Carved from a soft native stone of mellow whitish color, the degree of artistic excellence shown in the sculptural treatment is astounding. Considering that this Mission was founded in 1720 in the middle of what was then a vast unsettled prairie peopled only by nomadic savages and that the building must have been erected largely by the labor of the monks themselves, one can only account for the scholarly completeness of architectural grasp in the details of its design and the masterly qualities of its sculptural carving upon the supposition that some of the leading designers and craftsmen from Spain must have been specially sent to execute this work, which was indubitably carved upon the spot. Indeed a tradition not absolutely verified exists that the King of Spain delegated one of the leading architectural sculptors of the period to come to America to carry out this work. Something of its scale can be visualized by reflecting that the head of a six foot man standing in the doorway would scarcely reach the feet of one of the figures in the flanking niches. (These and the similar sculptured figures above represent the virgin and several saints.)
The elaborately sculptured window in the South front, pictured in the detail illustration, proved a feature of particular interest to the winter because, although executed in the same native stone, its construction, the spirit of its ornamental relief and its interesting variations of color strikingly resemble work in terra cotta, and it furnishes a suggestion for the latter material which contains exceptional possibilities of interest. To realize in permanent form the feeling of this early ornament and its original polychromatic treatment would be something well worth while. Of the original coloring not a trace remains in this detail, the impermanent pigments with which it was colored having long since disappeared under the exposure to weather.
Of the remaining missions, San Francisco de la Espada, San Juan de Capistrano and the Alamo, but little need he said in detail. Excessively interesting from the standpoint of romantic history
and with notable elements of architectural charm in simpler form, the general description given here of the two more important ones fits the remaining examples. In one of these the writer noticed instances of the clay tile timbrel arch construction found in the early contemporary architecture of Spain and introduced to modern use in America by Mr. Guastavino. These clay tiles, about an inch thick, were in the light pink red of modern hollow tile fireproofing and were quite probably of native manufacture, although perhaps brought from Mexico.
Contemplating these old buildings with their wealth of suggestion for the modern architect, one is inclined to wonder why this precedent so admirably adapted to the physical conditions of the surrounding Southwest has not been more freely drawn upon for inspiration in the design of modern buildings throughout that section. California apparently has exploited the suggestions of an early mission architecture by no means more appealing than that of Texas—some authorities hold not so much so. Texas, American, alive, vital and natural to the core, and which has produced about the only native folkcraft in the United States which is entitled to take a high assthetic rank as creative art, the gorgeously carved leather saddles of the cowboy, seems to have passed these sources of inspiration by for the inappropriate glories of the Wall Street style of architecture in its modern building work. San Antonio, it is true, with a fine appreciation of the historic sentiment embodied in these old mission buildings, would promptly hie to the lynching post anyone who might propose to destroy them and in one instance at least they have been so far valued that an important railway station is a virtual replica of an early mission chapel. So much so that the writer entirely forgot the purpose which took him there post haste in a taxi with sundry bags and suitcases and requested the red capped usher to lead him to the best pew, “not too far forward, if you please.” When this can happen in Texas there is some hope for the rest of the country.
The elaborately sculptured window in the South front, pictured in the detail illustration, proved a feature of particular interest to the winter because, although executed in the same native stone, its construction, the spirit of its ornamental relief and its interesting variations of color strikingly resemble work in terra cotta, and it furnishes a suggestion for the latter material which contains exceptional possibilities of interest. To realize in permanent form the feeling of this early ornament and its original polychromatic treatment would be something well worth while. Of the original coloring not a trace remains in this detail, the impermanent pigments with which it was colored having long since disappeared under the exposure to weather.
Of the remaining missions, San Francisco de la Espada, San Juan de Capistrano and the Alamo, but little need he said in detail. Excessively interesting from the standpoint of romantic history
and with notable elements of architectural charm in simpler form, the general description given here of the two more important ones fits the remaining examples. In one of these the writer noticed instances of the clay tile timbrel arch construction found in the early contemporary architecture of Spain and introduced to modern use in America by Mr. Guastavino. These clay tiles, about an inch thick, were in the light pink red of modern hollow tile fireproofing and were quite probably of native manufacture, although perhaps brought from Mexico.
Contemplating these old buildings with their wealth of suggestion for the modern architect, one is inclined to wonder why this precedent so admirably adapted to the physical conditions of the surrounding Southwest has not been more freely drawn upon for inspiration in the design of modern buildings throughout that section. California apparently has exploited the suggestions of an early mission architecture by no means more appealing than that of Texas—some authorities hold not so much so. Texas, American, alive, vital and natural to the core, and which has produced about the only native folkcraft in the United States which is entitled to take a high assthetic rank as creative art, the gorgeously carved leather saddles of the cowboy, seems to have passed these sources of inspiration by for the inappropriate glories of the Wall Street style of architecture in its modern building work. San Antonio, it is true, with a fine appreciation of the historic sentiment embodied in these old mission buildings, would promptly hie to the lynching post anyone who might propose to destroy them and in one instance at least they have been so far valued that an important railway station is a virtual replica of an early mission chapel. So much so that the writer entirely forgot the purpose which took him there post haste in a taxi with sundry bags and suitcases and requested the red capped usher to lead him to the best pew, “not too far forward, if you please.” When this can happen in Texas there is some hope for the rest of the country.