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Volume 51 Winter / Spring 2005 Numbers 1 and 2 • The Journal of San Diego History
The Jour na l of
San Diego
History

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their family of companies, working together to preserve San Diego’s history and
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Publication of this issue of The Journal of San Diego History has been
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Diego Foundation.
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Front cover: Detail from ©SDHS 1998:40 Anne Bricknell/F. E. Patterson
Photograph Collection.
Back cover: Fallen statue of Swiss Scientist Louis Agassiz, Stanford
University, April 1906. Courtesy of the California Historical Society, FN-32903.
Agassiz visited San Diego in 1873, praising its perfect latitude.

The Journal of
San Diego
History
Volume 51 winter /spring 2005 numbers 1 & 2
Iris H. W. Engstrand
Molly McClain
Editors
COLIN FISHER
DAWN M. RIGGS
Review Editors
University of San Diego
Published since 1955 by the
SAN DIEGO HISTORICAL SOCIETY
1649 El Prado, Balboa Park, San Diego, California 92101
ISSN 0022-4383

The Jour nal of
San Diego
History
Volume 51 winter /spr ing 20 05 number s 1 & 2
Editorial Consultants
MATTHEW BOKOVOY
University of Oklahoma
DONALD C. CUTTER
Albuquerque, New Mexico
WILLIAM DEVERELL
University of Southern California; Director,
Huntington-USC Institute of California and
the West
VICTOR GERACI
University of California, Berkeley
PHOEBE KROPP
University of Pennsylvania
ROGER W. LOTCHIN
University of North Carolina at Chapel Hill
NEIL MORGAN
Journalist
DOYCE B. NUNIS, JR
University of Southern California
JOHN PUTMAN
San Diego State University
ANDREW ROLLE
The Huntington Library
RAMON EDUARDO RUIZ
University of California, San Diego
ABE SHRAGGE
University of California, San Diego
RAYMOND STARR
San Diego State University
DAVID J. WEBER
Southern Methodist University
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ISSN 0022-4383
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CONTENTS
Volume 51 winter /spring 2005 numbers 1 & 2
ARTICLES
Two Days in San Francisco – 1906
Laurence M. Klauber
1
San Diego’s Bygone Burlesque: The Famous Hollywood Theatre
Jaye Furlonger
21
A Gothic Architect in San Diego:
Philip H. Frohman and the New St. Paul’s Church, 1920 – 1966
William A. Koelsch
42
BOOK REVIEWS
61
INDEX
Volume 49, nos. 3 & 4, and Volume 50
76
ii

One Hundred Years Ago
Two Days in San Francisco – 1906 1
Laurence M. Klauber
Preface by Molly McClain
Laurence Klauber, a twenty-two year old engineering student at Stanford
University, awoke on the morning of April 18, 1906 to the roar of falling masonry
and clouds of dust, plaster, and debris. The 1906 San Francisco Earthquake
struck at 5:13 a.m. and measured 7.8 on the Richter scale. It toppled structures
on the Stanford campus, twisted streets, destroyed homes and buildings, and
killed thousands of people living in San Francisco and San Mateo counties. Soon
afterwards, firestorms raged for three days in San Francisco, scorching 508 city
blocks. 2
Klauber described his experience of the earthquake and fire in a letter to his
sister, Alice, written on May 1, 1906. 3 She and other family members living in San
Diego were impatient to know what had happened to him. Klauber explained
that he had spent the evening of April 17, 1906, at the Grand Opera House in San
Francisco, listening to the renowned tenor Enrico Caruso sing “Carmen.” He
and his classmate Douglas Ferry caught the last train back to Palo Alto. 4 The next
morning, Klauber had returned to San Francisco to find his sister and brother-inlaw,
Elvira (Ella) and Gustav Wormser, and their three children. 5 He watched from
Lafayette Square as fires burned north of Market Street near the waterfront and
in the poor South of Market neighborhoods. On Van Ness Avenue, wealthy San
Franciscans slept on the sidewalk, “rolled up in furs and opera cloaks.”
The following morning, Klauber joined crowds of refugees fleeing the city
for the east bay. He left his nieces and nephew with family friends in Oakland
and went on to Berkeley to send telegrams. He then returned to the city, hauling
a suitcase containing bread, cheese and bologna. He found his brother-in-law
burying valuables in the backyard and preparing to leave. He saw firefighters
dynamiting Chinatown and the Barbary Coast in an effort to keep the fire from
spreading. He also watched as people in the warehouse district pulled charred
tins of food from the ruins.
Panoramic photograph showing the aftermath of the 1906 earthquake and fire. ©SDHS #1998:40 Anne Bricknell/F. E. Patterson
Photograph Collection

The Journal of San Diego History
Klauber sent his sister a description of his first two days in San Francisco,
ending his letter with the phrase, “to be continued – maybe.” In fact, it would be
many years before he returned to his narrative. In 1958, he pulled together notes,
memories and research materials in order to produce the following memoir of his
experiences at the time of the earthquake and fire. 6
Laurence Monroe Klauber (1883-1968) was the son of Abraham and Theresa
Klauber both of whom had emigrated to the United States from Bohemia, in
Austria-Hungary, in the mid-nineteenth century. Abraham (1831-1911) traveled to
California by way of Nicaragua, opening a retail clothing business in Sacramento
before moving to San Diego in 1869. He and his partner Samuel Steiner ran a
wholesale and retail store downtown, selling groceries, boots and shoes, dry goods,
liquor, clothing, and mining tools. In 1897, he formed the Klauber Wangenheim
Company. He and his wife raised nine children at their home on C Street. 7
Their youngest son, Laurence, was born in San Diego on December 21, 1883. He
attended Sherman Elementary School and was graduated from San Diego’s Russ
High School in 1903. He worked for Klauber Wangenheim in Los Angeles before
attending Stanford University. He graduated in 1908 with a degree in electrical
engineering. After a short stint with Westinghouse Company in Pennsylvania, he
returned to San Diego in 1911 to work for San Diego Consolidated Gas & Electric
Company. He married his high-school classmate, Grace Gould (1883-1988), that
same year. They had two children, Alice and Philip. 8
Klauber worked at San Diego Consolidated Gas & Electric for forty-three
years, moving steadily upward in the company. He became engineer in charge of
the Record Department in 1912, general superintendent in 1920, vice president in
The Klauber family, ca. 1902, taken at their house on 30th and E Streets. Upper row: Victor Hugo Klauber, Elvira (Ella) Klauber
Wormser, Melville Klauber, Laura Klauber, Edgar Klauber. Middle row: Theresa Klauber, Abraham Klauber, Alice Klauber.
Lower row: Laurence Klauber (seated at left), Leda Klauber and Stella Klauber. Courtesy of Philip Klauber.

Two Days In San Francisco—1906
Russ High School Class of 1903. Upper row: William Fay, Harry R. Comly, Laurence M. Klauber, Haldane Doig, John M.
Ward. Middle row: unidentified, Adele Parker Hollingsworth and Edna Nichols. Lower row: Isabel Brooks, unidentified, Grace
Gould Klauber and Lenore Price Drucker. Courtesy of Philip Klauber.
charge of operations in 1932, vice president and general manager in 1941, president
in 1946, and chairman of the board and chief executive from April 1949 until
retirement in January 1954.
Klauber also achieved international prominence in herpetology. In 1922, his
interest in the study of reptiles led him to become San Diego Zoological Society’s
consulting curator of reptiles. He collected and identified 53 new species and
subspecies of reptiles and amphibians and published over 85 scientific papers.
His definitive two-volume work on rattlesnakes, published by the University
of California Press in 1956, was republished in 1972, 1982 and 1997. 9 In 1940, he
received an honorary LL.D. from UCLA in recognition of his outstanding scientific
work. He served on the Board of Trustees of the San Diego Society of Natural
History and as President of the Zoological Society (1949-51). He donated both
his herpetological library and 36,000 reptile and amphibian specimens to the
San Diego Natural History Museum. The library consisted of 1,462 books, 19,000
pamphlets, 20 drawers of hand-written catalogue cards, 198 loose-leaf binders of
scientific notes and other materials.
Klauber belonged to numerous organizations, including the American Institute
of Electrical Engineering, the San Diego Electric Club, and the major professional
engineering societies. Over the course of his lifetime, he served as president of
four scientific societies, two trade associations, the San Diego Rotary Club, and the
San Diego Public Library Commission. He held the last position from 1940 until
his death in 1968.

The Journal of San Diego History
A Renaissance man, Klauber loved books, theatre, music, and opera. He also
held seven U.S. patents for his electrical inventions. He had “a finely-honed sense
of humor,” according to his son Philip, and was particularly quick with double
entendres and impromptu repartees. He was fascinated by poker, dealing himself
30,000 hands in order to calculate the mathematical probability of holding any
winning hand. 10
San Diego repositories hold a number of items related to the 1906 San Francisco
Earthquake. The San Diego Historical Society has two albums containing
photographs of San Francisco in 1906. The James S. Copley Library in La Jolla
holds six letters written by Willett Smith to Freeport, New York. The University
of California, San Diego, (UCSD) and San Diego State University have copies of
the Report of the State Earthquake Investigation Commission (1908-10). UCSD’s
Mandeville Special Collections Library also contains a number of contemporary
accounts of the San Francisco earthquake and fire. In addition, San Diego Public
Library’s California Room holds a portfolio collection of Bay Area newspapers
covering the earthquake as well as a wide variety of related materials.
Klauber’s account of the 1906 San Francisco earthquake and fire remains one
of the only known letters written by a native San Diegan. The Journal of San Diego
History is grateful to the Klauber family for permission to publish this first-hand
account. Endnotes beginning with note 11 were added by Laurence Klauber.
Material in brackets were supplied by the editor.
Introduction by Laurence M. Klauber, 1958
This letter, written May 1, 1906, assumes a general acquaintance with family
and other situations, without a knowledge of which some of the statements will be
quite obscure. These matters will have been forgotten a couple of posterities from
now, and hence their recording seems
advisable in this introduction and the
several footnotes, which were supplied
in 1939 and 1958, as well as a supplement,
most of which was written a couple of
years after the earthquake. No words
in the letter itself have been changed,
except one or two that have a different
connotation today.
At the time of the earthquake I was
rooming in the little town of College
Terrace in what is now the Mayfield
district of Palo Alto, the professors
having deemed it advisable that I should
not divert from their studies those
who really wanted to work; a sort of
nocturnal retirement, as it were, for the
campus was only out-of-bounds at night.
However, on that all-important night of
April 17-18, having returned very late
from the opera in San Francisco, I was in
Laurence M. Klauber in 1903, the year he graduated from
Russ High School. Courtesy of Philip Klauber.

Two Days In San Francisco—1906
Encina Hall contrary to these personal rules and regulations.
My sister, Ella, Mrs. Gustav Wormser, 20 years older than I, was living with her
family, consisting of her husband and three children, Elsie, Paul, and Dorothy, in
a three-story wooden house of the typical San Franciscan style of that day at 2014
Webster Street [Pacific Heights]. It was to determine the fate of this sister and her
family that I went to San Francisco on the morning of the earthquake.
Laurence M. Klauber to Alice Klauber, May 1, 1906
Dear Alice: 11
Since events occurred, this is the first time that I have had both the time and
inclination to attempt to let you know about it. Ollie 12 and the kids can give you
eye-witness stories that would make any letter look like a cotton sign at the [Mark]
Hopkins; also, the S[an] F[rancisco] papers (which I presume you see), have some
remarkably lucid articles; but your letters indicate such a ferocious hankering after
knowledge that in order to satisfy this popular clamor I will here set things down
as they seemed to one which was there. I scribe things as I remember them rather
than as they occurred. 13
Realizing from the first instant that happenings of note and events of historic
interest were going forth, I attempted on the second day to start a diary, but an
earthquake, fire, or like incident cut it short. Much as I desired, I was unable to
hang around and be merely an eye witness. So I will trust to luck and a memory
(slightly damaged by dynamite and fire) and tell you some incidents of what I have
seen just as I recall having saw it. 14
On Tuesday aft[er] (April 17 th ) Doug
Ferry 15 and I went to the city to see
Carmen. 16 While this has nothing to
do with this tale of woe let me stop
to remark that Caruso was the goods
as [Don] José and [Olive] Fremstad
was certainly among those present as
the cigarette fiend. The toot assembly
[orchestra] was also good. As I recall
that jammed Opera House I seem to
be glad that nothing happened then.
The opera lasted long – the string of
carriages blocked the cars and it was
only by running all the way to the depot
that Doug and I succeeded in catching
the theatre train. 17 We reached the
University at about 1 a.m. and it being so
late I decided not to go to the Terrace 18 ;
so I retired with Doug in his room, 186
Encina west end, fourth floor. We hit the
couch about 2 a.m. 19
In the city here the general tendency
has been to forget the shake owing
Elsie Wormser (Mrs. Milton) Epstein. Courtesy of Philip
Klauber.

The Journal of San Diego History
to the greater calamity of the fire. But if you go to
Stanford (where there was no fire) you will realize
that after all there was quite a rattle. It came off
promptly at 5:13 a.m., as you may know, when things
were already light. 20
As you have heard all about it from them which
was there, I will not spend much time on it. The most
noticeable part was the noise of the falling buildings.
They roared in an astonishing fashion. I remember
dimly seeing the new library and the church spire go.
They didn’t fall exactly, they just settled as if they had
been made of sand. Then everything was hidden by
clouds of dust, plaster, and debris. 21
I awoke to find myself standing in the middle of a
room filled with sound and falling plaster. The shake
was strong enough to throw a person about. However,
you couldn’t fall, because when you started to, you were jerked in another
direction. I felt sort of bruised like a cat shaken by [our terrier] Jack D. 22 Doug
meanwhile was busying himself in urging me not to jump, although why I don’t
know. I certainly showed no such intention.
After the plaster quit falling Doug and I got the door open and went into the
hall. I remember deliberating on which stairs to take and decided on the main
staircase as it was more open. But when we got into the lobby we found the doors
partially blocked by a big pile of wreckage brought down from all the upper
stories by one of the big chimneys. There was a crowd trying to open the door but
it was jammed so I started for the back. The plaster dust had cleared somewhat
and on the top of the pile of wreckage I saw a fellow held by some beams across
his legs. Two other men got him out and we all went out the back door.
The place was crowded by the skinny student body in an assorted array of
pajamas, nighties, and less. A number were hurt by falling plaster and glass, and
some from jumping out of windows. We got blankets and fixed these people up.
As no further shocks occurred we went back
into the hall and hurriedly dressed. A big gang
under Prof[essor] Green 23 went to work digging
in the wreckage in the front. I think 7 men were
buried in it. One was killed – [Junius] Hanna, ’08,
my partner in foundry. None of the others were
seriously hurt. 24
At the time, of course, I didn’t know that there
were any students in the wreckage. I got my
wheel and started for Palo Alto via the Quad. The
University was a sight. You can get a fair idea
of the damage from the set of DPAs [Daily Palo
Altos] I sent Hugo. 25 Any way I won’t stop on the
part now. There was quite a crowd in front of the
Quad, and I learned that no one had been hurt on
Dorothy Wormser August 1913. Courtesy of
Philip Klauber.
Paul Wormser December 1913. Courtesy
of Philip Klauber.
the Row or at Roble.
At Palo Alto I found everything of brick or

Two Days In San Francisco—1906
stone pretty well down. There was no communication in any direction. I left a
bunch of telegrams to be sent and returned to the University. They were still at
work clearing the [Encina] lobby. I waited until Hanna was taken out and then
returned to Palo Alto. Of all the larger structures luckily Encina stood the shock
best. Had it not been for the huge ornamental chimneys there would have been no
loss of life. The walls of the wings are badly cracked in places but the central part
is still in good shape. (The stone work; of course the plastering is all down.) You
can get a very good idea of the damage and also Stanford’s plans for the future
from the papers I sent Hugo. They say that Jordan 26 showed up remarkably well
throughout the whole affair. He stopped and talked with every student he met,
giving personal advice and encouragement. Wherever he encountered a group he
made a speech. Some of these you will find in the DPA. They are pretty good.
Let me digress a moment here and tell you a good story. One of the first
reports to reach the East was that “The buildings of the State University, valued at
$25,000,000, were entirely destroyed.” (The entire value of the Berkeley buildings
was 80¢ and they were untouched.) Clarence Mackey immediately telegraphed
“$100,000 to start a fund to rebuild the University.” Of course as the report had
stated that it was the State University which was damaged, he telegraphed the
money to Wheeler. Wheeler replied thanking him for his generosity and stated
that although the University was not damaged the money would come in very
handy. 27
When I got back to Palo
Alto, I found that a train had
been thru from the south. They
had reported everything bad,
everything at San Jose and
Santa Clara down and burning
– no water. There was still no
communication with the north
but we could see the smoke of a
big fire 28 ; so when another train
came thru I got aboard and went
north. We made good time (it
seemed slow to me) to San Mateo.
Most everything of brick or stone
was down along the way and
there were small hopes for Frisco.
We proceeded slowly beyond San
Mateo and stopped at San Bruno.
The ground was marshy here
and the embankments had slid
77 different directions.
I started walking with a
bunch of several hundred – there
The Call Building at Third and Market Streets. Built in 1898, it was the
tallest building in San Francisco with 12 stories. It was gutted by fire
on April 18, 1906. ©SDHS #1998:40 Anne Bricknell/F. E. Patterson
Photograph Collection.
were crowds strung along the track as far as you could see.
I think it was at the cemeteries that the first automobile passed us. He was
going south at a furious rate and we held him up for news. He reported every
building of any size in the city down and burning. No water except below

The Journal of San Diego History
Prager’s Dry Goods at Jones and Market Streets. ©SDHS PA #212, Clarence James Morrison Family Photo Album.
Montgomery Street. Everything below this, he said, had slid into the bay. 29
From now on the automobiles went by with increasing frequency and they all
reported about the same thing. Some even claimed to have seen the Call building
and the St. Francis lying in the street. From here on we hit up quite a pace. It was
not until we reached Colma that we hit the vanguard of the exodus – a stream of
people afoot and in rigs which filled every road – the distinguishing feature of the
whole affair.
At Colma two of us bought a bottle of soda and spent 10¢ of our precious coin. I
had $2.10 and my partner 30 had $1.30 with which to get to Alameda. Here I found a
tallyho going toward the city with 20 passengers at $1.00 a head. I climbed aboard.
We got in sight of the city at about 10, and found things to be exaggerated. We
could see that most of the big buildings were standing although they were partly
hidden by the smoke. I also saw the dome of the temple 31 and felt better. Our
driver stopped way out on 26 th Street and refused to go farther. I started to walk in
along Valencia.
At this time I counted 5 large fires. There were 3 in the Mission, a very large one
in the wholesale district and one at about 8 th and Market. The streets were jammed
with people carrying bedding, bird cages, and trunks – also dragging anything
on wheels. Throughout the Mission there were evidences of the earthquake’s work
– brick buildings down and even some wooden slopped over into the street. All the
streets were full of bricks from chimneys. 32
At about 15 th and Valencia I passed a big wooden hotel on fire. There were no
fire lines and in fact nobody seemed to be paying any attention to the fire at all.
They passed it by with that peculiar listless and somewhat bored expression which
in the later days proved to be so characteristic. That interest which is generally
present in a crowd watching a fire seemed to be absent; even at this early date they
were already tired.
I went down along Mission to 5 th and here I was blocked by a big fire which

Two Days In San Francisco—1906
seemed to join with that in the wholesale district.
I crossed over to Market and noted among other
things that the Call, Chronicle, Examiner, and
Emporium buildings were burning. So you see
it was already quite a fire. At this time there was
almost no wind. I went out Market Street to 8 th and
here there was another big fire covering several
blocks. I went around this and up Van Ness to Calif.
From this side the synagogue appeared all right
but when I got around on Webster I found about
half the house missing and the door swinging
open as if every one had left. 33 I went in and found
every one O.K. as you know. Gus 34 was down town
watching the store burn. The spare room, dining
room, and E[lsie] and D[orothy]’s rooms were the
only ones smashed. Today, while digging around in
the kids’ room to find some hats which are not there,
I uncovered 2 of the chimney stones; they measure
roughly 5’ x 3’ x 2’, so you can see what a narrow
escape they had. The room was certainly a sight, as
they will tell you.
I got something to eat and then took the kids to Lafayette Square to watch the
fire.
After a cold supper I took the kids to Ackermans 35 for the night. On the way
we stopped at Alta Plaza and watched the fire. It was quite a sight. The town was
extremely well lighted by it, as it was during the 3 succeeding nights, although less
so on the 4 th night 36 when it was burning itself out at North Beach.
At Ackermans things were crowded and grouchy. The Arnsteins 37 were there or
rather arrived when we did. Also Fiesco and Gussy. 38
When I got back I found Gus and Ella trying to
sleep on couches downstairs in the parlor. I took a
blanket and went to Lafayette Square where I could
watch the fire. It was burning in a semicircle, from
about California and Sansome to Golden Gate and
Van Ness, and on the far side of Market pretty much
all over the Mission. The park was crowded with
people and their belongings – most of them rolled
up in blankets and asleep. At 2 a.m. Ella came up
with Marie, the upstairs lady. 39 It was pretty cold
so we went for a walk. We went down Van Ness to
Golden Gate. Here the fire had been stopped (it was
started again next morning by a woman lighting a
fire in a house) and this district appeared safe. All
along on the far side it was burning with the help of
Elvira (Ella) Klauber Wormser married
Gustav Wormser in 1888. They lived in a
three-story Victorian-style house at 2014
Webster St. in Pacific Heights. Courtesy of
Philip Klauber.
Gustav Wormser was a partner in the
wholesale grocery firm of Sussman,
Wormser and Company, later S & W Fine
Foods. His warehouse was on Spear St., San
Francisco. Courtesy of Philip Klauber.
a light N-W wind.
Walking back on Van Ness we noticed that the
Flood Building was on fire and burning nicely. This
was about 2:30 a.m. All Van Ness from Golden

The Journal of San Diego History
Refugees fled west to the Western Addition and Golden Gate Park, east by ferry to Oakland, or south to San Mateo. ©SDHS
1998:40 Anne Bricknell/F. E. Patterson Photograph Collection.
Gate up was crowded with persons and their goods. They were lying around on
the sidewalks and in the front gardens of all the Van Ness residences; and it was
necessary to walk in the street in order to avoid stepping on Frisco’s 400 as it lay
asleep on the sidewalk rolled up in furs and opera cloaks. 40
In the morning the people started on their journey toward the hills
accompanied by the usual lawn-mowers, bird cages, and sewing machines.
At about 8 [a.m.] as the kids 41 will tell you we started for Berkeley. Went down
Franklin to Broadway and thence to East St. North (water front). At this time there
was a good fire burning from about Sacramento and Dupont to the City Hall in
a semicircle taking in the better part of the retail district. There were also fires in
the warehouse district and in the Mission. Down Broadway we made fast time
in spite of the huge mob of refugees and their worldly goods also making for the
ferry. This jam consisted mostly in Chinese, Japanese, and Italians of every type.
At East Street 42 we caught up with the Arnsteins under convoy of Mr. Whats his
name (Elsie can tell you) 43 and from here on everything was plain tho’ somewhat
crowded sailing. 44 Leaving the kids in charge of the old gent at his house I went on
to Berkeley and radiated a bunch of telegrams. Then went to the Phi Delta Theta
House to let Vic 45 know that his sister was O.K. Found that Vic[tor Morgan] was
in the city on guard duty. I then got a big suitcase loaded with 14 loaves of bread,
$1.00 [worth of] cheese, and the same of sausage, and lit out toward the city so I
went to the Berkeley City Hall to get a permit. 46 Failing in this I went to Oakland
where launches were taking people in on their own responsibility. After waiting
for about an hour I succeeded in finding one which took passengers, at $2.00, on
the chance of their being able to land. I got aboard this after some roughhouse and
we went across. We sneaked along the water front from Channel St. up and finally
landed on a float at the foot of Howard St. Here we got ashore and mingled with
the crowd. 47
10

Two Days In San Francisco—1906
It was aboard this boat that I got the first trustworthy news from the outside.
It had been reported that L[os] A[ngeles] and S[an] D[iego] were badly hit. Also
Chicago and New Orleans. It was generally admitted about town that Salt Lake
City, being in the center, must have gotten it worst. New York, it was said, was
almost untouched. Everything on the coast was supposed to be in about the same
state as S.F. A huge tidal wave was reported as one of the incidents at SD. 48 On the
launch was a man from LA and from him I got a pretty definite idea of the extent
of the shake. This was quite a relief.
The water front was even more crowded than early in the day. Supplies were
being brought off the river steamers and loaded on to trucks well guarded by
soldiers. There was a depot for distributing milk to women and children; also a
number of sprinkling wagons with drinking water. There was a push cart in front
of the ferry building loaded with oranges and candy and there were five soldiers
on guard.
I had a good view of the fire from the top of Russian Hill. They were
dynamiting extensively in Chinatown and the Barbary Coast but still the fire was
gaining rapidly. Three engines were at work pumping water from the sewers; 49
there was also a relay of engines bringing a single steam from the bay. Of course
all this had little effect on the fire. As the dynamiting continued the soldiers
gradually drove the people further and further up the hills and Russian Hill was
jammed. A few people in the warehouse district were getting hot canned stuff
from the ruins. On Russian Hill as I went thru, the soldiers broke in all the little
grocery stores and distributed the food. They did likewise of course all over town.
There were 8 engines stalled in a semicircle around the ferry building. They
were useless and could not be hauled away as the entire west side of East Street
was burnt and blocked traffic. These engines came in handy on the fourth day 50 of
the fire when, having burned over the hills to North Beach, it started back along
the water front taking in wharves and warehouses. It was stopped I think at the
foot of Lombard Street thus leaving most of the piers and the ferry building intact,
although everything on the other side of the street, including the warehouses of
the Belt Line, are gone.
When I got home at 2014 (about 6 p.m.) I found Gus busy burying valuables in
the yard. Earlier in the day he had succeeded in getting a wagon for $40.00 to haul
the piano, some books, and canned goods to the Ackermans and 5th Avenue. 51
Ella was at 5th Avenue. I worked awhile with Gus and together we buried the
children’s books, and the good dishes and glasses. Ella had cut the pictures out of
their frames and taken them with her.
We went to Engine House 15 and registered for some kind of police
committee. 52 There was not much doing but talk so I went back, got my suitcase
of grub and lit out for Ackermans. Found everything very grouchy here. I slept a
few moments on the porch, unloaded half the food and lit out for 5th Avenue. The
fire was now burning extensively in the Mission, in Hayes Valley, and the retail
district. Also Chinatown and further north. Even as far out as Presidio Avenue it
was brighter than full moon, and of course red. Was stopped a number of times
on the way out by soldiers and once by a U[niversity of] C[alifornia] cadet whom I
jollied about the field day. 53
At 5th and Lake I was stopped by a citizen guard and he wouldn’t let me go
up 5th, so I took him along. I knocked at the door and Ella came and explained
11

The Journal of San Diego History
that it was all O.K. We got some
Persian rugs of Lucy’s and slept
on the floor; the house being
about half open with one room
unencumbered with debris. Up
to this time no fires were allowed
in the streets and of course no
lights in the houses. We hit the
floor about 12 P.M. and here
endeth the second day (to be
continued – maybe).
Afterward
I have always regretted not
having continued this letter on
a subsequent day, but I presume
that there was so much of interest
to see, and so many things to be
done that I never got around to
it. Also, it is to be remembered
that for many days, if not weeks, we had no artificial light at night. After an early
evening walk we usually turned in and called it a day.
To continue the story, as well as memory permits, on the following morning,
which was Friday the 20 th , my sister Ella and I walked from 55 Fifth Avenue back
to the house at 2014 Webster Street, to see whether it was still standing, and how
the fire was progressing. We had a toy coaster-wagon loaded with canned goods
and other food. I was very tired from the previous day’s exploits, and we stopped
quite frequently. We started out at seven o’clock in the morning and must have
arrived about ten. My sister stood the trip better than I did. We were much pleased
to find the house standing, and the fire still at quite a distance.
As far as I know, we spent that night in Lafayette Square. It was early that
evening that the fire was finally stopped rather unexpectedly, as it had crossed
Van Ness Avenue between Clay and Sutter; it was first thought that this crossing
would be fatal to the area immediately to the west, since the wide avenue had been
the best hope of stopping the fire. One of the last houses to burn, maybe the next
to the last, was our old home at 1324 Sutter Street, the next house to the Franklin
Street corner, where our family lived from 1884 to 1892, before we returned to San
Diego.
The fact that the fire was out was announced to the crowds in the streets
and parks by buglers on horseback, but what time of night that was I have no
remembrance.
Altogether, I stayed in San Francisco six weeks after the fire before returning
to San Diego. I went almost everywhere I desired by the use of a pass reading as
follows:
“San Francisco, Cal., April 21 st , ‘06
“The bearer of this, Mr. L. Klauber, is a member of
San Franciscans from every social class and neighborhood stood in line
for daily rations doled out by the military. ©SDHS #1998:40 Anne
Bricknell/F. E. Patterson Photograph Collection.
12

Two Days In San Francisco—1906
The Medical Staff, German Hospital on Relief Work.
Please let him pass the fire lines, also ferry service
Out and back to city.
Respectfully yours,
(Signed) H. Epstein, Pres.
(Signed) B. Blanert, Chairman, Hospital Committee”
I didn’t have too much difficulty in wangling this pass as H. Epstein was my
uncle.
We spent our time in various ways. First, of course, there was the necessity of
building an oven, or sort of open stove, out in the street. This had to be protected
with a moveable windbreak, that could be set against the prevailing wind.
Firewood was not difficult to secure from the buildings that had been partly
damaged by falling chimneys. Also, each house had to be supplied with an old
fashioned outdoor toilet; I constructed one in the back yard. I think we got such
water as we had from sprinkling carts that were parked at different corners.
The bread lines were rather long, and sometimes we stood in line for as much
as an hour. This was done infrequently, however, because grocery stores were soon
able to obtain canned goods that could be purchased in the usual way. I think
altogether we got very little food from the public distribution, maybe only for a
week or so. The food was of queer brands of which we had never heard – shipped
in from the East I suppose. As soon as the fire was out and we were fairly well
settled down, we dug up the dishes, books, etc., that had been buried in the back
yard. The dishes were undamaged, but the books had been injured by dampness.
Some of the paintings had been cut out of the frames along the inside edge of the
stretchers, which was too bad, but they were subsequently repaired by experts. As
my sister [Alice] was an artist, some of the pictures were good, several by famous
SF painters of the day.
A considerable part of my time immediately following the fire was spent in
walking around the edge of the burned district and mapping it accurately. This
was an interesting activity, since the maps of the fire which appeared in the
newspapers at that time were extremely sketchy and conflicting. This disturbed
my sense of order. I think it took about six days to walk around the boundary and
make a map accurate to within the nearest quarter block. The detailed maps which
I made are no longer available, but the results were copied on a summary sheet
that reads as follows:
Boundary of the Fire
Begin at pt ½ way bet foot of Mason and foot of Taylor proceed as follows. S to
Beach, W to Taylor, S to Bay, W to Jones, S to Francisco, W 1/3 blk, S to Chestnut,
W ½ blk, S ½ blk, W to Leavenworth, N to Chestnut, W ½ blk, W to Hyde, S to
Greenwich, W to Polk, S to Filbert, W to Van Ness, S to Clay, W to Franklin, S to
Sutter, E to Van Ness, S to Golden Gate, W to Gough, S to Locust Avenue, W ½
blk, S to McAllister, W to Octavia, S to Ash Avenue, W ¾ blk, S to Fulton, E to
Octavia, S to Fell, E ¼ blk, S to Hickory Avenue, E ¼ blk, S to Oak, W ¼ Blk, S
to Lily Avenue, E ¼ blk, S to Page, E to Gough S to Market, SW to Guerrero, S to
within 50 ft of 13th, E 50 ft, S to 13th, W to Guerrero, S to Clinton, W to market,
SW to Dolores, S to 20th, E to Valencia, S ½ blk, E to Lexington, N to 20th, E to
13

The Journal of San Diego History
Mission, N ¼ blk, E ½ blk, N ¼ blk, E to Capp, N to within 75 ft of 18th, E 1/3 blk,
N to 18th, E to Howard, N to 15th, E to Shotwell, E ½ blk, N ¼ blk, E to Folsom, N
to within 50 ft of 14th, E 50 ft, N to 14th, E to Harrison; along Harrison to 11th, SE
to within 75 ft of Bryant, NE to Juniper, SE to Bryant, NE to 9th and 100 ft beyond.
SE ½ blk, NE to 8th, SE to pt midway bet Brannan and Townsend, NE ½ blk, SE to
Townsend, NE to 2nd, NW 1/3 blk, NE 75 ft, NW 75 ft, SW to 2nd, NW to within
50 ft of corner. NE ½ blk, NW to Brannan, NE to 1st, NW to Federal. N along base
of Rincon Hill to Fremont at pt midway bet Bryant and Harrison, NE to Beale, NW
to Harrison, NE to Main, NW to Folsom, SW ¾ blk, NW ½ blk, NE to Main, NW to
Howard, NE to Steuart, NW to Mission and 50 ft beyond, NE to East, NW to Pacific,
W to Drumm, N to East, NW to Filbert, W to Battery, S ½ blk, W to S ½ blk, W to
Sansome, S to Union, SW along base of Telegraph Hill to pt on Green midway bet
Sansome and Montgomery, W to Montgomery, N to Union, W ¼ blk, N to Filbert,
W to Kearney, N 1-1/2 blks, W 1/3 blk, N to Lombard, E to pt midway bet Kearney
and Montgomery, NW to Kearney and Chestnut, E to Sansome, N to East, NW to
foot of Francisco, E to the Bay.
The Russian Hill district saved:
Begin at cor. of Broadway and Taylor, W ½ blk, N to Vallejo, W to Jones, N ¾ blk,
W ½ blk, S ¼ blk, W to Leavenworth, N to Green, E ½ blk, N ½ blk, E to Jones and
75 ft beyond, S to Green, E 50 ft, N ½ blk, E to Taylor, S to Vallejo, E ¼ blk, S ¼ blk,
W ¼ blk, S to starting pt.
In connection with this tour around the edge, I crossed the burned zone many
times and saw the gradual clearing of the wreckage from the streets to permit
Homeless San Franciscans were asked to do their cooking in the street due to the danger of fire. ©SDHS #1998:40 Anne
Bricknell/F. E. Patterson Photograph Collection.
14

Two Days In San Francisco—1906
traffic. I have often wondered whether I was the first to follow and record the fire
boundary in such detail.
Some of the scenes which I failed to mention in my letter that still stand out are
these:
The after shocks of course were quite frequent, some of them fairly good shakes
and very frightening to the high-strung populace. I remember being in a grocery
store at about California and Lyon streets, when there was the usual little tremble,
and the woman standing next to me fell over in a dead faint.
In a drug store on Fillmore Street on the first night after the earthquake, there
was a woman attempting to buy a certain kind of tooth brush (a prophylactic,
medium, or something as particular). It was dark, and the druggist was allowed
only one candle and he couldn’t find his stock. He had plenty of tooth brushes
available, but not the kind upon which the woman insisted. Suddenly he became
furious and pushed her out of the store, stating that everyone else wanted either
whiskey or morphine, or something important, and he had no time for tooth
brushes. He was complimented by a policeman who was getting supplies for a
temporary hospital.
I remember standing at the corner of First Avenue and California Street, when a
woman in a nearby house started a series of the most unearthly shrieks. A soldier,
with fixed bayonet, rushed into the building, but what the row was about I never
heard. This kind of excitement was frequent, and strange to relate, wasn’t followed up.
Our relations with the constabulary were usually quite pleasant. The soldiers
were parked about one to the block in our area, principally to look out for lights.
We often stopped to chat with them and
ask for news. I believe that some time
later candles were allowed until about
nine o’clock, and I was called down
once for reading some detective story
overtime.
Another scene – I think it was the
second morning, when the children and
I were walking to the ferry. We came
upon a truck piled high with household
effects near Franklin and California.
Several of my relatives were gathered
about, but I only remember the girl who
married one of my cousins several years
later. She was sitting on top of the pile
and making a considerable squawk. I
think the trouble was they had a truck
all right, but no horse.
I have some remembrance of the
opening of the S. and W. safe, which
was quite an affair, as the sales slips
of several days’ business had been left
inside; I think they had rescued most
of the important account books before
the fire reached the building. Old man
Laurence M. Klauber worked at San Diego Gas & Electric for
forty-three years. He served on the Board of Trustees of the
San Diego Society of Natural History and as the consulting
curator of reptiles at the San Diego Zoo. Courtesy of Philip
Klauber.
15

The Journal of San Diego History
Sussman was in a fearful state; and as the mechanics worked on the safe he kept
turning to me as an expert, and repeatedly asked me whether I thought they
would be burned, or if burned whether they would be legible. I wasn’t an expert
and couldn’t help him. The door finally swung open. The papers either burned
then (from the effect of the oxygen on the partially charred material within) or
they had already burned – I can’t remember which. There was a great to-do; but I
think the slips, with the exception of a few on top, were finally deciphered in their
charred state.
Epilogue, April 18, 1958
What does one remember of actual sights and sounds more than fifty years
after an experience such as that described? Very little in my case, and these
memories without continuity or relevance to importance.
Vignettes: The yellow uniforms of Caruso and his fellow Spanish guards; the
violent shaking of the earthquake itself, as felt on the fourth floor of a masonry
building; the dogs, cats, canaries, and more exotic pets carried in boxes, cages, or
held on leash – every refugee seemed to have one; the household goods along the
fire boundary, dragged to safety and then abandoned; living with the sun because
of the lack of artificial light.
Broader memories: The queer feeling of pride at being a witness to the greatest
destruction by fire of man’s handiwork that had ever been seen by man (Chicago?
hm!); the rarity of evidences of acute grief or despair, but the prevalence of an allpervading
weariness for all means of transportation except one’s two feet were lost,
and everything to be moved must be dragged or carried on the back; the feeling
that one should be doing something, without knowing what or to what end; the
relief at sight of the military, not because of any fear of one’s fellows, but because
the soldiers constituted tangible evidence of guidance and control; the exchange
of information in the bread lines – people had to know what was going on and
readily accepted as truth whatever a neighbor said, even though he was known to
have no more factual basis than his merest guess.
Some of these experiences were not forgotten when I headed San Diego’s Civil
Defense Committee during the last war. Fortunately, of course, our plans and
programs never had to be put into operation under stress.
Later developments have raised questions in the mind as to the psychology and
control of future refugees fleeing from danger. In San Francisco in 1906, it was only
necessary to get into the open, away from any buildings, to be safe from any threat
from earthquake or fire. Both of these are easily recognized, for they affect the
senses. How will it be if the threat is fallout, whose danger alerts no human sense;
when neither sight, sound, taste, odor, nor touch, can tell the frightened people
whether the danger is present, or how serious it may be? Then will rumor really
become supreme and supremely dangerous, since it will lead almost instantly to
panic and the paralyzing of all automotive traffic, whether of succor or escape.
16

