Real Life Art Images for Missions Artiturel Style for California Missions
Obras, documentos, noticias
Jo Mora and the Missions of California
Michael Κ. Komanecky
The missions of Alta California and their churches were depicted repeatedly by generations of artists who traveled to the American West.i The start were those who accompanied the at present famous voyages of discovery of Jean François de Galaup de la Pérouse in 1785-1788, Alessandro Malaspina in 1791-1794, George Vancouver in 1791-1795, Otto von Kotzebue in 1815-1818, and Frederick William Beechey in 1825-1828. The monarchs and nations who sponsored these expeditions were driven largely by geopolitical concerns; France, Russian federation, and England sought to counter Spain's presence in the region and, at the same time, to take advantage of the lucrative fur trade, while Espana endeavored to solidify its hold on its northwestern-most corner of New Kingdom of spain. From the artists who accompanied these voyages — Gaspard Duché de Vancy with Pérouse,two José Cardero with Malaspina,3 John Sykes with Vancouver,four Louis Choris with von Kotzebue,5 and William Smyth with Beechey6 — came the first published images of the missions in northern New Spain. California'southward geopolitical importance, initially for Spain, then Mexico, and finally as part of the United States, generated significant artistic interest in its missions that continued virtually without cease well into the twentieth century.
Joseph Jacinto Mora (1876-1947) was 1 of many who found these missions attractive subjects for his piece of work.7 Built-in on October 22, 1876 in Montevideo, Uruguay, Mora was the 2d son of sculptor Domingo Mora.8 Subsequently the family emigrated to New England, both sons studied fine art with their male parent and and so attended the Cowles Art Schoolhouse in Boston. Mora continued his studies at the Art Students League in New York, working privately as well with renowned American painter and teacher, William Merritt Chase. His first employment with The Boston Traveler and Boston Herald newspapers was brusque-lived, however, when in 1894 at the age of eighteen Mora headed west to work as a cowboy in Texas. A native Spanish speaker, he besides traveled in northern United mexican states, visiting Indian villages and meeting the famed creative person of the American Due west, Frederic Remington, who encouraged Mora to proceed his studies. In 1898 Mora was hired every bit a staff creative person for The Boston Herald, and he soon received commissions to illustrate a number of popular classics, including The Animals of Aesop and Reynard the Fox? nine
In 1903 Mora made his first trip to the one-time Alta California, traveling past train to San José to visit his parents who had since moved in that location. And, like and so many visitors to the even so young state, he was struck past the chain of Franciscan missions that stretched from San Diego in the south to San Francisco in the north.ten Founded by the legendary Junípero Serra and his followers, these missions were striking visual reminders of Spain's presence in California and were increasingly employed in various means to construct the land's oftentimes romanticized early history.eleven Mora was working as a cowhand at the Donahue Ranch outside Solvang when he discovered nearby Mission Santa Inés, which inspired him to embark on a journey to come across other California missions. As he later recalled, "I had ridden down over the border from San Diego to Velicata in Baja California, from whence Portola and Serra had entered the unknown land in their march Due north in 1769. There I turned back and started my own jaunt to take in all the Franciscan Missions and Visitas on the old Camino Real, right up to San Francisco and Solano in Sonoma. I endeavored to follow, in the minutest detail, the trail of those early Dons." His route, he admitted, was governed by another discovery. "My guide for this was that priceless bit of Americana, Crespi's Diary. Mine was an onetime typewritten copy in Spanish, given to me by my friend the tardily Charles F. Lummis." Mora, information technology seems, was eager to brand his journey as authentic as possible. "I identified most of his campsites, so concise and articulate are his descriptions. Throughout this diary, the one objective was to find Vizcaino'due south glorious harbor of Monterey; and, naturally my own thoughts were turned along the same lie, and looking forward to my first squint of the Carmel Mission, which was the early headquarters of that Mission concatenation, and where Serra had died and was buried."12
