />
farmworkers’ struggle was caused by an early period of internal differences<br />
in what the Church believed was just an intrafaith conflict. Despite Prouty’s<br />
“scholarly” weaknesses, he gives us a glimpse into the promise of what the field of<br />
institutional history can be, if done with criticality and imagination and not led by<br />
the sources. Unfortunately, this work does not fulfill the potential of institutional<br />
history and does not appear to be based on the central notion that historians need<br />
both to structure and interpret history, not just report it.<br />
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The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
DOCUMENTARIES<br />
Cul de Sac: A Suburban War Story. Directed by Garrett Scott and Ian Olds.<br />
Brooklyn, NY: First Run/Icarus Films, 2001. 56 minutes. $75.00.<br />
Reviewed by Matthew Bokovoy, Acquisitions Editor, University of Nebraska<br />
Press.<br />
<strong>San</strong> <strong>Diego</strong> police authorities found themselves in a panic on May 17, 1995.<br />
Shawn Nelson, a 35-year-old U.S. Army veteran and unemployed plumber, drove<br />
through the streets of Clairemont, the Sports Arena, and Highway 163 in a 57-<br />
ton M60 Patton tank stolen from the National Guard Armory in Kearny Mesa.<br />
The roughly 45-minute joy ride resulted in crushed cars, mangled street lights,<br />
and broken fire hydrants. It also resulted in Nelson’s death at the hand of <strong>San</strong><br />
<strong>Diego</strong> police authorities. What circumstances had led Shawn Nelson to this final,<br />
desperate act?<br />
Cul de Sac: A Suburban War Story by award-winning film makers Garrett Scott<br />
and Ian Olds provides a compelling narrative to understand how a well-regarded<br />
and warm-hearted tradesman from Clairemont unraveled into unemployment,<br />
alcohol abuse, and methamphetamine addiction that led to his final act on earth.<br />
The film makers use the tragic trajectory of Nelson’s life to explore the shadows<br />
of the Southern California economy, namely the demise of the post-World War<br />
II defense suburbs that had provided skilled and semi-skilled workers with the<br />
decent salaries and high wages that ushered them into the middle class and the<br />
American Dream.<br />
As a native son of a safe, suburban upbringing in Clairemont, Shawn Nelson,<br />
and many of those he grew up with, became casualties of the end of the Cold<br />
War. Nelson’s father had been a technician at Convair’s Atlas Missile production<br />
facility in Kearny Mesa and moved his family to the suburb of Clairemont, built<br />
by developer Lou Burgener (and named for Claire Tavares) to supply returning<br />
veterans with affordable, modern housing. According to Scott Nelson, Shawn’s<br />
brother, the neighborhood was so safe and nurturing you could leave your keys in<br />
your car and kids roamed in packs along the streets without worry. The economic<br />
decline of the 1989 recession manifested itself locally in falling property values<br />
and a methamphetamine addiction epidemic. In one interview, Michael Stepner of<br />
the redevelopment authority noted that perhaps Clairemont had reached the end<br />
of its useful life, a casualty of the decline of the local defense industry.<br />
When talk of the peace dividend gave way to both military base closures and<br />
the winding down of the defense industry, blue collar Californians in communities<br />
like Clairemont suffered diminished expectations through the mid-1990s. With a<br />
lack of good blue collar defense jobs, Clairemont went through economic decline,<br />
offering its residents little economic opportunity for upward mobility. Nelson<br />
proved resourceful as a handyman and electrician with a reputation for helping<br />
down-and-out friends. But not even an optimistic Shawn Nelson could overcome<br />
the privations of self-employment. Chronically unemployed and grieving over<br />
a divorce and the death of his parents, Nelson’s life spun out of control into<br />
alcoholism and meth addiction. During his last days, he had dug a seventeenfoot-deep<br />
“gold mine” in his backyard and believed a government helicopter was<br />
316
Documentaries<br />
following him to steal his mineral rights. The bank was ready to foreclose on his<br />