Two Days In San Francisco—1906
NOTES
1. Special thanks to Philip M. Klauber, Laurence Klauber Wormser; Margaret Kimball, University
Archivist, Stanford University; and Patricia E. White, Department of Special Collections, Stanford.
2. According to two recent studies, the 1906 San Francisco Earthquake had a magnitude of
between 7.7 and 7.9. The previous estimate of 8.3 was based on older data. See U.S. Geological Survey,
Earthquake Hazards Program, http://quake.wr.usgs.gov/info/1906/magnitude.html (accessed
1/14/06). For more information on the earthquake and fire, see William Bronson, The Earth Shook,
The Sky Burned (Garden City, NY: Doubleday, 1959; San Francisco, Chronicle Books, 1986); Philip L.
Fradkin, The Great Earthquake and Firestorms of 1906: How San Francisco Nearly Destroyed Itself (Berkeley:
University of California Press, 2005); Gladys Hansen and Emmet Condon, Denial of Disaster (San
Francisco: Cameron and Co., 1989); Charles D. James and Susan Fatemi, Aftershocks: Photographs of
the 1906 San Francisco and 1923 Tokyo Earthquakes (Berkeley: University of California Press, 2002); Dan
Kurzman, Disaster!: The Great San Francisco Earthquake and Fire of 1906 (New York: William Morrow,
2001); Charles Morris, ed., The San Francisco Calamity by Earthquake and Fire, introduction by Roger
W. Lotchin (Philadelphia: J. C. Winston Co., 1906; Urbana: University of Illinois Press, 2002); Erica Y.
Z. Pan, The Impact of the 1906 Earthquake on San Francisco’s Chinatown (New York: P. Lang, 1995); Eric
Saul and Don DeNevi, The Great San Francisco Earthquake and Fire, 1906 (Millbrae, CA: Celestial Arts,
1981); Gordon Thomas and Max M. Witts, The San Francisco Earthquake (New York: Stein and Day,
[1971]); Dennis Smith, San Francisco is Burning: The Untold Story of the 1906 Earthquake and Fires (New
York: Viking, 2005); Simon Winchester, A Crack in the Edge of the World: America and the Great California
Earthquake of 1906 (New York: Harper Collins, 2005); “The 1906 San Francisco Earthquake and Fire,”
Bancroft Library, http://bancroft.berkeley.edu/collections/earthquakeandfire/splash.html (accessed
1/12/06). The 1906 Centennial Alliance provides information about activities and events being held to
commemorate the anniversary of the earthquake and fire. See http://1906centennial.org/ (accessed
1/12/06).
3. Alice E. Klauber (1871-1951) was the daughter of Abraham and Theresa Klauber. She was an
accomplished artist who co-founded the San Diego Fine Arts Society (1926) and served as honorary
curator of oriental art at the Fine Arts Gallery. She was instrumental in bringing many American
artists to the Panama California Exposition in 1915. She also donated many valuable art works to
the Fine Arts Gallery (later the San Diego Museum of Art). “Artists’ Biographies,” The Journal of San
Diego History (JSDH) 47, no. 3 (2001), 236; “Alice Ellen Klauber,” San Diego Biographies, San Diego
Historical Society, http://sandiegohistory.org/bio/klauber/aliceklauber.htm (accessed 1/12/06); Bruce
Kamerling, “Painting Ladies: Some Early San Diego Women Artists,” JSDH 32, no. 3 (1986): 147-191.
4. Laurence Klauber’s son Philip recalled that his father “barely caught the last train to Palo Alto,
by running. If he’d missed the train there’d be no speech here today, for the bed at his sister’s house,
where he stayed when visiting the City, was completely destroyed by a falling stone in the earthquake
the next morning.” Philip Klauber, “Reminiscences on L.M.K.” “Laurence Klauber,” San Diego
Historical Society (SDHS) Biographical Files.
5. Elvira (Ella) Klauber (1863-1932) was the eldest daughter of Abraham and Theresa Klauber. She
married Gustav Wormser (1857-1921), producing three children: Elsie Wormser (1891-1947), Dorothy
Wormser (1894-1988) and Paul Wormser (1892-1953). Paul Wormser’s grandchildren are Carolyn E.
Wormser (b. 1962), Paul W. Wormser (b. 1966) and Stephen L. Wormser (b. 1968).
6. Laurence M. Klauber’s Two Days in San Francisco – 1906 (1958) was privately printed for friends
and family. Copies can be found in the Bancroft Library and the San Diego Historical Society Research
Archives. Klauber, interviewed in 1960, said that “I was at Stanford University at the time of the
earthquake of April 18th, 1906. The university buildings were severely damaged and a student in
my dormitory was killed. As I had a sister living in San Francisco I went up to the city that morning,
by riding the train for a short distance and thereafter partly on a wagon and partly afoot. I stayed
up there for six weeks after the earthquake and often stood in a bread line. It was a most interesting
experience. Which I have recounted in a little booklet of which a copy is on file with the Historical
Society.” Laurence M. Klauber, interviewed by Edgar F. Hastings, May 12, 1960, “Laurence Klauber,”
SDHS Biographical Files.
7.
Richard Muller, “Pioneer Spirit: The Klauber Wangenheim Company,” JSDH 29, no. 1 (1983).
8. Alice Gould Klauber (b. 1913) married David Miller (1914-1993) in 1940. They had three children:
Grace Louise Miller Valencia (b. 1942), Laurence Miller (b. 1944), and David Miller, Jr. (b. 1952). Philip
17

The Journal of San Diego History
Monroe Klauber (b. 1915) married Detty June Stevenson Conyers (1918-1992). They had four children:
Jeffrey Conyers, Timothy Klauber (b. 1949), Janet Klauber Oliver (b. 1950), and Laurie Katherine
Klauber Wasserman (b. 1958).
9. Laurence Monroe Klauber, Rattlesnakes, Their Habits, Life Histories, and Influence on Mankind
(Berkeley: University of California Press, 1956).
10. Iris Engstrand and Anne Bullard, Inspired by Nature: The San Diego Natural History Museum
After 125 Years (San Diego: San Diego Natural History Museum, 1999), 80-81; Iris Engstrand and
Kathleen Crawford, Reflections: A History of the San Diego Gas and Electric Company, 1881-1991 (San
Diego: San Diego Historical Society, 1991), 137; “Laurence Klauber,” SDHS Biographical Files; San
Diego Biographies, “Laurence K. Klauber [sic] (1883-1968),” San Diego Historical Society, http://www.
sandiegohistory.org/bio/klauber/klauber.htm (accessed 1/1/06); “Laurence M. Klauber,” San Diego
Natural History Museum, http://www.sdnhm.org/history/klauber/index.html (accessed 1/12/06).
11.
My sister Alice.
12. Olga Epstein, a cousin, who subsequently went to our home in San Diego with the Wormser
children mentioned in the introduction. “Cotton sign” is obscure; probably a comparison is to be
inferred between any painting at the Hopkins Art Institute and a muslin advertising banner.
13. Probably the sophomoric style may be justified by the fact that the writer was at the time a
sophomore at Stanford. While actually 22 years old, his mental age was 14. In the intervening years
this has advanced by two years.
14.
15.
The grammar indicates typical college humor of that day.
[Douglas Ferry, class of 1909, received his AB in Civil Engineering].
16. In starting my story with the grand opera of the night before, I had no idea that I was setting
an important precedent. Most of the stories of the earthquake and fire which subsequently became
famous, including that of Will Irwin, start with the same performance. I was in the gallery of the
old Grand Opera House on Mission Street at this gala performance. The principals besides [Olive]
Fremstad and [Enrico] Caruso were Bessie Abbot and [Mercel] Journet. I presume the alumni of that
pre-earthquake opera performance are no longer numerous. I also had tickets for a subsequent opera,
Tannhäuser, which, however, was never given. The next opera I attended was The Huguenots, Mar.
31, 1907, out at the Chutes. It was a good deal like putting on an opera in a barn. But the cast made it
worthwhile – [Alice] Nielsen, [Lillian] Nordica, [Andres] de Segurola, [Florencio] Constantino et. al.
Douglas Ferry, of San Diego, was a classmate at Stanford.
17. Actually, we caught the train as it was passing 4 th and Townsend. Had I missed it I undoubtedly
would have gone to my sister’s for the night, and would have occupied my customary bed on the third
floor, through which bed one of the stones from a chimney crashed next morning, as mentioned later.
The difficulty in catching the train was caused by a fire on Third Street and hoses stretched across the
trolley-car tracks at about Third and Howard.
18.
Meaning College Terrace, where I roomed.
19. From the standpoint of observation a very fortunate location in the northwestern corner of the
building, thus giving an unobstructed view both to the north toward the new library and gymnasium,
and west toward the quad and chapel. [Encina Hall was converted to administrative use in the 1950s.
It now houses several academic programs].
20. The earthquake was more severe at Stanford, and at other points in the Santa Clara Valley, for
two reasons: first, they were nearer to the line of the San Andreas Fault; second, being on alluvial soil,
the buildings suffered more than those on rock formations, as was the case with most of San Francisco.
21. These clouds of dust are quite characteristic of serious earthquakes. The buildings referred to
were the new library and gymnasium, which were not yet occupied. The first was a large building
with a central dome of structural steel, which in its vibrations knocked down the two three-story
wings. Beyond this was the gymnasium, also new and unoccupied, which settled into a mass of ruins.
Toward the west, the quad was badly shaken but the buildings did not fall. The church spire, however,
was badly wrecked, and this I saw. A large chimney in the engineering group fell, but I do not recall
having seen this. The library and gymnasium buildings were too completely wrecked to be restored.
22. Referring to a bull terrier by the name of Jack Dempsey that we once owned. This, of course, was
named for the original Jack Dempsey, a middleweight of the early ‘90s, not the later heavyweight
18

Two Days In San Francisco—1906
champion of the same name.
23.
[Rufus Lot Green, Professor of Mathematics].
24. I think Hanna was in the room either immediately to the east of us, or in that tier of rooms, but
one or two stories below. The blankets mentioned were obtained from dormitory rooms on the ground
floor. [Junius Robert Hanna, from Pennsylvania, was studying electrical engineering; he was the only
student to die on campus during the earthquake.]
25. The Daily Palo Alto, the college newspaper of that day. Hugo, my brother, Stanford ’98. The “Row”
refers to the fraternity and sorority houses. Roble was the women’s dormitory.
26. David Starr Jordan, President of the University [David Starr Jordan (1851-1931) was an American
eugenicist and a leading ichthyologist, educator and peace activist. He was president of Indiana
University (1885-91) and Stanford University (1891-1913).]
27. Benjamin Ide Wheeler, President of the University of California. I do not know whether this
story has stood the test of time; remember this was written within 12 days of the disaster when
much wilder yarns were a dime a dozen. [Benjamin Ide Wheeler (1854-1927) was a professor of Greek
and comparative philology at Cornell University before serving as president of the University of
California (1899-1919). The University of California, Berkeley, did not suffer major damage as a result
of the earthquake. However, refugee camps were established on campus and University cadets were
dispatched to maintain order in San Francisco. “Centennial of 1906,” University of California, Berkeley,
http://seismo.berkeley.edu/seismo/1906/ (accessed 1/12/06)].
28. Was anyone so completely mottled as to believe this might be issuing from a brand-new volcano?
Answer: Yes.
29. This was more or less typical of the kind of rumors that one heard. No rolling stone ever
gathered moss as fast as rumors increased in size and intensity as they traveled through these crowds.
I presume “furious rate” may have meant 30 m.p.h.
30. His name was E. J. Boyce. I remember him particularly as I had accidentally injured his eye in a
boxing match in the gym some weeks before.
31. Meaning a synagogue next to my sister’s house. This was Temple Sherith Israel, a domed edifice
of green limestone, recently erected. The wooden house was close to the north wall of the larger
building, which towered over it. By “tallyho” was meant a horse-drawn, passenger vehicle of that day.
The occupants back of the driver usually sat in longitudinal seats facing each other.
32. This was a good opportunity to see the extent of the damage by earthquake before the damage
intermingled with that of the subsequent fire. It was considerable in the lower areas, particularly on
alluvial or filled ground.
33. A typical example of youthful understatement. I had a terrible shock as I came around the
California Street corner and saw that the southern wall of my sister’s house had been torn out, from
roof to cellar, by several stones which fell from a chimney or coping on the north wall of the higher
synagogue.
34. Gustav Wormser, my brother-in-law. He was a partner in the wholesale grocery firm of Sussman,
Wormser and Co., later S. & W. Fine Foods. Their warehouse was on Spear St. [Gustav Wormser (1851-
1921) married Ella Klauber in 1888.]
35. Sigmund Ackerman, a cousin, who lived farther out in the Pacific Heights district. I believe he
was the manager of the Grand Opera House.
36. My chronology was evidently mixed, as the fire burned itself out on the third night; or there may
have been a few stray fires along the waterfront still burning on the fourth night.
37. [Ludwig Arnstein (1852-1930), Mercedes (Mercy) Mandelbaum Arnstein (1857-1931) and their son,
Laurence Arnstein (1880-1979)].
38.
39.
More cousins of divers grades.
The cook or maid.
40. Everyone else walking on Van Ness that night seems to have tripped over Caruso asleep in his
pajamas on the sidewalk. I didn’t.
41.
Meaning the three Wormser children, Elsie, Paul, and Dorothy. Actually, it was nearer 9 than 8.
19

The Journal of San Diego History
Of course we walked.
42.
43.
East Street, now part of the Embarcadero.
The name was Sieleman.
44. The letter is not clear as to what we did. We crossed the Bay in a ferry to Oakland, where the
children were left in charge of the Sieleman family. He was, I believe, an employee of Sussman,
Wormser & Company.
45.
Victor Morgan of San Diego. His sister Jeanette was at Stanford.
46. Swiss cheese. I don’t know how many pounds of Swiss cheese or of bologna $1.00 bought then,
but they were mighty heavy before I reached my destination. I had evidently picked up a rumor to the
effect that a permit to return to San Francisco was necessary, which caused the fruitless visit to the
Berkeley City Hall.
47.
We all acted like criminals, and it is entirely possible that some of us were.
48. As insane as these rumors may sound now, they were quite usual, and were believed by most
people at that time, for not a single bit of authentic news was then available to any ordinary person.
49. These old-fashioned steam fire engines always had a great attraction for me. I sat on the curb
and watched one for a while. I was worn out from packing that cheese and sausage up the steep hills.
Every so often the engine would lose its suction from lack of water in the sewer manhole. Then the
engine would race and the firemen would curse.
50.
Probably this should read “third.”
51. Just before the fire my brother-in-law had purchased a residence at 55 5 th Avenue, which was now
in process of being rebuilt. As nearly as I remember, the roof was partly retained, but most of the walls
were skeletons. We buried in the yard at 2014 Webster Street, much of the silverware, crockery, and
books. All of this was dug up later safely enough. Why we did not have sufficient presence of mind to
cover the books with sheets, I have never been able to determine. They were considerably injured by
the damp soil.
52. I can remember that my brother-in-law was fiercely impatient with this committee, which was
much more busily engaged in getting organized with proper constitution, by-laws, and officers, than it
was in doing anything.
53. Hap Myers, afterwards a great baseball player. The “field day” refers to a past or imminent trackand-field
contest.
“...What a whirl I have been in since I left S.D. ... will have to tell you all when I get home.” Postcard from “Biddy”
to Mrs. J.M. Bricknell, 3 rd and Date Streets, San Diego, CA, June 8, 1906. ©SDHS #1998:40 Anne Bricknell/F. E.
Patterson Photograph Collection.
20

San Diego’s Bygone Burlesque:
The Famous Hollywood Theatre 1
Winner of the Joseph L. Howard Memorial Award
by Jaye Furlonger
Burlesque, one of America’s most significant contributions to popular
entertainment in the pre-radio and television era, played an important role in San
Diego’s social and cultural history. The legendary Hollywood Theatre put the
city on the map as one of the best places in the entire country to find “big time”
burlesque, often referred to as the “poor man’s musical comedy.” 2 During the 1940s
and 1950s, it became a major stopping point on the West Coast circuit for such
big-name striptease artists as Tempest Storm, Betty Rowland, and Lili St. Cyr. 3 The
1960s, however, brought an end to its “golden era,” and by 1970 the Hollywood
was the last great burlesque palace to close on the West Coast. The construction of
Horton Plaza in the 1980s eliminated any visible trace of the colorful, bygone world
that existed at 314-316 F Street. People now park their cars where the Hollywood
once stood and look to shopping and movies for entertainment, not musical
comedy. The glamorous headlining striptease artists seductively advertised on the
marquee and the droves of young sailors who crowded the sidewalk lining up to
see pretty girls and comics have faded into the past.
Early burlesque takes root in San Diego: 1880s – 1920s
The first American burlesque shows developed in eastern metropolitan centers
during the late nineteenth century. The shows played on people’s desires to laugh
and lust, the key factors that helped spread its popularity to the far reaches of
the country, despite its perceived threat to the social and moral order. Beginning
around the 1860s, burlesque developed a predictable format based around a fullcompany
of dancers, singers, actors, and comedians. Notorious for suggestive
humor and scantily-clad showgirls, it was targeted foremost at working class men.
In notably smaller numbers, people from all walks of life (including some women)
also enjoyed the titillation of witnessing something then widely considered to be
socially taboo.
San Diego, while remote, was a primary port of entry on the Pacific Coast for a
large number of single men seeking to improve their prospects in the West. A place
exclusively dedicated to presenting stock burlesque, however, did not emerge to
capitalize on this sizeable male market until the early 1920s. Until then, performers
with burlesque influences arrived in town solo or with road shows for short
Jaye Furlonger is a 2005 graduate of the University of San Diego’s masters program in Public History.
As a trained museum professional, Ms. Furlonger has been a dedicated volunteer for more than two
years in the ongoing effort to preserve the Exotic World Burlesque Museum & Striptease Hall of Fame.
21

The Journal of San Diego History
engagements at various vaudeville and variety halls on the touring circuit. Many
performed near to or within the bounds of the notorious vice district below Market
Street known as “The Stingaree.” 4
In the late nineteenth century, San Diego had at least two major social gathering
halls: Horton Hall (1869), located not far north of the Stingaree on the south-east
corner of 6 th and F Streets, and Leach’s Opera House (1884) on D Street, now
Broadway, between First and Second Avenues. Both were used for civic events
but also hosted traveling road shows and other theatrical fare. In addition, there
were about a dozen smaller establishments, including saloons, hotels, and other
meeting halls, where live entertainment could regularly be found. In 1887, Horton
and Leach’s were joined by a third major venue, Louis’ Opera House. 5 Early
risqué female entertainers – variety performers, bold comediennes, dance hall
girls, and the like – had gained a presence alongside the gambling, drinking, and
prostitution that characterized downtown. However, an authentic burlesque road
show with a full company of bawdy theatrical women, Lydia Thompson’s Grand
English Burlesque Company, 6 did not arrive until 1889 when, for a two night
engagement at the popular Louis,’ the world-renowned troupe presented satirical
versions of two different plays, Penelope and Columbus. 7
The worlds of theatre and prostitution shared deep historical ties; this
association continued to taint the reputations of female actors during Thompson’s
era. In the minds of some early local residents, the close geographic proximity
of the city’s first theatres to the rowdy Stingaree may have reinforced this type
of commonly held negative stereotype about show people. Suspicion directed
towards entertainers – especially women who did not conform to the day’s
standards of behavior and dress – and at the leisure activities of the lower classes
in general were basic sentiments held by those who considered themselves to be
morally upright citizens at that time. Such a perspective is alluded to in the local
news section of the San Diego Union, October 27, 1886, where it briefly notes: “A
variety show came to the city yesterday. It also left yesterday. These shows should
find out before they come here that we have an ordinance prohibiting dance halls
and the like.” 8
Journalists continued to keep public attention focused on performers who
crossed the line of decency. Worthy of such a distinction in 1897 was a mysterious
“oriental danseuse” identified as Omene who shocked audiences with a “muscle
dance” during a vaudeville show at the “Fifth-Street Theater,” probably another
name for Louis’ Opera House. The act provoked an outraged commentary in
the next day’s San Diego Union, where it was unfavorably compared to a toneddown
version of the “cootch” dance, or hootchy-kootchy – a scandalous attraction
found primarily on the carnival midway. In a follow up news item the next day,
the same writer, apparently still flustered, claimed that the majority of Omene’s
audience had been made up of men and boys, and that a good portion of those in
attendance were horrified by her suggestive body movements. He also predicted
that the theatre would soon go out of business with more programming of that
nature. 9 However, and surely to the dismay of many like-minded individuals, the
popularity of the cootch was actually on the rise. Taken-up by a virtual army of
brazen turn-of-the-century women like Omene, the first commercial exotic dance
was becoming a staple in road shows, dime museums, “small time” vaudeville,
and early burlesque houses across the country. 10
22

San Diego’s Bygone Burlesque
San Diego’s fourth theater, the Fisher Opera House, opened in 1892 on Fourth
between B and C. The Fisher was built by the producers Fisher, Dunne, and Ryley,
and funded with profits from Floradora, the most successful musical comedy of
its day. It was the first theatre on the West Coast to be equipped with electric
lights. For a short time, it was considered to be the West’s finest and most beautiful
opera house, but its initial prestige was destined to fade in the wake of newer
competition. 11 In 1902, the Fisher was acquired by Katherine Tingley, founder of
the Theosophical Society, who changed its name to the Isis. The Isis was only used
by the Theosophists for meetings on weekends, so for most of the week it hosted
traveling road shows. In the 1920s, it became the Colonial Theatre and was turned
into a “tab show” house. 12
A boom in theatre construction took place in San Diego from the 1890s to the
1920s. Everything from musical concerts to serious theater, road shows, films,
family-friendly vaudeville, and occasionally burlesque, could be found within the
bustling core. The Lyceum, a medium-sized theatre for this period, was built in
1913 at 314-316 F Street by the Fontinelle family, who intended to produce serious
dramas. During the next several years, however, musical comedies dominated
the program. The name and management of the theatre rotated frequently
until becoming the Liberty Theatre. 13 After World War I, the Liberty featured
“musicale” (or “Mexican vaudeville”) and random events such as boxing. Shortly
after, ca. 1921-1924, it became the first and only theatre in San Diego to present
an all-burlesque format with its own stock company. 14 Historical photographs
depict small but typical theatrical burlesque troupes. Easy to identify are comics
Showgirls at the Creole Palace, ca. 1930. During segregation, the cabaret performers in the Creole Cuties Chorus were the darkskinned
counterparts of the chorus girls at the Liberty. ©SDHS Sensor 7:143, Guy Sensor Collection.
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The Journal of San Diego History
in ill-fitting suits and putty noses, and chorus girls posed in skimpy, matching
costumes. The women display a generous amount of flesh in sheer quantity of
naked legs, arms, shoulders, and backs; indeed, more skin than would have been
typically revealed by the day’s swimming attire.
Only two blocks south of the Liberty, on the north side of Market between
Second and Third Streets, the Hotel Douglas opened in 1924 with its Creole Palace
nightclub, a racy, high-energy African American cabaret. 15 Known as the “Cotton
Club of the West,” the Creole brought in big name stars like Bessie Smith, Billie
Holiday and Count Basie, and boasted a variety show with an all dark-skinned
company of singers, dancers, musicians, comedians and, quite possibly, striptease
artists. In addition to burlesque’s requisite slapstick buffoons and provocative
female house singer-comediennes, photographs from the 1930s depict showgirls
at the Creole dressed in the same style of exotic costumes worn in virtually all
burlesque theatres at the time. However, despite the Creole troupe’s similarity
in terms of attire and composition to the companies shown at the Liberty and
the Colonial, their brand of musical-comedy could not be officially considered
burlesque. This distinction was due both to the physical, non-theatre, cabaret
nightclub setting of the Creole, and to the strict racial segregation of the national
burlesque industry. Nonetheless, burlesque’s comic and other aesthetic influences
could be witnessed plainly in these productions.
The Liberty’s most prominent competitor during its early years as a burlesque
house, the Colonial, was demolished in 1928. The Creole Palace, on the other hand,
was able to tap into a broad non-segregated audience, which helped it to survive
the economic downturn of the 1930s and beyond into the post-World War II era.
Distinctly different, the Creole managed to peacefully co-exist with the Liberty
(and then later as it was known as the Hollywood) from the 1920s into the 1950s.
In fact, it was even a popular spot for performers from the Hollywood to unwind
after finishing their last show of the night. 16 Like the famous burlesque theatre, the
“Old Creole” served up some of the best live entertainment in Southern California.
Its prosperity came to an end, however, as the civil rights movement opened
up previously whites-only establishments across the country and lured African
American entertainers and audiences away from their beloved, but restrictive, old
haunts. Still, the Hollywood lived on.
Bob Johnston & The Hollywood Burlesque Theatre
The history of the Hollywood Theatre is tied to the remarkable man who ran
the landmark theatre for almost fifty years. Robert “Bob” Johnston, a local legend,
was born in Belfast, Ireland in 1897. His family moved to England two years after
his birth but did not escape poverty. George, the family’s patriarch, soon left
to explore the family’s prospects in Canada while Johnston, still a young child,
went to work as a brushboy at a barber shop to help support his mother and four
siblings. When it came time to finally follow George, who had at last settled in
Calgary, Robert went separately from the rest and worked his way over on a ship
transporting livestock. He was fourteen years old when the family reunited in
1911. 17
In England, the Johnston children had formed a singing group and entered
amateur vaudeville competitions as “The Johnston Kids.” After arriving in
24

San Diego’s Bygone Burlesque
Calgary, Robert worked as a newspaper boy selling papers on the street. He soon
turned his job into a solo vaudeville act, winning weekly talent contests as “Scottie
Johnston, The Newsboy Tenor.” 18 A violin virtuoso visiting Calgary’s Pantages
Theatre with a road show, Madame Musette, hired him to sing a popular song of
the day from the balcony while she played on the stage below. He accepted her
offer to join the tour, traveling from Spokane to San Francisco before heading back
again to Calgary.
Johnston joined the Canadian Army in 1918 as the First World War was drawing
to a close. Both before and after his service, he worked for the Canadian Pacific
Railroad as a machinist apprentice, long enough to earn a travel pass. In 1920, on
a whim, he took his free pass to California. He intended to stay only a few months
but found a job at a “nickel bar” in Los Angeles. 19 The direction of his life began
taking shape. The Follies Theatre, across the street from the bar, hosted a regular
variety show with an amateur contest. Johnston quickly made a name for himself
in the competition and was hired by the Follies to sing with a quartet and to
work as a “candy butcher” on the side, selling candy, peanuts, and chances to win
prizes from the aisles between acts. The theatre’s management, impressed by his
aptitude as a salesman, sent him to San Diego to manage the company’s concession
businesses at a small handful of theatres there, including the Colonial and the
Liberty.
Making about thirty or forty dollars per week at his newfound profession,
Johnston, who was still in his early twenties, was finally living well. In addition to
holding down his concessions job, he resumed his singing career at the Colonial.
At the time, around 1921, the Liberty Theatre was presenting Mexican musicale
under the proprietorship of Alex McPherson. He and McPherson became friends,
bonding over their mutual enthusiasm for horse-racing and show business.
McPherson brought Johnston into the Liberty as his partner for only a couple
hundred dollars. 20
In the early 1920s, the McPherson-Johnston partnership oversaw a busy house
catering to American soldiers returning from service overseas. Seeing a ripe
opportunity, Johnston replaced the Spanish-language musicale with a vaudevilleinfluenced
burlesque show. The burlesque format, which included comics, “blue”
humor, and attractive dancing girls, was particularly suited to an audience
composed primarily of young, unmarried men. 21 In the beginning, the Liberty’s
chorus line was small, with fewer than ten dancers making about ten dollars per
week each. Admission for the five-hundred seat theatre was affordable, assuring
a steady stream of customers coming in on shore leave. Later in his life, Johnston
recalled his exciting and prosperous start as a young burlesque entrepreneur:
When we took it over, the Scotchman (McPherson) and I, he was
just running a stage show only and we were running so many shows
a day because of the fleet coming in we were packing them in. And I
couldn’t have the girls working steady all day, so I had to give them
a rest, so I put in movies. One show would go on at 2:00 and get over
at 3:00 or 3:20 and the next one would go on at 4:00, you see. On the
days when we had a forty-five minute intermission, you couldn’t keep
them waiting for forty-five minutes, so I put in movies… 22
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The Journal of San Diego History
Johnston assumed full control of the Liberty after the death of McPherson in
1925. By this time, theatres across the country were guaranteeing profits by cutting
back on live performances and shifting entirely over to motion pictures.
In less than a decade, the Great Depression would kill many theatres still trying
to support actors’ salaries. 23 Johnston, who had been accustomed to poverty most
of his life, managed to keep the Liberty (and himself) alive throughout most of the
Depression on a “shoe-string” budget. He later described what this period was
like:
I struggled with the theatre. I didn’t make no money. Whatever
I could make, if I could make myself five or ten dollars a week you
were satisfied. You were living in a hotel and you were only paying
two dollars a week room rent, so you didn’t have too much to worry
about. Rent was cheap, food was cheap, clothing was cheap, and then
about 1939 things picked up here… 24
In 1929, just prior to the onset of the Depression, Johnston married Frances
“Fanny” Myers, a lively chorus girl and musician from San Francisco who had
stopped at the Liberty for a limited two-week engagement en route to perform
in Panama. After a brief
courtship with the man
she initially claimed to
dislike, Frances cancelled
her trip and became the
choreographer of the
Liberty’s chorus line. 25
Together, Bob and Frances
reigned over San Diego’s
small but important
burlesque scene.
Bob Johnston stayed
dedicated to preserving
the live format at the
Liberty despite financial
worries and occasional
trouble with the City over
The Johnston Family, 1940s. Author’s collection.
claims of indecency, a common inconvenience of the burlesque industry. He was a
businessman with a warm personal side who was always willing to help anybody
who was down on their luck. Johnston’s generosity was his legendary weakness. 26
It was not uncommon for him to put his friends, unemployed celebrities and sports
figures, into the show so they could make a little cash. A fervent fan of boxing, he
gave former heavyweight champion of the world Jack Johnson one hundred and
fifty dollars to appear for two weeks in 1929. The once famous pugilist earned his
keep by sparring with a clown and taking questions about his career from the
house. Leta Gray and Mildred Harris, two ex-wives of Charlie Chaplin, and the
Hilton Sisters, conjoined twins who sang and played the violin, also did short
stints at the theatre when in need of the work. As vaudeville neared its demise, the
Liberty became a sometimes refuge for displaced variety acts such as hypnotists,
jugglers, contortionists, and a range of others. In the spirit of the “big time,”
26

San Diego’s Bygone Burlesque
audiences received a program packed with plenty of action.
The 1935-1936 California Pacific Exposition in Balboa Park nearly put an end
to the Liberty. The Exposition offered a formidable assortment of exhibits meant
to excite, fascinate, and sometimes shock visitors. Sexuality and the female form
were flaunted at Zoro Gardens (a semi-nude, nudist colony), as well as along the
ballyhoo (where performers were placed on small stages in front of tent shows to
advertise the acts that could be found within), at the Moulin Rouge cabaret, and in
other girl shows and spectacles. One such grand spectacle, Sensations, employed
opulent lighting and stage mechanics to create a Ziegfeld-inspired tableau of
beautiful women appearing to ascend and descend on jets of water with others
swimming around them. During the first season of the Expo, there was also
Midget City, a scale village of 100 “little people,” and the Ripley’s Believe-It-Or-Not
pavilion, with its display of freaks and oddities. 27
The engagement of Sally Rand, America’s famous nude fan dancer, was one
of the most celebrated events of the 1936 season. Rand was a darling of the Great
Depression whose graceful fan and bubble dances, according to biographer
Holly Knox, “gave a whole generation something to think about other than
unemployment and breadlines.” 28 She was alleged to have saved the 1933 Chicago
World’s Fair from financial ruin by causing a flurry of publicity by showing up
uninvited to one of its opening banquets on the back of a white horse, “dressed”
as Lady Godiva in a long, flowing wig. 29 In San Diego, the dancer was booked for a
The Liberty Theatre Company, ca. 1930. ©SDHS Sensor 7:151, Guy Sensor Collection.
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The Journal of San Diego History
The Hollywood Theatre, April 10, 1943. Sailors and servicemen went to the Hollywood to see “big girl revues” and professional
comics like “Say No More Joe” during WWII. ©SDHS #84:14825, Barbara Jean Burlesque Theatre Collection.
week of multiple daily performances. Her act, for which a glass stage was erected
over the south reflecting pool in the Plaza del Pacifico, was entitled “Leda and the
Swan.” 30
After a continuous run of over a decade, the Liberty was forced to shut down
for a year and a half. Its musical-comedy revues seem dated and modest in
comparison to the bounty of excitement and titillation available in Balboa Park.
Johnston and Frances returned to their roles as performers, traveling to Los
Angeles and San Francisco for singing and dancing engagements. For a time,
they both ended up working at the Expo’s Gold Gulch, Frances as a dancing girl
and Bob as a barker. They also used some of their down time to redecorate the
theatre. When the Exposition ended, the Liberty reopened as the Hollywood
Theatre. In order to save money, Johnston acted as the house singer while Frances
choreographed and danced in the chorus line.
The Hollywood Theatre flourished as a result of the influx of servicemen
into San Diego just prior to and during World War II. In the early 1940s, the
U.S. Navy mustered soldiers at the El Teatro Balboa building, today’s Balboa
Theatre, at Fourth and E Streets. 31 The Balboa was only a short block away from
the Hollywood on F between Fourth and Fifth. Suddenly, there were thousands
of young men virtually camped out on the Hollywood’s doorstep. Downtown
became packed with men in uniform, and the Hollywood was their place to relax
and enjoy the seductive peelers and spicy comedy of a real live burlesque show. In
1952, in an article on the Hollywood in San Diego Magazine, its author Joe Kneffler
speculated that roughly 80 per cent of all servicemen who had passed through the
area had visited the Hollywood at least once. 32
28

San Diego’s Bygone Burlesque
Johnston, who was at the center of the action, recalled the 1940s and ‘50s with
enthusiasm: “the theatre was nothing but packed all the time. It was always
packed. In fact, we did six shows on a Saturday and five shows on a Sunday. It was
packed with sailors. That was all there was – sailors.” 33 It was his good fortune to
run the only “Big Girl Revue” 34 in town. The number of company members soared.
The show featured a chorus line of thirty women plus a whole cast of singers,
male dancers, striptease artists, comedians, and musicians. The entire musical
revue changed every two weeks, and generally so did the big-name, visiting
striptease headliner. There were multiple, daily hour to an hour-and-a-half long
performances. For the day to day operations, there was additional support staff:
ticket sellers, costume mistresses, stage hands, and bouncers. The Hollywood was
a world, and a busy industry, unto itself.
Sold-out houses during war-time and the immediate post-war years afforded
Johnston luxury items like a stable of thoroughbred racing horses (The Hollywood
Theatre Stables), a box at Del Mar Racetrack, a Cadillac Fleetwood, and a house
on Fort Stockton Drive in the prestigious uptown neighborhood of Mission Hills.
Money from the theatre also allowed him to acquire the Palace Buffet, a bar in
the ground floor of the Horton Hotel at 328 F Street, next door to the Hollywood.
Under his proprietorship, the Sports Palace became one of San Diego’s unique
watering holes, notable for photographs of famous athletes, celebrities, and highclass
strippers covering almost every inch of wall space. It was also known for its
colorful regulars. Johnston had friends from all walks of life, including politicians,
ex-boxers, and movie actors, not to mention, downtown’s resident characters.
The Hollywood had just reached its commercial peak in 1945 when Bob and
Frances’ only child, Dee Ann, was born. They were not young parents. Johnston
The Hollywood Theatre Company in the 1940s. Stars of the “golden years” included: Jane Greg (seated, centre), Bozo Lord
(reclining at right), Zena Ray (aka Katherine Flores, seated directly above Lord’s head), and Charlotte Henry (former child film
star, standing above Lord’s feet). Courtesy of the Johnston Family.
29

The Journal of San Diego History
was forty-eight and Frances thirty-six but, for the first time in their lives, they
could consider themselves wealthy. Having survived the long, hard struggle of
the Depression, and with the peak of the frenzied war years behind them, the new
family enjoyed the recent material wealth and social status brought to them by the
theatre. Bob and Frances bestowed Dee Ann with an upper-middle class lifestyle
and treated her like a young protégé. Her early training for a career in show
business began with a regimen of acting and dancing lessons. She dressed like
a young starlet and had professional
portraits taken regularly. Every day,
Bob and Frances helped stretch her
limbs to achieve and maintain the
flexibility that she would need later to
do high kicks and the splits. 35
Growing up at the Hollywood
during the latter part of its golden
years, Dee Ann was primed to go into
the family business. By the time she
was a teenager in high school at Point
Loma, she was helping her mother
choreograph the chorus line. She began
dancing with the company in the
early 1960s, in the line and in specialty
numbers, while pursuing other outlets
for her talent. 36 Until the Hollywood
reached its inevitable demise, the
theatre derived much of its unique
personality from the close-knit and
talented Johnston family.
The Show & the Performers
The theatre fostered a long list of
regular cast members and employees
during its run of nearly fifty years.
Lili St. Cyr, the striptease superstar
of the 1950s, started her career at the
Zena Ray and Ginger Kay, 1940s. Zena Ray (aka Katherine
Flores) was professionally trained in ballet but made her living
as a chorus girl. Her friend Ginger Kay was one of four sisters
who worked together in the Hollywood’s chorus line. Author’s
collection
Hollywood, where she was mentored by veterans such as Janne “Irish” Cafara (aka
Janne Kane). Many cast members worked at the theatre for more than a decade,
including Zena Ray (aka Katherine Flores), Barbara Jean Dishong, and Big Bobbi
“Texas” Roberts. In an era when most variety entertainers moved from short-term
engagement to short-term engagement, members of Hollywood’s company were
able to settle in San Diego, raise families, and enjoy some of the material comforts
of the middle class.
Dancer and choreographer Lee Torry made a significant creative contribution
to the Hollywood’s renowned productions during a career that spanned three
decades. 37 He began dancing as a chorus boy at the Hollywood around 1940 and
graduated to choreographer of its full-company, “picture” numbers. 38 He also
designed and built stage sets in the 1950s. Other multi-talented stalwarts in the
30