Mora's trip began during the summertime of 1903 when he rode his horse from Santa Inés over the San Marcos Pass to Santa Barbara, with sketchbook and camera in manus. In Santa Barbara he boarded a steamer, with his equus caballus, to San Diego, from which he went from mission to mission as far due north equally San Juan Bautista. During the course of his trip, he produced a number of drawings, watercolors, and photographs of the missions on this trip. These include scenes of San Juan Capistrano,13 San Luis Rey, Santa Inés, San Diego, San Miguel, and San Antonio de Padua,14 and San Carlos Borromeo in Carmel.15 These works are included in two different sketchbooks containing twenty-four water-colors and drawings, and are mentioned too in his diary entries, often detailed descriptions of these sites at the very time he made his various pictures.16
Mora'southward interest in the missions also extended to those in Baja California. At some betoken after 1903 he did views of Nuestra Señora de Loreto Conchó in Baja California, founded in 1697 by the Milanese Jesuit Juan María Salvatierra.17Depictions of the missions of northern Mexico are rare, especially in comparison with the arable images of the missions located in the present day American Southwest. The same impulses of exploration and adventure that brought both amateur and professional person artists there merely occasionally led them into what is now northern Mexico. French diplomat Eugène Duflot de Mofras' 1840-1842 assignment to assess the political, economic, and armed services situation in Mexico, for example, took him to Alta California, Baja California, Sonora, and Sinaloa. In the journal he published of his travels, he briefly mentioned the formerly Jesuit Baja missions Santa Catalina Mártir, Santa Rosalía, San José Comondú, San Francisco Xavier, Santiago de los Coras, Todos Santos, San Luis Gonzaga, Santo Tomás, San Miguel, San Vicente, San Francisco de Borja, San Ignacio, Nuestra Señora de Guadalupe, and Jesús María, none of which were illustrated.18 In 1850-1853, John Russell Bartlett went to northern Mexico every bit leader of the starting time survey to determine the new boundary between the United States and Mexico post-obit the Treaty of Guadalupe Hidalgo. In his 1854 study he mentioned churches in San Pedro, Santa Cruz, San Ignacio, Magdalena, Cocóspera, Imuris, Ures, and Loreto, though again none were illustrated.19 What may be the first epitome in American art of a northern Mexican mission shows Cocóspera, in J. Ross Browne'southward 1869 account of his 1864 travels in Arizona and Sonora which included trips to Imuris, Magdalena, and Santa Cruz.xx Browne likewise went to Baja California, visiting churches at San Antonio and Todos Santos which he wrote about and illustrated in his 1868 article for the pop periodical, Harper's New Monthly Mag. 21
Mora's works, so, are among the very few from either the nineteenth or early twentieth century that show any of northern United mexican states's numerous Franciscan and Jesuit missions.22 Because of the deterioration that missions on both sides of the current edge suffered every bit a effect of United mexican states's secularization decrees of 1834, they are especially important in documenting Loreto's state of preservation.23 French diplomat De Mofras visited Loreto in 1840 and noted that the church building was already deteriorating. "The settlement of Loreto has approximately 200 inhabitants", he reported.