home. Under duress and with no resources for medical assistance, he stole the tank<br />
from the Kearny Mesa National Guard Armory.<br />
The film stylistically weaves interviews with Nelson’s family and friends,<br />
public officials, and urban historians with stock footage from World War II, the<br />
<strong>San</strong> <strong>Diego</strong> defense industries, and the Vietnam War. Scott and Olds imply that a<br />
city and region based on a war economy will experience a certain type of cultural<br />
blowback that results in a kind of institutionalized violence lying beneath the<br />
social structure. Scott and Olds connect Nelson’s life story to the larger forces<br />
that transformed the defense suburbs of <strong>San</strong> <strong>Diego</strong> throughout the 1990s. What<br />
emerges is a poignant tale of class consciousness in Southern California filtered<br />
through Shawn’s life and the many family members and friends still trying<br />
to understand the reasons for his demise. Despite the human shortcomings<br />
involved in Nelson’s tragedy, every interview segment suggests economic and<br />
social injustice. All who knew Shawn interviewed for the film—his brother, his<br />
friend Fela, Karen Rowlands, Chuck Childers, Chuck Johnson, Dale and Diane<br />
Fletcher, and roommate Tim Wyman—confirm that he was a good man, even if<br />
somewhat troubled. In a compelling scene of philosophical reflection, Nelson’s<br />
friend Fela believed that Shawn had tried to stand up to the authorities, and they<br />
had taken his life. Fela notes with disgust that the authorities had the power, but<br />
will never have the morality. Cul de Sac unflinchingly moves beyond the media<br />
sensationalism that emerged from Nelson’s rampage to ask the important question<br />
of how and why this man committed this desperate act.<br />
Ripe for Change. Written and directed by Emiko Omori. Produced by Emiko<br />
Omori and Jed Riffe. DVD. Independent Television Service, 2005. 55 minutes.<br />
Reviewed by Jeffrey Charles, Associate Professor and Chair, <strong>History</strong><br />
Department, California State University, <strong>San</strong> Marcos.<br />
In the first half of 2008, food shortages caused riots around the globe and<br />
salmonella outbreaks from imported produce sickened thousands of Americans.<br />
The skyrocketing price of oil put enormous strain on farmers who depended on<br />
gas-fueled farm equipment and petroleum-based fertilizers, and farmers all across<br />
the South and West complained about the shortage of labor caused by a U.S. Border<br />
Patrol crackdown. Based on this evidence alone, the food and agricultural system<br />
is certainly “ripe for change.” Teachers and an interested general audience can turn<br />
to this documentary for its presentation of some alternative possibilities to today’s<br />
global, industrial agriculture system – a system that California growers helped<br />
create beginning in the early twentieth century, and one that some Californians<br />
have always worked hard to reform.<br />
Ripe for Change first aired in May 2006 as part of the PBS series, California and<br />
the American Dream. This four part film series focused on how the Golden State<br />
is being transformed by immigration, economic development, and community<br />
restructuring. The series is now available on DVD as four separate films. These<br />
DVDs probably will be of most interest to libraries, educators and scholars,<br />
317
The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
although of the four, Ripe for Change has the most general appeal.<br />
Ripe for Change makes the case for sustainable farming in California largely<br />
through interviews with key figures in the recent movement toward local, nonindustrial<br />
agriculture. These interviews include such well-known figures as<br />
restaurateur Alice Waters and farmer and author David Mas Masumoto. But they<br />
also include eloquent testimonies from lesser-known growers such as Maria Inés<br />
Catalán, an immigrant organic farmer, and Will Scott, Jr., president of the African-<br />
American farmers of California. Interviews with academics and journalists<br />
also play a key role. The geographic range of those interviewed is limited to<br />
Northern and Central California – those interested in <strong>San</strong> <strong>Diego</strong>, or even Southern<br />