San Diego’s Bygone Burlesque
show included Torry’s partner Don Saylor, a chorus boy who also made gowns and
jewelry for the feature strip artists, and Bob Ross, who doubled as a house singer
and a comic.
It was not uncommon for people to claim they went to the Hollywood not for
the strippers but for classic burlesque sketches and hilarious comics such as “Say
No More Joe.” 39 As one fan recalled, “…the blackout skits were so funny, so risqué,
so loaded with double meanings that the comics needed only look at the audience
and get a big, big laugh.” 40 Unlike today’s stand-up comedians who perform solo,
burlesque funny men used interchanges between actors to tell jokes, and lines
were delivered with the rapid fire of a machine gun’s pace. Comedians relied on
a canon of recycled and reworked material, skits easily recognizable in their day,
such as “In Court,” “Slowly I Turned,” and “Susquehanna Hat Company.” 41 The
Hollywood’s stage was of an adequate size and many of these scenes were acted
out in front of sets while shorter, less elaborate “bits” were done in front of the
closed curtain to buy time until the company was ready for the next big production
number.
Typical comic bits had at least three parts: an opening line, a response, and
a punch line. The jokes and sketches captured in the film The Famous Hollywood
Burlesque (1948) range from one-liners to more complex, mad-cap scenarios
involving up to six men and women on stage at one time. References to local events
and places such as La Jolla Beach added interest to the repertoire. Ken Cilch, a
regular patron of the theatre in the 1960s, reported that if he had friends visiting
from out of town, he’d warn Johnston in advance so that they’d be treated with a
big surprise, an on-stage mention by one of the comics. 42 Although burlesque was
bound by tradition in many respects, spontaneity remained part of the overall
experience, especially when it came to the comedy.
While the Hollywood had an impressive stable of professional male jokesters,
women were inarguably the main commercial draw. With more roles available
to them, they passed through the Hollywood’s company in far greater numbers
than the men. 43 Sadly, since employee records were thrown away long ago, it is
impossible to know how many women in total worked there over the years in
the chorus line, as specialty dancers, striptease features, singers, and secondary
comedians (referred to in the industry as “talking,” “straight,” or “extra” women).
If a young woman had the basic ability to walk in time to music, she could almost
always find work at the Hollywood.
Janne Cafara, or “Irish” as most people called her, was a veteran burlesque
performer and “strip woman.” Her striking good looks and emerging talent earned
her a coveted role as the young starlet “ingénue.” Cafara was working a stint at
the Burbank Theatre in Los Angeles when her son was killed by a drunk driver.
Distraught, she accepted an invitation to perform at the Hollywood from Frances
Johnston, who promised her that a small “no-hassle” part in the show (strictly as
a feature) and some quiet time in sleepy San Diego would help her get over the
tragedy. The Hollywood proved to be an effective remedy for near-paralyzing
grief. Slowly, Cafara returned to her former self, teaming-up for comedy bits
with her old friend and Hollywood “top banana” Claude Mathis, and mentoring
younger performers like Lili St. Cyr and others. 44 The theatre had come to her
emotional rescue, and she grew a strong attachment to it and to San Diego (which
she kept as a permanent base for the rest of her life). In 1952, after being a regular
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The Journal of San Diego History
Hollywood Theatre Stageshow, 1951. From left to right: Bubbles, Margie, Renu, Delia, Larry Kane (house singer), Little Jerry,
Kansas City Kitty (front right), Barbara Jean, Ginger Kay. Kansas City Kitty and Barbara Jean were mother-daughter chorus
girls. ©SDHS #81:12753-22, Barbara Jean Burlesque Theatre Collection.
in the Hollywood’s company for more than a dozen years, Cafara married the
handsome and much younger Larry Kane, one of the theatre’s house singers and
“straight men.” 45 The two continued to perform there on and off for several more
years, in between engagements that took them back and forth across the country.
Many years later in 1994, the retired classic striptease artist remarked, “I think I
played every state in the United States, the big theatres in all the big cities. When I
got to San Diego I just don’t know, I just never wanted to leave here.” 46
“Zena Ray,” known today as Katherine Flores, was another traveled performer
who found herself in San Diego just prior to the outbreak of World War II. At
twenty-four years old, Flores was not as accomplished a performer as Janne Cafara,
but (unlike a lot of the Hollywood’s other chorus girls) she had the experience of
a professionally trained dancer and a background in show business. During the
week, she worked at the Convair aircraft plant as a time-keeper; in the evenings
and on the weekends, she sang and danced for servicemen at the theatre and
at U.S.O. events. The sailors were generally appreciative and respectful. The
Hollywood performers had a great fondness for them. In fact, a number of the
women in the chorus were actually married to military men. 47 Others, like June
La Rue (who became June Brown), would go on to marry them soon. Flores
remembers a “very dramatic” moment in the theatre when one of the women’s
husbands, just returned from overseas, surprised her in the middle of a production
number. It was a moving moment as she broke out of the line to lean over the stage
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San Diego’s Bygone Burlesque
for a big “welcome home” embrace in front of the entire company and audience. 48
Flores performed at the Hollywood for fifteen years during its most successful
era. Some of her contemporaries included Mary King (the Hollywood’s principal
specialty or “character” dancer), Ginger Kay, Kay’s sister June (“La Rue”), Lila and
Lola Baker (Mormon twins), Charlotte Henry (a former child actress who played
Alice in the first motion picture version of “Alice in Wonderland”), and Claudette
Mathis (the daughter of “Say No More Joe”).
Big Bobbi “Texas” Roberts was the Hollywood’s favorite in-house strip feature
for twenty-four years. Her striking good looks and ability to walk like a born
showgirl earned her a spot in the back row in 1946. She eventually moved up to
line captain and then co-feature. She also sang and played extra women in comic
sketches. When out-of-town headliners were unavailable, Roberts would receive
top billing in print advertisements and on the marquee. Once asked about how she
felt to be a stripper, she remarked, “we had to wear large pasties and G-strings; I
wound up with more clothes on at the end of a strip than I did in the chorus line!” 49
Thanks to Johnston, who invented stage names and catch-phrases for
manystripteasers, Roberts never lost the association with her distant birth state,
Texas, a place known for all things big. She was five feet eleven inches tall, but
well over six feet in heels and a headpiece. In burlesque jargon, women of Roberts’
stature were referred to as “tree-toppers.” Billed as “6 Feet 1 of Texas Fun,” “Big
Texas Bobbi,” and “The Tall Texan,” she literally stood out from the rest. “There
would be thirty-three girls on stage, but the only girl the men would look at was
Bobbi,” Johnston recalled after her death in 1981. 50 In a letter to the San Diego
Reader, an old fan could recall the sense of awe Roberts inspired in youthful
admirers:
She was something else. Very tall, red hair as I recall, and so
far out of our league she might have well been from Mars. She was
dating some big land developer, and he would pick her up after the
show in a Cadillac roughly the size of an aircraft carrier. We would
stand around like goofs and then wander off. 51
Barbara Jean, another member of the company, also flourished at the
Hollywood. She danced side-by-side with her mother, “Kansas City Kitty,” a wellknown,
platinum blond bombshell and recording artist of the 1920s and ‘30s who
had sung with the Count Basie Orchestra and other bands. 52 Mother and daughter
started out as “brooms,” the term given to newcomers who strutted in the big
production numbers before they were actually allowed to lift their feet off the
floor and dance. 53 They had to borrow money to buy their dance shoes, platforms
with ankle straps, but chorus girl costumes were reused over and over again
for different productions and almost every size was already available in stock
backstage. There was also a wardrobe mistress to sew new costumes and make
repairs and alterations. 54
Barbara Jean described herself as a “pet” of the Johnstons. Her energy and
talent helped foster her thirteen-year-long career at the Hollywood. Within
two weeks of joining, she advanced to the front line and became a partner in a
mixed-couples dance “team.” Lee Torry, Don Saylor, and Jimmy Merrill were
the show’s three main male dancers at the time. Barbara Jean would partner
with them countless times over the years. Her advanced education in the chorus
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The Journal of San Diego History
line came from a woman named “Bubbles,” a vivacious dancer “from the old
school” who had been there since the 1930s, and from Mary King, a sophisticated,
professionally trained dancer there since the early 1940s. With King on one side
and Bubbles on the other, Barbara Jean claimed that she had to “dance (her) can
off” to keep up with them and avoid looking ridiculous. 55
Barbara Jean’s initial salary as a chorus girl in 1950 was twenty-six dollars per
week. By the time she left more than a decade later, she was clearing one hundred
dollars. By her accounts, it was a pretty decent living. She quit for two main
reasons: her age, and the realization that the burlesque world and the Hollywood
had changed significantly since she had begun dancing there in 1950. She
described her sudden moment of clarity:
There were girls there I don’t know why anyone would turn
around and watch. They couldn’t dance, they were full of dope,
stringy hair, no shoes, a brown bathing suit. I came on very
glamorous; I wore a fur thing; I was the headliner. And there, there
was nothing. You see, I was older. I looked in the mirror then because
I was a grandmother then, and I always said that the day I felt like
I was too old to be in it I was getting out. I looked in the mirror and
thought, “What am I doing here?!” When I got off that stage I went
right in and told the boss I quit. He couldn’t believe this. I said, “It’s
time.” And I never went back again. 56
By the 1960s, only a few of the Hollywood’s “old timers” remained, including
Eddie Ware, Lee Torry, and “Texas” Bobbi. Many dedicated, long-term performers
had begun to notice a diminishing in both the quality of the show and in
attendance numbers by the early 1950s. Sensing change, entertainers gradually
left to pursue a range of other opportunities. Some, like Katherine Flores and
Mary King, went on to teach private dance lessons, while other chorus girls like
June La Rue became wives and mothers. Some of the company’s more seasoned
professionals, like Janne Cafara and Claude Mathis, spent large portions of the
year on the road, performing in nightclubs and burlesque theatres as far away as
the eastern U.S., Hawaii, Mexico, and Canada.
The Hollywood’s sold-out “golden years” were marked by big song and
dance productions, a large company, and elaborate stage sets, costumes, and
choreography. At one time, the high–class productions of the Hollywood rivaled
those at any of the well-known burlesque palace on the West Coast, including
The Follies and Burbank theatres in Los Angeles and the El Rey in Oakland. The
Hollywood’s performers, particularly those who dedicated a large part of their
lives to the theatre, deserve due credit for their role in its commercial successes and
fame. In fact, some of its most celebrated, long-standing and tenacious members
may have been responsible in part for the theatre’s trend-defying longevity. Helping
Johnston to keep classic American striptease and baggy pants humor alive in San
Diego well into the national twilight of burlesque, faithful employees such as Bobbi
Roberts and Eddie Ware stuck by the Hollywood into its final dying years.
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San Diego’s Bygone Burlesque
The End of an Era: Decline in the 1960s & the Post-Hollywood Years
By the mid-1950s, what was left of the once great national burlesque industry
was crumbling. The top entertainers, when given the chance, took their well-honed
craft and retreated from dark, old theatres into dazzling, new nightclubs. The
lucky ones were able to branch out into radio, film, and television.
The Hollywood Theatre survived longer than most due to the fact that San
Diego housed one of the largest concentrations of sailors in the country. When
downtown’s exuberant period of military-based prosperity finally ended in the
1960s, so did the Hollywood’s. In order to save money on salaries, the band, which
had always been made-up of union musicians, was replaced by recorded music.
The impressive stage scenery, which used to rotate several times over the course
of a single show, was no longer changed. As ticket sales plummeted, less and
less money went back into producing the Hollywood’s shows or maintaining the
building. 57
In the 1960s, the Hollywood faced another new threat: a cultural shift in
attitudes about women and sex. The increasing explicitness of violence, language,
sexuality and nudity in films had an allure for young people that could not be
matched by the Hollywood’s “cheeky” and outmoded stage show. Movie houses
like the nearby Savoy had been competing for its predominantly male audience
since the early 1950s with screenings of low-budget, “cheesecake” films starring
strippers and pin-up models. 58 Signaling the looming end days for classic, live
burlesque striptease, these relatively innocent clips spawned the first generation
of XXX-rated movie houses in the 1960s. Many of history’s once-treasured, old
burlesque and motion picture palaces, the ones that weren’t fated to be bulldozed
into parking lots, were converted into porno theatres.
The Hollywood Theatre Company, early 1960s. Dee Ann Johnston, who began singing and dancing in the show in the early
1960s, curtsies on the catwalk while her father acts as Master of Ceremonies. Courtesy of the Johnston Family.
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The Journal of San Diego History
The appetites of the 1960s, informed by women’s liberation, war, hippies,
drugs, pornography and more, rendered classic burlesque obsolete. Depending
on one’s perspective, stripping was either oppressive of women, or just too tame. 59
Traditional burlesque strove to be naughty but its use of sexual innuendo could
not compare with the real thing. Unlike those who produced films, Johnston was
forced to abide by comparatively more rigid and antiquated local decency laws
that only applied to live theatre. Among other things, the theatre was bound to its
own strict policy of no “four-letter” words and to the City’s obscenity laws against
full nudity. A brief attempt to spice up the show with topless go-go dancing was
quickly cut short by vice enforcers. Regardless of the obstacles, Johnston’s stubborn
business sense kept burlesque chugging along locally well beyond its years as a
popular and financially viable form of mass entertainment.
The decision to close the Hollywood in 1970 was difficult but inevitable. In a
1969 San Diego Union newspaper article entitled, “Burlesque House Stripped of its
Glory,” Johnston claimed never to think about retiring from the theatre, but he
openly lamented burlesque as a slowly dying art. Business was terrible, Frances
was at home most of the time suffering from the arthritis she’d developed as a
dancer, and Johnston was now in his seventies (though he still also ran the Palace
Bar next door). Sadly, but not surprisingly, the Hollywood folded in less than
three months, after its 11:00 p.m. show on February 9, 1970. The official word was
that Johnston wanted to devote as much time as possible to his first and only
grandchild, Robert Johnston, Jr. Other reasons surely included his advancing age,
the death of burlesque, and pressure from the City of San Diego and developers
who aimed to turn San Diego’s “tenderloin district” into valuable commercial real
estate. 60
Johnston did not slow down after the Hollywood closed. He kept the Palace Bar
and continued holding court there with his cronies. When the City finally forced
him out, he bid goodbye to his much-loved bar on F Street and took over a widelyreputed
“dive,” the Four Aces, at 1111 Broadway (now also gone). He renamed it
the Palace Bar and ran it until the mid-1980s. The Horton Hotel (1888), which had
housed the original Palace Buffet at ground level, was torn down in 1981. 61
Johnston passed away at age ninety-three in 1991. He and Frances had been
married for over sixty years and still lived in the house on Fort Stockton Drive
which they had purchased during the highpoint of the Hollywood’s success.
During his lifetime, he had risen from the ranks of a poor, small-time showman to
a wealthy and celebrated member of the local community. The charismatic young
man who had come to California in 1921 on vacation from Canada became one of
the best known and most celebrated burlesque theatre operators on the West Coast.
The Hollywood had allowed the Johnstons to live as upper-middle class San
Diegans, to treat themselves to previously unaffordable luxuries, and to lead an
active social life. In addition to running his businesses, owning racehorses, and
promoting boxing matches, Johnston was a Mason, an Al Bahr Shriner, a member
of the San Diego Rowing Club, and a generous contributor to many charitable
causes, including his favorite, the Salvation Army. In his eighties, he continued to
stay active and sang for “old timers” at convalescent homes. He always remained
loyal to his birth roots and was honored by the Irish Congress of Southern
California’s “Irishman of the Year” title in 1989. At the age of ninety-one, he
proudly rode in the San Diego St. Patrick’s Day Parade. 62
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San Diego’s Bygone Burlesque
A truly great man, Johnston mixed
company with people from all walks of
life, from California Governor Goodwin
Knight, to comedy great Lou Costello,
famous actors, sports celebrities, and San
Diego’s most downtrodden residents below
Broadway. For a large part of the twentieth
century, Johnston was the unofficial “mayor”
of F Street and “king” of downtown.
Photographs of him can still be found
hanging at the Horton Grand Hotel, in the
Blarney Stone Pub on Fifth Avenue (his
main haunt later in life), and alongside other
notables from San Diego’s history at the
Gaslamp Bookstore & Museum.
The Hollywood Theatre was at the center
of downtown San Diego. It played a notable
role in the city’s social and cultural life
from the early 1920s until it closed in 1970. Hollywood Theater. Courtesy of the Johnston Family.
Johnston was the theatre’s dearly loved
and long-reigning patriarch. While a few other local entertainment establishments
featured burlesque-influenced variety acts and productions on occasion, the
Hollywood was recognized for decades as the city’s only place exclusively
dedicated to presenting classic American burlesque.
NOTES
1. Special thanks to Dee Ann Johnston and Robert Johnston Jr. for sharing their family story and
photos. Thanks also to Robert Wright, volunteer at the San Diego Historical Society, who conducted
the oral history interviews with Bob Johnston and others so many years ago.
2. The Famous Hollywood Burlesque, VHS, directed by Duke Goldstone (Continental Pictures, Inc.,
1948; Something Weird Video, 1996). Alternately titled Hollywood Burlesque, the film showcases an
entire Hollywood Theatre production with an introductory dedication that reads: “This picture is
dedicated to the thousands of people all over the world, who have not had the opportunity of seeing
big time burlesque as it is presented on the stage of the famous Hollywood Theatre.”
3. The most famous of all strippers in the 1950s, Lili St. Cyr, actually learned her trade at the
Hollywood in the late 1940s under the tutelage of Frances Johnston and Janne Cafarra. For a small
number of photographs from her early years performing at the Hollywood, ca. 1947, and early 8 x 10
inch photographs autographed to her “strip teacher,” Cafara, see: San Diego Historical Society (SDHS),
Booth Historical Photograph Archives, The Barbara Jean Burlesque Theatre Collection, C021.
4. Ken Cilch, Sr., interviewed by author, May 20, 2005. Long after its official dissolution, memories of
the Stingaree continued to mark downtown as an area not to be visited by decent people. For decades
to come, mothers would continue to warn their sons to stay away from the area below Broadway and
its “dirty burlesque theatre.”
5. “Theatre History in the Nineteenth Century,” SDHS, http://sandiegohistory.org/collections/
theaters/theaters.htm (accessed January 14, 2006). Louis’ Opera House was located on the east side of
Fifth between B and C Streets and was later renamed the Grand.
6. Bernard Sobel, Burleycue (New York: Farrar and Rhinehart, 1931), 8. Thompson and her company
(also known as the English Blondes, the British Blonds, and by similar variations in title over the
years) are frequently credited by historians for inspiring the emergence of the classic American
burlesque show. These women cross-dressed, exposed their shapely legs with tights, and did bawdy
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The Journal of San Diego History
impersonations of the upper-classes and ethnic stereotypes. Thompson’s irreverent treatment of Ixion,
or Man at the Wheel by F. C. Burnand was described by Sobel as “a framework for elaborate costumes,
song, dances, local allusions, sarcastic comment, imitations of swell dandies and German benders.”
7. San Diego Union, January 15, 1889, 3. Unfortunately, the world-famous Lydia Thompson, who was
actually known throughout Europe for her serious acting abilities, remained in Los Angeles and did
not appear with the company at Louis’ the first night due to a “severe attack of nervous prostration,
brought on by overwork.” No follow up was given as to whether the great burlesque “legend” was able
to rejoin the show the next night.
8.
9.
San Diego Union, October 27, 1886, 3:1.
San Diego Union, June 29, June 30, 1897, 5.
10. The cootch was a prototype of today’s Middle Eastern belly dance. A dancer named Little
Egypt premiered the “muscle dance” on the midway at the Chicago World’s Fair in 1893. As the first
“exotic dance,” it was eventually succeeded by the even more suggestively sexual shimmy, and then
the striptease. See Rachel Shteir, Striptease: The Untold History of the Girlie Show (New York: Oxford
University Press, 2004) for an in–depth history of the rise of the girl show attraction.
11. Jim McVicar, “Palaces of the Past: What Ghosts Lurk Backstage?” San Diego Union, November 9,
1969, G-2. A bulletin for a show at the Fisher Opera House starring the “charming, little comedienne,
singer, and dancer” Katie Putnam appeared in the San Diego Union on June 29, 1897 (the same issue
that contained the initial report on Omene and a posting for her performance at Louis’). During the
latter half of the nineteenth century, Putnam was a well-traveled “soubrette” who led her famed
troupe to rural opera houses, honkytonks, vaudeville and other variety theatres across the United
States and Canada. She mixed company with and exhibited the same spirit as famed burlesque
pioneer Pauline Markham, who left the British Blondes to travel with her own company.
12. Ralph W. Hastings, “The Play Was The Thing In Old San Diego Theaters,” San Diego Union, June
25, 1967, G-1. The tab show shares a close relationship with burlesque, and both were largely the
domain of the working class. Derived from the word “tabloid,” tab shows were parodies of popular
musical comedies, cut down to a length of about an hour. In early burlesque shows as well, the middle
act always featured a parody (or “travesty”) of a well-known story. By the twenties, the term “tab
show” was sometimes used as a euphemism for burlesque in order to avoid the word’s negative, lowbrow
connotations.
13. “Theatre History in the Nineteenth Century,” SDHS, http://sandiegohistory.org/collections/
theaters/theaters.htm (accessed January 14, 2006). In various years up to 1924, the theater was known
as the Lyceum (1913 & 1919), the Gaeity (1914 & 1915), Little (1914), and Ballein’s (1915). The name
“Liberty” was meant to evoke the patriotism of World War I–era musicals. See also the many articles
by Welton Jones on the history of theatre in San Diego in the San Diego Union Tribune. He wrote several
on the Hollywood and his friend Bob Johnston including “Stripping Away the Veil of History,” San
Diego Union Tribune, October 16, 1994, E-2.
14. Jim McVicar, “Burlesque House Stripped Of Its Glory,” San Diego Union, November 9, 1969, G-2.
There are many discrepancies between various sources over the precise year, between 1921 and 1924,
that the Liberty officially became a burlesque house. This situation also pertains to when its name was
changed to The Hollywood, whether it was before or after it closed temporarily in 1935-36. Since City
Directory listings, printed advertisements, newspaper and oral accounts contradict one another over
these non-crucial dates, only approximate ranges will be provided in the text in these instances.
15. Micheal Austin, “Harlem of the West: The Douglas Hotel and Creole Palace Nite Club,” (master’s
thesis, University of San Diego, 1994).
16.
Katherine Flores (aka “Zena Ray”), interviewed by author, July-August 2005.
17. Joan M. Vale, “The Johnston Follies: A biographical sketch of Robert Johnston,” SDHS Manuscript
Collection, 3-5. This very helpful article provides many more details on the lives of Robert and Frances
Johnston based on numerous personal interviews as well as historical research.
18. Vale, “The Johnston Follies: A biographical sketch of Robert Johnston,” 5, 20. As a teen in Calgary,
because Johnston’s accent was not British, people mistook him for Scottish. The nickname stuck, even
though he was actually Irish.
19.
A “nickel bar” was a place that sold near-beer and sandwiches for 5 cents during Prohibition.
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San Diego’s Bygone Burlesque
20.
Vale, “The Johnston Follies: A biographical sketch of Robert Johnston,” 8.
21. There are two main distinctions between vaudeville and burlesque: 1) vaudeville was meant to be
“clean” so that women and children could enjoy attending the theatre, whereas burlesque was rather
coarse and targeted primarily at adult males; 2) vaudeville featured individual, consecutively running
variety acts, while burlesque had a unified company that carried the show throughout most of the
program. Johnston, who was a vaudeville performer since childhood, inflected a tinge of vaudeville
into the Hollywood’s “big time” burlesque stage shows with the semi-regular inclusion of variety acts.
22. Bob Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980,
transcript, 8. Orchestra seats cost twenty-five cents while the balcony went for 10 cents each. Johnston
also exported floorshows to Tijuana, Mexico during his early years at the Liberty. The critical flaw
in his operation was that his girls had to be back in the country by six o’clock in the evening or risk
getting in trouble at the border. Not surprisingly, the enterprise did not last very long.
23. Jim McVicar, “Palaces of the Past: What Ghosts Lurk Backstage?” San Diego Union, November 9,
1969, G-2. McVicar stated that when the Depression came, vaudeville practically disappeared in San
Diego.
24.
Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript, 6.
25. Dee Ann Johnston and Robert Johnston, Jr., interviewed by author, March 21 and April 4, 2005.
Frances Johnston was born in Omaha, Nebraska in 1905 to a Russian immigrant family of former
circus performers. They moved to Los Angeles when she was a young child. She began her show
business career at age 14, touring in a hundred-piece saxophone orchestra with famous female
impersonator, vaudevillian, and silent film star, Julian Eltinge.
26. Cilch, Sr., interviewed by author, May 20, 2005; Johnston and Johnston, Jr., interviewed by
author, March 21 and April 4, 2005.; Flores, interviewed by the author, January 15, 2006. Occasionally,
Johnston’s goodwill paid him back, as it did in the 1940s when he took in “Shanty,” a mysterious man
in his fifties or sixties with a cowboy hat and dusty overalls. Shanty proved to be an excellent set
designer and builder. He stayed gainfully employed at the theatre for “years and years,” creating some
of its most artistic stage scenery during the 1940s “golden years.” Unfortunately, not much is known
about him, including his real name, although he is remembered by Katherine Flores as “the love of
(her) life,” for the innocent and unrequited crush that she and the other young women in the chorus
all shared.
27. Richard W. Amero, “San Diego Invites the World to Balboa Park a Second Time,” The Journal of
San Diego History 31, no. 4 (1985): 261-280.
28.
Holly Knox, Sally Rand: From Films to Fans (Bend, OR: Maverick Publications, 1988), 24.
29. Dixie Evans, The Exotic World Burlesque Museum, Helendale, CA (closed). This story is a regular
part of the guided tour of the Exotic World Museum given by Dixie Evans (the “Marilyn Monroe of
Burlesque”), the museum’s curator and founder.
30. “Sally Rand Due by Plane at 10 A.M.,” San Diego Union, April 9, 1936, 1-2. Rand’s appearance at
the Exposition endeared her to the hearts of local San Diegans. She was enthusiastically welcomed
back to the city on at least two other occasions, performing at the Orpheum Theatre (located at Fifth
and B) both in 1942 and 1945. In a later article (“Sally Rand Packs Orpheum,” San Diego Union, August
5, 1942, 2), the Union referred to Rand’s traveling show as “a vaudeville program of real merit” with
soft-toe dancers, acrobats, singers, ten different scenes, and a line of thirty girls. The vaudeville tag
meant that the show was considered appropriate for women and children even though Rand, probably
wearing a body stocking, had the appearance of being completely naked behind her ostrich fans and
bubble.
31. Derek Danziger, “The Balboa Theatre – Downtown’s Hidden Treasure,” Gaslamp Quarter
Connection (February-March 2005), 5.
32.
33.
Joe Kneffler, “San Diego Burlesque,” San Diego Magazine (June-July 1952).
Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript, 6.
34. SDHS, Booth Historical Photograph Archives, Barbara Jean Theatre Collection, #84:14825. In
1943, a crowd of officers and sailors gather beneath the Hollywood’s marquee, which reads “BIG GIRL
REVUE” at the top.
35.
Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005.
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The Journal of San Diego History
36. Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005. Dee Ann appeared
in a small handful of movies including “Gypsy,” starring Natalie Wood as burlesque legend Gypsy
Rose Lee, and went on to be an active leader in professional musical theatre in San Diego.
37. In Duke Goldstone’s motion picture, Torry is credited as “Legrand Torry,” but he was known by
most as “Lee.” In various sources, in addition to “Torry,” the spelling of his last name is also given as
“Torey” and “Torrey.” Neil Morgan, San Diego Evening Tribune Area News, photocopy, n.d. (ca. 1970). A
short news item announcing the Hollywood’s plans to close within the week lists Torrey, after thirty
years, as one of its remaining employees.
38. Big “picture” extravaganza numbers opened and closed burlesque shows. They incorporated the
entire company, standing (and sometimes singing) on risers in a semi-circle configuration, while the
house singer sang the theme song and chorus line and various individuals did brief dance solos at
the front of the stage. See The Famous Hollywood Burlesque (1948) for a typical production that provides
excellent examples of the show’s various traditional burlesque elements, including picture numbers.
39. Johnston’s favorite part of the show was not the dancing or the stripping. He was partial to his
beloved slapstick “baggy pants” comedians: Claude “Say No More Joe” Mathis, Slats Taylor, Eddie
Ware, Eddie Lyle, and Bozo Lord. Lord worked for Johnston at the Liberty as early as the 1920s. Easily
identified in historic photographs by his trademark funny round eye-glasses and short necktie, Lord
was an honored senior member of the cast far into the 1950s. Eddie Ware, who was the last of the great
comics to depart from the show in the late 1960s, had been there for almost a quarter century. “Say
No More Joe,” otherwise known as Claude Mathis, was a “top banana” (headlining comedian) at the
theatre during its heydays and later years. Mathis had all the characteristics of a classic burlesque
comedian: quick jokes, strange whistles, baggy pants, and an upturned hat brim. “Say No More Joe”
was apparently even known among local high school boys, according to fan Gus Stevens, who wrote,
“In those days, a fellow could get a big laugh at any football game by calling out from the stands,
“Say No More!” All of us girl-less swingers knew what he meant.” Stevens was also a classmate
of Claudette, Mathis’ teenage daughter, who at the time was considered a “celebrity” by her peers
because she would occasionally perform bit parts with her father at the Hollywood. Gus Stevens,
“New Entertainment Sounds Like the Old,” May 16, 1975, SDHS Subject Files, Theatres.
40. The San Diego Reader, March 7, 1996, letter by Laurence Gross, 39. In burlesque jargon, a “blackout”
is when the lights go out immediately following the comic’s punch line. This allows the actors to
exit the stage for the next act (usually a strip).
41. In The Famous Hollywood Burlesque. Eddie Ware, in his exchanges with straight man Wenn Hitt
and clownish Bob Ross, speaks so quickly it is difficult for the modern listener to even keep up, The
San Diego Reader, March 7, 1996, letter by Laurence Gross, 39.
42.
The Famous Hollywood Burlesque; Cilch, Sr., interviewed by author, May 20, 2005.
43. Johnston and Johnston, Jr., interviewed by author, March 21 and April 4, 2005. The female
portion of the company was frequently referred to in advertising as the “Hollywood Follies” or
“Glamourettes,” a name concocted by Frances Johnston, who also came up with the handle for the
Hollywood’s bowling team: “The Bobettes.”
44. Janne Kane (aka Jan “Irish” Cafara), interviewed by Robert G. Wright, SDHS Oral History
Program, October 31, 1994, transcript, 10-12.
45. “Straight men,” sophisticated and dapperly-dressed comedians, were the comic foils to their
counterparts, the clownish baggy pants comedians.
46.
Kane, interviewed by Robert G. Wright, SDHS Oral History Program, October 31, 1994, transcript, 21.
47. Kneffler, “San Diego Burlesque.” Kneffler speculated in 1952 that more than half of the
Hollywood chorus line at that time were married to servicemen.
48.
Flores, interviewed by author, July-August 2005.
49. Arthur Golden, “Death of Burlesque Queen Rings Curtain Down On An Era,” San Diego Union,
February 3, 1981, B-1, 5.
50. Golden, “Death of Burlesque Queen Rings Curtain Down On An Era,” B-1. Johnston further
revealed that Roberts was one of his favorite performers at the Hollywood.
51. The San Diego Reader, March 7, 1996, letter by Laurence Gross, 39; Golden, “Death of Burlesque
Queen Rings Curtain Down On An Era,” B-1. After the theatre closed, Roberts continued to entertain
40

San Diego’s Bygone Burlesque
into her late forties. She was still stripping at the Hollywood at its final show in 1970. During the
Hollywood’s brief resurrection as the Off Broadway, a “legit” professional repertory theatre, she
returned there to play a role in the musical Gypsy. She also performed for the USO; even though she
now kept her clothes on during her act, the audience still loved her demure performance. Roberts
passed away relatively young, around fifty, having suffered for several years from a genetically
inherited kidney disease. News of her death struck a sad note with many local people; it was a
reminder that San Diego’s golden era of burlesque was definitely over. See also Beth Mohr, “Recipients
Tell Value Of Donor Program,” San Diego Union (undated photocopy). Over the course of her illness,
Roberts received two kidney transplants and was so grateful that she became one of the first
volunteers to sign the newly implemented organ donation card on the back of the California driver’s
license.
52. Kansas City Kitty went by the name “June” offstage. Her legal married name at the time was
Vivian Poston.
53. Barbara Jean started at the Hollywood in 1950 when she was nineteen years old, and left about
1963. Barbara Jean Dishong (aka Barbara Jean), interviewed by Robert Wright, SDHS Oral History
Program, October 23, 1981, transcript, 16. Barbara Jean was one of the rare cases in burlesque of a
woman using her real name to perform under. Oft married, she is best known simply as “Barbara
Jean.” See photographs from her personal collection in the Barbara Jean Burlesque Theatre Collection,
SDHS, Booth Historical Photograph Archives.
54. Dishong, interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981,
transcript, 29; Flores, interviewed by author, January 15, 2006. A chorus girl in the 1930s and early
1940s, Ruby Miller was the costume mistress at the Hollywood for years after. Even more intriguing,
she was a songwriter who composed some of the Hollywood’s trademark songs, including one of
Johnston’s favorites, “You Are Not Free.”
55. Dishong, interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981,
transcript, 5-7, 23.
56. Dishong, interviewed by Robert Wright, SDHS Oral History Program, October 23, 1981,
transcript, 12-13, 26.
57.
58.
McVicar, “Burlesque House Stripped of Its Glory.”
San Diego Union, February 1, 1958, A-7.
59. The author has found no evidence to suggest that the Hollywood oppressed its female company
members. In fact, many performers’ recollections seem to suggest that the Hollywood liberated them
from financial dependency, conventional roles as wives and mothers, and the ordinariness of everyday
life.
60. “The Hollywood Theatre Takes Off Into History,” San Diego Union, February 9, 1970, 8:6; Welton
Jones, “Lyceum Needs A Friend,” San Diego Union, December 10, 1978, E-1. For years in advance of
building Horton Plaza shopping center, city officials were warning property owners that most of
the old buildings would be condemned and torn down for future “urban renewal” projects. As a
result, many owners stopped caring, ceased making improvements, and watched their property
values plummet as the mall failed to materialize and the physical condition of the area, never very
respectable, deteriorated rapidly.
61. Architect Wayne Donaldson savaged parts from both the Horton and the Kahle Saddlery hotels
to form the new Horton Grand Hotel, completed in 1986. In honor of Johnston, the Horton Grand Hotel
still calls its lounge The Palace Bar and displays several pictures from Johnston’s days as a racehorse
enthusiast and unofficial mayor of F Street. The new décor, however, is Victorian formal and does not
reflect in the least the distinctive, nostalgic dive-bar quality of the former sports bar.
62. Johnston, interviewed by Robert Wright, SDHS Oral History Program, May 17, 1980, transcript,
23. Johnston’s mother’s side of the family had been devoted members of the Salvation Army back in
Ireland, but all perished on the ship The Empress of Ireland, which sunk (shortly after the Titanic) in
1914 en route to Canada. There were a large number of Salvation Army members on board, on their
way to attend an official gathering; Leigh Fenly, “Dim The Lights, The Show is About To Begin,” San
Diego Union, February 19, 1978, B-6; Johnston and Johnston Jr., interviewed by author, July 15, 2005.
41

A Gothic Architect in San Diego:
Philip H. Frohman and the New
St. Paul’s Church, 1920 – 1966
William A. Koelsch
St. Paul’s Episcopal Cathedral complex in San Diego was designed by Philip
Hubert Frohman (1887-1972), one of America’s significant twentieth century Gothic
architects. Frohman was an authority on Gothic and Romanesque architecture,
stained glass, acoustics, and the design and voicing of organs. His more than
fifty commissions include: Trinity Church and Parish House in Santa Barbara;
St. Mark’s, Altadena; Trinity Church, Orange; St. Stephen’s and St. Thomas’s,
both in Hollywood; the Church of the Holy Faith, Inglewood; and the (unbuilt)
first Roman Catholic Cathedral of Our
Lady of the Angels, Los Angeles. His
best-known structure, however, is the
fourteenth-century English Gothic style
Cathedral Church of St. Peter and St. Paul
in Washington, DC, also known as the
“National Cathedral,” for which he began
consulting in 1919 and where he was the
Cathedral Architect from 1921 to 1971. 1
The parish congregation for whom he
designed a new campus on Bankers Hill in
the 1920s has also not been unimportant
in the history of San Diego. The first
Protestant congregation to be assembled
in New Town (1868), built a new church
building at Eighth and C Streets in 1887.
The parish fostered a number of other
congregations around the city and county,
started the city’s earliest public hospital,
opened a shelter and provided employment
for transients during the Panic of 1893,
and cooperated with Fr. Antonio Ubach in
Philip Hubert Frohman. Courtesy of Washington
National Cathedral Archives.
working for the welfare of local Indians. Some of San Diego’s leading citizens were
members of the parish. 2
In 1908 the parish commissioned a new rectory, designed by William S.
William A. Koelsch (Ph.D., The University of Chicago) is Emeritus Professor at Clark University, where
he also founded the University Archives and directed it for ten years. His publications have been
focused on the history of scholarship and scholarly institutions in the U.S. and Great Britain, including
Clark University, 1887-1987: A Narrative History (1987). Now a San Diego resident, he established the
archives at St. Paul’s Cathedral and served as Cathedral Archivist there from 2001 to September 2005.
Special thanks to Diane Ney, Archivist, Washington National Cathedral, and John Will, Archivist, St.
Paul’s Cathedral.
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A Gothic Architect in San Diego
Old St. Paul’s Church, 8th and C Streets, 1887. Courtesy of St. Paul’s Cathedral Archives.
Hebbard, at Fourth and Nutmeg Streets on Bankers Hill, and converted the old
rectory into a parish house. As early as 1910, as the central business district began
to encroach on its site, the Vestry began debating the question of whether the
church should remain where it was or move to a new location. Absent consensus
either as to financial feasibility or location, they opted to remain downtown and
to enlarge the seating capacity of the building temporarily. But the old rectory was
increasingly inadequate as a parish house, and the soaring costs of downtown
property following World War I prevented the Vestry from buying the adjacent lot
for further expansion. 3
Phase 1: Designing and Building a Parish House
After surveying a number of locations on Bankers Hill, in September 1919,
on motion of Vestryman Charles G. Haines, the Vestry unanimously agreed to
purchase five lots on Block 306, Horton’s Addition, opposite Balboa Park at Nutmeg
Street, three of them (Lots D, E and F) fronting on Fifth and two (Lots G and H) on
Sixth, for $25,500. They also voted to engage an architect to design a harmonious
group of buildings for the new site. In April 1923 the Vestry authorized the Rector
to approach Philip Frohman with a formal request “for ideas and suggestions with
respect to a Church and Parish House on the New Church Site.” 4
St. Paul’s Rector, Rev. Charles L. Barnes, undoubtedly had seen Frohman’s
earlier work; he certainly had heard about it from other clergy in the Episcopal
Diocese of Los Angeles, among whom Frohman had many friends. In the spring of
1920 Frohman visited Barnes in San Diego. By that time, Barnes must have already
made informal overtures, since, accompanied by the Rector, Frohman examined
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The Journal of San Diego History
and photographed the new site. It is
clear from the record that, at least as
early as 1911, the Rector and Vestry
had envisioned the eventual division
of the Los Angeles diocese, with San
Diego becoming the see city and the
future St. Paul’s Church its cathedral. 5
That challenge energized both the
Vestry and Frohman, though St. Paul’s
was not to attain cathedral status until
1985.
Initially the Vestry wanted
Frohman to design both a general
scheme and a three-level, reinforced
concrete Parish House with granite
facing. The basement was to contain
a kitchen and dining room, and the
main floor would be a hall seating
around 500 people, with a stage for
lectures and “entertainments.” The
Vestry originally wanted Frohman
to design a future third level for
Elevation Drawing, Proposed St. Paul’s Church and Tower,
1948. Courtesy of St. Paul’s Cathedral Archives.
offices, classrooms and Guild rooms, and estimated the construction costs for
the first phase as $25,000 to $30,000. Frohman cautioned that such a structure
could probably not be done for that amount; he was currently designing a similar
parish house for an eastern church, estimated to cost $80,000. He advised placing
the offices and meeting rooms in a wing, perhaps to be built later, eliminating
expensive supports for a third story and a roof that would eventually need to be
replaced. The Vestry took the point. 6 This was, however, to be only the first in a
long series of negotiated (and increasingly expensive) changes.
Frohman’s first sketches for the complex, done on vacation in Michigan, were
lost when a zealous chambermaid on a Great Lakes cruise ship threw them out
with the newspapers. Frohman met with the Rector and Vestry in March 1924 and,
showing them his preliminary sketches, convinced his clients of the wisdom of
designing the Parish House and the proposed church simultaneously, possibly
in part because he offered to do the whole complex for a lower commission.
Frohman’s initial plot plan, dated February 1924, however, shows a very cramped
campus. 7
Frohman thought a church with the impressiveness of a cathedral could
be designed even on the limited space available, pointing out that the new
structure, when completed, would be slightly larger than Oxford Cathedral. For
Frohman, the planned cathedral in San Diego presented “a problem which is more
interesting and inspiring than that of the planning of any parish church.” In the
summer of 1924, however, Frohman moved his office from Boston to the grounds
of the Washington Cathedral, which created some delays in preparing working
drawings. Robb and Little took primary responsibility for the firm’s commissions
in the Northeast, and Frohman for those in the Washington area and California.
Frohman thus retained overall charge of the St. Paul’s project. 8
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A Gothic Architect in San Diego
In April 1925 the Vestry was considering purchasing the next lot north on Fifth
Avenue (Lot C), with its additional fifty-foot frontage, and asked Frohman to sketch
out what possibilities such a purchase would have for the complex. Frohman
replied that by widening the church twenty feet, he could raise its seating capacity
from the originally planned 600 people to 800. Adding a south aisle to the parish
house to match that on the north could increase seating in the auditorium from 550
to 600 and providing more space for Sunday School rooms. The purchase would
also permit lengthening the office and Guild room wing, or “ell,” and enlarge what
Frohman termed the “cloister garth.”
In May the Vestry purchased Lot C for $7,000. After rejecting some unrealistic
changes submitted by the Vestry, Frohman sent them a revised site plan in July
1926, showing the parish house re-centered on the new lot (its present site) and an
enlarged church and “garth” (the present Queen’s Patio). 9
At a special meeting on 15 November 1926 the Vestry examined and accepted
the preliminary plans and authorized the Rector to request “complete plans
and specifications and working drawings for the [now enlarged] Parish House,
including the Ell.” Frohman replied that, because the exterior of the Parish House
should be subordinated to that of the church, he would first need to determine
certain details of the church entrance and cloister, but hoped to begin working
drawings in January. This was the Vestry’s first real exposure to Frohman’s
perfectionism, which once led him to make a change of one-eighth of an inch in
the molding of Washington Cathedral’s central tower to modify the effect of the
shadow. His former Pasadena partner, Harold Martin, was asked to supervise
construction in San Diego. Since Frohman did not yet have an adequate staff
in Washington, the working drawings were to be done in Boston under the
supervision of his associate, Donald Robb. When Robb came to San Diego in
January to confer with the Rector, he discovered that the Vestry now wanted to
increase the height of the tower above the parish house stage, along with other
changes. 10
In April Robb who, like Bertram Goodhue, thought the Spanish Renaissance
style more suitable for a southern California building, produced preliminary
prints of an alternative design, incorporating the stage house tower and other
details wanted by the Vestry, but adding a Mission-style belfry on the west front.
The Vestry and Frohman accepted the tower, but the Vestry rejected the belfry
and Frohman, a stricter Gothicist than Robb, was not pleased. Nor was Frohman
pleased with the Vestry’s request to build the Parish House initially without its
buttresses: “To stick the buttresses on later as ornamental features would be a
violation of one of the fundamental principals [sic] of Gothic architecture.” When
the Vestry subsequently asked the architects to come up with a less expensive
design, Frohman’s response was to suggest changes that “would effect some
saving in cost and which would make the structure more Gothic and less Spanish
Renaissance in character.” 11
In November 1926 the Vestry hired a campaign director and authorized a
capital campaign. That campaign, conducted in January and February 1927, fell
short of its $75,000 goal by about $10,000. Furthermore, its completion created a
new and restless constituency, the donors. In December, Barnes reported, “We
are being somewhat adversely criticized for not having sooner undertaken the
work of building.” John L. Bacon, the Senior Warden and head of the San Diego
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The Journal of San Diego History
Philip H. Frohman examining the work on Washington Cathedral. Courtesy of Washington National Cathedral Archives.
construction firm of Bacon and Writer, was given the major construction contract.
In September Robb estimated that construction costs for the 312,000 cubic foot
Parish House, if built in Boston, would cost $109,000, though he hoped that San
Diego’s lower building costs would hold it to “within $100,000.” After Robb sent
the completed working drawings in November 1927, however, Bacon estimated
that the building would cost $110,000.
Understandably, such estimates shook the Vestry. After conferring with Martin
in December, they requested yet another redesign that would reduce costs by
making the walls thinner, using wood instead of reinforced concrete for internal
supports, eliminating the granite facing, and deferring the stained glass windows.
Even so, in July 1928 they had to take out a three-year, $30,000 mortgage loan with
the Bank of Italy (later the Bank of America). Ground for the new parish house was
broken on January 3, 1928 and the building was dedicated the following December.
Excluding the cost of the lot, the total bill for the building, after about $15,000
worth of late cuts, came to $80,001. 12
Although the firm of Frohman, Robb and Little had been formally dissolved
as of January 1, 1928, the three had continued to work on certain continuing
projects as “Associated Architects.” Since Frohman no longer held a California
license, Martin became the “Associated Architect” for his California commissions.
46