At one fourth dimension this mission was the capital letter of Lower California, just it has fallen into decay and its prestige transferred to the Real de San Antonio. The presidio, mission, and church building are now slowly crumbling away, although the buildings were constructed in a substantial way past the Jesuit Fathers, being designed to afford shelter, in case of assault, to the colonists [...] The church all the same contains a large number of paintings, silver cases, and some valuable jewels belonging to the Virgin. Although these objects are placed in the altar and in the sacristy, the doors are never closed, for no one would cartel commit a sacrilegious theft.24
Unfortunately, the circumstances surrounding Mora's making of his two watercolors are not known. Co-ordinate to the creative person's after recollection, subsequently arriving in San Diego in 1903 he rode to Velicatá, where he presumably visited Mission San Fernando Rey de España de Velicatá, located some 300 miles due south of the U.Southward.-Mexico edge and no doubt further by whatever route he took on horseback.25 This would have left him nearly 965.4 km (600 miles) northwest of Loreto, located on the Body of water of Cortés, and given both the altitude and the other Jesuit missions he likely would have seen along his road, it seems highly unlikely he would not have mentioned the trip or that he would not have made additional works depicting these equally picturesque Jesuit missions. Fifty-fifty from his known terminate at Velicatá, he could have visited El Rosario, San Pedro Mártir, Santo Domingo, San Vincente, Santo Tomás, Santa Catalina, San Miguel, Guadalupe, and El Descanso, all located betwixt Velicatá and the U.S. border and of which in that location are no known works by Mora. In any issue, there is no evidence that Mora made his watercolors of Loreto during his 1903 journey, nor has any other evidence nonetheless come up to low-cal to suggest when he did.26 Regardless of when they were done, the watercolors offer important information about the mission at Loreto.27 His view of the exterior, for case (fig. one), shows both the complex every bit a whole in its lower portion and "Neophyte Huts" and the "Typical Type of House at Loreto" in the upper. Comparing the one-time with the electric current appearance of the church reveals that the tower on the façade was topped by a single biconvex window story rather than the two-story version that is there today. In add-on the sculpture niche and biconvex cornice, now seen above the choir window was originally a simpler rectilinear stepped structure.28 And as was typically the case in images of the missions in both the southwestern United States and northern Mexico, structures by or for the native inhabitants to whom the missionaries were initially dispatched in these distant and oft remote regions were also depicted. Mora identified the modest structures in his championship, in fact, as the dwellings of "neophytes", a term used to describe Indians who had been baptized and who were being instructed by the missionaries in the tenets of the Catholic faith.
Mora's watercolor of the interior is equally important (fig. 2). It shows the mission'south primary altar. A balcony separates the presbytery from the rest of the church. Across it, one can see the altar with its tabernacle and crucifix. Behind the altar, on a platform integrated into the lower wall, is a painted and sculpted altarpiece, flanked by large candelabra. To the correct, two large paintings adorn the walls, and the church's carved beams are readily visible above. Mora's well-preserved watercolor gives a sense of the principal altar's vibrant blue and cherry colors, though whether these colors are original cannot be stated with certainty, every bit it would not exist uncommon for the altar to have been repainted more than in one case since its installation in 1744.29 Moreover, despite its pocket-size size, it reveals important details well-nigh the altar's structure and imagery as they appeared when Mora was there and which inverse dramatically in the first half of the twentieth century.xxx As seen in Mora's watercolor, the central department of the chantry had a large crucifix at the top, which would exist one of the two polychrome forest sculptures plant today in the mission museum.31 Below the crucifix is the hands recognizable epitome of the Virgin of Loreto, the church building'due south namesake. Today at that place are two images of Loreto in the church, a much restored eighteenth-century sculpture in the main altarpiece which is probably the one depicted by Mora, and another in the chapel on the epistle side of the church building which may well be the original Virgin of Loreto brought by Salvatierra.32 In niches to the right and left of this cardinal section are continuing saints which in Mora's watercolor are unfortunately besides small and lacking sufficient detail to identify.
Although the extent of Mora's involvement in the missions of Baja is nevertheless to exist fully revealed, other works of his make clear how profoundly he was afflicted by his exposure to California'southward mission history. In 1924 Mora completed a commission for his monumental Serra Cenotaph. This life size tomb sculpture of bronze and California travertine marble in the Franciscan'due south abode mission, San Carlos Borromeo, shows the recumbent Serra with his young man missionaries Crespi, López, and Lasuén kneeling reverently at his side.33 Bronze and marble reliefs immediately below tell the story of the friar'due south accomplishments in Alta California. They too include carvings of Espana's coat of arms surrounded by the knotted cord of the Franciscans, a portrait of Carlos III, and another of Pope Pius 5 which together symbolize the religious and political interconnections that supported Serra's and his swain Franciscans' efforts to catechumen the Indians of Alta California. In the richness of its imagery and the sensitivity with which its many scenes were rendered, Mora'due south tomb is possibly the fullest expression in any art work of the nineteenth or twentieth century of Serra'southward important role in California'due south history.34 Mora, consequently, was one of the very few American artists to explore through his piece of work in both Alta and Baja California the fuller story of the Franciscan and Jesuit mission enterprises in what was one time northern New Spain.