California in general, where agriculture still plays a crucial economic role, will be<br />
disappointed.<br />
The film’s message is a laudable one – that we should encourage small<br />
growers, including women and poor immigrants, as they work hard growing and<br />
selling pesticide-free produce direct from their farms to local markets. Yet the<br />
documentary falls somewhat flat, in part because the filmmaking itself is rather<br />
uninspired. There are many “talking heads,” but not quite enough connecting<br />
narration, nor are there many arresting images. A few more lingering shots of<br />
Masumoto’s luscious peaches would have constituted a more effective argument<br />
for small, sustainable farming than the somewhat tendentious on-camera<br />
interview of the environmental lawyer and activist Claire Hope Cummings. This is<br />
not to say that Cummings’s critiques of the current food system and her comments<br />
about the corporate origins of genetically modified crops are without merit, just<br />
that they might have been more cinematically illustrated.<br />
In general, the film suffers from a lack of emotional power or dramatic<br />
tension, yet the interviewees do touch upon some of the controversies involved<br />
in reforming our agro-food system, and a sustained focus on just a few of these<br />
would have made the film’s analysis more thought-provoking. To mention a few<br />
of the issues the film introduces but leaves hanging: Would the consumer buy<br />
wormy or spotted lettuce if pesticide use was discontinued? Is small farming<br />
a necessity for a sustainable agriculture, or can large farms also function<br />
sustainably? Do genetically modified crops offer promises of conservation of water<br />
and fertilizer, or are they simply instruments of corporate control? Can farmers’<br />
markets be scaled up to address the inequities of food distribution, providing<br />
the poor their share of fresh fruits and vegetables – or are they, like the organic<br />
offerings of the grocery chain Whole Foods, going to be limited to a more upscale<br />
clientele? And what about the fate of farm work in a reformed system, since<br />
organic farming is far more labor-intensive? Are we willing to pay these farm<br />
workers adequately? Finally, if we move to reduce our dependence on distant<br />
markets, will our urbanized society be able to provide enough land, water, and<br />
farmers to ensure our food supply?<br />
For those who are unfamiliar with issues of agricultural sustainability and<br />
the problems with our food “chain,” this film would make important viewing.<br />
For others more aware of current issues, the interviews of significant figures in<br />
recent Northern California agricultural and food history could also make the film<br />
valuable. If problems concerning food continue to generate headlines, however,<br />
perhaps a new, more definitive documentary on recent California agriculture is in<br />
order.<br />
318
Book Notes<br />
BOOK NOTES<br />
Ho for California! Women’s Overland Diaries from the Huntington Library. Edited by<br />
<strong>San</strong>dra L. Myres. <strong>San</strong> Marino, CA: Huntington Library Press, 2007. Illustrations,<br />
maps, notes, bibliography, and index. 337 pp. $24.95 paper. The Huntington Library<br />
Press has reprinted the late Professor Myres’s annotated collection of five women’s<br />
diaries. These accounts come from three primary routes to California from the era<br />
of the gold rush to the 1860s.<br />
The Imaginary Line: A <strong>History</strong> of the United States and Mexican Boundary Survey,<br />
1848-1857. By Joseph Richard Werne. Fort Worth, TX: Texas Christian University<br />
Press, 2007. Photographs, maps, bibliography, and index. 272 pp. $34.95 cloth. This<br />
monograph chronicles the work of the joint boundary commission to determine<br />
the location of the international border. Joseph Richard Werne explores the<br />
political, economic, and technological obstacles that made this project a decadelong<br />
endeavor.<br />
Perfume Dreams: Reflections on the Vietnamese Diaspora. By Andrew Lam.<br />
Foreword by Richard Rodriguez. Berkeley, CA: Heyday Books, 2005. Photographs.<br />
xv + 143 pp. $14.95 paper. In sixteen short essays, journalist Andrew Lam reflects<br />
