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Volume 88, Number 4 - California Historical Society

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This is the cultural memory enshrined in San<br />

Diego’s folk annals and traditions. Bandini is<br />

remembered, as one writer recently put it, as a<br />

“legendary renaissance Californio” who entertained<br />

“legions of notables.” 97 His home in Old<br />

Town likewise has become fused with the memory<br />

of him as a don whose life embodied the<br />

traditions of Old Spain. Even the building itself,<br />

despite multiple uses, alterations, and changes in<br />

name, is registered on the <strong>California</strong> State <strong>Historical</strong><br />

Landmarks as the Casa de Bandini. 98<br />

Postscript: <strong>California</strong> State Park’s<br />

Restoration, 2007–2010<br />

In April 2010, <strong>California</strong> State Parks completed a<br />

three-year, $6.5 million rehabilitation and restoration<br />

of the historic landmark, returning it to its<br />

appearance as the Cosmopolitan Hotel. Roughly<br />

80 percent of the original fabric and features<br />

have been preserved or accurately reconstructed,<br />

including the hotel’s redwood clapboard siding,<br />

turned wooden columns and baluster railings,<br />

wood-shingled hip roof, chimneys, tongue-andgroove<br />

wainscoting and flooring, and doors, door<br />

fenestrations, windows, and trim. In addition,<br />

much of the adobe brick, remnants of whitewashed<br />

walls, most of the original cobblestone<br />

footprint, and hand-hewn lintels dating to Bandini’s<br />

time were preserved.<br />

This was an unprecedented historic restoration,<br />

arguably the most important one currently in the<br />

state. Few other buildings rival its scale or size,<br />

blending of adobe and wood-framing construction,<br />

association with significant people and<br />

events, and retention of historic fabric. 99<br />

The building is important for another, perhaps<br />

more compelling reason: It allows us the opportunity<br />

to ask how we should interpret it and those<br />

connected to it. As an adobe mason who worked<br />

on the building, I am still haunted by what I<br />

saw and felt. I remember seeing a fragment of a<br />

smooth, white-plaster medallion buried in debris,<br />

patches of fading lime paint and plaster on interior<br />

walls, and always the long red-brown adobe<br />

bricks with their deep X-grooved, Mission-era<br />

scratch marks. They are part of a living tradition,<br />

but whose tradition We will never know<br />

the answer. Those workers—Indian, Californio,<br />

Mexican, immigrant, or American; men, women,<br />

or children—are gone, missing from our cultural<br />

memory, but their legacy survives in their toil, in<br />

what they left behind. 100<br />

Victor A. Walsh is a historian and adobe conservator<br />

with the San Diego Coast District of <strong>California</strong> State Parks.<br />

He earned a Ph.D. in American history, with a focus on<br />

nineteenth-century ethnicity and race, from the University of<br />

Pittsburgh in 1984 and taught as a lecturer at San Francisco<br />

State University, the University of San Francisco, and College<br />

of San Mateo. In 1991, he won the Carlton C. Qualey Award<br />

for his article on Irish drinking customs (published in the<br />

Journal of American Ethnic History), followed in 2004 by the<br />

Institute of History Preservation Award for his article on the<br />

Casa de Estudillo of Old Town San Diego (published in The<br />

Journal of San Diego History). In 2008, he published an article<br />

in <strong>California</strong> History on Torrey Pines State Reserve, another<br />

one of his parks.<br />

<br />

<strong>California</strong> History • volume <strong>88</strong> number 4 2011

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