A Gothic Architect in San Diego
Frohman continued, however, to revise the details of Robb’s working drawings
for the St. Paul’s Parish House. Frohman’s major interest, however, continued to be
the church and the overall design, writing the Rector a long letter from England in
August 1928 on stained glass windows. 13
Both Frohman and St. Paul’s anticipated early construction of the new church
after the loan was paid off in 1931. The joyous dedication service on December
30, 1928 was marred by no presentiment that, ten months later, the stock market
would crash, ushering in the Great Depression that Canon Rankin Barnes, the
parish historian, later wrote “hit St. Paul’s and its members with violent force.” By
August 1930 only a little under $60,000 of the pledged amounts had been collected.
In October, the Vestry formally recognized delinquent pledges as a problem, and
during the spring of 1931 began drawing up lists of delinquents and sending out
statements either to them or to the executors of their estates. They also applied for
(and received) an extension of the Bank of Italy loan. Some of the pledges were
never collected, and parish income dropped thirty per cent between 1930 and 1935.
The construction loan for the Parish House was not formally discharged until
December 1934. 14
There could of course be no question of completing the complex during the
Depression or the subsequent wartime years of labor and building material
shortages. In July 1943 the Vestry established a “Jubilee Fund” for future
construction, which they hoped would attract donations both from parishioners
and from wealthy San Diegans by the time the parish observed its 75 th anniversary
in 1944. The Fund was tied to the latest War Bond drive, and the Vestry hoped to
raise $75,000 by inducing donors to purchase “Series F” war bonds and donate
them to the church, gaining a tax deduction as well as demonstrating their
patriotism. But this inventive technique raised only $30,000.
Phase 2: Designing and Building the New St. Paul’s Church
In the early postwar period, property values in downtown San Diego again
began to rise. In May 1947 the Vestry elected a young and energetic rector, Rev.
Harold B. Robinson, then St. Paul’s curate. Following meetings with church leaders
and parishioners, the Vestry sold the 8 th and C site for $205,710, reserving the right
to remain for another year before removing the buildings. And on July 19, 1947
the Clerk of the Vestry wrote Frohman reestablishing contact, asking what he had
done so far on preliminary drawings for the church, and requesting an estimate
of the cost of building a crypt, in which services could be held pending the
construction of the superstructure. 15
Frohman offered to send copies of his preliminary drawings for the church,
estimated a six to ten month period for making working drawings, and requested
that Martin again serve as associated architect and superintendent of construction.
Frohman and Martin met with the Vestry and with parish representatives for
two days in November, after which the Vestry voted to contract with Frohman
to design a crypt as, in Frohman’s words, “a dignified and beautiful place of
worship,” and as much of the infrastructure as was necessary to support future
construction over it. Frohman’s rough estimate of the cost was $225,000. In early
February 1948, however, the Vestry appropriated up to $5,000 to remodel the Parish
House auditorium (now the Great Hall) for worship, until the crypt was completed
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The Journal of San Diego History
and probably afterwards, as a number of parishioners had expressed their dislike
for the idea of using the crypt for services. 16
During the spring of 1948 the Vestry and architect ran into problems with city
regulations adopted since Frohman’s original designs had been approved in the
1920s. In 1931 the San Diego City Council had passed an ordinance requiring that
new construction along Sixth Avenue be no closer to the property line than the
average setback of existing buildings on the block. For the proposed church, this
would mean a setback of 14 ½ feet on Sixth Avenue, making the church too short
for the planned cruciform pattern, reducing its seating capacity, and involving
drastic changes in the design process. The attorneys on the Vestry drew up a
petition for a waiver from the City Planning Commission and collected signatures
from property owners on and adjacent to the block. Though the owners of the
house on Lots I and J, immediately to the north of the Sixth Avenue church lots,
refused to sign unless the Vestry bought their property, the Planning Commission
agreed to the variance. Frohman’s original footprint for the church, which had
extended to the property line, was thus preserved. 17
About the same time, the Vestry learned that the City Planning Commission
had instituted a height limit on buildings in or near the approach to the city’s
airport. At the corner of Fifth and Nutmeg, that limit was 154 feet, with a probable
six foot increase at Sixth and Nutmeg, and a maximum possibility of a ten or
twenty foot waiver. Yet Frohman’s plans for a tower had included a spire rising
195 feet above the nave. Accordingly Frohman had to rethink the tower, opting
first for a dome modeled on several Spanish cathedrals, but ultimately rejecting
it as “too [Spanish] Renaissance in character” and too similar to the dome of the
California Building in Balboa Park. Vestryman Haines, since 1928 a Superior Court
judge, argued that it was too early to eliminate the spire, since the airport was
soon expected to relocate, so Frohman retained the spire while concentrating on
alternative designs for the crypt. 18
Frohman produced and explained his drawings for the new church and crypt at
the May 1948 Vestry meeting. His preferred design for the crypt was an elaborate
Norman Gothic structure, which would seat 422 in the nave and 722 in the entire
space. He discussed other alternatives as well, including a simple basement and
a nave seating 600, with a temporary wooden chancel, choir, and roof. Frohman
was asked to draw alternative plans reflecting the discussion to be costed out.
Although delayed by the need to let and supervise the contract for the Washington
Cathedral’s South Transept, in September Frohman sent the Vestry preliminary
drawings and plans for the main floor and clerestory, two schemes for the crypt,
and four elevations of the church. 19
Although the Vestry had previously authorized the plans, some Vestrymen
began questioning “the cost of the monumental edifice Mr. Frohman is designing.”
In September the Vestry rejected Frohman’s preferred plan for a Norman crypt and
requested him to design a simplified, utilitarian basement that could eventually
be turned into office and other work spaces. In a follow-up telephone call the
Rector expressed the Vestry’s satisfaction with the church design and explained
that the simpler and cheaper the basement, the more quickly they would move on
the church. Frohman agreed, saying that he hoped “to make St. Paul’s the most
beautiful Parish Church I’ve designed yet.” Late in November he sent working
drawings for basement and foundations. 20
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A Gothic Architect in San Diego
In the meantime the Building Fund had been depleted by the unexpected costs
of $60,000 for moving and re-siting the old church structure from downtown,
both as a center for campus ministry and as the locus of a new congregation, St.
Dunstan’s. At the time the Vestry had about $150,000 on hand in the Building
Fund, and hoped to raise an additional $100,000 to $150,000. Judge Haines, now
chairing the Building Committee, wrote Frohman in March 1949 that the Vestry
had voted to proceed with the basement only, and to downplay in the campaign
literature any target dates for the main structure. In an address at the April
“Loyalty Dinner,” the Judge assured those present that eventually there would be
a “fully developed Gothic type” church in a complex “of monumental design” that
would “be worthy of the site and of the city.” The result would be equal in design,
even if smaller in size, opined the Judge, to anything that had been built or was
being built “in the larger cities of the Old World or on this continent.” The ensuing
campaign brought gifts and pledges of $110,000, which after campaign costs added
$100,000 to the Building Fund. 21
By late August 1949, however, the Vestry was in a quandary. The latest city
variance was to run out November 1, and a proposed new parking ordinance,
requiring one parking space for every ten church seats, was under consideration
by City Council. The initial contractors’ bids for the simplified crypt/basement
had run higher than predicted, and money on hand would at best pay only for
the foundations, a skeleton basement, and a temporary roof. At a meeting with
Martin, the Vestry debated eliminating the basement entirely, and even whether
they should sever the contract with Frohman and hire a local architect who might
do a cheaper building. In the end, the Vestry invited Frohman to return to San
Diego in October to rethink the project with them and, ultimately, to eliminate the
full basement and erect a permanent nave and temporary chancel with seating
capacity for 600 people, at a maximum cost of $250,000. They continued to insist,
however, that the ultimate seating capacity of the completed structure be “not less
that 1000.” 22
At this point Frohman was understandably taken aback. He had originally
designed a stone church, intended for ultimate use as a cathedral that, in the 1920s,
would have cost approximately $600,000. In November 1947 he had advised the
Vestry that, at current costs, the church as designed would cost between $1,200,000
and $1,250,000. The Vestry had given its consent to his preliminary plans. As
Frohman recalled, “it was not desired that we should reduce the beauty nor the
monumental character of the church for the purpose of saving present expense.”
Now he found that newer members of the Vestry were using his perfectionism, his
association with the National Cathedral, and his initial cost estimates to label him
as a grandiose, high-priced architect. Furthermore, he was now being asked for yet
another redesign, this time in poured concrete with cast stone trim, with none of
the High Gothic features of the original.
In an impassioned letter to the Rector, Frohman defended his reputation for
being able to design buildings to meet parish budget constraints, reminding him
that the Vestry had accepted all of his previous cost estimates and had asked him
to proceed on that basis. “As originally presented to me,” he wrote, “St. Paul’s
was a problem in architectural design but not in architectural economics.” He
then valiantly set to work rethinking the design and coming up with yet another
set of plans. These, he wrote Judge Haines, would resemble an earlier style of
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The Journal of San Diego History
church architecture, “based on a transition between a combination of Norman
and Spanish Romanesque and early Gothic.” In a subsequent discussion with the
Building Committee, Frohman agreed to bring the costs down by eliminating the
central tower, and promised new designs along those lines. 23
During the early months of 1950 a discouraged Frohman was working out in
his mind a simpler design for a church of reinforced concrete that would not be
“ugly and depressing.” Meanwhile, the Rector and Vestry were feeling pressured
by their primary constituency, the congregation. The Building Fund amounted to
only $248,000, and $72,000 of that was still in the form of unpaid pledges, which
were coming in more slowly than expected from parishioners vocally dissatisfied
with the delays. The Vestry’s plan to avoid borrowing by postponing the start of
construction was in tatters, and the outbreak of the Korean War in late June boded
ill for construction costs, materials, and labor. Accordingly, the Vestry began
pressuring Frohman to give St. Paul’s priority status and to proceed with designs
for what was essentially a new and quite different building. By rising early and
working late, the architect provided what he called “semi-working drawings” in
early June.
In April 1950 the Vestry had reluctantly concluded that it was necessary to
borrow against future pledge payments, reasoning that an early start would
accelerate pledges as well as solve its local and internal political issues. The
proposed new parking ordinance was still a threat. In mid-August the Vestry
asked the architect to proceed with detailed drawings and specifications for the
nave, now reduced in height and to be built temporarily only to the clerestory
level, and a temporary chancel, at a maximum cost of $230,000. In September
Edward Guy Holliday (1891-1961), a local architect who was also a parishioner, was
made construction supervisor. 24
Tensions between the client and the architect continued through the remainder
of the year. Frohman, for whom neither time nor cost weighed heavily against the
goal of getting something exactly right, continued to tinker with the final designs
and the specifics of construction plans, attempting to preserve the monumental
quality of the original design while adapting to the Vestry’s constantly shifting
requests. The Vestry now demanded plans for a complete nave, with clerestory and
permanent roof, but still for under its $230,000 cost limit. However, construction
wages were rising as a result of the Korean War and it looked as though a shortage
of building materials was imminent. The Vestry was therefore enormously
frustrated by Frohman’s inability to send blueprints and specifications to San
Diego so that they could let contracts and begin what Judge Haines called “work
actually in progress on the ground.” The Vestry’s experience serves as a “case
in point” for architectural historian and Frohman scholar Christopher Row’s
assertion that “one of the primary causes of his patrons’ angst was the amount of
time Frohman took to execute working drawings.”
Plans and specifications gradually arrived during November, well behind
the promised schedule. The Vestry then solicited bids, awarding the contract to
the Nielsen Construction Company for $207,225, an action ratified at a special
meeting of the congregation on December 5, 1950. The next day, the City Planning
Commission postponed action on the long-proposed parking ordinance for
another two months, saving the parish from having to create an on-site parking lot
equal to the floor area of the church itself. By mid-December the contractor’s steam
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A Gothic Architect in San Diego
Exterior, St. Paul’s Church and Parish House, 1951. Daniel E. Brock, Photographer. Courtesy of St. Paul’s Cathedral Archives.
shovel had begun excavating and, in Judge Haines’ words, “is beginning to make
the dirt fly.” 25
The Vestry had also narrowly escaped new wartime restrictions on civilian
construction. As construction proceeded, the Vestry contracted with Judson
Studios of Pasadena to design and produce the stained glass windows. They
also began considering designs for pews, lighting fixtures, the altar, and other
appointments, while the Building Committee and Frohman continued to squabble
about details and schedules. In March the Vestry negotiated a loan for $70,000 at
four per cent, and set an April date for laying the cornerstone.
Frohman visited San Diego in August 1951 to observe the work under
construction. He was both distressed by the “cold grey color of the concrete”
and miffed to find a number of departures from his detail drawings. He was
especially disturbed by the projecting cast stone window sills, “which would not
be approved by any architect who was capable of designing a Gothic church and
which look crude on the exterior and ridiculous on the interior.” Before leaving for
Washington, he spent time in Pasadena with his partner Martin and visited both
Judson Studios and the studio of Howard Atwood, whose firm was designing the
furnishings. After discussion and a few suggestions, Frohman pronounced himself
satisfied with both. 26
The Vestry’s new strategy of beginning construction worked to bring in both
old pledges and new gifts. On November 27 the building fund was just $93 short of
its goal, with another $150 due in a few days and another $400 pledged for a later
date. The first service in the new church was held on Sunday, December 2, 1951. Six
days later the building was consecrated, free of debt, by the Bishop of Los Angeles,
Francis Bloy. 27
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Phase 3: The Additions: Chapel, South Transept, and Arcade
So matters stood for the next couple of years, with the Vestry caught between an
architect several of them no longer wanted and a growing congregation needing
more program space. By November 1956 the problem of Sunday School crowding
had become acute. After Judge Haines committed $4500 toward underwriting
the fees, the Rector wrote Frohman asking him to design a permanent crypt east
of the temporary chancel to be used initially for Sunday School classrooms. This,
however, required Frohman to redesign the east end of the building to conform to
the changes previously made to the nave as built. Mindful of Frohman’s repeated
inability to get working drawings done on schedules he himself had set, and
the implications for letting contracts, the Vestry insisted that Frohman associate
himself once again with Edward Holliday, Martin having died in the interim.
Holliday, who thus became the new “Associated Architect” with responsibility
for the working drawings, was described to Frohman as “devoted to Gothic
architecture.” Frohman replied in December accepting the new commission and
expressing his pleasure at the restarting of the project, which “increases my hope
that I may live to see the superstructure of St. Paul’s Church completed.” 28
Frohman met with the Vestry on July 2, 1957 at a special meeting that seems
to have been somewhat contentious. The question of whether the parish had a
contractual obligation to continue with Frohman was openly raised. Frohman
responded with what dignity he could muster that “if his services were no longer
desired, he would not wish to continue the work,” and that if the relationship were
terminated, he would not require any further payment beyond the fees already
due him. The Vestry then authorized Frohman to prepare new designs for the east
end, including the crypt, sacristies and a chapel, but made it clear that Holliday
was to prepare the working drawings and specifications for contractors. The Vestry
then prepared to launch a capital campaign to pay off the mortgage on recently
acquired property (Lots K and L) at Sixth and Olive Streets, to refinish the parish
house walls, to build a chapel and crypt and at least a portion of a south transept,
and to construct an arcade between the church and the parish house, with a patio
behind it. 29
Frohman sent the blueprints and revised preliminary design drawings for
the new extensions in early October 1957 but, ironically, Holliday was now
experiencing a prolonged period of ill health, delaying the working drawings for
several months. In June 1958 the Vestry established a new building committee
under Judge Haines’ chairmanship, and the following January Haines became
Senior Warden. These developments brought both experience and speed to the
much-delayed project. In February 1959 the Vestry approved Holliday’s working
drawings for the chapel and transept. In June an unexpected bequest of $20,000
made it possible to have Frohman design the arcade. 30 In May, the Vestry had voted
to borrow $130,000 for two years. Excavations for the addition began in July, and
the Chapel of the Holy Family, the south transept, and the arcade were completed
by early April 1960. The first service in the new chapel was held on April 3, though
the bankruptcy of the furnishings contractor delayed the completion of interior
fittings, so that the new additions were not consecrated until March 18, 1962.
In July 1961 Frohman was in La Jolla during a California vacation and paid a
surprise visit to the church. He was taken around to see the new work and, though
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A Gothic Architect in San Diego
Interior, St. Paul’s Church, 1951. Daniel E. Brock, Photographer. Courtesy of St. Paul’s Cathedral Archives.
he expressed reservations about the ribbing and the stained glass window in the
new South Transept, he seemed generally satisfied, calling the chapel windows
“marvelous.” His guide reported to the Rector that Frohman said he was “anxious
to finish building while he and Judge Haines are still alive,” a satisfaction that was
to be denied them both. 31
From 1960 onward, plans for the completion of the church were once again in
abeyance as the Vestry struggled with financial problems, including delinquencies
in Expansion Fund pledges. They were also involved in the twin tasks of launching
St. Paul’s Manor, a retirement home, and purchasing the Park Chateau Apartments
at Fifth and Olive (Lots A and B) to complete the parish’s ownership of the block
and to prevent any new owner from building on the site. In January 1962 Rector
Robinson resigned in order to become Dean of St. Paul’s Cathedral, Buffalo, New
York. By that time the Expansion Fund loan had been fully repaid, but more than
$25,000 worth of additional Expansion Fund pledges had to be written off as
uncollectible. 32
Phase 4: The Problem of Completing the Church
In January 1963 the Vestry elected a new Rector, Rev. Lester L. Jones, Canon
Pastor of St. Paul’s Cathedral, Los Angeles. Fr. Jones appointed a new Long Range
Planning Committee in April with a dual mandate: to study the possibility of
expanding the church building, and to determine when a division of the diocese
might be anticipated, a decision that would put the new St. Paul’s church back into
play as the probable cathedral for a new diocese of San Diego. 33 In pursuit of these
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The Journal of San Diego History
objectives, Judge Haines wrote Frohman in June, informing him of the creation
of the new Long Range Planning Committee and its recommendation for “a new
campaign for the completion of the church.”
Frohman promised to come to San Diego in September, expressing his
belief that his 1957 and 1959 designs could be easily converted into working
drawings, and wrote Judge Haines of his hope “that you and I may live to have
the satisfaction of seeing St. Paul’s Church completed.” The Committee again
had to hire a local architect to work with Frohman on the project, preferably
one who was an experienced Gothicist. But, they reported, “a survey of the field
does not indicate anyone is available here with such experience,” though they
had identified unnamed “able local architects” willing to work under Frohman’s
direction. The Committee also wanted to get Bishop Bloy to set a target date for the
separation, as it would necessarily affect parish building plans. In this they were
to be unsuccessful, as the Bishop would not consent to any division during his
Episcopate. 34
In September 1963 Judge Haines and the Building Committee met with
Frohman and Samuel W. Hamill (1903-1989), the local architect chosen to work
with him. In the 1930s Hamill had been co-architect (with Louis Gill, Richard
Requa and William Templeton Johnson) of San Diego’s County Administration
Building. Judge Haines drafted and the Building Committee recommended
a contract with Frohman and Hamill for working drawings of the east end of
the church and a fleche (to be designed by Frohman) in lieu of a tower over the
crossing, at a total cost of $12,000. The Vestry approved only a preliminary contract
with Hamill for $1,000 to produce a plot plan of the entire block, “with particular
attention to the plan as proposed by architect Frohman,” to incorporate recent
city regulations on set-backs, coverage and off-site parking. The survey turned up
problems unanticipated by either the architects or the Vestry, but at the following
meeting the Vestry agreed to approve the draft contract with Frohman and Hamill
“to provide working drawings for the completion of this church,” and also voted to
apply for a new zoning variance regarding parking, setback, and site coverage. 35
The final contract was not to take effect until the variance request won City
Council approval and the Vestry raised the necessary funds. By the time the two
architects met with the Vestry in September, Hamill had done the spadework for
restarting the project, including projected compliance with new city regulations.
He also assembled previous structural and seismic engineering surveys. He
estimated the cost of completing the building would be $550,000. By November,
however, there were further delays in the variance application, and the Vestry,
once again shocked by cost estimates, began exploring alternate possibilities. In
the end, they accepted Hamill’s suggestion that they proceed with Frohman on
new design drawings, using the $12,000 on hand, but to defer the working and
engineering drawings, to be done later by Hamill’s firm. 36
As before, plans to complete the church according to Frohman’s designs
foundered owing to the financial condition of the parish. As negotiations involving
the city, the church and the architects proceeded through the spring of 1964,
even the ever-optimistic Judge Haines admitted that there might not be enough
resources to do anything further in the short term. In addition, internal problems
beset the Vestry on all sides. One was the expansion of St. Paul’s Manor, the nearby
parish-sponsored retirement home. Some members of the congregation were
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A Gothic Architect in San Diego
not fulfilling their annual pledges, and the Vestry faced a significant operating
deficit by the end of the year. Distant heirs had used an obscure California law
to challenge a large bequest, tying up energy and funds in a suit the church
ultimately lost. Conflicts had arisen between the Vestry and the Rector, himself
increasingly doubtful of his clerical vocation. Early in May 1965 Rector Jones
resigned, and the Vestry began a search for a replacement. 37 By mid-October the
new Rector, John A. Sanford, formerly Rector of Trinity Church, Los Angeles,
was on board, and on October 28 announced a reactivated Long Range Planning
Committee with a dual mandate. It was to examine the long-range uses of parish
property (which now included two old houses, one used as an office, and an
apartment complex, all needing extensive repairs), and to get the Vestry to the
point where it could “continue, if necessary, without the assistance of the principal
architect, Mr. Frohman.”
At the December 1965 Vestry meeting, the new Committee reported that it
had in hand “sufficient preliminary drawings to permit a new architect to carry
on without the assistance of Mr. Frohman, if necessary, in the completion of the
church building.” It was a realistic appraisal in view of the architect’s age (78) and
the Committee’s realization that “financing the completion of the church building
would be a long-range project” that would require more than one campaign.
Remedying the “dilapidated” state of the Parish House and meeting the need to
provide additional program space would, however, take priority. Judge Haines,
Exterior, St. Paul’s Cathedral. Courtesy of St. Paul’s Cathedral Archives.
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The Journal of San Diego History
now 86 years old, gently protested the decision not to include steps toward the
completion of the church in the new capital campaign to begin in 1967. The Vestry
reiterated its “great desire to see the Church building completed in accordance
with the existing plan,” and assured the Judge that it still had “as its goal
completion as soon as reasonably possible.” 38
In a sermon launching the new capital fund drive, the Rector stated “we need
adequate facilities for every phase of our church program except worship.” Using
the services of a local architect, George C. Hatch, the Vestry replaced the old house
used as office space with a modern office building that included some Gothic
design elements, renovated and expanded the Parish House to provide classrooms
and other program space, and remodeled the chancel to install a new Aeolian-
Skinner organ. Because the city refused to permit the Irving Gill-designed C. L.
Gorham house (1910) at Sixth and Olive to be used for purposes involving public
access (including Sunday School classrooms), a decision that subjected the building
to property taxes, the structure was torn down and its two lots used for on-site
parking. 39 Except for some further interior remodeling, Frohman’s church has
remained incomplete since 1960.
Frohman had one final contribution to make to St. Paul’s. Edward Holliday,
the second “Associated Architect,” had died in August 1961. In April 1962 Father
Robinson had written Frohman at the request of the family seeking a design for
a credence table in Holliday’s memory. Frohman completed a preliminary design
in March 1963 and mailed it to Judge Haines in May; Father Jones had accepted
it in July. Frohman finished the detail drawings in May 1964 and sent them on to
the F. B. Phelps Stone Company the following month. Because Phelps had no one
competent to do more than simple cutting and molding, Frohman had the model
made and the actual carving done in Indiana limestone by “the best of our stone
carvers at the [Washington] Cathedral” before sending the pieces back to Phelps
for shipment to San Diego. But through some oversight, the pieces had remained
in Phelps’ stone yard in Washington, crated and ready to be shipped, until
February 1966, and the parish received it the following month. Hamill designed
the memorial inscription and, after approval by Frohman and Mrs. Holliday, the
San Diego contractor hired to set the table in its place in the chapel carved the
lettering. 40
Frohman was struck by a car while walking to the Washington Cathedral on
August 7, 1972, and died in hospital of his injuries on October 30, just short of his
eighty–fifth birthday. By special dispensation, Frohman, a Roman Catholic, was
buried in his beloved cathedral’s Chapel of St. Joseph of Arimathea. No mention
of his passing occurs in the St. Paul’s Vestry minutes. Judge Haines, who had been
closely involved in the planning and construction of the church complex since
1919, died on September 4, 1974, age 93. In March 1967 the Vestry had negotiated a
settlement with Hamill in which he agreed not to bill them “until such time as the
Parish should proceed with the completion of the church building.” Presumably
anticipating the Vestry would authorize him to produce working drawings once
the other projects were completed, Hamill retained custody of Frohman’s design
drawings and related material. 41
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A Gothic Architect in San Diego
Frohman’s Legacy
In many ways, Frohman, an architect of the 1920s, had outlived his time.
Goodhue, who had designed such notable Gothic structures as the great reredos
of St. Thomas’s Church, New York City, and the chapels at West Point and the
University of Chicago, had died in 1924, before the modern Gothic movement had
begun to wane. By the time construction had begun on the new St. Paul’s Church
in 1951, that movement was largely over. As early as the 1930s, critics had begun
to condemn the movement as “a pathetic attempt to restore and recreate a dead
art.” In 1952, architectural historian Walter Taylor wrote that the Gothic was “an
architectural style completely anachronistic and anomalous in the United States”
that was only then losing “its parasitical hold on the architecture of American
Protestant churches.” Even the Washington Cathedral came under fire as a
“colossal anachronism.” Some viewed Gothic architecture as a device to give elites
the opportunity “to proclaim to their peers how well educated they were, how
polished their manners, how adroit their savoir faire.” 42
A few critics, however, admitted that the early twentieth-century Gothic
movement in American church architecture was often “based on deep conviction,
truth to structure, and exquisite detail,” and “at times produced monuments of
superb quality.” John Burchard and Albert Bush-Brown noted in 1961 that Gothic
churches “were designed by men who insisted upon excellent detail, workmanlike
construction, and colorful decoration executed by skillful artists.” They concluded
that the American Gothicists “may not have created much that was new,” but
“what they did, they did well.” Their buildings, “gracefully proportioned and
solidly constructed, retain an enduring dignity even as many of the more
experimental essays of this century begin to look depressingly dated.” 43 Their
assessment is useful in evaluating both Frohman’s National Cathedral and his St.
Paul’s Church, San Diego.
British architectural historian Paul Johnson has written “the building of a
cathedral is a story without an end.” 44 So it is with St. Paul’s. The Cathedral’s
renovation of the exteriors of the Frohman and Hatch buildings in 2001 won an
“orchids” award in the annual San Diego “Orchids and Onions” appraisal. A new
Master Plan Committee began moving toward a large-scale campus development
project looking toward completion of the cathedral structure. The additions will be
modern, but their outward appearance will conform to the spirit and sensibility of
Frohman’s designs.
Gothic Revival architecture remains a historically important, if seldom
recognized, architectural style in San Diego. Far more attention is paid to Mission
Revival, Spanish Renaissance, and modernist Irving Gill structures than to
Gothic Revival buildings. Architectural treasures as Our Lady of the Angels in
Sherman Heights are little known outside their neighborhoods or constituencies.
St. Paul’s Cathedral has been ignored despite the fact that a nationally recognized
master craftsman designed it. It is to be hoped that future architectural historians
will take on the challenge of chronicling the history of San Diego’s churches,
synagogues, mosques and other present and former houses of worship. At the very
least, they might provide a comprehensive inventory and guide that will include
these structures in the larger context both of San Diego’s built environment and of
the social fabric of this diverse city.
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NOTES
1. Trained in Southern California at Throop College of Engineering (now the California Institute
of Technology), Frohman practiced in Pasadena in partnership with Harold H. Martin until 1917.
Following military service in World War I, he moved to Boston in 1919, becoming the senior partner of
the newly formed firm of Frohman, Robb and Little the following year. Most of the present National
Cathedral was designed and constructed under his supervision, and in 1990 the West Front and towers
were posthumously completed according to his designs. “Philip Hubert Frohman: Designed National
Cathedral,” New York Times, October 31, 1972; “Architect Philip Frohman, 84, Dies,” Washington Post,
October 31, 1972; Who Was Who in America 5 (1973), 253; “Frohman, Philip Hubert,” Encyclopedia
Americana 12 (New York, 1999), 112; Calder Loth and Julius Trousdale Sadler, Jr., The Only Proper Style:
Gothic Architecture in America (Boston: New York Graphic Society, 1975), 156-158; “What’s Progressive
About a Gothic Cathedral?” Progressive Architecture 53 (December 1972), 68-75; Christopher D. H.
Row, “World Without End: Philip Hubert Frohman and the Washington National Cathedral,” Ph.D.,
Harvard University, 1999, chap. 3, passim; Ty Harrington, The Last Cathedral (Englewood Cliffs, NJ:
Prentice Hall, 1979). Among Frohman’s other well-known buildings are the chapel of Trinity College,
Hartford, Connecticut, and the Episcopal cathedrals in Baltimore, Maryland, and Orlando, Florida.
2. For the early history of St. Paul’s, see Constance Restarick Withington, ed., My Personal
Recollections: The Unfinished Memoirs of Henry Bond Restarick (Honolulu: Paradise of the Pacific Press,
1938), chaps. 11-19; C. Rankin Barnes, “St. Paul’s Church, San Diego, California, 1869-1944,” Historical
Magazine of the Episcopal Church 13 (1944): 320-345; and C. R. Barnes, The Parish of St. Paul, San Diego,
California: Its First Hundred Years (San Diego, 1969).
3. St. Paul’s Cathedral Archives, Vestry Minutes (hereafter VM) 4 (1907-1921), Record Group
(hereafter RG) D, Records of the Clerk; “Vestry Responses re Relocating Church, 1911” and “Vestry
Actions, 1911-1924” folders, RG B, Records of the Clergy, Rev. Charles L. Barnes, Office Files.
4. VM 4 (1907-1921), 260-261; VM 5 (1922-1938), 24; C. L. Barnes to P. H. Frohman, April 16, 1923; P.
H. Frohman to C. L. Barnes, April 27, 1923, “Parish House, Building of, 1923-1924” folder, Rev. C. L.
Barnes, Office Files.
5.
Vestry Letter to Congregation, Advent 1911, “Vestry Actions, 1911-1924.”
6. C. L. Barnes to P. H. Frohman, June 7, 1923, August 4, 1923; P. H. Frohman to C. L. Barnes, July 9,
1923, “Parish House, Building of, 1923-1924.”
7. VM 5 (922-1928), 38; P. H. Frohman to C. L. Barnes, July 9, 1923, September 24, 1923; January 1,
April 24, 1924, “Parish House, Building of, 1923-1924”; Sketch Plan, St. Paul’s Church and Parish House,
dated February 6, 1924, RG X, Architectural Records and Plans, Flat File, Drawer 2, Folder 1.
8. P. H. Frohman to C. L. Barnes, September 24, 1923, December 20, 1924, “Parish House, Building of,
1923-1924.”
9. C. L. Barnes to P. H. Frohman, May 18, 1925, April 23, 1926; P. H. Frohman to C. L. Barnes, May
28, 1925, May 8, 1926, “Parish House, Building of, 1925-1926”; C. L. Barnes, Office Files; Revised Sketch
Plan, St. Paul’s Cathedral and Parish House, dated July 10, 1926 (photoprint), RG X, Architectural
Records and Plans, Flat File, Drawer 2, Folder 1.
10. Harrington, The Last Cathedral, 12; VM 5 (1922-1938): 95; Charles J. McDowell (Frohman, Robb and
Little) to C. L. Barnes, January 5, 1927; P. H. Frohman to C. L. Barnes, February 21, March 14, 1927; C. L.
Barnes to P. H. Frohman, March 3, 1927, “Parish House, Building of, Correspondence, 1927” folder, C.
L. Barnes Office Files.
11. E. D. Robb to C. L. Barnes, April 21, June 27, July 8, 1927, April 3, 1928; C. L. Barnes to E. D. Robb,
July 6, 1927, December 6, 1927; P. H. Frohman to C. L. Barnes, August 29, 1927, March 30, 1928, “Parish
House, Building of, Correspondence, 1927” and “Parish House, Building of, Correspondence, 1928”
folders, Rev. C. L. Barnes, Office Files.
12. E. D. Robb to C. L. Barnes, September 16, November 29, 1927; E. D. Robb to J. L. Bacon, December
21, 1927; E. D. Robb to A. S. Hill, January 24, 1928, “Parish House, Building of, Correspondence, 1927”
and “Parish House, Building of, Correspondence, 1928” folders; VM 5 (1922-1938), 134.
13. P. H. Frohman to C. L. Barnes, March 30, August 4, November 5, December 31, 1928; E. D. Robb
to C. L. Barnes, April 3, 1928; A. S. Hill to P. H. Frohman, September 24, November 17, 1928; P. H.
Frohman to A. S. Hill, November 5, 1928, “Parish House, Building of, Correspondence, 1928” folder, C.
58

A Gothic Architect in San Diego
L. Barnes, Office Files.
14. VM 5 (1922-1938), 168, 170, 177, 181, 182; Release of Mortgage, dated December 7, 1934, “Parish
House, 1924-1934” folder, RG D, Legal Papers; Barnes, Parish of St. Paul, 36.
15. Barnes, Parish of St. Paul, 38-40; VM 6 (1938-1951); E. K. Doolittle to P. H. Frohman, July 19, 1947,
“Architects Correspondence, 1947” folder, RG B, Harold B. Robinson, Office Files.
16. VM 6 (1938-1951): September 8, November 10, 1947, February 4, 1948; VM 7 (1951-1960): June 25,
1952; P. H. Frohman to E. K. Doolittle, August 12, November 26, 1947, “Architects Correspondence,
1947.”
17. In 1952 the parish bought Lots I and J for $43,500. VM 6 (1938-1951): March 8, April 16, April 26,
May 10, June 9, 1948; P. H. Frohman to E. K. Doolittle, February 27, 1948, “Architects Correspondence,
January-June 1948” folder, H. B. Robinson Office Files.
18. E. K. Doolittle to P. H. Frohman, March 9, April, 8, April 20, 1948; P. H. Frohman to E. K. Doolittle,
March 5, March 22, April 13, April 27, 1948, “Architects Correspondence, January-June 1948.”
19. VM 6 (1938-1951): May 20, 1948; P. H. Frohman to E. K. Doolittle June 16, September 10, 1948,
“Architects Correspondence, January-June and July-December 1948” folders, H. B. Robinson, Office
Files; Harrington, The Last Cathedral, 14.
20. VM 6 (1938-1951): July 27, September 14, 1948; E. K. Doolittle to P. H. Frohman, September 15,
1948; Transcript of Telephone Conversation, H. B. Robinson to P. H. Frohman, September 18, 1948; H.
B. Robinson to P. H. Frohman, December 8, 1948; P. H. Frohman to H. B. Robinson, December 17, 1948,
“Architects Correspondence, July-December 1948.”
21. H. B. Robinson to P. H. Frohman, January 31, 1949; P. H. Frohman to H. B. Robinson, February
7, 1949; C. C. Haines to P. H. Frohman, March 3, 1949; C. C. Haines to H. H. Martin, June 3, 1949,
“Architects Correspondence, January-June 1949” folder, H. B. Robinson, Office Files; VM 6 (1938-1951):
January 22, January 29, February 23, March 23, 1949; “Address of Judge Charles C. Haines, Junior
Warden” [April 19, 1949], “Loyalty Dinner, 1949, Address of Judge Haines” folder, H. B. Robinson,
Office Files.
22. VM 6 (1938-1951): August 24, October 10, October 12, October 24, 1949; C. C. Haines to P. H.
Frohman, August 26, October 11, 1949; P. H. Frohman to C. C. Haines, September 1, October 19, 1949,
“Architects Correspondence, July-December, 1949” folder, H. B. Robinson, Office Files; C. C. Haines,
ms. report of the Building Committee on meeting with Frohman, dated November 30, 1949, bound
with VM for that date.
23. P. H. Frohman to C. C. Haines, October 19, 1949; P. H. Frohman to H. B. Robinson, October 22,
1949, “Architects Correspondence, July-December 1949”; VM 6 (1938-1951).
24. VM 6 (1938-1951): April 26, June 28, July 22, August 15, September 27, 1950; P. H. Frohman to C. C.
Haines, January 16, April 25, 1950; C. C. Haines to Frohman, March 7, August 16, 1950; H. B. Robinson
to P. H. Frohman, April 19, 1950; P. H. Frohman to H. B. Robinson, April 25, 1950; E. B. Doolittle to P.
H. Frohman, April 27, 1950, “Architects Correspondence, January-June” and “July-December, 1950”
folders, H. B. Robinson, Office Files.
25. VM 6 (1938-1951); C. C. Haines to P. H. Frohman, August 16, October 5, December 18, 1950; P. H.
Frohman to C. C. Haines, August 19, October 24, 1950, January 31, 1951, “Architects Correspondence,
July-December, 1950” and “January-June 1951” folders, H. B. Robinson, Office Files; Row, “World
Without End: Philip Hubert Frohman and the Washington National Cathedral,” 235.
26. VM 7 (1951-1960): January 15, February 28, April 25, 1951 and passim; C. C. Haines to P. H.
Frohman, January 16, 1951; P. H. Frohman to C. C. Haines, April 27, December 4, 1951; P. H. Frohman
to H. B. Robinson, December 5, 1951, “Architects Correspondence, January-June, 1951” and “July-
December, 1951” folders, H. B. Robinson, Office Files.
27.
VM 7 (1951-1960); Barnes, Parish of St. Paul, 41.
28. VM 7 (1951-1960): November 28, 1956; C. G. Haines to Vestry, November 28, 1956 (bound with VM
of that date); H. B. Robinson to P. H. Frohman, November 28, 1956; P. H. Frohman to H. B. Robinson,
December 5, 1956, “Architects Correspondence, July-December 1956” folder, H. B. Robinson, Office
Files.
29.
VM 7 (1951-1960): July 2, July 18, September 19, October 12, 1957; H. B. Robinson to P. H. Frohman,
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July 18, 1957; “South Transept and Chapel…Correspondence, 1956-1961” folder, H. B. Robinson, Office
Files.
30. VM 7 (1951-1960): July 19, 1958, February 19, 1959; C. C. Haines to P. H. Frohman, January 13,
June 22, 1959; C. C. Haines to H. B. Robinson, February 28, 1959; C. C. Haines to E. G. Holliday, June
22, 1959; H. B. Robinson to P. H. Frohman, September 22, 1958, April 20, 1959, “South Transept and
Chapel…Correspondence, 1956-1961.”
31. VM 7 (1951-1960): June 2, 1959; C. C. Haines to P. H. Frohman, July 27, 1959, April 11, 1960;
Anonymous Notes on Frohman Visit dated July 19, 1961; in “South Transept and Chapel…
Correspondence, 1956-1961”; Barnes, Parish of St. Paul, 45-46.
32. St. Paul’s, VM 8 (1961-1965). Dean Robinson subsequently became Bishop Coadjutor, then Bishop,
of Western New York.
33. VM 8 (1961-1965): January 10, May 16, 1963. The Diocese of San Diego would in fact not be created
until 1974.
34. VM 8 (1961-1965): June 20, 1963, October 28, 1965; C. C. Haines to P. H. Frohman, June 17, 1963; P.
H. Frohman to C. C. Haines, June 24, 1963, “Correspondence with Philip Frohman and Samuel Hamill
Regarding Completion of Church, 1963-1966” folder, L. L. Jones, Office Files.
35.
VM 8 (1961-1966): September 20, October 17, 1963.
36. VM 8 (1961-1965): November 21, 1963; S. W. Hamill to Building Committee, September 16,
September 18, 1963; W. A. Richardson, Jr. to C. C. Haines, November 27, 1963, “Correspondence With
Philip Frohman and Samuel Hamill Regarding Completion of Church, 1963-1966.”
37.
VM 8 (1961-1965).
38. VM 8 (1961-1965): October 28, November 18, December 16, 1965; C. C. Haines to Vestry, January 29,
1967 and W. W. Waddell Jr. to C. C. Haines, February 9, 1967, both bound with VM 8.
39. VM 9 (1961-1972); J. A. Sanford, “NEEDS, PLANS, and PROGRAMS,” sermon preached on
Rogation Sunday, 30 April 1967 (mimeographed).
40. VM 8 (1961-1966) April 18, 1963; P. H. Frohman to C. C. Haines, March 28, 1963; C. C. Haines to
P. H. Frohman, June 17, 1963; P. H. Frohman to Mrs. I. Holliday, June 25, 1963, March 3, 1966; P. H.
Frohman to S. W. Hamill, April 20, 1966; S. W. Hamill to “Mr. Lewis,” Seamon-Lewis Monument Co.,
May 4, 1966, “Correspondence With Philip Frohman re Credence Table, 1963-1966” folder, RG B, Rev.
Lester L. Jones, Office Files.
41. New York Times, October 31, 1972; Washington Post, October 31, 1972; VM 9 (1966-1972): March 16,
June 15, November 17, 1967. Absent such notification, the Frohman drawings remained in Hamill’s
custody and were eventually given by him to the San Diego Historical Society, which transferred them
back to St. Paul’s Cathedral in 2004.
42. Walter A. Taylor, “Church Architecture” in Forms and Functions of Twentieth Century Architecture,
ed. Talbot Hamlin, Vol. 3, “Building Types” (New York: Columbia University Press, 1952), 333, 337n;
Wayne Andrews, “American Gothic,” American Heritage 22, no. 6 (1971), 97; Loth and Sadler, The
Only Proper Style: Gothic Architecture in America, 156; Alan Gowans, Styles and Types of North American
Architecture: Social Function and Cultural Expression (New York: Harper Collins, 1992), 221-222.
43. Taylor, “Church Architecture,” 337; John Burchard and Albert Bush-Brown, The Architecture of
America: a Social and Cultural History (Boston: Atlantic Monthly Press, 1966), 283-285; Loth and Sadler,
The Only Proper Style: Gothic Architecture in America, 148-149.
44.
Paul Johnson, Cathedrals of England, Scotland and Wales (New York: Harper & Row, 1990), 199.
60