Notas
1. This larger miracle will be explored in the author'south forthcoming essay, "New Spanish Missions in the American Imagination", to be published in the exhibition catalogue for The Art of the Missions of Northern New Spain. The exhibition, organized by Clara Bargellini of the Instituto de Investigaciones Estéticas at the Universidad Nacional Autónoma de México and the author, will open in March 2008 at the Antiguo Colegio de San Ildefonso in Mexico City before traveling to museums in the United States through 2009.
2. La Pérouse and his crew were lost at sea in 1788, although his journals were sent dorsum to Paris from various ports of call during his voyage. They were published posthumously as Voyage de la Pérouse autour du monde publié conformément au décret du 22 Avril 1791 et rédigé par M.L.A. Milet Mureau, Paris, L'Imprimerie de la République, 1797, 4 vols. Chapter Eleven includes a section on Details historiques sur les deux Californies et sur leurs missions, vol. 1, pp. 247-283. [ Links ] Pérouse's original manuscript was but recently rediscovered and has been published equally The Journal of Jean-François de Galaup de la Pérouse, 1785-1788, John Dunmore (trans. and ed.), London, The Hakluyt Guild, 1994, 2 vols. [ Links ] Duché de Vancy'due south appointment is noted in Voyage de la Pérouse autour du monde, vol. 1, p. 5. The only reliable biography of the artist, albeit brief, is in Dunmore, pp. LXXXV-LXXXVI.
three. The primary source for the artists on the Malaspina expedition is Carmen Sotos Serrano, Los pintores de la expedición de Alejandro Malaspina, Madrid, Existent Academia de la Historia, 1982, two vols. [ Links ] For Malaspina'south account of his visit to California, run across The Malaspina Expedition, 1789-1794. Journal of the Voyage by Alejandro Malaspina. Volume Ii: Panama to the Philippines, Andrew David et al. (eds.), London, The Hakluyt Society, 2003, Volume Seven, chapters 2 and 3, pp. 205-212. [ Links ] Malaspina'southward business relationship was non published in his lifetime, although it is reasonable to presume that he planned to exercise and then. See Malaspina, Book I: Cadiz to Panama, pp. XXVII-XXVII and 30. For a succinct clarification of the voyage and its context, encounter Donald C. Cutter's "Introduction" in Volume I: Cadiz to Panama, pp. XXIX-LXXVII. Run across also Donald C. Cutter and Lawton Kennedy, Malaspina in California, San Francisco, John Howell Books, 1960. In Cutter's "Introduction" to Malaspina, vol. 1, p. Xvi, he reports that Cardero was "originally a criado or retainer" on the voyage who replaced one of the two artists originally chosen for the trek; Cardero was one of several artists who were part of the original expedition or who joined it en route at various ports of call. See also p. Lx-LXI for a fuller give-and-take of the creative enterprises of Malaspina's voyage; it appears that of the many drawings made past Cardero and other artists, some were sent back to Spain for reproduction in the planned publication of Malaspina's expedition.
4. See George Vancouver, Voyage of Discovery to the North Pacific Ocean and Round the World, London, G.M., J. Robinson and J. Edwards, 1798, 3 vols. [ Links ]
v. For a description of the voyage meet Otto von Kotzebue, Entdeckungsreise in dice Südsee und nach der Beringsstrasse zur Entdeckung einer nordöstlichen Durchfahrt, unternommen in den Jahren 1815-18 auf Kosten Sr. Erlaucht des Herrn Reichskanzlers Grafen Rumanzoff auf dem Schiffe "Rurik", Weimar, 1821, [ Links ] Baronial C. Mahr (trans.) equally The Visit of the "Rurik" to San Francisco in 1816, Stanford University Printing, 1932. Choris published his drawings separately in Louis Choris, Voyage pittoresque autour du Monde, Paris, Imprimerie de Firmin Didot, 1822. [ Links ]
6. Frederick William Beechey, Narrative of a Voyage to the Pacific and Beering'southward Strait, to cooperate with the Polar Expeditions, London, Henry Colburn and Richard Bentley, 1831. [ Links ]
seven. I am deeply grateful to Peter Hiller of Carmel, California, a Mora scholar who has organized a number of exhibitions on the creative person and who has had extensive access to Mora's work and diaries. His careful reading of this article has been indispensable, though any possible errors or omissions are my own.