on his experiences as a Vietnamese living in the United States. Lam, who at age<br />
eleven fled South Vietnam shortly before the fall of Saigon, investigates the pull of<br />
both American and Vietnamese culture on himself, his family, and other members<br />
of the refugee community.<br />
Positively No Filipinos Allowed: Building Communities and Discourse. Edited<br />
by Antonio T. Tiongson, Jr., Edgardo V. Gutierrrez, and Ricardo V. Gutierrez.<br />
Philadelphia: Temple University Press, 2006. Photographs, notes, and index. xi<br />
+ 258 pp. $27.95 paper. Twelve essays by scholars from a range of disciplines<br />
explore numerous aspects of Filipino American history. Common themes uniting<br />
the essays include the legacy of American colonialism in the Philippines, the<br />
racialization of Filipinos, and the politics of identity.<br />
The Search for a Civic Voice: California Latino Politics. By Kenneth C. Burt.<br />
Claremont, CA: Regina Books, 2007. Photos, illustrations, tables, notes,<br />
bibliography, and index. xiii + 438 pp. $24.95 paper. This historical account traces<br />
Latino politics in California from before World War II through the coalitionbuilding<br />
that helped propel Antonio Villaraigosa to victory in the 2005 Los<br />
Angeles mayoral election.<br />
Shaping the Shoreline: Fisheries and Tourism on the Monterey Coast. By Connie Y.<br />
Chiang. Seattle: University of Washington Press, 2008. Illustrations, maps, notes,<br />
bibliography, and index. 320 pp. $35.00 cloth. Connie Chiang examines the ways<br />
various actors have attempted to derive profits from the Monterey coast. In the<br />
process, the book explores how human perceptions of nature have shifted as the<br />
area moved from a coastal resort to the working-class town of John Steinbeck’s<br />
Cannery Row and back to a tourist destination by the close of the twentieth century.<br />
319
The <strong>Journal</strong> of <strong>San</strong> <strong>Diego</strong> <strong>History</strong><br />
Executive Director<br />
David Kahn<br />
BOARD OF TRUSTEES<br />
Officers<br />
Robert F. Adelizzi, President<br />
Arthur G. Peinado, Vice President<br />
Donna Long Knierim, Vice President<br />
Helen Kinnaird, Secretary<br />
Michael P. Morgan, Treasurer<br />
Harold G. Sadler, Past President &<br />
Chairman, Board of Governance<br />
BOARD MEMBERS<br />
Thomas Anglewicz<br />
Diane G. Canedo<br />
James R. Dawe<br />
Kathy Eckery<br />
August J. Felando<br />
Ann Hill<br />
Polly Liew<br />
Virginia Morrison<br />
John Sinnott<br />
Marc Tarasuck<br />
John Vaughan<br />
Nell Waltz<br />
CREDITS<br />
Design and Layout<br />
Allen Wynar<br />
Printing<br />
Crest Offset Printing<br />
MUSEUM OF SAN DIEGO HISTORY,<br />
RESEARCH LIBRARY, JUNIPERO SERRA<br />
MUSEUM, VILLA MONTEZUMA, AND<br />
MARSTON HOUSE STAFF<br />
Jane Anderson, Administrative Assistant<br />
Itzel Baeza, Site Interpreter<br />
Jeff Boaz, Exhibit Preparator<br />
Trina Brewer, Museum Store Manager<br />
Reggie Cabanilla, Facilities Supervisor<br />
Julia K. Cagle, Assistant Archivist<br />
Rachel Carpenter, Site Interpreter<br />
Tori Cranner, Director of Collections<br />
Karie Dzenkowski-Castillo, Senior Exhibits<br />
Preparator<br />
Heather Gach, Museum Educator<br />
Nyabthok Goldet, Assistant Museum Custodian<br />
Jamie Henderson, Collections Assistant<br />
Margaret Johnson, Museum Educator<br />
Tam Joslin, Museum Store Associate<br />
Lauren Kasak, Site Interpreter<br />
Jane Kenealy, Archivist<br />
Thomas Ladwig, Exhibits Preparator<br />
Joel Levanetz, Assistant Collections Manager<br />
Rachel Lieu, Assistant Registrar<br />
Oscar Martinez, Museum Custodian<br />
Kevin McManus, Site Interpreter<br />
Carol Myers, Photo Archivist<br />
Rosa Petroulias, Store Associate<br />
Ginger Raaka, Director of Retail<br />
Brianna Rendon, Site Interpreter<br />
Aurora <strong>San</strong>doval, Business Manager<br />
Jessica Schmidt, Membership Coordinator<br />
Gabe Selak, Public Programs Manager<br />
Susan Stocker, Accounting<br />
Chris Travers, Director of the Booth Historical<br />
Photograph Archives/Photographer<br />
Nicholas Vega, Senior Curator<br />
Kate Vogel, Exhibition & Graphic Designer<br />
EDITORIAL ASSISTANTS<br />
Travis Degheri<br />
Cynthia van Stralen<br />
Joey Seymour<br />
Arjun Wilkins<br />
320
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