Book Reviews
Book Reviews
Gateway to Alta California: The Expedition to San Diego, 1769. By Harry Crosby,
San Diego: Sunbelt Publications, 2003. x + 229 pages; photographs, maps, glossary,
notes, bibliography, index; hardcover $39.95.
Reviewed by Victor A. Walsh, California State Park, San Diego Coast District
Harry Crosby first traveled to the Baja California Peninsula in 1967 as
a photographer commissioned to illustrate The Call to California, a book
commemorating California’s bicentennial. Following the 1769 overland route
blazed by Captain Gaspar de Portolá and Father Junípero Serra introduced him
to a region that has changed remarkably little over time in contrast to its neighbor
to the North, Alta California. Nearly forty years later, the seeds planted in 1967
blossomed into Gateway to Alta California: The Expedition to San Diego, 1769.
Crosby provides a fascinating account of the first Spanish expedition into
Alta California–a tale largely ignored by previous historians who focused on
episodic seafaring expeditions. He paints a richly textured portrait of the types of
soldiers recruited to make the epic journey to San Diego. The core group, largely
responsible for the mission’s success in Crosby’s estimation, was the leather-jacket
dragoons — los soldados de cuera — from the presidio at Loreto in Baja California.
Highly disciplined and united by ties of blood and spiritual kinship, these frontier
soldiers were expert horsemen who knew firsthand the grueling challenges of
crossing a rugged, arid wasteland to San Diego. They were not the last to make the
passage across an open future border. Gateway traces a pattern of migration from
Loreto to San Diego that persisted into the nineteenth-century American period.
Baja California’s impact on early San Diego’s cultural and social development is a
story in need of telling.
The book is divided into two parts. Part One, “Prelude to Opening Alta
California,” traces the early history of Spanish California, focusing on the Jesuit era
in Baja from 1697 to 1767, when the order was expelled from New Spain. Separated
from mainland Mexico by water, this remote, fiercely independent frontier
province remained beyond the pale of the Spanish government. Removing the
ruling Jesuit order without protest or bloodshed and launching a major expedition
into Alta California seemed problematical at best.
According to Crosby, three men—José de Gálvez, the recently appointed
Visitor General, Gaspar de Portolá, a 50-year old career soldier and governor of
Baja California, and Fernando de Rivera, the former commander of the presidio at
Loreto—figured prominently in achieving these two goals. Gálvez arrived in Baja
California in 1768 convinced that Spain must found missions and presidios at San
Diego and Monterey in order to fend off colonization attempts by other European
powers. He appointed Portolá to lead the main land expedition and Rivera to head
the advance party—a major responsibility given the largely uncharted terrain and
uncertain reception by native tribes. Three ships were to be built and moored at La
Paz to accompany and re-provision the land parties at San Diego.
Portolá, in turn, carried out the command to remove the Jesuits with great
tact and diplomacy. He allowed them to continue celebrating Mass, contrary to
the crown’s official 1767 proclamation, and requested that the missions be given
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The Journal of San Diego History
receipts for the provisions that they supplied to the expedition. He also forged a
bond of mutual respect with Captain Rivera, the second in command. According to
Crosby, Rivera was essential to the expedition’s success. A twenty-six year veteran of
military service on the peninsula, he was more knowledgeable about the forbidding
terrain, meager resources, and abilities of individual soldiers than anyone else.
Governor Portolá wisely listened to and placed this veteran officer in charge of
organizing all the physical preparations for the overland journeys.
Part Two, “Blazing a Trail to San Diego,” follows Rivera’s fifty-one day trek to San
Diego as daily observed by two participants: assistant pilot José de Cañizares and
Fr. Juan Crespí, the Franciscan missionary. Crosby skillfully uses excerpts from their
diaries, while adding parenthetical comments about present-day locations. Crespí’s
journal bristles with speculations about building a Franciscan missionary dynasty
among “heathen Indians,” while Cañizares’ entries focus on the difficulties of terrain
and weather, sending out scouts, finding Indian guides, and safeguarding campsites.
This section of the book contains a superb set of detailed topographical color
maps of the route followed by Rivera and company from Velicatá to San Diego. Each
map represents from three to four days of travel. Along with the maps, the author’s
black-and-white and color photographs provide a visual rendition of a largely
unchanged terrain traversed over two centuries ago by these intrepid men.
The only flaw with this otherwise masterful work is Crosby’s concluding chapter
on the Spanish ordeal at San Diego while the main party under Portolá pushed
northward in search of the fabled port of Monterey. With most men bedridden
with scurvy, the camp on Presidio Hill resembled a hospital. Described as haughty,
unruly and covetous by the Spaniards, the native Kumeyaay have a conspicuous
presence, but Crosby neglects to explain why relations between the two groups
were so strained. The main explanation has to do with the feeble condition of these
strangers and the inevitable misunderstandings arising from cultural and linguistic
barriers. Villagers had initially brought food to the beleaguered Spaniards, but they
misconstrued these offerings to be gifts rather than items of trade, much to the
growing resentment of the Kumeyaay.
Crosby’s research is impressive and exacting, drawing upon Spanish, Mexican
and Californian archival collections. Appendix A contains a wealth of biographical
data on forty-nine male members of the 1769 overland expeditions — many
identified for the first time. Written in a concise and compelling style, Gateway is a
major contribution to the story of early Spanish California and the larger history of
the Spanish borderlands
Indians, Missionaries, and Merchants: The Legacy of Colonial Encounters on the
California Frontiers. By Kent G. Lightfoot. Berkeley: University of California Press,
2005. Bibliography, illustrations, maps, tables, index, and notes. 355 pp. $45.00 cloth.
Reviewed by Brian Isaac Daniels, Departments of Anthropology and History, University
of Pennsylvania.
Berkeley archaeologist Kent G. Lightfoot organizes this comparative history
around a question rooted squarely in the present-day concerns of California
Indian tribes: why have some native groups received federal recognition while
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Book Reviews
others have not? He seeks the solution to this dilemma by adopting a long-term
perspective on the rise and fall of the Spanish/Mexican and Russian colonial
frontiers in California. By connecting native historical experience to twentieth
century federal Indian policy, Lightfoot shows that the colonial situation not only
reshaped native identities, but anthropological assumptions about what constitutes
a California Indian tribe. In the process, his book offers a forceful indictment
of the treatment of native people at the hands of missionaries, merchants, and
anthropologists.
The majority of the book is devoted to laying out Lightfoot’s two comparative
case studies. By tracing seven forms of the colonial encounter (enculturation,
population relocation, labor, social mobility, interethnic unions, population
demographics, and historical duration) among the neophytes of the California
missions and the laborers of the Ross Russian colony, Lightfoot illuminates how
Indian communities constantly remade their identities through interaction with
their colonizers. Although Franciscan missionaries instituted a formidable and
repressive system designed explicitly to convert and to control Miwok, Ohlone,
Esselen, Salinan, Chumash, Gabrielino, Luiseño, and Diegueño bodies and
souls, Lightfoot claims that the neophytes actively created viable social entities
(heterogeneous in composition but complicated in social organization and practice)
within their personal spaces out of sight from the gente de razón. Decimated by
disease and publicly repressed, neophytes resisted their oppression through a
variety of means, from armed uprising to outright accommodation. The colonial
experience of the Coast Miwok, Kashaya Pomo, and Southern Pomo at the hands
of the Russian American Company, at first, lacked the same harsh disciplinary
control because these merchants were primarily concerned with profit and not
conversion. Only after the Russian colony developed an extensive agrarian
economy, did Indian-Russian relations begin to deteriorate. Even then, little violent
resistance occurred. Without extensive population relocation, native people simply
left the colony for villages in the hinterlands.
This book’s major conclusion is that the majority of Indian peoples in the
California missions and at the Russian colonies continued to reproduce Indian
identities, albeit ones that were radically altered. These new identities took three
forms. A pan-Indian identity, centered upon a specific mission, emerged among
Miwok, Ohlone, Esselen, Salinan, Chumash, and Gabrielino speakers. These
groups were at the most linguistically and ethnically heterogeneous missions.
By contrast, at Missions San Luis Rey and Mission San Diego, native removal
was only partial. Luiseño and Diegueño people returned to their villages after
secularization, which permitted the continuation of traditional native polities,
leadership positions, and ritual systems. A true tribal organization emerged among
the Kashaya Pomo. Russian merchants named one headman as a representative,
and this act prompted a reshuffling of political identities and coalescence behind
the new leader.
Lightfoot’s nuanced theoretical stance throughout this book is twofold. First,
like many recent studies within the genre of historical anthropology, the insights
of French theorist Pierre Bourdieu inform Lightfoot’s intellectual framework. In
this instance, Bourdieu is used to explain how California Indians “practiced”
effective resistance against their colonial overseers as seen through a thorough,
if at times awkward, comparison of oral histories, archaeological evidence, and
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The Journal of San Diego History
archival documents. Lightfoot is particularly adept at drawing from relevant
archaeological studies, especially in his effort to draw out his evidence for native
agency. Only with the analysis of material culture, in his view, can we see the
everyday identity-making interactions of California Indian groups. Among
neophytes, we find a covert world of sacred ritual and exchange in illicit sacred
bird bones and artifact reuse, hidden from the sight of overbearing missionaries.
Conversely, we see how Kashaya Pomo continually reaffirmed their Indian
identities through the overt transformation of European objects like glass bottles
and ceramic containers into native forms like beads, scrapers, and projectile points.
Lightfoot links this agency to his second theoretical argument — one adopted
from the French Annales School of history. In his view, “native engagements with
the mission and mercantile colonial programs became structures (of the longue
durée) that both shaped and directed future developments for the coastal peoples
of southern and central California” (p. 210). This is why, in Lightfoot’s view, events
between the 1769 construction of Mission San Diego and the 1842 departure of the
Russian American Company from California shores are relevant to later federal
Indian policy, even in the present.
In this regard, Indians, Missionaries, and Merchants proves tantalizing. Although
it is outside the scope of his project to expose how colonial Indian identities
intersected with Indian policy, Lightfoot presents an important study that scholars
of California’s colonial legacy cannot ignore. This groundbreaking work will be an
important guide for future studies of Indian identity, colonialism, anthropology,
and Indian policy in California.
A Yankee Smuggler on the Spanish California Coast: George Washington Eayrs and
the Ship MERCURY. By Robert Ryal Miller. Santa Barbara: Santa Barbara Trust for
Historic Preservation, 2001. Bibliography, index, and notes. 115 pages. $20.00 cloth.
Reviewed by Mark Allen, Former Editor, MAINS’L HAUL: A Journal of Pacific Maritime History,
Maritime Museum of San Diego.
Smugglers, almost as much as tourists, have always loved California’s beaches.
In one smugglers’ hideaway at a cove north of the Spanish settlement of Santa
Barbara, the small American merchant ship Mercury was surprised in 1813 by
another small ship flying the Spanish flag. Unluckily for her captain, Mercury
proved slower than her namesake. In the hold, captors discovered contraband sea
otter skins (including a barrel stuffed with three hundred otter tails), and in the
captain’s cabin found papers proving that the Mercury’s crew had been trading
illegally along the coast.
Massachusetts-born Captain George Washington Eayrs spent ten profitable
years evading the laws that expressed Spain’s mercantilist vision for her colonies
by barring Mercury, or any other foreign vessel, from trading there. The captain’s
plea to his captors that “everybody’s doing it”—he reported eight other ships in
the same trade—fell on deaf ears. As a result of that day’s events, Eayrs expended
his remaining forty years of life in a foreign country, fruitlessly hacking at colonial
“red tape” with every legal tool at his disposal. En route to his unhappy fate, the
captain paid an enforced 1813 visit to San Diego’s presidio, in the chapel of which
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Book Reviews
his daughter and common-law wife were baptized, with the presidio’s paymaster
and wife standing as godparents.
Historian Robert Ryal Miller reconstructs the misadventures of Captain Eayrs
from the minutiae of legal records, so his book is perhaps necessarily a bit of a
trudge. Interested readers, however, will be rewarded by scrambling up to a higher
vantage point than Miller offers readers, climbing atop the details of his account
to take in a more expansive view of the historical landscape. The facts of Eayrs’s
case offer a rare vista of large historical phenomena seen in crisp detail. First, the
documents offer an intimate look at the day-to-day workings of the Pacific Rim
economy—in which California and Asia are now inextricably linked as trading
partners—not long after the birth of American involvement in it. The smuggler’s
case reveals the surprising reality that frontier California, on the surface
apparently an isolated outpost, was already deeply enmeshed in the Pacific Rim
economy.
The book can also be seen as an object lesson in one of the less pleasant
aspects of a “globalizing economy.” The expanding California-Asian trade had a
devastating impact on sea otter populations. Otters outlived this period of intense
harvesting only because the last survivors found an isolated spot along the Big
Sur coast where the ships and hunters could not find them. The captain of the
Mercury was a middleman happily moving his cargo (albeit illegally) in order to fill
the demands of fine fur to trim the coats of ranking mandarins. At one point, the
Mercury’s hold held 2,848 otter skins.
Mercury’s capture also revealed a floating world that was truly multinational.
The little New England-built ship’s strongbox held $16,813 in Spanish pesos—
mined in the Americas but apparently obtained by Eayrs in trade from the
Chinese—along with a Philippine-born sailing master and Eayrs’s commonlaw
Polynesian wife, their mixed-race baby daughter, and an eight-year old
Northwest Coast Indian boy identified as his slave. Yankees composed the core of
Mercury’s crew, but at least two had joined in such exotic corners of the Pacific as
Canton and Sitka. And their captor was captain of a Peruvian merchant ship (the
unthreateningly-named Flora), who had temporarily turned privateer in disgust at
being undercut in his legal trade by the foreigners’ illegal activities.
The book also offers a glimpse of Californians as inhabitants of a ragged
frontier society so starved for aid from their troubled empire that even their moral
leaders became scofflaws. Among the captain’s best customers were Franciscan
missionaries who met him clandestinely to barter otter skins, apparently hunted
by mission Indians in exchange for such rarities as an umbrella or a spitoon. The
needs of most settlers were still more basic. Explaining the $8,800 from the Mercury
he confiscated to compensate long-unpaid soldiers, Santa Barbara’s José Argüello
pointed out the “grave and general necessity for clothing and other things that
they have experienced and do experience increasingly from day to day.” His
declaration that “necessity makes legal what is illegal by law” expressed his fellow
Californians’ isolation from, and increasing despair with, mainland Mexican
colonial society—alienation that in 1846 helped make the American invasion by
a small force of frequently tired and inept troops rather more quick and painless
than, say, the invasion of Iraq.
Captain Eayrs was unlucky enough to find his assets trapped in a tottering
imperial bureaucratic structure. The structural integrity of Spain’s mansion of
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The Journal of San Diego History
red tape, which had stood as a wonder of inefficiency for four centuries, was
crumbling in 1813, held upright primarily by its own weight and the inability
of most subjects to imagine alternatives. Normally dutiful bureaucrats were
apparently beginning to face the futility in their paperwork, and so the captain’s
case became protracted beyond all reason. Madrid’s once firm hand on her
empire’s bureaucratic reins had been loosened by the distracting disaster of the
Napoleonic wars and the impressively inept leadership that followed, and further
loosened by the distracting embers of revolutionary movements bursting into brief
but hot flames throughout her colonies, as fast as soldiers could be sent to snuff
them out.
Reading a book composed of legal minutiae can be unpleasantly dull, like being
entangled oneself in Spanish red tape. Amidst all the detail, however, I actually
found myself wishing that the author had put extra effort into translating certain
curiosities: what on earth was in the “one case with English friezes” aboard
Mercury? The Elgin Marbles? And to whom did the captain hope to peddle those
“48 Chinese masks?”
Fewer than two years after the Mercury incident, the last silver-laden galleon
left Acapulco for Manila and the lifeblood of Spain’s Pacific empire dried up. The
reader who makes use of the footholds of detail Miller provides in this book,
and scrambles up to a higher historical vantage point, will be rewarded with an
expansive view out across Spain’s Pacific empire at sunset.
Lost Laborers in Colonial California: Native Americans and the Archaeology of
Rancho Petaluma. By Stephen W. Silliman. Tucson: University of Arizona, 2004.
Bibliography, illustrations, index, map, and notes. 253 pp. $39.95 cloth.
Reviewed by Desireé Reneé Martinez, Gabrielino (Tongva), Irvine Fellow in Anthropology,
Department of Sociology, Anthropology and Social Work, Whittier College.
When the public imagines California during the late Mexican and early
American periods, romantic images of vaqueros and señoritas dancing in the
waning afternoon light are usually conjured (one only need attend the Ramona
Pageant in Hemet, California to see such romanticism performed live). Although
the academic community, in particular historians, have tried to dispel this mythic
imagery by providing balanced narratives of the time period, their reconstructions
are limited by the biased written historical accounts available to them. The voices
of California Indians, describing their everyday lives in their own words, are never
incorporated because few such historical documents exist.
Stephen Silliman’s book, Lost Laborers in Colonial California, seeks to break this
silence by documenting, through the archaeological record, the role California
Indians laborers played in the development of Rancho Petaluma, a 270 square
kilometer ranch in Sonoma County owned by Mariano Guadalupe Vallejo from
1834-1857.
Much has already been written on Vallejo and the prominent role he played in
the shaping of the economic and political character of Alta California. Through his
research, Silliman reminds us that Vallejo and other Californios could not have
wielded as much power as they did without the hundreds of California Indian
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Book Reviews
laborers working their ranch lands.
This book does a good job of summarizing previous research, identifying the
large gaps in that research, and putting Rancho Petaluma into historical context
by describing its unique position at the crossroads of Russian, American, Spanish-
Mexican and California Indian nation interaction spheres.
Silliman works hard to fight the misconception that the California Indians on
the ranch were a homogenous and monolingual group or that they were happy
passive workers in the colonial enterprise. Using excavated data, Silliman details
the everyday domestic lives of Southern Patwin, Wappo, Coast Miwok, and
Southern Pomo Indian workers after their ranch responsibilities were completed.
He refutes accounts that portray California Indians at the ranchos as either willing
assimilators or forceful resistors. He interprets the continued use and preparation
of traditional foods and lithic technologies in the domestic sphere as a conscious,
or subconscious, tactic used to resist the colonial power’s control of space and time.
Silliman’s description of the California Indians’ role within the ranch system
and their everyday activities is commendable and nothing like it has been
attempted to date. However, archaeological data alone can provide us with only
a tantalizing glimpse of what was an emotional and life-changing experience
for California Indians. Silliman states that members of the Federated Indians of
Graton Rancheria were advisors to and participants in his project, however he does
not detail their involvement nor does he incorporate their interpretation of Rancho
Petaluma and their ancestors’ involvement in it.
There are many oral stories within contemporary California Indian
communities, including my own, which describe how ancestors felt as they
interacted with the dominant culture during this time. They saw that the only
way to survive physically, emotionally, and spiritually was to disappear into the
background while continuing to participate in traditional practices after work.
Similar stories can probably be documented from the descendants of those who
worked at Rancho Petaluma. The incorporation of these stories alongside the
archaeological record would have provided greater depth of the human experience
in this otherwise extraordinary well-written and researched book.
Defending Zion: George Q. Cannon and the California Newspaper Wars of 1856-1857.
By Roger Robin Ekins. Volume 5. Kingdom in the West: The Mormons and the
American Frontier Series. Spokane: The Arthur H. Clark Company, 2002. Notes,
bibliography, index, illustrations, and portraits. 464 pp. $42.50 cloth.
Reviewed by Aaron F. Christensen, Ph.D. candidate, Department of History, Oklahoma State
University.
This latest addition to a projected twenty-volume series chronicling the history
and influence of the Mormon Church on the American frontier examines the
pro-active approach the church undertook in shielding itself from printed attacks
by opponents throughout the West and, in particular, California. In this book,
titled Defending Zion: George Q. Cannon and the California Newspaper Wars of 1856-
1857, editor Roger Ekins argues that shortly after the Saints’ settlement in Utah,
the church abandoned the “turn the other cheek” attitude they pursued prior to
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The Journal of San Diego History
expulsion from Ohio, Missouri, and Illinois. For Ekins, the new stance can be seen
in George Q. Cannon’s small church-sponsored, San Francisco-based newspaper,
The Western Standard. In this paper, Cannon, “the greatest public defender of the
Mormon faith,” ably defended against and even counterattacked the religion’s
numerous detractors (p. 27). Although discontinued in 1857 when Cannon and
other high-ranking Mormon officials returned to Utah in anticipation of armed
conflict with the United States, the small religious weekly effectively fulfilled its
grand purposes.
By contrasting Cannon’s editorials with those from San Francisco and
Sacramento newspapers, Ekins demonstrates the vicious nature of these
newspaper wars. As a vigilant defender of his faith, Cannon was compelled
to respond to editorials by anti-Mormons, such as John Ridge, a Sacramento
newspaperman, whose Daily California American called the Mormons “a foul blot
upon humanity which ought at once to be wiped out” (p. 97). In responding to
such attacks, Cannon often pointed out the flaws in opponents’ arguments and
printed what he perceived to be the truth. Cannon compared his fellow newspaper
editors to the Pharisees, whom Jesus freely labeled “hypocrites, murderers, liars,
children of the devil, etc.,” and accused them of misrepresenting the truth in
their brutal attacks against the Mormons (p. 77). “A thin-skinned non-combatant
should keep out of the fray,” he told the editor of The Pacific who thought being
termed a “liar” was too harsh, adding that “it is only a miserable contemptible
and dastardly spirit that would prompt a man to insult and outrage the feelings
of another and then rely upon his professedly peaceful character to protect him
from the indignation and punishment he so richly merits” (p. 79). Ekins maintains
that Cannon’s strong defense of Mormonism and especially its most controversial
doctrine, polygamy, rarely altered the opinions of his opponents. His efforts,
however, earned him the respect of his fellow Mormons, eventually meriting him
top positions within the church.
Beyond recounting the newspaper wars of the mid-1850s, Ekins’s work touches
on such subjects as politics, religion, states-rights, the Utah War, western journalism,
frontier justice, emigration, Brigham Young’s leadership, and the Mountain
Meadows massacre. The primary sources and Ekins’s commentary offer the reader a
unique window on mid-nineteenth century conditions on the western frontier.
One weakness in this well-written and richly-annotated book is that Ekins
makes only passing reference to Cannon’s overt attempts to provoke attacks
against his own church. These provocations raise a number of unanswered
questions. Why, for example, did Cannon beg the editors of The Golden Era to
immortalize themselves by “exposing” Mormon “errors and corruption?” (p. 186).
Was it a ploy to sell papers? Was it a chance to advance the church to the forefront
of the news in an effort to gain converts? Exploring such questions would cast
further light on the nature of the newspaper and its mission. This is a mere quibble
in what is otherwise an interesting source on the history of the Church of Jesus
Christ of Latter-day Saints in nineteenth-century California.
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Book Reviews
Gold Rush Saints: California Mormons and the Great Rush for Riches. By Kenneth N.
Owens. Volume 7 Kingdom in the West: The Mormons and the American Frontier
Series. Spokane: The Arthur H. Clark Company, 2004. Photographs, maps, index.
bibliography. 396 pages. Hardback $39.50.
Reviewed by Iris H. W. Engstrand, Professor of History, University of San Diego.
Gold Rush Saints by Kenneth Owens represents the best in narrative history
– first-person accounts from diaries and letters accompanied by documentary
analysis. Each excerpt is placed in historical perspective with a biographical note
on the author and the circumstances of his or her contribution to the overall
picture. This well-researched scholarly work weaves together many fragments of
James Marshall’s 1848 gold discovery and the ensuing rush.
Mormons who reached California in 1846 and 1847 were among the first non-
Hispanic settlers of California working at Sutter’s Mill on January 24, 1848, when
Marshall believed he had found gold. Not well known in San Diego is that these
men, including Henry Bigler, who left the most carefully detailed record, had
arrived in Southern California with the Mormon Battalion to aid the American
cause in the US-Mexican War. Assigned to garrison San Diego in the late summer
of 1847, Bigler served with Zadock Judd, Samuel Miles, and John Borrowman in
Company B, and later marched northward with Captain James Pace when the
Battalion was dissolved (p. 81). Other accounts include those of Melissa Coray,
one of the five women who reached San Diego as the Battalion’s laundress. She
recounts her experiences crossing the Arizona and California deserts (p. 198).
Myron Tanner mentions that his brother Seth “began coal mining in San Diego” in
1856 (p. 214).
Gold Rush Saints provides insights into a variety of lives during a significant
transitional time in California history. Those who experienced the actual travel,
hardships and successes that surrounded the discovery of gold provide accounts to
the best of their ability. The work of Owens in presenting an accurate and detailed
historical record makes this volume a must for all those interested in a fresh look
at an oft-told story.
Architectural Details: Spain and the Mediterranean. By S.F. “Jerry” Cook, III, and
Tina Skinner. Atglen, PA: Shiffer Publishing, Ltd., 2005. 144 pp. Bibliography,
photographs, forward, introduction, index. $39.95 hardcover.
Reviewed by Parker H. Jackson, Historian, San Diego Historical Society Architectural Collection
Cataloger and Patron.
In 1926, San Diego architect Richard S. Requa published a collection of
photographs he had taken while traveling in Spain and along the Mediterranean
Coast. Demand for this portfolio, entitled Architectural Details: Spain and the
Mediterranean, was so great that the printer made a second printing of 500 bound
copies. Today, the book is rare and can only be found in some libraries and
antiquarian bookstores. Jerry Cook and Tina Skinner are to be commended for
bringing this collection of Richard S. Requa’s photographs of architectural details
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The Journal of San Diego History
back into publication.
As the authors point out in the introduction, Requa celebrated similarities in
climate and terrain between Southern California and Spain and the Mediterranean
Coast. Esthetics and pragmatism drove Requa to adapt Mediterranean architecture
to San Diego. The result was Requa’s “Southern California Style,” a genre label that
became generic in the 1920s and remains so today.
The authors were faithful to Requa’s formatting of “Section Headings” and
photograph captions. They could have gone one step further and added the section
and plate identification found in the original book. Also, I feel that the title of the
book should have contained his full name as he himself wrote it: Richard S. Requa,
AIA. The authors also omitted five of the photograph pages, although this is not a
serious omission. Lastly, the authors misidentify two of Requa’s San Diego homes
(4346 Valle Vista, Mission Hills, and 2906 Locust, Loma Portal) as having been built
in the “Southern California Style.” Both were built over a decade before his first
Mediterranean trip and neither was in his trademark style.
Of the hundreds of photographs and unknown number of 16mm reels of film
Requa took, the bulk has been lost. The San Diego Historical Society Archives has
eighteen 400-foot reels of his films. Their Architectural Collection has only several
dozen of his photographs. The Archives also possess a copy of the portfolio in its
original leather case with a door embossed, in color, on the center of the cover.
Despite some flaws, this reprint is an important resource for understanding
Requa’s philosophy of architectural style.
Blessed with Tourists: The Borderlands of Religion and Tourism in San Antonio. By
Thomas S. Bremer. Chapel Hill: University of North Carolina Press, 2004. 224 pp.
Illus, maps, notes, bibliography, index. $55.00 cloth; $19.95 paper.
Reviewed by Jeff Charles, Associate Professor, History Department, California State University,
San Marcos
Although they are perhaps no longer the tourist destination of choice,
California’s missions remain central to the state’s mythic past. They continue to
attract those seeking a meaningful remnant of California’s history–even though
most visitors do not ascribe to the faith which founded them, and furthermore, as
tourists, they are generally ignorant of the religious communities that still worship
in them. The complex role of California missions in the state’s tourist culture
is illuminated by a recent book that actually concerns a different place where
historic missions also dominate civic boosterism: San Antonio, Texas. Home, most
famously, to the Mission San Antonio, better known as the Alamo, San Antonio
is also the location of four other missions that together comprise the San Antonio
Missions National Historical Park. To Thomas Bremer, these five sites comprise
an ideal place to explore the interaction of tourism and religion. By examining
the missions’ past and present, he concludes that there is a natural confluence
of religion and tourism. At the core of both, he argues, is a search for a sacred,
authentic experience, while both exist at the borders of commerce and modernity.
These underlying connections help explain the paradoxical role these historic
religious institutions play within an apparently secular tourist culture in San
70

Book Reviews
Antonio, and, one might assume, in San Diego as well.
In a brief introduction, Bremer draws theoretical connections between tourism
and religion, focusing on how both hold places sacred. For this opening section,
I would have appreciated a deeper conceptual discussion of the different ways
tourists and believers might define “the sacred,” but Bremer probably preferred
to emphasize readability over elaborate theorizing. The following chapters move
briskly through a brief history of San Antonio’s missions, an account of the
development of the Alamo as a tourist attraction, a description of the restoration
of the other missions, and a consideration of the role of religion in the San
Antonio World’s Fair of 1968. He concludes with an interesting discussion of the
occasionally conflicted relations between the National Mission Historic Park, the
tourists it attracts, and the priests and parishioners who still worship at the historic
buildings.
For those interested in connections to California history, the most relevant
chapter is the one concerning the rebuilding of San Antonio’s missions. This
was accomplished primarily through the efforts of Ethel Wilson Harris, a
participant in the Mexican Arts and Crafts Movement who played an advocacy
role analogous to that of California’s Charles Fletcher Lummis, and Archbishop
Robert E. Lucy, a transplanted Californian directly inspired by his home state’s
missions. Unfortunately, Bremer does not take the opportunity these influences
offer to do some comparative analysis. I think even briefly considering California
missions as a model for San Antonio’s development would have strengthened his
general conclusions on the relationship between history, religion, tourism, and
local commerce. Still, for those California historians willing to make their own
comparisons, this book is worth reading.
Hazardous Metropolis: Flooding and Urban Ecology in Los Angeles. By Jared Orsi.
Berkeley: University of California Press, 2004. Notes, bibliography, illustrations,
index, and maps. $39.95 cloth.
Reviewed by Andrew Kirk, Assistant Professor, Department of History, University of Nevada,
Las Vegas.
In Hazardous Metropolis, Jared Orsi gives us a complete and complex picture
of flooding and flood control in Los Angeles and in the process highlights a new
and compelling model for understanding urban ecology. Of the many natural
disasters that plague southern California, floods are often the most devastating
partly because they so insidiously capitalize on the damage already caused by
other phenomenon like wild fires and earthquakes. Orsi further points out that
the floods that have devastated Los Angeles over the past hundred and fifty
years seem to be utterly unpredictable due to the convergence of North America’s
most variable weather patterns and long standing cultural misconceptions of the
southern California climate.
While early boosters may have glossed over the extremes of weather that faced
residents of the Los Angeles flood plain, dramatic flood events made the need for
flood control apparent early on. Orsi does a wonderful job of using these stories to
illuminate how the forces of nature threatened the utopian dreams of early settlers
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The Journal of San Diego History
to the greater Los Angeles region.
While you could read this as a well-written and interesting history of flooding
and flood control, the book offers much more than a history of technical solutions
to natural problems. Orsi argues that flood control was not simply an engineering
problem that could be solved with millions of yards of concrete. Flood control
was also a product of historical perceptions about nature and shifting political,
economic, and social priorities. Moreover, Orsi uses the history of flooding in L.A.
to argue that urban environments, long understood as transitions between “order
and disorder,” are complex and constantly evolving discrete ecosystems with
structures that must be understood on their own terms. This seemingly subtle
point is important because it questions the obvious simplifications of regional
leaders and planners who downplayed the problems of building a city in a place
with significant environmental problems. For more than a century, argues Orsi,
developers and city leaders assumed that humanity could lay a grid on nature
and have instant order. Furthermore, Orsi questions the opposite theory that the
environmental problems of the city actually result from the human reduction of
complex ecosystems into unrealistically clean and simple grids and channels.
In Orsi’s subtle analysis, neither of these ideas seems to explain the historical
problems of flood control in Southern California or the water problems of the
American West in general. Los Angeles originally developed and became the place
where constructed nature “incorporates all the disorder of the rest of nature” (p.
10). Therefore, Orsi explains that the workings of the urban ecosystem is much
more complicated than a never-ending reclamation project or decline toward
technocratic simplicity.
The book is divided into six chronological chapters that explore the history
of floods and flood control in great depth. The first three chapters focus on the
early development of the Los Angeles flood plain and the re-engineering of the
rivers and harbors that give L.A. its modern shape. Orsi pays close attention to
the persistent “hundred year” weather events that hit with alarming regularity
and spawned the major flood control efforts between the late 1800s and the 1930s.
Orsi accounts for planning, politics, economics, and cultural factors to argue
that the failure of extensive and expensive flood control efforts were not simply
engineering failures, but the product of an evolving urban ecosystem that created
as much chaos as order. The following three chapters explore the evolution of the
urban ecosystem: the politics of public policy with regards to an ever-expanding
set of environmental problems; changing ideas about purely technocratic solutions
for environmental control; and the impact of environmentalism. By the 1960s,
residents of the Los Angeles flood plain worked to improve the urban ecosystem
and live with the water that moves through the region rather than fight against the
tide. Pocket parks, river walks, and bike paths all represented recognition that the
water was finally becoming an accepted part of life in L.A.
This well-written and thoroughly-researched book is a welcome addition to the
history of reclamation and flood control. With certainty, Hazardous Metropolis will
prove one of subtlest examinations of water in western life.
72

Book Reviews
California Rising: The Life and Times of Pat Brown. By Ethan Rarick. Berkeley, CA:
University of California Press, 2005. Bibliography, photographs, index, and notes.
1-501 pp. $29.95 cloth. $19.95 paper.
Reviewed by Greg Hall, Assistant Professor of History, Western Illinois University
Over the course of the twentieth century, California emerged as one of the most
dynamic states in the nation. Especially after World War II, California was a force
to be reckoned with on the national stage. But by the late 1950s, the state also began
to experience serious problems that accompanied a rapidly growing economy
(the benefits of which were unevenly distributed), an increasing and diversifying
population, and changing expectations and perceptions of governmental
responsibilities. Elected governor in 1958, Edmund G. “Pat” Brown attempted to
manage this lion of a state during one of its most turbulent periods. Ethan Rarick
has written an excellent biographical account of Brown’s years as governor, but he
also has written an interesting treatment of the man’s personal as well as earlier
professional life. As the title of Rarick’s biography suggests – California Rising:
The Life and Times of Pat Brown – the story of Brown’s life and political career is
presented within the historical context of this vigorous Far West state.
The California-born Pat Brown did not start off life with any great advantages
but, as Rarick explains, Brown had a determination to create a more stable and
prosperous life than what he experienced as a child. Following high school, Brown
enrolled in San Francisco Law School and soon began his legal career. His interest
in politics, according to Rarick, began just as early as his legal career. In his first
race, he ran as a Republican, which is not surprising given the Republican Party’s
political domination of the state. Like much of the West at the beginning of the
twentieth century, California was a Republican state with only a small Democratic
Party presence. However, that was to change. Brown, like many Californians
and westerners began to embrace the liberal policies of the Democratic Party as
the 1930s dragged on. Brown made the change in party affiliation at the end of
the decade and never looked back. After winning his first elected office as San
Francisco’s district attorney, Brown would go on to follow in the footsteps of Earl
Warren, moving from attorney general to governor. Only Brown rode the changing
political tide of the state as it shifted from being predominantly Republican to
having a strong and competitive Democratic Party that at times swept Republicans
out of office.
The most insightful portions of Rarick’s biography are those chapters that
specifically deal with Brown’s gubernatorial campaigns and his two terms as
governor. As a campaigner, Rarick notes, Brown was a centrist, but as governor,
Brown tried to implement his liberal agenda. Brown’s liberalism was reflected in
his interest in civil rights, the expansion of California’s higher education system,
and the construction of publicly funded water projects to quench the thirst of a
growing population, as well as his ambivalence towards the death penalty. He was
not always successful, especially regarding civil rights and social justice. Brown
championed a fair housing act that was simply too progressive for Californians
to support, and his dithering over the death penalty angered both supporters
and detractors. But Brown’s support of higher education led to the creation of
new colleges and universities throughout the state and his enthusiasm for water
73