viii. The master sources on Mora are the exhibition catalogues, Jo Mora: Artist and Writer, Monterey, Monterey Museum of Fine art, 1998; [ Links ] and Tyrone Stewart, Frederick Dockstader, and Barton Wright, The Yr of the Hopi: Paintings and Photographs by Joseph Mora, New York, Rizzoli, 1979. [ Links ]
9. The biographical details recounted hither are taken from Betty Hoag McGlynn's "Jo Mora: Spokesman for The Former West", in Jo Mora: Creative person and Writer, pp. two-ten. [ Links ] Mora later on published two books nearly his western experiences, Trail Grit and Saddle Leather, New York, Charles Scribner & Sons, 1946 and Californios, [ Links ] Garden Urban center, Doubleday & Co., Inc., 1949. [ Links ]
10. Creative product of images of California's missions proliferated at the end of the nineteenth century and the get-go of the twentieth, maybe the most important early example beingness Carelton Watkins'southward series of photographs on the missions from the tardily 1870s. Paintings of the missions besides grew in number significantly from the 1880s on; see the exhibition catalogue by Jean Stern, Romance of the Bells: The California Missions in Art, Irvine, California, The Irvine Museum, 1995. [ Links ] There is no evidence Mora was familiar with these before images.
11. The bibliography on Alta California'south missions is all-encompassing, beginning with accounts past the Franciscans who founded them. Given Mora'due south relationship with mission addicted and preservationist Charles Fletcher Lummis, he could easily have been familiar with some of this literature. By the time Mora arrived in California in 1903, there was a virtual industry of books and manufactures featuring the missions, including Edward Vischer, Old Missions, California, San Francisco, Bancroft Co., 1893; [ Links ] George Wharton James, Old Missions and Mission Indians of California, Los Angeles, B.R. Baumgardt & Co., 1895; [ Links ] Zephyrin Engelhardt, The Franciscans in California, Harbor Springs, Michigan, The Holy Childhood Indian School, 1897; [ Links ] Mission Memories: The Franciscan Missions of California, with photographs past A.C. Vroman, Los Angeles, Kingsley-Barnes & Neuner Co., 1898; [ Links ] Edward Deakin, The Twenty-One Missions of California and the One-time Southwest, Berkeley, Murdock press, 1900; [ Links ] Mrs. Armitage S.C. Forbes, California Missions and Landmarks And How to Go There: A Practical Guide, Los Angeles, Issued by Mrs. Armitage S.C. Forbes, 1903; [ Links ] and Helen Hunt Jackson, Glimpses of California and the Missions, Boston, Piddling, Brownish, and Company, 1903: All of these books were illustrated with halftone reproductions, [ Links ] in Vroman's example with his own pregnant photographs; and in the case of Vischer and Deakin with their paintings of the missions. Jackson, of form, was the renowned advocate of Indian rights and author of the enormously popular 1884 novel, Ramona: A Story, which she intended to stir public opinion in aid of California'southward mission Indians. Glimpses of California and the Missions was a reprint of articles she wrote in 1883 for The Century Magazine, amidst them a ii-office series, "Father Juniper and His Works", vol. XXVI, May-June 1883, pp. 3-18 and 199-214. Over again, at that place is no evidence that Mora was familiar with this literature, though the popularization of California's mission heritage at this time would have been hard to miss.
12. From a 1942 letter past Jo Mora describing his map of Carmel by the Body of water. My thanks to Peter Hiller for this reference.