The Journal of San Diego History
projects led to systems that benefited cities that lacked sufficient water and rural
areas that needed greater access to irrigation.
Some of the more interesting passages in Rarick’s biography deal with Brown’s
handling of the Free Speech Movement on the University of California, Berkeley,
campus and the “Watts’ Riots” in Los Angeles. The governor, though a liberal, was
still a man of the “establishment” who seemed incapable of truly understanding
institutional changes that were necessary on college and university campuses
and the deep-seated economic problems that African Americans and other
people of color faced in California. His attempts to bring calm to the situations
and reestablish “law and order” seemed to only disillusion white working-class
and middle-class voters. These were the men and women who supported Ronald
Reagan’s rise to political power as he challenged Brown for the governorship in the
1966 election. Brown’s indecisiveness and liberalism were used successfully against
him. In fact, Rarick clearly explains how some of Brown’s best traits – particularly
those of being an open-minded, tolerant, transparent leader – failed him at crucial
periods in his political career. Rarick’s very well-researched biographical account
of Brown’s rise and fall as a mid-twentieth century liberal Democrat is a good
addition to the literature on California political history and on the political history
of postwar America.
What’s Going On?: California and the Vietnam Era. By Marcia A. Eymann and
Charles Wollenberg, Editors. Berkeley: University of California Press, 2004.
Illustrations, index, and notes. 209 pp. $21.95 paper.
Reviewed by Ryan Edgington, Ph.D. candidate, Temple University
In this highly accessible companion text to the traveling exhibition of the
same title, the editors strive to show that California “was at the vortex of the
storm created by the Vietnam War” (p. 4) and stood as “both a microcosm and
a magnification of the national experience” (p. 14). Through eleven essays and
accompanying photographs they also hope to offer a “new lens” through which
to comprehend the diverse events and complicated history of the Vietnam era in
California. While some of the material may seem familiar, the selections as a whole
offer a glimpse into the multifaceted nature of the war’s influence on California.
Marc Jason Gilbert investigates the crucial role the Cold War and Vietnamese
conflict played in shaping California’s economic successes. The state’s ties to the
Department of Defense often translated to expansion for many sectors of the
economy. Gilbert demonstrates that programs such as the Vietnam Laboratory
Assistance Program at China Lake produced weapons for military use abroad
by working with local civilian companies. California also accommodated
twenty military installations, private weapons manufacturers, and the RAND
Corporation, all of which contributed to the war and the state’s economic growth.
Following patterns of recent scholarship, several essays examine the
kaleidoscopic political atmosphere in California during the Vietnam era. R.
Jeffery Lustig proposes that California’s inventive spirit made the state a “natural
epicenter” for antiwar leaders and their search for new ways to participate in the
democratic process (p. 60). Ruth Rosen investigates how sexual harassment in male
74

Book Reviews
dominated antiwar organizations compelled women to leave the movement and
organize on their own. Jules Tygiel explains that Ronald Reagan’s ascendancy to
the governor’s office in 1966 reflected a growing disillusionment with the antiwar
and civil rights movements in California. Reagan’s anti-communist rhetoric during
the war and his laissez-faire economic philosophy not only motivated homegrown
Republicans, but also inspired a national conservative political consciousness that
eventually propelled him to the presidency.
Some of the best essays in What’s Going On? explore the war’s effect on race
relations in California. A civil rights and antiwar activist during the period,
Clayborne Carson says that a fissure emerged between white and black activists
hindering the development of a larger unified political movement. George Mariscal
looks at how California’s Chicano and Chicana population reacted to the war and
its influence on “the contradictions that riddled Spanish-speaking communities
as they negotiated traditional and emergent political and cultural forces” (p. 113).
Andrew Lam analyzes the social and economic impact of the Vietnamese Diaspora
that brought 1.5 million refugees to the United States. He reveals that prosperous
refugees in California helped to shape a “new Vietnamese” that exchanged
traditional land-bound ideals for newly found freedoms. Khuyen Vu Nguyen
offers an excellent examination of how Californians, among other Americans,
erased South Vietnam and its soldiers from popular memory. The Vietnam War
memorial in Westminster, California, offered one of the first attempts to confront
that “historical amnesia.”
Two essays consider veterans and the aftermath of the war in California.
John Burns explores the diverse experiences of Californians who served during
the war and shows that as a reentry depot, the state played a crucial role in a
soldier’s often-jarring return to American society. Robert Schulzinger describes
how disagreements on policy during the war continued to divide the state and
the nation long after American soldiers had returned home. Not until the 1980s
did the notion of reconciliation become a powerful tool for Californians and other
Americans seeking to heal the psychological wounds created by the war.
Readers may be disappointed that some of the principal players and events
central to the Vietnam era in California are absent from What’s Going On? For
example, although the state’s highly visible counterculture stood part and parcel
with the antiwar movement as a reaction to policy in Vietnam, the authors give
little credence to its significance. Similarly, very little is mentioned regarding the
numerous Hollywood films that continued to shape popular understandings of
the war after it ended. Yet, these limitations should not take away from the real
strength of this book. Rather than just focus on the state’s legacy as a stronghold
of radicalism, What’s Going On? offers a thorough discussion of the diverse
and complicated events that shaped life in California during the Vietnam era.
Historians as well as other readers interested in the war’s impact on the state will
find these essays both relevant and engaging.
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The Journal of San Diego History
Index to Volume 49, nos. 3-4, & Volume 50*
Abbott Institute, 50/3-4: 146
Abbott, Merket and Company, New York, 49/3-4:
135
Adams, Frank, 49/3-4: 135
Adams-Herbert, 49/3-4: 216
Addams, Jane, 50/3-4: 104, 118, 147
Addy, Bob, 50/3-4: 93
Adler and Sullivan, 49/3-4: 118
African Americans, 50/50/1-2: 20, 22, 57; 50/3-4:
110, 149, 156, 160, 162, 164, 165
African Methodist Church, 49/3-4: 216
Agua Caliente, 50/1-2: 20, 38
Aguila, Jamie R., 50/3-4: 161
Aguirre, Miguel Antonio, 50/3-4: 101
Al Mathis Memorial Hall, 49/3-4: 256
Alaska-Yukon-Pacific Exposition (see Expositions)
Alba, Alicia Gaspar de, 50/1-2: 64
Alborta, Freddy, 50/3-4: 169
Albright, Mr. and Mrs. James, 49/3-4: 181
Albright, Harrison, 49/3-4: 134, 135
Alcatraz, 50/3-4: 165
Alcazar Gardens (see Balboa Park)
Alderson, Ray, 49/3-4: 135
Aldrete, Alberto V., 49/3-4: 136, 146
Aldrich, Thomas Bailey, 50/3-4: 148
Aldridge, Mr. and Mrs. Darwin R., 49/3-4: 207, 208
All Saints Lutheran Church, 49/3-4, 216
All Souls’ Church: 49/3-4, 193
All-American Outdoor Sports Stadium, 49/3-4: 174
Allen, Frank P., 49/3-4: 123, 135
Allen, Jason C., 49/3-4: 203
Allied Architects Association of Los Angeles,
49/3-4: 135
Alling, Edward P., 49/3-4: 170
Almar River, 50/1-2: 33
Alpaugh, Norman Walton, 49/3-4: 243
Alpine, 49/3-4: 160, 216
Alvarado, Francisco Maria, 50/1-2: 13n
Alvarez, Mrs. M. H., 49/3-4: 217
Amaru, Inca Túpac, 50/3-4: 168, 169
American Association of University Women,
50/3-4: 105, 120
American Broadcasting Corporation (ABC), 50/1-
2: 48, 51
American Civil Liberties Union (ACLU), 50/3-4:
104, 105, 115, 116
American Civil War, 50/3-4: 147, 149
American Genetics Association, 50/3-4: 75
American Indian Movement, 50/3-4: 166
American Institute of Architects, San Diego
Chapter, 49/3-4: 136
American Legion Building (see Balboa Park)
Americano, The, 50/1-2: 11
Ames, George Walcott, 50/1-2: 3, 14n
Ames, John Judson, 50/1-2: 3
Ancona, Vince, 50/3-4: 70
Anderson, Capt. John F., 49/3-4: 188.
Anderson, Margaret, 50/3-4: 118
Angier, Harold, 49/3-4: 208
Anguire, O. L., 49/3-4: 230
Anselmo, Rene, 50/1-2: 44
Anza, Juan Bautista de, 50/1-2: 55
Apollo Advertisers, 50/1-2: 46
Archibald, R. E., 49/3-4: 160
Architectural Styles, Art Deco, 49/3-4: 111;
Arts & Crafts, 50/1-2: 8, iii, 111, 119, 132n;
50/3-4: 107; Beaux-Arts, 49/3-4: 121, 125, 130;
Churrigueresque, 49/3-4: 123, 125, 126;
Argonauts, 50/1-2: 4; Classical Revival, 49/3-
4: 111; Gothic Revival, 49/3-4: 114, 122; Greek
Revival, 49/3-4: 114; International Style, 49/3-4:
111; Italianate, 49/3-4: 111, 114; Mediterranean
Style, 49/3-4: iii; 50/1-2: 9; Mission Revival, 49/3-
4: 111, 116, 117, 119, 130, 131n; Pueblo, 49/3-4: 122,
129; Queen Anne, 49/3-4: 111, 114; Romanesque,
49/3-4: 111, 114, 116, 122, 126; Spanish Colonial
Revival, 49/3-4: iii, 113, 122-129 passim; 50/1-2:
8, 15n; Spanish Renaissance, 50/1-2: v; Victorian,
49/3-4: iii
Argüello Moraga, Santiago E., 50/1-2: 4, 30-36
passim, 40n, 41n
Argüello, Emigdio, 50/1-2: 33, 34, 40n
Argüello, Gervaslo, 50/3-4: 155
Argüello, Ignacio, 50/1-2: 35, 36, 37, 39, 40n
Argüello, José Antonio, 50/1-2: 35, 36, 37, 39
Argüello, José Darío, 50/1-2: 30, 39n
Argüello, Maria Luisa, 50/3-4: 155
Arizona, 50/1-2: 4, 55, 57
Armour, Allison V., 50/3-4: 75, 85
Arnberg, Christine, 49/3-4: 216
Ascención, Father Antonio de la, 49/3-4: 124
Ashes of Hate, 50/1-2: 11
Asian Americans, 50/3-4: 110, 115, 156
Asner, Bernard A., 49/3-4: 256
Asociación Nacional Mexicano-Americano
Associated Charities, 50/3-4: 110, 116
(ANMA), 50/1-2: 24
Atkins, Sam, 49/3-4: 136
Atlantic, The, 50/3-4: 147
Austen, Jane, 50/3-4: 147
Austins, 49/3-4: 217
Aveldson, A. N., 49/3-4: 223
Avery, Paul, 49/3-4: 136
Avila House, Los Angeles, 50/1-2: 7
Avila, St. Teresa, 50/1-2: v
* This index does not include the current issue.
76

Index
Azcárraga Milmo, Emilio, 50/1-2: 43, 45, 52n
Azcárraga Vidaurreta, Emilio, 50/1-2: 42, 43, 44,
45, 47, 52n
Aztec Brewery, 49/3-4: 147, 170, 257
Aztec Cuauhtemoc, 50/3-4: 168
Babcock, Elisha, 49/3-4: 117
Babcock, Graham, 49/3-4: 117
Bade, Elizabeth, 50/3-4: 120
Bailey, Dr E. S. and Mrs. Clara H., 49/3-4: 183
Bailey, Liberty Hyde, 50/3-4: 78, 86
Bailey, Wheeler J., 49/3-4: 119, 132, 150, 151, 153,
188, 189
Baily, Joshua L., 49/3-4: 151, 188
Baja California, 50/1-2: 2, 24, 30, 33, 34, 38, 39n,
40n, 41n, 56; 50/3-4: 84, 88, 89
Bake, Joanne Stevenson, 49/3-4: 112
Baker, Charlotte, 50/3-4: 119
Baker, Harrison R., 49/3-4: 127
Baker, Howard W., 49/3-4: 170
Baker, Otho, 49/3-4: 230
Bakewell and Brown, 49/3-4: 136, 137
Balboa Park, 49/3-4: 124-138 passim, 147, 148,
158-167 passim, 173, 177, 179, 186, 198, 200-208,
217, 221, 229, 235, 245, 247, 253, 254, 257, 258;
50/1-2: 1; 50/3-4: 69, 80, 84, 106; Alcazar Gardens,
49/3-4, 174, 204; American Legion Building, 162;
Botanical Building, 158, 164, 256, 257; California
Building, 122-124 passim; El Prado, 123, 147, 158,
159, 166; Electric Building, 124, 229, 254; 50/3-4:
69; Ford Building, 49/3-4: 137, 163, 205, 228; 50/3-
4, 69; Hall of Champions, 49/3-4: 140, 203; House
of Charm, 225, 256; House of Hospitality, 147,
199, 204, 205, 215; Medical Arts Building, 162, 223;
Montezuma Gardens, 174, 206; Plaza de Pacific,
235; Plaza de Panama, 148, 159
Balch, Emily Greene, 50/3-4: 104, 105, 108
Bancroft Building, 49/3-4: 114
Bancroft Library, University of California,
Berkeley, 50/1-2: 13n, 14n, 18n, 29n, 39n, 40n, 41n;
50/3-4: 70
Bancroft, Hubert Howe, 50/1-2: 13n, 14n, 15n, 31,
32, 33, 37, 39n, 40n
Bandini, Casa, 50/1-2: 2, 6
Bandini, Helen Elliott, 50/1-2: 5, 14n
Bane, George A., 49/3-4: 190, 231
Bank of America, 49/3-4: 204
Bank of Commerce, 49/3-4: 246
Bank, Samuel, 49/3-4, 156
Barber, Mr. and Mrs. Walter, 49/3-4: 231
Bard College, 50/3-4: 159
Barie, William, 49/3-4: 188
Barker, William C., 49/3-4: 208
Barnes, Ross, 50/3-4: 93
Barney, L. W., 49/3-4: 188
Barney, Phillip, 49/3-4: 223
Barney, Warren A., 49/3-4: 136
Barrett, K. C., 49/3-4: 136
Bartlett, Mrs. F. E., 49/3-4: 175
Bascomb House, 49/3-4: 217
Bass, Charlotta, 50/3-4: 160
Bastion Capital, 50/1-2: 46
Batchelder, E. C., 49/3-4: 208
Bates, Mr. and Mrs. John M., 49/3-4: 217
Bauer, Mr. and Mrs. Emil, 49/3-4: 217
Bay City Ball Club, 50/3-4: 90-101 passim
Beardsley, Helen D. Marston, 50/3-4: 102-123
passim
Beardsley, John, 50/3-4: 104, 116, 118
Beatty, Hugh and Elaine, 49/3-4: 217
Beaux-Arts Institute, Indiana, 49/3-4: 125
Bechberger, W. A., 49/3-4: 216
Bederman, Gail, 49/3-4: 123, 132n
Beech, George, 49/3-4: 231
Belcher, Mr. and Mrs. Frank, 49/3-4: 217
Bell, Alexander Graham, 50/3-4: 78
Bell, Marian Hubbard, 50/3-4: 78
Bell, Mr and Mrs. Arthur, 49/3-4: 217
Bellon, Walter, 50/3-4: 110
Beloit Academy, 50/3-4: 90
Beloit College, 50/3-4: 93
Bender, Charles Albert, Chief, 50/3-4: 159
Bennett, Dr. Ema, 50/3-4: 85
Bennett, Mr. and Mrs. J. W., 49/3-4: 188
Bennett, Mr. and Mrs. Ralph B., 49/3-4: 217
Benson, Jackson J., 50/1-2: 61
Berends, Lucille, 49/3-4: 217
Berglund, Barbara, 50/3-4: 163
Bermuda Apartments, 49/3-4: 175
Berry, Jill K., 50/3-4: 70
Bethel, Ann, 50/3-4: 70
Betts, Mr. and Mrs. C. E., 49/3-4: 176
Bingham, Mr. and Mrs. S. H., 49/3-4: 216
Binnard, Mr. and Mrs. Norris, 49/3-4: 176
Bird Designs, 49/3-4: 137
Bird Rock Hotel, 49/3-4: 217
Bird, Mr. and Mrs. B. J., 49/3-4: 137
Bishop Buddy Residence, 49/3-4: 231
Bishop, Tom C.: 49/3-4: 217
Bishop’s School for Girls: 49/3-4: 151, 153; 50/3-4: 120
Black Panthers: 50/3-4: 165
Black, Mr. and Mrs. W. H.: 49/3-4: 231
Blackwell, Mr. and Mrs. E. J.: 49/3-4: 217
Blackwood, Barry: 50/3-4: 69
Blake, H. M.: 49/3-4: 208
Blum, Samuel: 49/3-4: 156
Bodmer, Hatch, Heimerdinger and Associates:
49/3-4: 138
Bodmer, Herman Louis: 49/3-4: 137, 138
Bogan, Adm. and Mrs. G. F.: 49/3-4: 217
Bokovoy, Matthew: 49/3-4: 113, 131n; 50/3-4: 145
Boles, H. D.: 49/3-4: 138
Bon Tons, 50/3-4: 95
Booth, Rt. Rev. Msgr. James T., 50/3-4: 67
Booth, Jane, 50/3-4: 69, 72
Booth, Larry, 50/3-4: 69, 72
Borensteins, 49/3-4: 257
Boston Ranch, 50/3-4: 142
Bostonia, 50/3-4: 131
Botanic Gardens of Buenos Aires, 50/3-4: 78
Botanical Building (see Balboa Park)
77

The Journal of San Diego History
Botta, Anne Lynch, 50/3-4: 147
Boulder Heights, 50/3-4: 143
Bound for Freedom: Black Los Angeles in Jim Crow
America (Flamming), 50/3-4: 160
Bound for Santa Fe: The Road to New Mexico and the
American Conquest, 1806-1848 (Hyslop), 50/3-4: 153
Bourne, Stanley, 49/3-4: 253
Bouvier, Virginia, 50/3-4: 152
Bowling, Mr. and Mrs. H., 49/3-4: 183
Bowman, H. D., 49/3-4: 208
Bowman, Mr. and Mrs. Robert W., 49/3-4: 217
Boyd, Nan Alamilla, 50/3-4: 163
Boyden, Donald, 49/3-4: 138
Boyenstein, Mr. and Mrs. H., 49/3-4: 183
Brackenbury, R., 49/3-4: 188
Bradley, Lester, 49/3-4: 208
Bradshaw, Captain George Brown, 49/3-4: 170
Brand, Millard F., 49/3-4: 187
Brandegee, Mary Katharine Layne Curran, 50/3-
4: 86
Brandegee, Townshend Stith, 50/3-4: 84
Brandes, Raymond, 49/3-4: 112; 50/3-4: 67, 72
Brav, Nelson (Brav and Schwartz), 49/3-4: 217
Bridges, Mr. and Mrs. A. L., 49/3-4: 179
Bridges, Mr. and Mrs. A. S., 49/3-4: 177
Bright, John, 50/1-2: 17, 22
Bright, Josefina Fierro de, 50/1-2: 18, 19, 22, 27n,
29n
Brinks and Roberts, 49/3-4: 138
Bristow, Leonard T, 49/3-4: 138
Britton, Neuman, 50/1-2: 20
Brock, Sarah C., 49/3-4: 177
Broell, Percy C., 49/3-4: 138
Brown, Harry, 49/3-4: 231
Brown, Mr. and Mrs. George, Jr., 49/3-4: 183
Bruce, Mrs. Edward M., 49/3-4: 188
Buchenau, Jurgen, 50/3-4: 168
Buddy, Bishop Charles F., 49/3-4: 231; 50/1-2: iv
Buerger, Mr. and Mrs. Bill, 49/3-4: 217
Burbank, Luther, 50/3-4: 78
Burlingame, 49/3-4: 176
Burnap, George, 49/3-4: 140
Burne, Stanley, 49/3-4: 140
Burnett, Coy, 49/3-4: 208
Burnette, Mabel, 49/3-4: 217
Burnham, Frederick, Dr., 49/3-4: 146, 171, 200
Burnham, George, 49/3-4: 180
Burnham, John, 49/3-4: 231
Burton, R. Q., 49/3-4: 229
Bush Egyptian Theatre, 49/3-4: 231
Buss, Silvers, Hughes and Associates, 49/3-4: 140
Butter, Hazel, 49/3-4: 254
C Street Theatre, 49/3-4: 231
Caballero, Edward A., 49/3-4: 140
Cabrillo Bridge, 49/3-4: 158
Cabrillo Festival, 49/3-4: 115
Cabrillo School Kindergarten, 49/3-4: 239, 259
Cabrillo, Juan Rodríguez, 49/3-4: 115, 116, 118,
122, 124
Cajon Valley Union School District, 49/3-4: 138
Calhoun Street, San Diego, 50/1-2: 1, 4, 9
California Building (see Balboa Park)
California Division of Water Resources, 50/3-4:
128
California Division of Water Rights, 50/3-4: 133
California First Bank, 49/3-4: 193
California Garden, 50/3-4: 80, 88
California Historical Society, 50/3-4: 69, 154
California Immigration and Housing Commission
(CIHC), 50/3-4: 106
California Landmarks Club, 49/3-4: 116, 118
California Pacific International Exhibition (1915),
49/3-4: 136, 137, 158, 167, 174, 176, 205, 206, 215,
257 (see also Expositions)
California Railroad Commission (CRC), 50/3-4:
127-144 passim
California Savings and Commercial Bank, 49/3-4:
231
California Southern Railway, 49/3-4: 141
California State Assembly, 50/1-2: 23
California State Polytechnic University, 49/3-4:
193, 194
California Supreme Court, 50/3-4: 132
California Un-American Activities Committee,
50/1-2: 23, 26, 28n, 29n
California Western University, 49/3-4: 182
California, State of, Alien Land Laws, 50/3-4: 137;
Department of Parks and Recreation, 49/3-4: 140;
Department of Public Works, 49/3-4: 140
State Parks, 50/1-2: 1, 8, 9, 12, 13;
Cameron, D H., 49/3-4: 208
Camp Fire Girls, 49/3-4: 160
Camp Kearney, 50/3-4: 111
Campbell, J. A., 49/3-4: 183
Campbell, Mary A. 49/3-4: 216
Campdoras, Mr. and Mrs. F. P., 49/3-4: 176
Campo Santo, 49/3-4: 173
Camulos, 50/3-4: 145
Cannon, Mr. and Mrs. J. H., 49/3-4: 176
Canohalagua, 50/1-2: 10
Capps, Edwin M., 49/3-4: 141
Cárdenas, Lázaro, 50/1-2: 59
Cardiff, 49/3-4: 228
Carey, Mr. and Mrs. William F., 49/3-4: 186
Carey, Mrs. J. F., 50/3-4: 121
Carlos, Mr. and Mrs. Salvador, Jr., 49/3-4: 174
Carlsbad Union Elementary School District, 49/3-
4: 138
Carlsbad, 49/3-4: 138, 163, 232
Carlson House, 49/3-4: 217
Carrillo, Carlos A., 50/3-4: 155
Carse, S. H., 49/3-4: 208
Carter, Nancy Carol, article by, 50/3-4: 74-101
Carteri, B. J., 49/3-4: 208
Cartwright, Alexander J., Jr., 50/3-4: 95
Cary, Judge W. P., 49/3-4: 208
Casa de Manana, 49/3-4: 147, 182, 246
“Una Casa del Pueblo – A Town House of Old San
Diego” (Walsh), 50/1-2: 1-16.
Cash, Virgil W., 49/3-4: 228
78

Index
Casho, Debra, 50/3-4: 70
Castañeda, Antonia, 50/3-4: 152
Castillo, 50/3-4: 169
CBS Television Network, 50/1-2: 51, 53n
Central America, 50/1-2: 11
Central Federal Savings and Loan, 49/3-4: 197
Central Pacific Railroad, 50/3-4: 157
Centre City Governmental Facilities, 49/3-4: 160,
166, 173, 245, 246
Century Magazine, 50/3-4: 147, 149
Century of Dishonor, A, 50/3-4: 148
Champlain, G. J., 49/3-4: 208
Chandler, Charles, 49/3-4: 181
Chapin, Mrs. Cornelia G., 49/3-4: 188
Charles V, Holy Roman Emperor, 49/3-4: 124
Chase, Amanda Mathews, 50/3-4: 106
Chavez Ravine (Los Angeles), 50/1-2: 65
Chavez, Cesar, 50/1-2: 23
Cherny, Robert W., 50/3-4: 164
Chicago Commons settlement, 50/3-4: 104
Chicana/o sexuality/gender, 50/1-2: 64, 65
Chicano Park, San Diego, 50/1-2: 42, 43
Chihuahua, Mexico, 50/1-2: 55
Children’s Hospital, 49/3-4: 173
Childs, Mr. and Mrs. A. L., 49/3-4: 217
Chinese Americans, 50/3-4: 110, 115
Chord, Mr. and Mrs. H. M., 49/3-4: 183
Christiansen, Jeffrey, W., 50/3-4: 153
Chula Vista, 49/3-4: 158, 164, 168, 174, 184, 216,
223, 230; 50/1-2, 19
Chung, Mr. and Mrs. Ronnie, 49/3-4: 217
Church of Jesus Christ of Latter Day Saints
(Mormons): 50/3-4, 156
Churchill Hotel, 49/3-4: 223
Churchill, Dr. James F., 49/3-4: 177
Churriguera, José Benito de, 49/3-4: 123
Ciani, Kyle, 49/3-4, 126, 133n; article by, 50/3-4:
102-123
Ciani, Tony, 49/3-4: 141
City Beautiful Movement, 50/3-4: 77
Ciudad Juárez, 50/3-4: 162
Civilian Conservation Corps, 50/1-2: 13
Clairemont, 49/3-4: 139, 217, 254
Clapp, Mr. and Mrs. E. D., 49/3-4: 183
Clark, Alice M., 49/3-4: 218
Clark, J. Dallas, 49/3-4: 243, 244
Clark, Mrs. John G., 49/3-4: 218
Clark, Tom, 49/3-4: 189
Clarke, Mr. and Mrs. Colman, 49/3-4: 218
Clasen, Mr. and Mrs. R., 49/3-4: 185
Clayton, William, 50/1-2: 1, 10, 11, 15n, 16n
Clough, Edwin, 50/1-2: 8, 12, 14n, 15n, 16n
CNN, 50/1-2: 51
Coburn, H. E., 49/3-4: 141
Cochran, William A., 50/3-4: 90, 91
Coffroth, James W., 49/3-4: 223
Coggeshal Rowing Center, 49/3-4: 198
Cohn, Mr. and Mrs. La Motte, 49/3-4: 218
Coldwell Banker, 49/3-4: 192, 194
Cole Building, 49/3-4: 183
Cole, Dan, 49/3-4: 143
Cole, Susan, 49/3-4: 181
Coleman-Trias House, 49/3-4: 218
College Graduate’s Club, 50/3-4: 119
College Park Presbyterian Church, 49/3-4: 179
College Women’s Club (CWC), 50/3-4: 105, 108,
109, 111, 119
Collier, D. C., 49/3-4: 122
Collins, David, 50/3-4: 100
Collumb, James E., 49/3-4: 171, 232, 235
Colonial Dames of America, 50/1-2: 9, 15n
Colonial Hotel, 49/3-4: 141, 231
Comite de Damas del Congreso, 50/1-2: 20, 21
Commonwealth Building of San Diego, 49/3-4:
200
Communication Act (1934), 50/1-2: 44
Communist, 50/1-2: 17, 18, 20, 22, 26, 27n, 28n
Community Methodist Church of Newport Beach,
49/3-4: 232
Community Welfare Council, 50/3-4: 105, 119
Comonfort, Ignacio, 50/1-2: 34
Compione, Richard, 49/3-4: 112
Comstock and Trotsche, 49/3-4: 114, 141, 142, 143
Comstock, Nelson A., 49/3-4: 114, 141, 142, 143
Con, Ray, 49/3-4: 183
Conde Street, San Diego, 50/1-2: 3
Confronting Race: Women and Indians on the
Frontier, 1815-1915 (Riley), 50/3-4: 155
Conway, Moncure, 50/3-4: 147
Cook, 49/3-4: 218
Cook, Allen Bruce, 49/3-4: 147
Cooper, Bessie H., 50/1-2: 28n
Cooper, Gary, 50/1-2: 18
Cooper, Henry E., 49/3-4: 143
Cope Howe, 49/3-4: 218
Copley, Col. Ira C., 49/3-4: 208, 209
Cordova, Arturo de, 50/1-2: 26
Cornell, Mr. and Mrs. C. M., 49/3-4: 218
Corona, Bert, 50/1-2: 18, 19, 20, 23, 27, 28n, 29, 30n
Corona, Blanche, 50/1-2: 19, 29n
Coronado Bridge, 50/1-2: 42
Coronado, 49/3-4: 127, 130, 160-162 passim, 167,
172, 176, 181, 182, 184, 203-204, 209, 229, 232-233,
240, 246, 255, 257
Cortéz, Hernando, 49/3-4: 126
Cotter, Mr. and Mrs. J. E., 49/3-4: 185
Coulston, Mary B. , 50/3-4: 86
Courtney, James, 50/3-4: 101
Couts, Cave, 49/3-4: 115; 50/1-2: 7, 14n
Cox, Ray, 49/3-4: 200, 203
Coyotes, 50/1-2: 19, 20, 28n
Craftsman, The, 49/3-4: 118
Crawford, Kathleen A., article by, 50/3-4: 67-73
Crawford, Richard W., 49/3-4: 112; 50/3-4: 70, 73
Cream City (Baseball) Club, 50/3-4, 92
Crédit Lyonnais, 50/1-2: 46
Cressey, Charles, 49/3-4: 202
Crest Offset Printing Company, 50/3-4: 69, 70, 73
Cristina (talk show), 50/1-2: 45
Crocker, Charles, 50/3-4: 157
79

The Journal of San Diego History
Crouch, Charles, 50/3-4: 124
Crowley, Mr. and Mrs. Jerry, 49/3-4: 218
Crystal Pier, 49/3-4: 257
Culver, Mr. and Mrs. Watson, 49/3-4: 160, 181
Curry Price Court, 49/3-4: 143
Curtis, H., 49/3-4: 143
Curtis, Robert 49/3-4: 180; Curtis, Hope, Lodge
and Freeland, 144
Curtiss, E. H., 49/3-4: 209
Cushman, Charlotte, 50/3-4, 147
Customs and Immigration Building, 49/3-4: 209
Cuyamaca Club, 49/3-4: 232
Cuyamaca Dam, 50/3-: 125
Cuyamaca Reservoir, 50/3-4: 133
Cuyamaca State Park, 49/3-4: 149
Cuyamaca Water Company (CWC), 49/3-4: 147;
50/3-4: 124-144 passim
Cuyamaca, 50/1-2: 2
Czarnowsky, Frank, 50/3-4: 101
Daley, Mr. and Mrs. George R., 49/3-4: 162
Daniels, J. W., 49/3-4: 144
Darlington, Mrs. H. S., 49/3-4: 209
Darst, Mrs. A. B., 49/3-4: 151, 189
Daughters of St. Paul’s, 49/3-4: 162
Daun, Alan (Daun and Hoelck), 49/3-4: 144
Davidson, G Aubrey, 49/3-4: 177
Davila, Armando, 50/1-2: 24, 29n
Davis, 49/3-4: 232
Davis, Mike, 50/1-2: 63
Davis-Baker Company, Pasadena, 49/3-4: 127
Day, Mrs. Horace B., 49/3-4: 18
de Castro, Mr. and Mrs. William M., 49/3-4: 185
De Pue, Mr. and Mrs. C. F., 49/3-4: 183
Death, Dismemberment, and Memory: Body Politics in
Latin America (Johnson), 50/3-4: 168
Deatrich, Evelyn, 49/3-4: 185
Decker, Clarence E. (Decker and Stevenson), 49/3-
4: 144
Del Mar Race Track, 49/3-4: 168, 175
Del Mar Turf Club, 49/3-4: 162, 175
Del Mar, 49/3-4: 158, 162, 168, 172, 174-175, 176,
190-191, 212, 218, 220, 223, 259; 50/3-4: 126
Delawie, Homer T., 49/3-4: 146; Delawie, Macy
and Henderson, 146, 250; Delawie, Wilkes,
Rodrigues, Baker and Bretton, 146
Dell’Acqua, Mario and Associates, 49/3-4: 146
Deloria, Philip J., 50/3-4: 159
Deloria, Vine, Sr., 50/3-4: 159
Democratic Party, 50/1-2: 5
Denison House (Boston), 50/3-4: 112
Dennstedt and Dell’Acqua, 49/3-4: 146
Denver and Rio Grande Railroad, 50/3-4: 148
Denzin, Mr. and Mrs. Chester H., 49/3-4: 229
Depression, The Great, 50/1-2: 19, 42; 50/3-4: 115
Des Granges, Pauline, 49/3-4: 218
Detention Home, San Diego, 49/3-4: 149, 200, 201
“Development of Spanish-Language Television
in San Diego: A Contemporary History, The”
(Moran), 50/1-2: 42-54
Deverell, William, 49/3-4: 113, 131n; 50/3-4: 158
Diaz, José, 50/3-4: 161, 162
Díaz, Porfirio, 50/1-2: 34, 35, 38, 40n, 41n, 59
Dickey, Mr. and Mrs. Dan, 49/3-4: 218
Dies, Martin (Senator), 50/1-2: 26
Dixon, Ben, 50/3-4: 67, 72
Dixon, Margaret, 49/3-4: 218
Dodd and Richards, 49/3-4: 146
Dodge, Jack, 50/3-4: 98
Dolly Vardens, 50/3-4: 95
Domínguez Family, 50/1-2: 2
Domínguez, José Cristobal, 50/1-2, 2
Domínguez, Juan José, 50/1-2, 30
Domínguez, Maria Victoria, 50/1-2: 2, 4, 6
Domínguez, Victoria: 50/1-2: 4, 5
Dominicans: 50/1-2: 56
Don Agustin V. Zamorano: Statesman, Soldier,
Craftsman, and California’s First Printer (Harding),
50/3-4: 154
Don Quixote de la Mancha, 50/3-4: 152
Donaldson, Milford Wayne, 49/3-4: 112, 147
Donelson, Commander J. F., 49/3-4: 232
Dooley, Mr. and Mrs. W. S., 49/3-4: 232
Dorman, Chet, 49/3-4: 218
Dorr, Rheta, 50/3-4: 118
Dorsett, Palemon Howard, 50/3-4: 75, 85
Dosal, Paul J., 50/3-4: 169
Dowell, C. W. and Son, 49/3-4: 147
Dowell, T. J., 49/3-4: 117
Doyle, Jarvis L., 49/3-4: 206
Drager, H. H., 49/3-4: 183
Drake, Mr. and Mrs. C. W., 49/3-4: 156
Dreiser, Theodore, 50/1-2, 22, 23
Drewry, R. L., 49/3-4: 257
Dunne, Gundula A., 49/3-4: 112
Duringer, Mr. and Mrs. Jon, 49/3-4: 218
Dye, M. Edison, 49/3-4: 232
Eagle, Adam Fortunate, 50/3-4: 165, 166
Eales, Mr. and Mrs. Rodney, 49/3-4: 218
East San Diego, 50/3-4: 133
Eastman, Dr. William R., 49/3-4: 209
Easton, Jane, 49/3-4: 253
Eastwood, Alice, 50/3-4: 86
Eastwood, John S., 49/3-4: 147; 50/3-4: 129
Ebbs, William G., 49/3-4: 177
Echeandía, José Maria, 50/1-2: 30, 21, 32, 39n, 40n;
50/3-4: 154, 155
Eckfords, 50/3-4: 95
Ecole des Beaux-Arts, 49/3-4: 130
Edgemoor Farm, 49/3-4: 149, 201
Edison Company, 50/1-2: 11
Edson, Don, 49/3-4: 147
Edwards, Mr. and Mrs. Otto, 49/3-4: 181
Edwards, Sam and Grace, 49/3-4: 148
Eisen, Percy A., 49/3-4: 126, 127, 252
Eitel, Mr. and Mrs. John, 49/3-4: 218
El Cajon Citrus Association, 50/3-4: 136
El Cajon, 49/3-4: 157, 181, 185, 232, 239, 257; 50/3-
4: 124, 126-127, 129, 131, 133, 137, 138, 142
El Centro, 50/3-4, 157
El Congreso del Pueblo de Habla Española, 50/1-
80

Index
2: 17-29 passim
“El Congreso in San Diego: An Endeavor for Civil
Rights” (Larralde), 50/1-2: 17-29
El Cordova Hotel, 49/3-4: 181, 182, 257
El Cortez Hotel, 49/3-4: 126, 133n, 199, 252
El Paso, Texas, 50/3-4: 162
Electric Building (see Balboa Park)
Elk’s Club, 49/3-4: 143, 232
Elliott, Mr. and Mrs. H. J., 49/3-4: 183
Ellwood P. Cubberley Elementary School, 49/3-4:
162
Emerson, Ralph Waldo, 50/3-4: 147
Empty Beds: Indian Student Health at Sherman
Institute, 1902-1922 (Keller), 50/1-2: 58
Encinitas, 49/3-4: 180, 226
Enger, Hal, 50/3-4: 68
English Lutheran Church, 49/3-4: 170
Engstrand, Iris H. W., 50/1-2: i, iv, v; 50/3-4: 68,
71, 154
Engstrand, Mr. and Mrs. Paul, 49/3-4: 218
Ensenada, 49/3-4: 230, 236; 50/1-2: 35, 36
Entravision Communications, 50/1-2: 48, 49
Epstein, Michael J., article by, 50/3-4: 90-101
Erickson, Mr. and Mrs., 49/3-4: 183
Escondido, 49/3-4: 141, 166, 196, 223, 226
Escudero, Ambrosio, 50/1-2: 17
Esling, Helen, 49/3-4: 218
Esparza, Richard, 50/3-4: 69
Estrada Land Planning, 49/3-4: 148
Estrada, Steve, 49/3-4: 148
Estudillo Family, 50/1-2: 1-16 passim
Estudillo, Casa de, 49/3-4: 113, 115, 119, 120, 121,
132n, 253: 50/1-2: 1-16 passim; 50/3-4: 145
Estudillo, José Antonio, 50/1-2: 1-4 passim, 13n,
14n, 15n
Estudillo, José Guadalupe, 50/1-2: 4-6 passim, 11,
14n
Estudillo, José María, 50/1-2: 2, 4, 10, 13n, 16n
Estudillo, Salvador, 50/1-2: 6, 15n
Estudillo, Victoria Dominguez de, 50/1-2: 4-6
passim, 14n
Eucalyptus Reservoir, 50/3-4: 125
Euhal, J., Architectural Department Board of
Education, 49/3-4: 148
Ewing, 49/3-4: 232
“Exploring San Diego’s Past: Fifty Years of The
Journal of San Diego History” (Crawford), 50/3-4:
67-73
Expositions (see also Balboa Park): Alaska-Yukon-
Pacific Exposition, 49/3-4: 244; California Pacific
International Exposition, San Diego (1935), 136,
158, 167, 174, 176, 204-205, 215, 228, 257; Iberian-
American Exposition, 178; Panama California
Exposition, San Diego (1915), 114, 122-126, 158-
159, 198, 256; 50/1-2: 1; 50/3-4: 110, 114; Panama
Pacific International Exposition, San Francisco
(1915), 49/3-4, 121; World Columbian Exposition,
Chicago, 121, 123; 50/3-4: 78
Facism, 50/1-2: 24
Fairbanks Ranch, 49/3-4: 137
Fairbanks, Douglas, 50/1-2: 11
Fairchild Tropical Botanical Garden, 50/3-4: 75
Fairchild, D. L., 49/3-4: 209
Fairchild, David, 50/3-4: 75, 77, 79, 80, 81, 82, 83,
84
Fairchild, Marian, 50/3-4: 81, 82
Fairgrounds, 49/3-4: 174, 175, 207
Fairmont Theatre, 49/3-4: 255
Falconer, Mr. and Mrs. Roy, 49/3-4: 257
Farrell, Mary Belcher, 50/1-2: 9, 15n
Federal Board of Vocational Education, 50/3-4:
122
Federal Communications Commission (FCC),
50/1-2: 44, 46, 47, 48, 49, 50, 53n
Fenton, Miss L. G., 49/3-4: 172
Fernandes, Richard J. and Associates, 49/3-4: 148
Ferrer, María del Rosario Estudillo de, 50/1-2: 4
Ferris, Robert Donald (Ferris and Brewer; Ferris,
Johnson, and Perkins), 49/3-4: 112, 148
Figueroa, José (Governor), 50/1-2: 33; 50/3-4, 155
Filipino Americans, 50/1-2: 17, 20, 22, 62; 50/3-4:
162
Fimmerman, D. E., 49/3-4: 257
Fine Arts Gallery (see San Diego Museum of Art)
Fine, Dr. Lawrence, 49/3-4: 218
Finney, Charles Grandison, 50/3-4: 146
Fipp, Dr. and Mrs. B. S., 49/3-4: 173
Firestone Fountain, 49/3-4: 173
First Capital Corporation of Chicago, 50/1-2: 44
First Congregational Church, 49/3-4: 190
First National Bank of Escondido, 49/3-4: 223
First National Bank, 49/3-4: 167, 187, 196, 223, 232
First National Trust and Savings Bank, 49/3-4:
162, 209
First Presbyterian Church, 49/3-4: 162
Fisher, Colin, 50/3-4: 71
Fisk, Mr. and Mrs., 49/3-4: 156
Fiske, Deborah Vinal, 50/3-4: 146
Fiske, Nathan Welby, 50/3-4: 146
Flamming, Douglas, 50/3-4: 160
Fleet, Mr. and Mrs. David, 49/3-4: 149
Fletcher Hills, 50/3-4: 143
Fletcher, Col. Ed and Mrs., 49/3-4: 209, 210; 50/3-
4: 124-144 passim
Flinn Springs County Park, 49/3-4: 225
Folsom, Mr. and Mrs. Bruce, 49/3-4: 218
Forbes, George, 49/3-4: 210
Ford Bowl, 49/3-4: 162, 206
Ford Building (see Balboa Park)
Foreign Club, 49/3-4: 232, 233
Forest City Base Ball, 50/3-4: 92
Foret, Camille, 49/3-4: 210
Forgotten Village, The (1941), 50/1-2: 23
Forward, James, 49/3-4: 210
Foster, Philip W., 49/3-4: 198
Fouce, Jr., Frank, 50/1-2: 44, 52n
Fouce, Sr., Frank, 50/1-2: 52n
Fouchey, Dr. Alphonse D., 49/3-4: 245
Fowler, Mr. and Mrs., 49/3-4: 228
FOX Broadcasting Company, 50/1-2: 48
81

The Journal of San Diego History
Fox Building (Samuel I. Fox Building), 49/3-4:
178, 179
Fox, Jack, 50/1-2: 25
Fox, Samuel I., 49/3-4: 178, 179
Fox, Vicente, 50/1-2: 59
Fox-Gaynes Realty Investment Company, 49/3-4: 179
Franceschi, Emanuele O., 50/3-4: 78, 87
Francis W. Parker School, 49/3-4: 130
Franciscans, 50/1-2: iv, 24, 56; 50/3-4: 149
Franger, Joseph F., 49/3-4: 112
Frank, Ralph L., 49/3-4: 149
Franklin, Mr. and Mrs. William C., 49/3-4: 218
Frary, Mrs. Frank, 49/3-4: 206
Frazer, Elinor, 49/3-4: 149
Free Industrial School (FIS), 50/3-4: 121
Freeland, E. L., 49/3-4: 144, 149, 169, 170
Freeman, Samuel, residence, 49/3-4: 247, 256
Friedkin, Mr. and Mrs. Thomas H., 49/3-4: 218
Frink, Lisa, 50/1-2: 63
Frizzell, Dr. and Mrs. E. H., 49/3-4: 218
Froehlich, Arthur, 49/3-4: 168
Frost, G. T., 49/3-4: 156, 157
Fuller, Mr. and Mrs. Edward, 49/3-4: 210
Furgatch, Harvey, 49/3-4: 218, 256
Gaines, Stanley O., 50/1-2: 50, 53n
Galavisión cable network, 50/1-2: 49
Galvan, Roberto, 50/1-2: 19, 20, 26
Garate, Donald, 50/1-2: 55
Garcia, Mario T., 50/1-2: 14n, 18, 26, 27n, 28n
Garcia, Miraslava Chávez-Garcia, 50/3-4: 152
Gardner, Kenneth, 49/3-4: 149
Garland, Judy, 50/1-2: 18
Garland, Lee, 49/3-4: 184
Garland, Mr. and Mrs. Hastings, Jr., 49/3-4: 218
Garrettson, D. F., 49/3-4: 210
Garza, Eduardo, 49/3-4: 255
Gaultney and Elwell, 49/3-4:150
Gay, Henry Lord, 49/3-4: 149
Gaynes, A. F., 49/3-4: 210
Gemmell, Mr. and Mrs. Robert C., 49/3-4: 190, 210
“George White Marston: Baseball Player”
(Epstein), 50/3-4: 90-101
George, Jesse, 50/3-4: 136, 137; 50/3-4: 136, 137
Georgia, A. R., 49/3-4: 210
Geronimo, 50/3-4: 159; 50/3-4: 159
Getz, Tommy, 50/1-2: 8, 10, 11, 12, 16n
Giberson, Earl F., 49/3-4:150
Gildred, Phil, 50/3-4: 69
Gill, Irving, 49/3-4: iii, 111-119 passim, 122, 127,
143, 146, 150-153 passim, 171, 189, 195; 50/1-2: 1, 6
Gill, Louis, 49/3-4: 118-119, 151-154 passim
Gillespie Field, 49/3-4: 225, 226
Gird, W. E., 49/3-4: 190
Glenn Abbey Memorial Park, 49/3-4: 223
Globe Theatre, 49/3-4: 171, 206
Goethe, Johann Wolfgang von, 50/3-4: 147
Goldberg, Dr. and Mrs., 49/3-4: 224, 255
Goldberger, Arthur, 49/3-4: 190
Golden Door, 49/3-4: 195, 196
Golden Hill, 49/3-4: iii
Golden Valley, 49/3-4: 193
Golden West Hotel (The Workingman’s Hotel),
49/3-4: 135
Golden, M. H., Construction Company, 49/3-4:
196
Golder, Dr. A. W., 49/3-4: 163, 215
Goldis, Jerome D., 49/3-4: 112, 156-157
Goldwyn, Samuel, 50/1-2: 11
Golem, Mr. and Mrs. Howard, 49/3-4: 218
Gonzales, Mr. and Mrs. Cristin F., 49/3-4: 185
Gonzalez, Manuel G., 50/3-4: 162
Gonzalez, Michael J., 50/1-2: 59
Gonzalez, Pedro, 50/1-2: 42, 43
Goodhue, Bertram G., 49/3-4: 111, 113, 122-126
passim, 135, 158-159 passim
Gordon, D. G., 50/3-4: 131-135 passim
Gould, E. B., 49/3-4: 171, 204
Graham, Clifford C., 49/3-4: 218
Grant, Jr., Ulysses S., 49/3-4: 126
Gray Apartments, 49/3-4: 183
Gray, Andrew B., 50/1-2: 33
Gray, Paul Byran, 50/1-2: 30
Grebe, Mr. and Mrs. Howard, 49/3-4: 159
Green Dragon Colony, 49/3-4: 193
Green, Mr. and Mrs. L. R., 49/3-4: 210
Greene, Elizabeth, 49/3-4: 160
Greene, Richard, 49/3-4: 160
Greenslade, Lt. and Mrs. John F., 49/3-4: 210
Greenwood Cemetery, 49/3-4: 257
Gregg, Adolph, 50/3-4: 100
Gregg, William Seaton Jr., 50/3-4: 101
Gregory, Emily Lovira, 50/3-4: 75
Griffith, D. W., 50/1-2: 11
Griffith, W. L., 49/3-4: 255
Griffiths, R. E., 49/3-4: 160
Grimes, Bill, 50/1-2: 46
Gross, William, 50/3-4: 125
Grossmont Reservoir, 50/3-4, 128, 135
Grossmont Union High School District, 49/3-4:
139, 148
Grossmont, 49/3-4, 139, 148, 223, 231, 240; 50/3-4:
131, 135
Grosvenor, Gilbert H.,50/3-4: 87
Guadalupe Hidalgo, Treaty of, 50/1-2: 33
Guerra, Casa de la, Santa Barbara, 50/1-2: 7
Guevara, Che, 50/3-4: 168, 169
Guillén, Ysidro, 50/1-2: 13n5
Gulino, Michael J., 49/3-4: 174
Gunn, W. A., 49/3-4: 210
Guy, Donna J., 50/3-4: 168
Guymon, E. T., 49/3-4: 171, 204
Haigler, Dr., 49/3-4: 181
Hale, Wesley, 49/3-4: 170
Hall, Adm. and Mrs. G. B. H., 49/3-4: 218
Hall of Champions (see Balboa Park)
Hallmark Cards, Inc., 50/1-2: 44, 45
Hamill, Samuel W., 49/3-4: 111, 112, 154, 155,
160-61, 165, 168, 170, 174, 175, 200, 215, 227,
229; Hamill and Froehlich, 168; Hamill, Ruocco,
Kennedy, and Rosser, 169; Hamill, Hope, Lykos,
82

Index
Wheeler, Freeland, 170
Hamilton, Charles S., 49/3-4: 190; 50/3-4: 95
Hamilton, Marion S., 49/3-4: 210
Hammon, Jensen and Wallen (Archeological
STTE), 49/3-4: 170
Hammond Building, 49/3-4: 233
Hancock, Stanley, 50/1-2: 20
Handlery, Harry, 49/3-4: 199
Hanford, Mrs. Anna J., 49/3-4: 190
Hansen, F. J., 49/3-4: 223
Hanson, Erik, 49/3-4: 112
Harbor Plaza, 49/3-4: 173
Harborfront Auditorium, 49/3-4: 163
Harding, George L., 50/3-4: 154
Harding, Marston, 49/3-4: 210
Harlan, Mr. and Mr. Bane, 49/3-4: 190
Harnish, Mr. and Mrs. H. R., 49/3-4: 246
Haro, Francisco, 50/3-4: 155
Harper, Curt, 50/3-4: 67
Harper’s Monthly, 50/3-4: 147
Harpst, Margarette, 49/3-4: 181
Harrington, John Peabody, 50/3-4: 149
Harris, Deland (Dell) W., 49/3-4: 170
Harris, Enan, 50/3-4: 100
Harris, Mr and Mrs. Frank C., 49/3-4: 225
Harrison, Shelby M., 50/3-4: 108
Harritt, Chester, 50/3-4: 135, 136
Hartley, Mr. and Mrs. John, 49/3-4: 218
Hartung, Earl W., 49/3-4: 170
Harvey, Mr. and Mrs. D. M. J., 49/3-4: 186
Hatch, George C., 49/3-4: 138, 168, 179
Haugh, Jim, 49/3-4: 218
Haughey, J. F., 49/3-4: 144
Hawaiian Trust Co., 49/3-4: 199
Hawley, George M., 49/3-4: 223
Hawley, John S., 49/3-4: 206
Hay Development, 49/3-4: 197.
Hayden, G. E., 49/3-4: 210
Hayden, Karen, 49/3-4: 112
Hayes, Benjamin, 50/1-2: 2, 3, 5, 13n, 14n
Hayward, Mr. and Mrs. Chester, 49/3-4: 219
Hayward, Susan, 50/1-2: 18
Hazard, Mr. and Mrs. R. E., 49/3-4: 157
Healy, Martin J., 49/3-4: 233
Hearst Newspapers, 50/1-2: 24
Heart of the Rock: The Indian Invasion of Alcatraz
(Eagle), 50/3-4: 165
Heaton, Mr. and Mrs. T. C., 49/3-4: 225
Hebbard, William (Hebbard and Gill), 49/3-4: 111,
113, 116-118 passim, 131n, 143, 146, 170-171
Heidlbrink, Mae, 49/3-4: 233
Helen Hunt Jackson: A Literary Life (Phillips), 50/3-
4: 145
Helland, R., 49/3-4: 184
Heller, Matt, 49/3-4: 210
Hellmann, Lillian, 50/1-2: 22
Helt, Edward H., 49/3-4: 203
Hemet, 50/3-4: 145
Hemke, Hans and Dorothy, 49/3-4: 219
Henderson, John D., 49/3-4: 112, 146, 171, 250
Hennessey, Gregg R., 50/3-4: 70, 71, 73, 90
Hennessy, Dr. F. A., 49/3-4: 190
Henry Street Settlement, 50/3-4: 112
Herbert Hoover High School, 49/3-4: 148, 228
Heritage Square Park, 49/3-4: 257
Hermandad Mexicana Nacional, La, 50/1-2: 27
Hess, Mrs., 49/3-4: 233
Heuser, Mr. and Mrs. William, 49/3-4: 219
Hewett, Edgar, 50/3-4: 149
Hewitt, Harwood and Norman Miller, 49/3-4: 171
Hidalgo y Costilla, Father Miguel, 50/3-4: 169
Higginson, Thomas Wentworth, 50/3-4: 147
Hill, Mary Anderson, 50/3-4: 108, 119, 121
Hill, Mother Rosalie Clifton, RSCJ, 50/1-2: iv
Hill, Nary A., 49/3-4: 185
Hillcrest Manor Sanitarium, 49/3-4: 219
Hillside Hospital, 49/3-4: 157
Hinkle, 50/3-4: 225
Hirschy, Mr. and Mrs. Fred, 49/3-4: 180
Hispanic Broadcasting Corporation (HBC), 50/1-
2: 46
Historic American Buildings Survey, 49/3-4: 246
Hobson, A. L., 49/3-4: 190
Hoelck, Arthur C., 49/3-4: 144
Hoffman, David, 50/1-2: 5
Hoffman, Eugene M., 49/3-4: 171
Hogan and Hippen Medical Center, 49/3-4: 219
Hollywood, 50/1-2: 11, 18, 22, 45
Holy Cross Mausoleum, 49/3-4: 172, 173
Hom, Edwin K., 49/3-4: 228
Home Bound: Filipino American Lives Across
Cultures, Communities, and Countries (Espiritu),
50/1-2: 62
Honnald, Douglas, 49/3-4: 171
Honolulu, 50/1-2: 10
Hood, Mr. and Mrs. J. H., 49/3-4: 219
Hope, Frank L., 49/3-4: 113, 144, 166, 169, 170,
172, 177, 173
Hopkins, Mark, 50/3-4: 157
Hopkins, Mr. and Mrs. Charles, 49/3-4: 257
Horcasitas, María Gertrudis, 50/1-2: 2
Hord, Mr. and Mrs. Donald, 49/3-4: 198
Hord, Adm. and Mrs. Paul, 49/3-4: 219
Horton Plaza, 49/3-4: 151, 227
Horton, A. E., 49/3-4: 118
Horton, Alonzo, 50/3-4: 94, 95
Hospitality, House of (see Balboa Park)
Hotel Alexandria, Los Angeles, 50/1-2: 17, 24
Hotel del Coronado, 49/3-4: 130, 176, 203, 204, 246
Hotel Josephine, 49/3-4: 204
Hotel San Diego, 49/3-4: 229
Hotten, Carl, 49/3-4: 173
House of Charm (see Balboa Park)
House of Hospitality (see Balboa Park)
Hrdlička, Alĕs, 50/3-4: 149
Hubon, Fred L., 50/3-4: 96
Hudgins, Amos Algernon, 49/3-4: 233
Hudson, Mr. and Mrs. Victor, 49/3-4: 219
Hufbauer, Clyde, 49/3-4: 174
Hüller, Luis, 50/1-2: 35, 40n
83

The Journal of San Diego History
Hunt, Edward, 50/3-4: 147
Huntington Library, 50/3-4: 70
Huntington, Henry, 50/3-4: 157
Hurlbert, Frank and Associates, 49/3-4: 174
Hussey, John E., 49/3-4: 174
Hutchinson, Mr. and Mrs. E. G., 49/3-4: 186
Hutton, E. F., 49/3-4: 194
Hutts, William J., 49/3-4: 184
Hyslop, Stephen G., 50/3-4: 153
Iberian-American Exposition (see Expositions)
Immaculata Chapel, Alcala Park, 49/3-4: 172, 173
Immaculate Conception, Church of the, Old Town,
49/3-4: 172; 50/1-2: 3
Immigration and Housing, Division of, 50/1-2: 22
Imperial Beach, 50/1-2: 33
Imperial Savings and Loan, 49/3-4: 148
Imperial Valley, 50/1-2: 19, 20, 23; 50/3-4: 81, 115
In Ko Pah Park, 49/3-4: 225
Indian Revolt, 1775, 50/1-2: 24
Indians (see Native Americans)
Indians in Unexpected Places (Deloria), 50/3-4: 159
Industrial Workers of the World (IWW), 50/1-2: 64
Institute of Geophysics of Planetary Physics, 49/3-
4: 224
Ipswich Female Seminary, 50/3-4: 146
Italian Americans, 50/3-4: 121
Ito, Mr. and Mrs. Church, 49/3-4: 219
ITT Technical Institute, 49/3-4: 174
Iturbide, Agustin de, 50/3-4: 169
Jack Murphy Stadium, 49/3-4: 173
Jackman, Mrs. C. M., 49/3-4: 211
Jackson, Chris and Sharon, 49/3-4: 219
Jackson, F. W., 49/3-4: 245
Jackson, Helen Hunt, 49/3-4: 115; 50/1-2: 6, 11,
16n; 50/3-4: 145-151 passim
Jackson, Herbert L. (Jackson and Hamill), 49/3-4:
111, 127, 128, 129, 133n, 174, 175, 207-215
Jackson, Parker, 49/3-4: 112, 133n
Jackson, Robert C., 49/3-4: 163
Jackson, William Sharpless, 50/3-4: 148
Jacobs, Theodore, 49/3-4: 135, 146, 200, 252
Jacobsen, Ed, 49/3-4: 233
Jacobson, Mr. and Mrs. Isador, 49/3-4: 255
Jacumba, 49/3-4:
James, George Wharton, 50/1-2: 12, 16n; 50/3-4:
149
Jamison, Bertha, 49/3-4: 181
Japanese Americans, 50/1-2: 17, 20, 22, 23, 24;
50/3-4: 137
Jaussaud, Lester, 49/3-4: 219
Jayme, Father Luis, 49/3-4: 124
Jennison, Dr. and Mrs. J. E., 49/3-4: 206
Jensen, Joan, 50/3-4: 108
Jessop and Sons, 49/3-4: 233
Jesuits, 50/1-2: 56
Johnson, A. Delafield, 49/3-4: 176
Johnson, Mrs. Arthur S., 49/3-4: 211
Johnson, Grace, 49/3-4: 234
Johnson, H. M., 49/3-4: 190
Johnson, Hiram, 50/3-4: 106
Johnson, J. G. (Johnson and Johnson), 49/3-4: 176
Johnson, Paul, 49/3-4: 112, 148
Johnson, Mr. and Mrs. Scott, 49/3-4: 219
Johnson, Troy R., 50/3-4: 166
Johnson, W. J. (Johnson and Johnson), 49/3-4: 176
Johnson, William Templeton (Johnson and
Abrams; Johnson and Hatch; Johnson, Hatch and
Wulff; Johnson and Synder), 49/3-4: 111, 113, 129,
133, 154, 177-179
Johnson-Tyson-Lynd, 49/3-4: 254
Jolly, Michelle E., 50/3-4: 152
Jones, H. H., 49/3-4: 211
Juan Bautista de Anza, Basque Explorer in the New
World, 1693-1740 (Garate), 50/1-2: 55
Juan Soldado: Rapist, Murderer, Martyr, Saint
(Vanderwood), 50/1-2: 60
Juárez, Benito, 50/1-2: 34-36 passim, 40n
Judson, C. S., 49/3-4: 211
Judy, W. H., 50/3-4: 137
Julian, 49/3-4: 206
Junípero Serra Museum, 49/3-4: 130, 133n, 142,
177, 179, 253, 259; 50/3-4: iii, 67, 107
Kahn, Harry, 49/3-4: 234
Kahn, Louis I., 49/3-4: 180
Kamerling, Bruce, 49/3-4: 112, 131n, 132n; 50/3-4:
70, 73
Kaminar, Myron and Dorothy, 49/3-4: 258
Kaplan, H. R., 49/3-4: 219
Kassel, Dr. and Mrs., 49/3-4: 219
KBNT, 50/1-2: 42, 48, 49, 50, 53n
Kearny Mesa, 49/3-4: 163, 174
Kelham, George W., 49/3-4: 180
Keller, Jean A., 50/1-2: 58
Keller, Walter S., 49/3-4: 180
Kellogg, Paul U., 50/3-4: 108
Kelly, Michael, 50/3-4: 164
Kenny, Robert, 50/1-2: 19
Kensington Heights, 49/3-4: 126-127 passim, 129,
133n, 144, 156, 223, 226, 236, 256, 258
Kern, Edward, 50/1-2: 58
Kern, Richard, 50/1-2: 58
Kerstetter, Todd, 50/3-4: 159
Keys, Alice M., 49/3-4: 211
Khoury, Eleos, 49/3-4: 219
Kim, C. W., 49/3-4: 180
King, Edith Shatto, 50/3-4: 106-113, 116
King, Frederick, 50/3-4: 108, 109
King, T. S., 49/3-4: 180
King, Tom, 50/3-4: 136
Kingston, Mr. and Mrs. Jeffrey, 49/3-4: 219
Kinney, Abbott, 50/3-4: 149
Kino, Father Eusebio Francisco, 50/1-2: 56
Kirkwood, W. J., 49/3-4: 180
Kistner, Theodore C. (Kistner, Curtis and Wright),
49/3-4: 180
Klauber, Hugo, 49/3-4: 151
Klauber, Melville, 49/3-4: 153, 247
Klauber, Philip M., 49/3-4: 262; 50/3-4: 69
Klein, James E., 50/3-4: 165
Klicka, Emil, 49/3-4: 234
84

Index
Knight, Court, 49/3-4: 234
Knudson, Mrs. Valdimer, 49/3-4: 190
Koke, Dr. and Mrs. Martin P., 49/3-4: 234
Koll Company, The, 49/3-4: 197
Kornweibel, Theodore, 50/3-4: 157
Kresser, Mr. and Mrs., 49/3-4: 184
Kritz, Joan, 49/3-4: 219
Krop, Phoebe S., 49/3-4: 113, 131n
Krotsch, H. V. (Krotsch and Stecker), 49/3-4: 180
Ku Klux Klan, 50/1-2: 19, 20, 21, 22, 25, 28; 50/3-4:
164
Kuhn, Skip (Skip and Alvarado), 49/3-4: 220
Kumeyaay , 49/3-4: 123
Kunze, Arthur A., 49/3-4: 111, 181-182
KWHY, 50/1-2: 50
La Flesche, Susette, 50/3-4: 148
La Grange, 49/3-4: 220
La Jolla Art Center, 49/3-4: 193, 194
La Jolla Cultural Center, 49/3-4: 194
La Jolla Museum of Art, 49/3-4: 194
La Jolla Museum of Contemporary Art, 49/3-4:
195, 196
La Jolla Presbyterian Church, 49/3-4: 173
La Jolla Public Library, 49/3-4: 129, 130, 177, 178,
179, 186
La Jolla Women’s Club, 49/3-4: 151, 152, 247
La Jolla, 49/3-4: 117-119 passim, 129, 130, 141, 147,
151, 152, 162, 173, 177-179 passim, 186-199 passim,
206, 208, 209, 212, 217-224 passim, 231-240 passim,
246, 247, 255; 50/1-2: 9
La Mesa Dam, 50/3-4: 129
La Mesa Reservoir, 50/3-4: 125, 133
La Mesa, 49/3-4: 149, 160, 163, 167, 180, 183, 184,
190, 211, 216, 218, 221, 232, 235, 239, 256, 258;
50/3-4, 124-144 passim
La Punta, Baja California, Mexico, 50/1-2: 33
Lakeside, 49/3-4: 163
Land of Sunshine, 49/3-4: 116
“Land, Water, and Real Estate: Ed Fletcher and
the Cuyamaca Water Company, 1910-1926”
(Strathman), 50/3-4: 124-144
Lange, Dorothea, 50/1-2: 23, 61
Langham, Mr. and Mrs. J. R., 49/3-4: 220
Lannon, E. T., 49/3-4: 211
Lareau, Richard John, 49/3-4: 182
Larkin, Rita, 50/3-4: 68
Larkins, Mr. and Mrs. C. D., 49/3-4: 246
Larralde, Carlos M., article by, 50/1-2: 17-29
Larrick, Herschell, 49/3-4: 220
Las Palmas River, 50/1-2: 33
Las Quintas Moriscas, 49/3-4: 190
Lasky, Jesse, 50/1-2: 11
Lathrop, Barbour, 50/3-4: 75, 77, 85
Latinos (see Mexican Americans)
Lawrence, Deborah, 50/3-4: 155
Lawrie, Annie, 49/3-4: 181
Lawrie, S. Mildred, 49/3-4: 181
Laycock, Clark Jr., 49/3-4: 183
Le Espiritu, Yen, 50/1-2: 62
League of Women Voters, 50/3-4: 120
Lee, Alice, 49/3-4: 151
Leidy, George B., 49/3-4: 111, 183-185
Leisenring, H. G., 49/3-4: 253
Lemon Grove, 50/1-2: 19; 50/3-4: 133, 139, 143
Lentz, Charles H., 49/3-4: 185
Leucadia, 49/3-4: 137
Levi, Richard, 50/3-4: 69
Libbey, E D., 49/3-4: 190
Liberty Media Inc., 50/1-2: 49
Liebhardt, Weston and Goldman, 49/3-4: 185
Liebmann, Mr. and Mrs. Joachim, 49/3-4: 220
Light, J. D., 49/3-4: 185
Linda Vista, 49/3-4: 152, 246; 50/1-2: iv
Lindbergh Field, 49/3-4: 163, 179, 199, 227, 234,
258
Lindbergh Flight Memorial and Museum,
49/3-4: 163
Linnean Society, 50/3-4: 75
Lipetzky, Jerome and Lynn, 49/3-4: 220
Little Mothers Club, 50/3-4: 112
Live Oaks Park, 49/3-4: 201
Lloyd, Harold, 50/1-2: 11
Locke, J. A., 49/3-4: 211
Lococo, Thomas N., 49/3-4: 157, 158
Lodge, William Percy, 49/3-4: 144
Logan Heights, 50/3-4: 111
Loizeaux, Mr. and Mrs. William, 49/3-4: 220
Loma Portal, 49/3-4: 172, 211, 223
Lomaland, 50/3-4: 96
Lomawaima, K. Tsianina, 50/3-4: 167
Long, Baron, 49/3-4: 223, 234
Long, Ryan F., 50/3-4: 168
Looking for Steinbeck’s Ghost (Benson), 50/1-2: 61
Loos, Anita, 50/1-2: 11
López, José, 50/1-2: 40n
López, Lino, 50/1-2: 34, 40n
Loreto, Mexico, 50/1-2: 2
Lorini, Dr. R., 49/3-4: 151
Los Angeles Embassy Auditorium, 50/1-2: 24
Los Angeles Sentinel, 50/1-2: 29n
Los Angeles Times, 50/1-2: 10, 19, 22, 24, 28n, 52n
Los Angeles, 49/3-4: 115, 116, 126, 135, 247, 252,
256; 50/1-2: 6, 7, 17, 26, 42, 44, 46, 65
Los Angeles, Fiesta de, 49/3-4: 115
Los Banos Bathhouse, 49/3-4: 116, 117, 118, 131n
Louis Bank of Commerce, 50/1-2: 114, 230, 246
Loveless, Ilton E., 49/3-4: 124, 186, 187, 255
Lovell, Capt. and Mrs. Royal, 49/3-4: 220
Lowell, Robert, 50/1-2: 22
Lowery, 49/3-4: 230
Lowery, Barbara, 49/3-4: 220
Loyola, St. Ignatius, 50/1-2: v
Lozano, Humberto, 50/1-2: 17
Lummis, Charles Fletcher, 49/3-4: 116, 118, 131n;
50/1-2: 6, 12; 50/3-4: 148
Lumpkins, William, 49/3-4: 186
Lundy, 49/3-4: 234
Lyman, John B. Jr., 49/3-4: 138
Lyon, Mr. and Mrs. Edward, 49/3-4: 220
Lyons, Mary E., 50/1-2: v
85

The Journal of San Diego History
Machado family, 50/3-4: 72
Machado, Jesús Maria, 50/1-2: 34, 40n
Machado, Joaquín, 50/1-2: 34, 40n
Machado, Manuel, 50/1-2: 13n
Mack, Harry, 49/3-4: 186
MacMullen, Jerry, 50/3-4: 67, 72
MacNeil, Tim, 50/3-4: 68
Macomber, Charles, 49/3-4: 186, 230
MacPhail, Elizabeth, 50/3-4: 79
Macy, Alfonso, 49/3-4: 146
Magee, Mrs. H. C., 49/3-4: 212
Magee, Victoria Pedroarena de, 50/1-2: 5
Maher, N. C., 50/3-4: 100
Major Crimes Act, 50/3-4: 167
Maldonado, J. Eduardo, 49/3-4: 186
Malin, Mr. and Mrs. Jay, 49/3-4: 157
Malinick, Cynthia, 49/3-4: 126, 133n
Mallen, Benesh, 49/3-4: 181
Mallen, Mr. and Mrs. J., 49/3-4: 181
Malverde, Jesús, 50/1-2: 60
Man, Robert L., 49/3-4: 186
Mann, Herbert J., 49/3-4: 187
Mannen, Bertha K., 49/3-4: 220
Many Faces of Gender: Roles and Relationships
Through Time in Indigenous Northern Communities
(Frink), 50/1-2: 63
Margerum, Fred P., 49/3-4: 151
Margolin, Mr. and Mrs. Elias, 49/3-4: 220
Margolis, Ben, 50/1-2: 25
Marin, Francisco de Paula, 50/1-2: 10, 16n
Marine Corps Recruit Depot, 49/3-4: 124
Marks, Mr. and Mrs. Joseph, 49/3-4: 220
Marsh, Barbara, 50/3-4: 68
Marshall, Liz and Len, 49/3-4: 220
Marston Company, 49/3-4: 163, 178, 190; Building,
135; Department Stores, 50/3-4: 94
Marston House, 50/3-4: 70
Marston, Anna Gunn, 50/3-4: 103, 107, 115
Marston, George W., 49/3-4: 116, 126, 146, 171,
178, 180, 190, 198, 225, 258; 50/3-4: 67, 70, 90-101
passim, 104, 105, 107, 115, 116
Marston, Helen D. (see Beardsley, Helen Marston)
Marston, Mary Gilman, 50/3-4: 90, 91, 98, 107, 120
Marston, Mr. and Mrs. Arthur Hamilton, 49/3-4:
151, 152, 220, 230, 258; 50/3-4: 98
Martin, 49/3-4: 220
Martin, Irving, 50/3-4: 133, 139
Martin, Mr. and Mrs. C. A., 49/3-4: 206
Martínez, Cutri, 49/3-4: 187
Maryland Heights, 50/3-4: 129
Mathews, Lou, 50/3-4: 133
Mattachine Society, 50/3-4: 163
May, Clifford Magee, 49/3-4: 147, 187
May, Elsie, 50/3-4: 87
Mayhew, Kelly, 50/1-2: 63
McBain, A., 49/3-4: 187
McCain, Mr. and Mrs. James, 49/3-4: 220
McCarthy, Joseph, 50/1-2: 32, 35
McCarthy, Thomas J., 50/1-2: 28n
McCarty, Walter G., 49/3-4: 252
McClain, Molly, 50/1-2: iv, v, 27n; 50/3-4: 71
McCoy, 49/3-4: 186
McDonald, Mr. and Mrs. William T., 49/3-4: 212
McGaughey, John and Janet, 49/3-4: 220
McGaw and Stevenson, 49/3-4: 187
McGrew, Clarence, 50/1-2: 6, 10
McGroarty, John Steven, 49/3-4: 128, 133n;
50/3-4: 145
McGuire, Mr. and Mrs. Thomas G., 49/3-4: 220
McKanna, Jr., Clare V., 50/1-2: 56
McKinley Elementary School, 49/3-4: 212
McLain, John, 49/3-4: 212
McMahan’s Furniture Stores, 49/3-4: 196
McNitt, Frank, 50/1-2: 57
McTernan, John, 50/1-2: 19
McVey, John I., 49/3-4: 188
McWilliams, Carey, 49/3-4: 113, 131n; 50/1-2: 1,
16n, 18-26 passim, 28n, 29n; 50/3-4: 145
Mead, Frank B. (Mead and Requa), 49/3-4: 119,
127, 132, 153, 188-192
Meador, Mr. and Mrs. Bruce, 49/3-4: 220
Mean, Francis, 50/3-4: 110
Medical Arts Building (see Balboa Park)
Melford, George, 50/1-2: 11
Melos, 49/3-4: 234
Melville Klauber House, 49/3-4: 247
Menem, Carlos Saul, 50/3-4: 169
Meneses Research & Associatees, 50/1-2: 51
Merrill, Roy W., 49/3-4: 212
Merwin, Dr. and Mrs. Keery, 49/3-4: 220
Mexican Americans, 50/1-2: 17-29 passim; 30-54
passim; 50/3-4: 103-123 passim; 145, 148, 150, 153,
156, 161, 162, 167
Mexican Revolution, 1910-1940, The (Gonzales),
50/1-2: 59
Mexican Revolution, 50/1-2: 23, 29, 59
Mexicans, 49/3-4: 121, 122; 50/1-2: 1, 4, 6, 7, 12,
13n, 31, 34, 35, 39n, 40n, 42, 43, 44, 47, 53
Mexico, 50/1-2: 2, 4, 8, 13n, 17, 19, 22, 24, 29n, 30,
32, 33, 34, 38, 42, 43, 44, 48, 49, 52, 52n, 53n, 55;
50/3-4: 81
Meyer Medal, 50/3-4: 74, 75, 83, 84, 85
Meyer, Frank N., 50/3-4: 84
Mí San Diego (Channel 43), 50/1-2: 49
Miami, 50/1-2: 44, 45
Millane, Mr. and Mrs. Jack, 49/3-4: 160
Millay, Edna St. Vincent, 50/3-4: 147
Miller, Commander and Mrs. Clayton L.,
49/3-4: 163
Miller, Dr. and Mrs. Willis, 49/3-4: 163
Miller, Jim, 50/1-2: 63
Miller, Joaquin, 50/3-4: 148
Miller, Merrill T., 49/3-4: 212
Mills, Dorothy B., 49/3-4: 176, 215
Mills, Leslie, 49/3-4: 212
Minchin, John, 49/3-4: 192
Mission Bay, 49/3-4: 184, 207, 220
Mission Beach Bathhouse, 49/3-4: 223
Mission Beach, 49/3-4: 183, 299, 223, 224
Mission Hills, 49/3-4: iii, 127, 183, 187, 208
86

Index
Mission Indian bands, 50/3-4: 149
Mission Play, The, 50/3-4: 145
Mission San Diego de Alcalá, 49/3-4: 117, 118, 127,
186, 247; 50/1-2: 3, 7, 30, 56
Mission San Gabriel, 50/1-2: 7; 50/3-4: 145
Mission San Juan Capistrano, 50/1-2: 7, 32, 33
Mission San Luis Rey, 50/1-2: 2, 7
Mission Santa Barbara, 49/3-4: 192; 50/1-2: 7
Mitchel, Gregory, 49/3-4: 223
Mitchell, Alfred, 49/3-4: 206
Mitchell, Sam B., 49/3-4: 184
Mondorf, A. W., 49/3-4: 184
Montalvo, Carlos, 50/1-2: 20, 24, 27, 28n, 29n
Montezuma Gardens (see Balboa Park)
Montezuma Mountain School, 49/3-4: 212
Montgomery Memorial, 49/3-4: 224
Montgomery, Ross, 49/3-4: 192
Montoyo, Alfredo, 50/1-2: 23, 24, 29n
Mooney, James, 50/3-4: 149
Moonlight Beach County Park, 49/3-4: 225
Moore, Levi P., 49/3-4: 187
Moore, Ronald E., 49/3-4: 192
Moores, John, 50/1-2: 64
Moorshead, Oliver, 49/3-4: 190
Moraga, José Joaquin, 50/1-2: 30, 39n
Moraga, María Ignacia, 50/1-2: 30, 39n
Moran, Kristin C., article by, 50/1-2: 42-54
Mordhurst, Mrs. W. M., 49/3-4: 173
Moreno, Jesús, 50/1-2: 13n
Moreno, José Matias, 50/1-2: 37
Moreno, Luisa, 50/1-2: 17, 18, 19, 22-27 passim
Morgan, Julia, 49/3-4: 193
Morley Field, 49/3-4: 221
Morris, David E., 49/3-4: 193
Morris, William E. and Louise G., 49/3-4: 140
Morrison, Mr. and Mrs. Jack, 49/3-4: 221
Morse, Whaley and Dalton, 49/3-4: 143
Mosher, Mr. and Mrs. Jack, 49/3-4: 193
Mosher, Robert (Mosher and Drew; Mosher, Drew,
Watson; Mosher, Drew, Watson and Ferguson),
49/3-4: 111, 112, 136, 193, 195-198 passim
Moss, James E., 50/3-4: 68
Mount Empire Union High School, 49/3-4: 228
Mount Helix Theatre, 49/3-4: 212
Mount Helix, 50/3-4: 135
Muir, John, 50/3-4: 158
Munk, Judith H., 49/3-4: 198
Munras, Estévan de, 50/3-4: 155
Murder at the Sleepy Lagoon: Zoot Suit, Race, and
Riots in Wartime L.A. (Pagán), 50/3-4: 161
Murphy, Ben, 49/3-4: 184
Murphy, Michael Martin, 50/3-4: 159
Murray Dam, 49/3-4: 147, 258; 50/3-4: 128, 129,
133, 141
Murray Hill, 50/3-4: 135
Murray Reservoir, 135
Murray, James, 50/3-4: 125, 127, 129, 131, 132
Nannie Dodson Home Society, Inc., 49/3-4: 212
Naples Zoological Station, 50/3-4: 79
Nash, Joseph, 50/3-4: 95
Nason and Smith Wholesalers, 50/3-4: 126
Nation, The, 50/3-4: 147
National Archives at Laguna Niguel, 50/1-2: 18,
27n, 40n
National Association for Hispanic Journalists
(NAHJ), 50/1-2: 51
National Association of Professional Base Ball
Players, 50/3-4: 92
National Child Labor Committee, 50/3-4: 121
National City Methodist Episcopal Church, 49/3-
4: 234
National City, 49/3-4: 157, 173, 177, 185, 234
National Hispanic Television Index, 50/1-2: 46
National Organization for the Advancement of
Colored People (NAACP), 50/3-4: 161
National Register of Historic Places, 50/1-2: 12,
National Socialist Party (Germany), 50/1-2: 20, 24
National Steel and Shipbuilding Company
(NASSCO), 50/1-2: 64
Native Americans, 49/3-4: 115, 120-127 passim,
152, 258: 50/1-2: 2, 6, 8, 10, 24, 39n, 55-59 passim,
63; 50/3-4: 159, 166; 50/3-4: 111, 148-156 passim,
165, 166, 167
Nativism, 50/3-4: 106
Navajo Expedition: Journal of a Military
Reconnaissance from Santa Fe, New Mexico, to the
Navajo Country… (McNitt), 50/1-2: 57.
Navajo, 50/1-2: 57, 58
Naval Regional Medical Center, 49/3-4: 160, 250
Naval Reserve Armory, 49/3-4: 234, 235
Navy Field Coliseum, 49/3-4: 163
Nazareth House, 49/3-4: 163
NBC/Universal, 50/1-2: 46, 49, 50, 51, 53n
Negotiating Conquest: Gender and Power in
California, 1770s-1880s (Chávez-Garcia), 50/3-4:
152
Neighborhood House, 50/3-4: 103-124 passim
Neill, Walter B., 49/3-4: 212
Nemiroff, Dr. and Mrs. Robert, 49/3-4: 221
Nesmith Greely Building, 49/3-4: 114, 142, 143,
247
Nestor Company, 50/1-2: 11
Network Partnership, 50/1-2: 46
Neves, Mr. and Mrs. Manuel, 49/3-4: 221
New Foothills Hotel, 49/3-4: 191
New Mexico, 50/1-2: 4, 57, 58
New Millennium Homes, 49/3-4: 198
New Town, San Diego, 50/3-4: 94, 95
New Woman, 50/3-4: 115, 116
New York Independent, 50/3-4: 147
New York, 50/1-2: 44, 45, 61
Newsom, Mr. and Mrs. T. R., 49/3-4: 221
Neyenesch Printers, 50/3-4: 68, 72
Nickerson, John F., 49/3-4: 184
Nicol, Frank and Jean, 49/3-4: 221
Nielsen Company, A. C., 50/1-2: 45, 46, 48, 52n,
53n; Media Research, 45, 46, 48, 52n, 53n
Nieto, Frank, 50/1-2: 20
Nieto, Manuel, 50/1-2: 30
Nixon, Richard M., 50/3-4: 108
87