13. Capistrano Arches, 1903 (pen and ink, 13.ix 10 22.2 cm [5 ½ x eight ¾ inches], Drove of Jo N. Mora), and San Juan Capistrano, 1903 (watercolor, thirteen.9 x 22.2 cm [5 ½ 10 8 ¾ inches], Collection of Jo N. Mora), both reproduced in Jo Mora: Creative person and Author, p. 16.
xiv. Mora's drawings of these are in a sketchbook in the drove of Jo N. Mora. My thanks to Peter Hiller for bringing these to my attention.
fifteen. Altar, Carmel Mission, probably 1903 (watercolor and pencil, 28.half-dozen 10 20.eight cm [11 ¼ x 8 ½ inches], Drove of California Historical Society), reproduced in Jo Mora: Creative person and Writer, p. 52.
16. From the entries in Mora's diaries we know that he went as far north as San Juan Bautista, although he may well have continued due north on this trip. Thus far, simply two of Mora's photographs of the missions made on this trip have come up to low-cal.
17. Marco Díaz, Arquitectura en el desierto: misiones jesuitas en Baja California, United mexican states City, Universidad Nacional Autónoma de México, 1986, pp. 92-102. [ Links ] Ii more than recent sources are Ann and Don O'Neil, Loreto, Baja California: First Mission and Capital of Spanish California, Studio Urban center, California, Tio Printing, 2001, especially pp. 47-65, 86-ix 5, and 99; [ Links ] and Edward Westward. Vernon, Las Misiones Antiguas: The Spanish Missions of Baja California, 1683-1855, Santa Barbara, Viejo Printing, 2002, pp. ix-18. [ Links ]
18. Eugène Duflot de Mofras' books include, Fragments d'united nations voyage en Californie, Paris, 1843, [ Links ] and his better known; Exploration de l'Oregon et des Californies, two vols., Paris, Firmin Didot Frères, 1844; [ Links ] and L'Oregon, le Mexique et les Etats-Unis, 2 vols., Paris, 1846. [ Links ]
19. John Russell Bartlett, Personal Narrative of Explorations and Incidents in Texas, New United mexican states, California, Sonora, and Chihuahua, Continued with the U.s. and Mexican Purlieus Commission, during the years 1850, 51, 52, and 53, 2 vols., New York and London, D. Appleton & Co., 1854, vol. I, pp. 408-440 for his descriptions of these churches. [ Links ]
20. J. Ross Browne, Adventures in the Apache State: A Bout through Arizona and Sonora, with Notes on the Silver Regions of Nevada, New York, Harper & Brothers, 1869, p. 180. [ Links ]
21. J. Ross Browne, "Explorations in Lower California (First Paper)", "Explorations in Lower California (Second Paper)", and "Explorations in Lower California (3rd Newspaper), in Harper'southward New Monthly Mag, vol. XXXVII, no. CCXXI (October 1868), pp. 577-592; no. CCXXII (November 1868), pp. 740-752; and no. CCXXIII, pp. 9-23, respectively. [ Links ] San Antonio is illustrated on page 743 and Todos Santos on 749 of the November article.
22. The Franciscan and Jesuit missions in what is at present the U.s.a. were, of course, part of the aforementioned combined religious, political, and armed services enterprise. Those in the United states number more than one hundred, the actual number depending on whether the count takes in all those known to have been founded from documentary sources, many of which were shortlived (and even if whatsoever substantial buildings were erected they may accept long since disappeared). Counting merely extant structures the number falls to approximately 50 in California, Arizona, New Mexico, and Texas. By dissimilarity, at that place were and are many more in northern Mexico, where hundreds of missions were founded with churches and other structures erected, some 1 hundred and fifty in the state of Chihuahua alone; see, for instance, Clara Bargellini (coord.), Misiones para Chihuahua, Mexico City, México Desconocido, 2004. [ Links ]
23. The much dilapidated condition of these missions was noted consistently by visitors, including Bartlett and Browne, every bit it was by mid-nineteenth-century travelers to the missions of Alta California. Secularization, essentially removing command of the missions from the orders and turning them over to secular clergy, speedily resulted in abandonment of the missions, and at the very least deprived many of them of their funds and frequently their priests. Within equally little equally ten to twenty years after secularization, in fact, reports abound of Alta California missions in near total ruin, their roofs collapsed, walls aging, and their Indian populations dispersed. Bartlett'southward and Browne's offering similarly graphic comments most missions in northern Mexico. For a brief discussion and photographs of the church building at Loreto from 1905 to around 1945, run into O'Neil, pp. 199-205.
24. Duflot de Mofras, Travels on the Pacific Coast: A Report from California, Oregon, and Alaska in 1841, Oregon, The Narrative Press, 2004, pp. 142-143. [ Links ] This translation is a reproduction of Marguerite Eyer Wilbur's translation of Duflot de Mofras' 1844, Exploration, published as Duflot de Mofras ' Travels on the Pacific Coast, Santa Ana, The Fine Arts Press, 1937, with Foreword by Dr. Frederick Webb Hodge. [ Links ]
25. For a clarification of that mission, see Edward W. Vernon, Las Misiones Antiguas. The Castilian Missions of Baja California, Santa Barbara, Viejo Press, 2002, pp. 171-180. [ Links ]
26. Each of the watercolors carries the stamp "Mindenberg Productions", which, it has been suggested anecdotally, refers to a movie visitor that may accept deputed Mora to make them, perhaps every bit gear up designs. Co-ordinate to Peter Hiller, who gave me this information in a telephone chat on Feb 17, 2006, it is known that Mora was occasionally commissioned to make such drawings, and Mora'south journals may yet reveal information about the circumstances surrounding the Loreto watercolors. This author's extensive research on American movies in which missions have been featured (presented in an unpublished paper, "Missions at the Movies", at the Oct 2006 Southwest Art History Conference in Taos, New Mexico), however, has not identified whatsoever such movies that were actually produced. Moreover, missions in those movies that were produced are limited nearly exclusively to those in the American Southwest. In addition, no data has all the same been discovered on "Mindenberg Productions."
27. The question should exist raised whether Mora made these watercolors based on a photograph or other published illustration of the mission. While it cannot be determined whether or not he did, it is truthful that very few of Mexico'due south missions enjoyed the popularity of those in the U.s.a., where there is a long pictorial and narrative tradition in which they figure. The missions of northern Mexico, in detail, are located in regions that were rarely, if ever, visited by either Mexican or American artists of even the most small reputations. It is therefore hard to imagine what source Mora may have depended on if he were, in fact, making his watercolors in this fashion.
28. A lithograph of the mission published by the United mexican states Urban center weekly La Ilustración Mexicana in the 1850s, entitled Vista por lo Oeste de la Misión de Loreto fundada en 1742 Baja California shows the aforementioned tower. The lithograph, one of the very few produced in Mexico of any of the country's northern missions, is reproduced in José N. Iturriaga, Litografía y grabado en el México del XIX , Mexico City, Telmex, 1994, t. II, p. 101. [ Links ] Photographs of both the interior and outside of the church every bit it appears today can be found in Vernon, Las Misiones Antiguas, pp. x-15.
29. Díaz, Arquitectura en el desierto, p. 95.
30. See Vernon, Las Misiones Antiguas, p. 15, for a photo of the altar as seen today.
31. Bárbara Meyer de Stinglhamber, Arte sacro en Baja California sur, siglos XVII-19, Mexico City, Instituto Nacional de Antropología e Historia, 2001, pp. 60, 61. [ Links ]
32. Ibidem, pp. 67-68. My thanks to Clara Bargellini for her assistance with comparisons of Mora's delineation of the central chantry and various nonetheless extant paintings and sculptures.
33. The tomb is illustrated in McGlynn, "Jo Mora: Spokesman", p. 23.
34. In 1926, Mora completed a Serra shrine consisting of a wood sculpture of the Franciscan surrounded and covered by a tile-roofed structure, commissioned every bit part of a new real estate development in Carmel by Del Monte Properties; encounter McGlynn, "Jo Mora: Spokesman", pp. 26-27.
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