The Journal of San Diego History
No There There: Race, Class, and Political Community
in Oakland (Rhomberg), 50/3-4: 164
Noah’s Ark Restaurant and Trailer Park, 49/3-4:
137
Noble, Col. Robert H., 49/3-4: 191, 213
Noble, Lt. Com. and Mrs. J. B., 49/3-4: 213
Nolan, Dr. and Mrs., 49/3-4: 235
Nolen, John, 49/3-4: 198
Nordhoff, 49/3-4: 191
North Park, 49/3-4: iii, 79
Norwegian immigrants, 50/3-4: 107
Noticiero Telemundo, 50/1-2: 45, 49
Nourse, Mr. and Mrs. Hal E., 49/3-4: 221
Nusbaum, Jesse, 50/3-4: 149
O’Henry Club, 49/3-4: 235
O’Neill House, 49/3-4: 148
O’Neill, Dr. Frank, 49/3-4: 158
O’Rourke, P. F. and Maud W., 49/3-4: 152, 235
O’Rourke, P. J., 49/3-4: 235
Oakes, Richard, 50/3-4: 166
Obregon, Alvaro, 50/3-4: 168
Ocean Beach, 49/3-4: 183, 235, 239, 257
Oceanside, 49/3-4: 151, 163, 164, 240, 258, 259;
50/3-4, 126
Ocheltree Architecture, 49/3-4: 198
Ojai, 49/3-4: 191
Oklahoma, 50/1-2: 19
Old Globe Theatre, 49/3-4: 171, 206
Old Monk’s Tale, The, 50/1-2: 11
Old Town, 49/3-4: 114-120 passim, 138, 140, 148,
235, 257; 50/1-2: 2, 6; 50/3-4: 94, 145
Olive View Sanitarium, Los Angeles, 49/3-4: 135
Olmstead Brothers, 49/3-4: 198
Olsen, Ed, Jr. and Associates, 49/3-4: 198
Olvera Street (Los Angeles), 50/3-4: 145
Oneira Women’s Club, 49/3-4: 136
Opie, Capt. J. H., 49/3-4: 221
Orange County, 50/1-2: 22
Orchestra Hall, 49/3-4: 213
Order of ’76, 50/1-2: 20
Orman, Mr. and Mrs. Gerald, 49/3-4: 221
Orozco, Ricardo, 50/1-2: 37, 38, 39, 41n
Orsi, Richard J., 50/3-4: 157
Ortega de Argüello, María del Pilar, 50/1-2: 30,
34-37 passim, 40n, 41n
Ostenberg, Mr. and Mrs. W. H., 49/3-4: 221
Osuna, Juan María, 49/3-4: 128, 218; 50/1-2: 13n
Otay Dam, 50/3-4: 129
Otay Mesa, 50/1-2: 19, 31, 33
Otay River, 50/1-2: 33
Otis Elevator Co., 49/3-4: 199
Ouer Group, 49/3-4: 164
Our Lady of the Pines Catholic Church, 49/3-4: 164
Pacific Beach, 49/3-4: 148, 174, 184, 217, 233; 50/3-
4: 137
Pacific Telephone and Telegraph, 49/3-4: 199
Paderewski, Clarence J. Pat, 49/3-4: 199
Paderewski, Dean and Associates, 49/3-4: 199
Paderewski, Dean, Albrecht, Stevenson, 49/3-4: 199
Paderewski, Mitchell, and Dean, 49/3-4: 199
Padilla Corona, Antonio, article by, 50/1-2: 30-41
Pagán, Eduardo Obregón, 50/3-4: 161
Page, Nelson, 50/3-4: 149
Pala Mission, 49/3-4: 258
Paley, William, 50/1-2: 11
Palisades Restaurant, 49/3-4: 224
Palk, Mr. and Mrs. Robert J., 49/3-4: 221
Palmer, Ann, 50/3-4: 146
Palmer, Julius, 50/3-4: 146
Palmer, Lester W., 49/3-4: 235
Palmer, Ray, 50/3-4: 146
Panama California Exposition (see Expositions)
Panama Canal, 49/3-4: 122, 156
Panama Pacific International Exposition (see
Expositions)
Panter, John, 49/3-4: 112, 260
Parke, E. Charles, 49/3-4: 200
Parsons, Samuel, 49/3-4: 171, 200
Partido de Acción (PAN), 50/1-2: 59
Partido Revolucionario Institucional (PRI), 50/1-2: 59
Pasadena Flower Show, 50/3-4: 84
Pastore, Caesar, 49/3-4: 172
Pathfinder Survey of San Diego (1914), 50/3-4: 109, 111
Pauma, 49/3-4: 221, 235
Pearson, Mr. and Mrs. Glenn, 49/3-4: 200, 235
Peckham, H. R., 49/3-4: 178
Pedrorena Family, 50/1-2: 2,
Pedrorena, Miguel de, 50/1-2: 14n
Pelley, William Dudley, 50/1-2: 20
Pendleton, Major General Joseph, 49/3-4: 124
Pendleton, Mr. and Mrs. W. K., 49/3-4: 221
Perenchio, A. Jerrold, 50/1-2: 45
Perlman, Captain and Mrs. Benjamin, 49/3-4: 235
Perón, Juan, 50/3-4: 168
Petersen, Charles W., 49/3-4: 160
Peterson, Dwight J., 49/3-4: 213
Peterson, Harold J., 49/3-4: 213
Peterson, Marguerite, 49/3-4: 219
Peto, Mr. ad Mrs. Guy, 49/3-4: 221
Pettit, Mr. and Mrs. M. H., 49/3-4: 213
Philadelphia National Bank, 49/3-4: 199
Philip II, King of Spain, 49/3-4: 124
Phillips residence, 49/3-4: 221
Phillips, Kate, 50/3-4: 145
Phillips, Ralph, 49/3-4: 146
Phillips, W. S., 49/3-4: 223
Phoenix Little Theatre, 49/3-4: 221
Photographic Arts, The Center for, 49/3-4: 229
Piccirilli, Furio and Attilo, 49/3-4: 124
Pickford, H. T., 49/3-4: 172
Pickford, Mary, 50/1-2: 11
Pickford, Roy, 49/3-4: 182
Pickford, T. H., 49/3-4: 182
Pickford, T. M., 49/3-4: 172
Pico, Pío (Governor), 50/1-2: 7, 31-37, 40n; 50/3-4:
155
Pierotti, Peter, 49/3-4: 144, 235
Pinnell, Richard L. (Pinnell and Stevenson), 49/3-
4: 200
Pio Pico State Historic Park, Whittier, 50/1-2: 7
88

Index
Plaza de Pacific (see Balboa Park)
Plaza de Panama (see Balboa Park)
Plymouth Hall Congregational Church, 49/3-4: 152
Point Loma, 49/3-4: 124, 127, 157, 172, 177, 182,
185, 193, 221, 234, 235, 239, 241, 245, 254; 50/3-4: 137
Pokorny, Frank A., 49/3-4: 184
Ponca Chief Standing Bear, 50/3-4: 148
Port of San Diego, 49/3-4: 197
Portolá, Gaspar de, 49/3-4: 124
Portuguese Americans, 50/3-4: 121
Post, Edward H., 49/3-4: 235
Post, William, 50/3-4: 133
Potter, J. W., 49/3-4: 200
Powers, Brad W., 49/3-4: 200
Powers, R. M., 49/3-4: 213
Poyner, Mr. and Mrs. N. D., 49/3-4: 157
Presidio, The (San Diego), 49/3-4: 120, 138, 163,
166, 179, 198, 225; 50/1-2: 2-4 passim, 14n, 15n, 30,
31, 39n; 50/3-4: 93; Presidio Chapel, 49/3-4: 164
Preston, Clarence, 50/3-4: 138
Preston, Mr. and Mrs. G. C., 49/3-4: 184
Priteia, B. Marcus, 49/3-4: 200
Progressive, 50/3-4: 105, 106, 108, 117, 123, 127, 157
Public Utilities Act of 1911: 50/3-4: 127
Pueblo of San Diego, 50/1-2: 2, 3
Putnam Foundation, 49/3-4: 173
Putnam, S. O., 49/3-4: 236
Qualitee Dairy Products, 49/3-4: 201
Quayle, Charles and Edward (Quayle Brothers
and Cressey; Quayle Brothers and Treganza),
49/3-4: 200, 202, 203;
Quintana, Mr. and Mrs. Frank, 49/3-4: 221
Race and Homicide in Nineteenth-Century California
(McKanna, Jr.), 50/1-2: 56
Radio, 50/1-2: 21, 42, 43, 44, 46, 53n, 54n
Ragen, Dr. and Mrs. Frank J., 49/3-4: 158
Rainier, J. M., 49/3-4: 236
Ramírez, Ricardo, 50/1-2: 35, 36
Ramona (1884), 49/3-4: 115, 119, 120, 122; 50/1-2:
6, 10, 11,
Ramona, 49/3-4: 199, 219, 220; 50/3-4: 145, 149;
50/3-4: 145
Ramona’s Marriage Place, 49/3-4: 119, 121, 253;
50/1-2: 8, 10, 11, 12; 50/3-4: 145
Ramona’s Wishing Well, 50/1-2: 10
Ramsey, Grace K., 49/3-4: 213
Rancheria Map, 49/3-4: 164
Rancho de los Peñasquitos, 50/1-2: 30
Rancho Guajome, 49/3-4: 115; 50/1-2, 7, 9;
50/3-4: 145
Rancho Janal, 50/1-2: 2
Rancho Melijo, 50/1-2: 33, 34, 40n
Rancho Monserate Mobile Home Park, 49/3-4: 225
Rancho Nacional, 50/1-2: 33
Rancho San Jacinto Viejo, 50/1-2: 2
Rancho Santa Fe Hotel, 49/3-4: 128
Rancho Santa Fe School, 49/3-4: 128
Rancho Santa Fe, 49/3-4: 128, 129, 133n, 192, 213-
216 passim; 50/1-2: 2
Rancho Temecula, 50/1-2: 2
Rancho Tia Juana (see Tijuana)
“Rancho Tía Juana (Tijuana) Grant, The” (Padilla
Corona), 50/1-2: 30-41
Randel, B. F., 49/3-4: 144
Rasche, Frank F., 49/3-4: 203
Raymond, Robert S., 49/3-4: 204
Rector, Fred, 49/3-4: 184
Red Cloud Woman, 50/3-4: 159
Redhead, Ralph B., 49/3-4: 204
Redlinger, Matthew, 49/3-4: 141
Redmore, Louis W., 49/3-4: 221
Reed, David, 49/3-4: 204
Reeves, Marjorie, 50/1-2: 2
Regional Confederation of Mexican Workers
(CROM), 50/1-2: 60
Reid Brothers, 49/3-4: 204
Reid, James William, 49/3-4: 204
Reid, Merritt J., 49/3-4: 204
Reif, Fred, 50/3-4: 72
Reinhardt, Gregory A., 50/1-2: 63
Reitz, Mr. and Mrs., 49/3-4: 192
Relf, Connie and Geoff, 49/3-4: 221
Reliance Group, 50/1-2: 44
Requa, Mrs. S. J., 49/3-4: 206
Requa, Richard (Requa and Jackson), 49/3-4: 111,
112, 113, 127, 128, 129, 131n, 133n, 154, 155, 174,
188, 191, 204-215
Resolutes, The, 50/3-4: 96
“Revelations of a Reformer: Helen D. Marston
Beardsley and Progressive Social Activism”
(Ciani), 50/3-4: 102-123
Reyerson, Dr. Knowles A., 50/3-4: 84
Reynold, Capt. Stewart, 49/3-4: 229
Rhodes, H. E., 49/3-4: 213
Rhomberg, Chris, 50/3-4: 164
Rice, John, 49/3-4: 149
Rice, Lilian, 49/3-4: 111, 113, 117, 129, 133n, 143,
149, 215, 216, 217, 221, 222, 255
Rice, Mr. and Mrs. J. U., 49/3-4: 221, 255
Richards Lot, Martinez St., 49/3-4: 221
Richards, D. M., 49/3-4: 213
Richards, Helen, 49/3-4: 122
Richards, Janet H., 49/3-4: 221
Richards, Peter, 49/3-4: 221
Richards, Sim Bruce, 49/3-4: 112, 216-223, 219,
220, 221
Richardson, Dr. and Mrs. C., 49/3-4: 157
Richmond, Mary A., 49/3-4: 191
Richmond, Mary E., 49/3-4: 206
Ridgeway House, Kensington Heights, 49/3-4: 127
Ridley, Henry Nicholas, 50/3-4: 75, 85
Riggs, Dawn, 50/3-4: 71
Rigsby, Mr. and Mrs. George, 49/3-4: 221
Riley, Glenda, 50/3-4: 155
Rincon, Ismael “Smiley”, 50/1-2: 20, 22, 24
Ring, Jonathan, 49/3-4: 223
Rios, Diana, 50/1-2: 50, 52n, 53n
Risdon, Mr. and Mrs. Charles S., 49/3-4: 164
Roberts, Dent H., 49/3-4: 179
Roberts, Lennard H. B., 49/3-4: 184
89

The Journal of San Diego History
Roberts, V. Earl, 49/3-4: 221
Robertson, Alice Adams, 50/3-4: 120
Robertson, O. W., 49/3-4: 191
Robinson, Alfred D. , 50/3-4: 80, 88
Robinson, Earl H., 49/3-4: 182
Roche Brothers Sheet Metal Works, 49/3-4: 259
Rodriguez, Celia, 50/1-2: 25
Rodriguez, Gov. Abelardo L., 49/3-4: 236
Rogers, Lincoln, 49/3-4: 124, 125, 126, 133n, 223-224
Rogers, Spencer and Helen, 49/3-4: 222
Rogers, W. R., 49/3-4: 191
Rojo, Manuel Clemente, 50/1-2: 37, 40n, 41n
Roland, Gilbert, 50/1-2: 26
Roman Catholic Chruch, 49/3-4: 164; 50/1-2: iv,
1n, 2, 3, 20, 28n, 59, 60; Bishop of San Diego,
49/3-4: 164
Roosevelt, Eleanor, 50/1-2: 22
Roosevelt, Franklin D., 49/3-4: 124; 50/1-2, 24
Root, Henry, 50/3-4: 146
Rosado, L., 49/3-4: 182
Rosarito, El (Ranch), 50/1-2: 40n
Rosas, Juan Manuel de, 50/3-4: 169
Rosecroft (Point Loma), 50/3-4: 80, 88
Rosenbalm, M. J., 49/3-4: 184
Roundtree, John E., 49/3-4: 184
Rowe, 49/3-4: 222
Rowe, George E., 49/3-4: 223, 224
Royal Society, The (UK), 50/3-4: 75
Rueben H. Fleet Space Theater and Science Center,
49/3-4: 138, 146
Ruiz, Francísco María, 50/1-2: 30
Ruiz, Manuel, 50/1-2: 29
Ruiz, Vicki, 50/1-2: 18, 28n
Ruocco, Lloyd A., 49/3-4: 111, 169, 224
Russ School, 49/3-4: 244
Russell Sage Foundation, 50/3-4: 108
Russell, James, 50/3-4: 101
Rutherford, Mr. and Mrs. M. L., 49/3-4: 157
Ryan, David, 49/3-4: 140
Ryan, Mr. and Mrs. T. Claude, 49/3-4: 158
Saavedras, Miguel de Cervantes, 50/3-4: 152
Sábado Gigante, 50/1-2: 45
SABDAC, 49/3-4: 193
Sackheim residence, 49/3-4: 157
Sacramento, 50/1-2: 6, 18, 21
Safeway Stores, 49/3-4: 227, 236
Saint Agnes Catholic Church, 49/3-4: 236
Saint Ann’s Church, 49/3-4: 152
Saint Augustine School, 49/3-4: 213
Saint Charles Chapel, 49/3-4: 172
Saint Didacus Church, 49/3-4: 172
Saint James by the Sea Episcopal Church, La Jolla,
49/3-4: 117, 118
Saint John’s School, 49/3-4: 236
Saint Joseph’s Church, 49/3-4: 172
Saint Matthew’s Episcopal Church, 49/3-4: 143, 247
Saint Patrick’s Parish, 49/3-4: 144, 164
Saint Peter’s by the Sea, 49/3-4: 222
Saint Rose of Lima Convent, 49/3-4: 164
Saint Thomas Catholic Church: 49/3-4, 191
Saks Fifth Avenue: 49/3-4: 259
Salerno, Daniel, 49/3-4: 225
Salk Institute for Biological Studies, 49/3-4: 180
Sallmon, William H., 49/3-4: 179; 50/3-4: 80, 88
Salmon, C. B., 50/3-4: 93
Salvation Army, The, 49/3-4: 164
Salyers, Charlie H., 49/3-4: 222
San Antonio, Texas, 50/1-2: 44
San Diego Administration Building, 49/3-4: 257
San Diego Aerospace Museum, 50/3-4: 69
San Diego and Arizona Railroad, 49/3-4: 259;
50/3-4: 157
San Diego Architectural Designs Co., 49/3-4: 225
San Diego Associated Charities, 50/3-4: 111
San Diego Association of Governments
(SANDAG), 50/1-2: 64
San Diego Athletic Club, 49/3-4: 255
San Diego Avenue, 50/1-2: 3, 5, 9
San Diego Bay, 49/3-4: 114, 115, 118, 122, 124
San Diego Botanical Garden Foundation, 49/3-4:
164
San Diego Building and Remodel Service,
49/3-4: 225
San Diego Cable Railway, 49/3-4: 227
San Diego Centre City, 49/3-4: 245, 246
San Diego Chamber of Commerce, 49/3-4: 213,
236; 50/1-2: 64
San Diego Children’s Home Association,
49/3-4: 194
San Diego City and County Administration
Building, 49/3-4: 136, 154, 155, 161, 257
San Diego, City of, 50/3-4: 133, 134, 135
San Diego Civic Center, 49/3-4: 147, 199, 200, 203,
257
San Diego Club, 49/3-4: 137, 236
San Diego Convention and Visitors Bureau, 50/1-
2: 64
San Diego County Bridges, 49/3-4: 259
San Diego County Courthouse, 49/3-4: 141, 143,
156, 169, 170, 201, 202, 206, 207, 226, 257
San Diego County Federal Tower, 49/3-4: 196
San Diego County Hall of Justice, 49/3-4:
144, 201, 257
San Diego County Hall of Records, 49/3-4: 147,
201, 257
San Diego County Hospital, 49/3-4: 191, 238
San Diego County Municipal Jail, 49/3-4: 141, 149,
170, 201, 202, 226
San Diego County Theatre and Fine Arts
Foundation, 49/3-4: 194
San Diego County Tuberculosis Sanitarium, 49/3-
4: 237
San Diego County Unified School District, 49/3-4:
139, 204, 224, 227, 239, 259
San Diego County, Department of Public Works,
49/3-4: 225-26; Planning Department, 49/3-4: 226
Recreation Department, 49/3-4: 226; Works
Project, 49/3-4: 226-27
San Diego de Alcalá, 50/1-2: iv
San Diego Department of Parks and Recreation,
90

Index
49/3-4: 225
San Diego Department of Public Health, 50/1-2:
23; 50/3-4: 110
San Diego Electric Railway, 49/3-4: 224, 227
San Diego Emergency Hospital, 49/3-4: 152
San Diego Fire Commissioner, 50/3-4: 95
San Diego Floral Association, 50/3-4: 80
San Diego Flume Company (SDFC), 50/3-4: 125,
126, 127, 128, 132
San Diego Free Industrial School, 50/3-4: 111
San Diego Gas and Electric Company, 49/3-4: 227,
239; 50/3-4: 69
San Diego Herald, 50/1-2: 3
San Diego Historical Society Quarterly, The, 50/3-
4: 67
San Diego Historical Society, 50/1-2: iv; 50/3-4: iii,
67-74 passim
San Diego Housing Commission, 49/3-4: 176
San Diego Humane Society, 49/3-4: 239
San Diego International Airport, 49/3-4: 163, 179,
199, 227, 234, 258
San Diego Labor Council, 50/3-4: 106
San Diego Land and Town Corporation, 50/3-4: 88
San Diego Magazine, 50/1-2: 64
San Diego Maritime Museum, 50/3-4: 72
San Diego Museum of Art, 49/3-4: 130, 194, 197
San Diego Museum of Man, 49/3-4: 166
San Diego Museum of Natural History, 49/3-4:
130; 50/3-4: 87
San Diego Padres, 50/1-2: 50
San Diego Parking District Survey Committee,
49/3-4: 166
San Diego Pipe and Supply Company, 49/3-4: 184
San Diego Public Library, 50/3-4: 70
San Diego Reader, 50/1-2: 64
San Diego River, 50/3-4: 125, 128, 133, 135, 139
San Diego State College, 49/3-4: 130, 179, 194
San Diego Sun, 50/1-2: 10, 16n
San Diego Trust and Savings Bank, 49/3-4: 167,
176, 179
San Diego Tuberculosis Hospital, 49/3-4: 135, 202,
237, 238
San Diego Unified Port District, 49/3-4: 227
San Diego Union, 50/1-2: 9, 15n, 16n, 64; 50/3-4:
94, 96, 97
San Diego Union-Tribune, 50/1-2: 29n, 51, 53n, 54n;
50/3-4: 68
San Diego Volunteer fire company, 50/3-4: 95
San Diego Yacht Club, 49/3-4: 240
San Diego Zoo, 49/3-4: 193
San Dieguito Park, 49/3-4: 226
San Dieguito Union High School, 49/3-4: 216
San Francisco Chronicle, 50/3-4: 166
San Francisco, 50/3-4: 163
San Luis Obispo County, California, 50/1-2: 57
San Luis Rey River Bridge, 49/3-4: 227
San Pasqual, 49/3-4: 214
San Ysidro Ajolojol Ranch, 50/1-2: 40
San Ysidro, 49/3-4: 161, 185, 209, 231, 259
Sanchez, Carlos, 50/1-2: 49
Sanchez, George, 50/1-2: 18, 26, 28n, 29n
Sandoval, Lourdes, 50/1-2: 48
Santa Barbara, 50/1-2: 7, 18, 19, 30
Santa Clara, 49/3-4: 143, 185
Santa Fe Depot, 49/3-4: 137, 187
Santa Fe Land Improvement Co., 49/3-4: 214
Santa Fe Railroad, 49/3-4: 118, 128, 136
Santa Fe Trail, 50/3-4: 153
Santa Monica, 50/1-2: 50
Santísima Trinidad Cathedral, La (Havana, Cuba),
49/3-4: 122
Santos, Alma, 50/1-2: 26
Sargent, Charles S., 50/3-4: 78, 86
Savage, Thomas, 50/1-2: 37
Schafer, Miss, 49/3-4: 259
Scharf, Thomas L., 50/3-4: 68, 70
Scheffler, Diana, 49/3-4: 112
Schict, John, 49/3-4: 227
Schiefer and Sons, 49/3-4: 227
Schiller, Mabel B., 49/3-4: 206
Schmachtenberg, Kristin M., 49/3-4: 260
Schmock, 49/3-4: 222
Schneider, F. A., 49/3-4: 147, 225
Schnell, Mr. and Mrs. H. E., 49/3-4: 240
Schoenbrun, Mark, 49/3-4: 214
Schumann-Heink, Ernestine, 49/3-4: 191
Schwabland, George A., 49/3-4: 227
Schwartz, Julia A., 49/3-4: 191
Schwieder, Etta and Lydia, 49/3-4: 214
Scott, Rodger M., 49/3-4: 183
Screen Writers Guild, 50/1-2: 22
Scribner’s Monthly, 50/3-4: 147
Scripps Hospital, 49/3-4: 152
Scripps Institute of La Jolla, 50/3-4: 79
Scripps Playground, 49/3-4: 152
Scripps, Ellen, 49/3-4: 151
Scripps, F. T., 49/3-4: 162
Scudder, Vida, 50/3-4: 118
Sea Island Sugar Exhibit, 49/3-4: 176
Security Commercial and Savings Bank,
49/3-4: 224
Security First National Bank, 49/3-4: 167
Serra Museum (see Junípero Serra Museum)
Serra, Father Junípero, 50/1-2: 56; 50/3-4: 67
Serrano, Adelaida, 50/1-2: 5
Sessions, Harriet, 50/3-4: 76
Sessions, Josiah, 50/3-4: 76
Sessions, Kate Olivia, 49/3-4: 228; 50/3-4: 75-89
passim; nursery, 76
Sessions, Milton, 49/3-4: 214, 228
Shakespeare, William, 50/3-4: 147
Sharp, Carl, 49/3-4: 240
Sharp, Dennis, 49/3-4: 112, 113, 260; 50/3-4, 71
Shearer, Brent, 50/1-2: 49, 53n
Shelton, Willis H. P., 49/3-4: 240
Shepard, Rita S., 50/1-2: 63
Shepherd, Thomas L., 49/3-4: 228
Sherman Institute, Riverside, 50/1-2: 58
Sherman Oaks, 50/1-2: 24
Shields, Karena, 49/3-4: 222
91

The Journal of San Diego History
Shrader, E. Roscoe, 49/3-4: 191
Shumway, Jeffrey M., 50/3-4: 169
Siebert and Hamill, 49/3-4: 229
Siebert, John S., 49/3-4: 228, 229.
Silence, Mr. and Mrs. T. E., 49/3-4: 240
Silva, Mr. and Mrs. Edward P., 49/3-4: 222
Silver, H. H., 49/3-4: 144, 233
Simard, Commander and Mrs. C. T., 49/3-4: 149,
174, 216
Simmons, Lucia, 50/3-4: 104
Simonson, Harry and Louise, 49/3-4: 222
Simpson, Lieutenant James H., 50/1-2: 57
Simpson, Mr. and Mrs. Eddie, 49/3-4: 172
Simpson, Ron and Judy, 49/3-4: 222
Sinclair, John, 50/1-2: 51, 52n, 53n, 54n
Singer, David Raphael, 49/3-4: 229
Sisson, Mr. and Mrs. C. Paul, 49/3-4: 222
Skidmore, Owings, and Merrill, 49/3-4: 229
Skinner, Alma, 49/3-4: 222
Sleepy Lagoon Case (1942), 50/1-2: 24, 28n; 50/3-
4: 161
Smelser, Alpha F., 49/3-4: 182
Smidt, Mr. and Mrs., 49/3-4: 184
Smith, Mr. and Mrs., 49/3-4: 184
Smith, C. Arnholt, 50/1-2: 64
Smith, Mr. and Mrs. C. E., 49/3-4: 214
Smith, Mr. and Mrs. C. L. S., 49/3-4: 222
Smith, Fred W., 49/3-4: 191
Smith, Hilda Worthington, 50/3-4: 118
Smith, Hoke (Senator), 50/3-4: 122
Smith, L. A., 49/3-4: 229
Smith, L. E., 50/3-4: 88
Smith, Mr. and Mrs. W. Murray, 49/3-4: 240
Smith, Palmer, 49/3-4: 229
Smith, Steven, 49/3-4: 229
Smith-Hughes Act, 50/3-4: 112, 122
Smith-Lever Act, 50/3-4: 122
Smylie, Dr. and Mrs. Robert S., 49/3-4: 215
Smythe, William E., 49/3-4: 121, 132n
Snyder, Irving, 49/3-4: 214
Social Gospel, 50/3-4: 115
Solá, Vicente de, 50/3-4: 155
Solana Beach, 49/3-4: 214, 221
Soldado, Juan, 50/1-2: 60
Solomon, Jacob, 50/3-4: 100
Sonora, Mexico, 50/1-2: 17, 39n, 55, 59
Sony Corporation, 50/1-2: 49
South Park, 49/3-4: iii
Southard, A. M., 49/3-4: 229
Southern California First National Bank,
49/3-4: 196
Southern California Library for Social Studies
& Research, 50/1-2: 18
Southern Pacific Railroad, 50/1-2: 22; 50/3-4:
157, 158
Southern Trust and Commercial Bank, 49/3-4: 240
Southwestern College, 50/1-2: 48
Southwestern House, 49/3-4: 220, 222
Spain, 50/1-2: iv, v, 2, 13n, 55
Spalding, Albert G., 50/3-4: : 50/3-4: 93, 94, 96
Spanish International Communication
Corporation (SICC), 50/1-2: 44
Spanish International Network (SIN), 50/1-2: 44
Spanish Radio Broadcasters’ Association, 50/1-2: 44
Spicer, Mr. and Mrs. Raymond D., 49/3-4: 222
Spin Physics Inc., 49/3-4: 196-197
Spreckels Brothers, 49/3-4: 230
Spreckels Commercial Wharf, 49/3-4: 230
Spreckels Organ Pavilion, 49/3-4: 159, 180, 206,
207, 259
Spreckels, John D., 49/3-4: 120, 122, 135, 176, 255;
50/1-2: 1, 6, 10, 64; 50/3-4: 145
Spreckels, Mr. and Mrs. Claus, 49/3-4: 214, 217,
240
Spring Valley Irrigation District, 50/3-4: 139, 143
Spruce Street Suspension Footbridge, 49/3-4: 225
St. Paul’s Episcopal Church, 49/3-4: 256
Stahmann, Ray, 49/3-4: 184
Stalin, Joseph, 50/1-2: 20, 26
Stallings, Tom and Claudia, 49/3-4: 222
Stanford University, 50/1-2: 18, 27n, 29n; 50/3-4:
157
Stanford, Leland, 50/3-4: 157
Stanley, R. L., 49/3-4: 230
Stannard, John B., 49/3-4: 114, 230
Starkey, Harold B., 49/3-4: 259
Starr, Kevin, 49/3-4: 113, 131n; 50/1-2: 12, 16n
Stauffer, Paul C., 49/3-4: 222
Stecker (see Krotsch and Stecker), 49/3-4: 180
Steinbeck, John, 50/1-2: 22, 23, 24, 61
Stensland, Mr. and Mrs. Sidney C., 49/3-4: 185
Stephens, Mr. and Mrs. James, 49/3-4: 222
Stern, Martin Jr. and Associates, 49/3-4: 230
Stevenson, Frank W. (Stevenson and Alpaugh;
Stevenson, Allen and Lutzi), 49/3-4, 111, 124-126
passim, 133n, 135, 144, 145, 187, 199, 200, 223-24,
230-244, 255
Stewart, Victor, 49/3-4: 244
Stewart, William B., 49/3-4: 244
Stickley, Albert, 49/3-4: 214
Stickley, Gustav, 49/3-4: 119, 132n
Stingaree District, 110
Stires, 49/3-4: 222
Stokes, Mr. and Mrs. A. E., 49/3-4: 240
Stone, William, 49/3-4: 240
Storm, Mr. and Mrs. Eugene, 49/3-4: 253
Stowe, Harriet Beecher, 50/3-4: 147
Straeten, Commander Renier J., 49/3-4: 240
Stratford Inn, 49/3-4: 171
Strathman, Theodore, article by, 50/3-4: 124-144
Strout, Mr. and Mrs. E. A., 49/3-4: 152
Sturges, Clara, 49/3-4: 130
Sub-Human Primate Research Center, Oregon,
49/3-4: 229
Sullivan, Jerry, Jr., 49/3-4: 214
Sunset Limited: The Southern Pacific Railroad and the
Development of the American West (Orsi), 50/3-4: 157
Survey, The, 50/3-4: 103-108; 112-117 passim
Sweet, A. H., 49/3-4: 191, 245
Sweet, Lorraine B., 49/3-4: 240
92

Index
Sweetwater Water Company, 50/3-4: 88
Sycamore Canyon Creek, 50/3-4: 138
Tague, Mr. and Mrs. Fonnie, 49/3-4: 225
Talbot, Marion, 50/3-4, 118
Tappan, Mr. and Mrs. W. N.: 49/3-4: 172
Taylor, Mr. and Mrs. Byron M., 49/3-4: 240
Taylor, James Knox, 49/3-4: 244
Taylor, Mary Hart, 50/3-4: 111, 112
Teats, Katherine, 49/3-4: 151
Telemundo, 50/1-2: 42, 44-50 passim, 53n
Telesistema Mexicano, 50/1-2: 43, 44
Televisa Corporation, 50/1-2: 44
Television Group, 50/1-2: 46
Tenney, Senator Jack B., 50/1-2: 18, 23, 26, 27, 28n
Terminal Island Prison, San Pedro, 50/1-2: 26
Terry, Dr. M. O., 49/3-4: 192
Theosophical Society, 49/3-4: 192, 245
Thiene, Paul G., 49/3-4: 245
Thomas, M. Carey, 50/3-4: 118
Thompson, D. E., 49/3-4: 214
Thompson, Percival, 49/3-4: 151
Thorneson, Lt. Col. And Mrs. H. K., 49/3-4: 222
Thornton, William N., 49/3-4: 185, 240
Thoryk, Paul, 49/3-4: 245
Thurston, Rt. Rev. T. P., 49/3-4: 152
Tijuana, Baja California, Mexico 49/3-4, 132, 232-
241 passim; 50/1-2: 17, 30-41 passim, 42, 47, 48, 55,
56, 60; 50/3-4: 105, 106
Times Gone By, 50/3-4: 67
Timken, H. H., 49/3-4: 151, 209
Tingley, Katherine A., 49/3-4: 245; 50/3-4, 93
Title Insurance and Trust Company, 50/3-4: 69
Titus, Nat, 50/1-2: 6
Tlayacopa, Mexico, 50/1-2: 2
Tobin, Ed, 49/3-4: 185
Torrence, Mr. and Mrs. Vigil, 49/3-4: 222
Torrey Pines Lodge, 49/3-4: 214
Tourgée, Albion W., 50/3-4: 150
Tower Theatre, 49/3-4: 222
Town, Mr. and Mrs. Robert, 49/3-4: 222
Trabut, Dr. Louis Charles, 50/3-4: 75, 85
Train and Williams, 49/3-4: 245
Trans, Ruth, 49/3-4: 254
Treadwell, Dr. and Mrs. T. J., 49/3-4: 222
Treganza, Albert O., 49/3-4: 203, 245
Treviño, Cayetano E., 50/1-2: 36
Tribune, The (Oakland), 50/3-4: 164
Trost, 49/3-4: 222
Trotsche, Carl, 49/3-4: 114, 141, 142, 143
Tuberculosis, 50/3-4: 103, 108, 110
Tucker, Sadler and Bennett, 49/3-4: 245-246
Tufts, Charles A., 49/3-4: 246
Tuna canning district, 50/3-4: 105
Tuolumne County, California, 50/1-2: 57
Tuquerrea, Rafael Lince, 49/3-4: 214
TV Azteca, 50/1-2: 46, 49, 53n
Tyson, Dr. and Mrs. Robert, 49/3-4: 222
U.S. Naval Air Station, 49/3-4: 124
U.S. Naval Hospital, 49/3-4: 124, 160, 186, 187,
247, 248
U.S. Naval Training Center (NTC), 49/3-4: 124,
125, 133, 223
U.S. Senate Fact-Finding Committee on Un-
American Activities, 50/1-2: 18
U.S. Army Corp of Engineers, 50/3-4: 147
U.S. Bureau of Indian Affairs, 50/3-4: 166
U.S. Constitution, First Amendment, 50/3-4: 163;
Fourteenth Amendment, 50/3-4: 163
U.S. Department of Agriculture (USDA), 50/3-4:
75-80, 81-85 passim
U.S. Department of Public Health, 50/3-4: 110
U.S. Grant Hotel, 49/3-4: 134, 135, 241; 50/3-4, 80
U.S. Marines, 50/1-2: 4, 251
U.S. National Park Service, Historic American
Buildings Survey, 49/3-4: 246, 247; Office of
Archaeology and Historic Preservation, 49/3-4: 247
U.S. Navy, 49/3-4, 124, 126, 132n, 133n, 160, 163,
170, 186, 224, 242, 247, 251; 50/3-4: 122
U.S. Post Office and Customs House (1911), 49/3-
4: 140, 244
U.S. Post Office, 49/3-4: 140, 174, 178, 179, 244
U.S.-Mexican War, 50/1-2: 4
U.S.-Mexico Borderlands: 50/3-4: 145
Ubach, Father Dominic, 49/3-4: 120
Ullman, Daniel, 50/3-4: 100-101
Ullrich, Marian, 49/3-4: 222
Ullrick, Edgar V., 49/3-4: 246
Under the Perfect Sun: The San Diego Tourists Never
See (Davis et. al.), 50/1-2: 63
Uneven Ground: American Indian Sovereignty
and Federal Law (Wilkins and Lomawaima),
50/3-4: 167
Union Title and Trust Co., 49/3-4: 153, 167, 168, 171
United Cannery, Agricultural, Packing and Allied
Workers of America (ACAPAWA), 50/1-2: 64
University Heights,, 49/3-4: 113, 138, 184, 232
University of Alcalá de Henares, 50/1-2: iv
University of Algiers, 50/3-4: 75, 85
University of California, Berkeley, 50/3-4: 76, 164
University of California, College of Agriculture,
50/3-4: 84, 158
University of California, Irvine, 49/3-4: 259
University of California, Los Angeles, 50/1-2: 18,
28, 64
University of California, San Diego, 49/3-4: 194,
197, 224, 259
University of California, Santa Barbara, 50/1-2: 18
University of San Diego, 50/1-2: iv, v; 50/3-4: 68, 71
Univisión Television Group, 50/1-2: 42, 44-50
passim, 54n
Usquiano, Philip, 50/1-2: 19, 20, 22, 23, 24, 26
Valdez, Cesaria, 50/1-2: 21, 22
Valley Center, 49/3-4: 147
Van Dorn, Mr. and Mrs. Nicholas, 49/3-4: 222
Vancouver, George, 49/3-4: 124
Vanderwood, Paul J., 50/1-2: 60
Vaqueros, 50/1-2: 6
Vargas, Getulio, 50/3-4: 168
Vauclain Hospital, 49/3-4: 202
Vaughan, James, 50/3-4: 70
93

The Journal of San Diego History
Velez, Lupe, 50/1-2: 26, 29n
Velvet Barrios: Popular Culture and Chicana/o
Sexualities (de Alba), 50/1-2: 64
Venevisión, 50/1-2: 46
Verdugo, José Maria, 50/1-2: 30
Verner, A. L., 49/3-4: 192
Vernon, Edward W., 50/1-2: 55
Veterans Memorial and Civic Auditorium
Building, 49/3-4: 228, 229
Veterans Memorial Convention Center,
49/3-4: 228
Veterans War Memorial Building, 49/3-4: 143, 168,
227, 228, 229
Victoria, Governor Manuel, 50/3-4: 155
Viet Nam War, 50/3-4: 105
Vieter, Jack and Lita, 49/3-4: 207
Villa Montezuma, 49/3-4: 138, 247
Villareal, Carlos G., 49/3-4: 185
Vinal, David, 50/3-4: 146
Vint, Mr. and Mrs. Vincent J., 49/3-4: 222
Virussino, Mr. and Mrs., 49/3-4: 185
Vista Irrigation District, 49/3-4: 228
Viva Zapata! (1951), 50/1-2: 23
Vizcaíno, Sebastián, 49/3-4: 118, 122
Vollmer, E. W., 49/3-4: 241
Wadas, John, 50/3-4: 70
Waldrons, F. A. S., 49/3-4: 222
Walker and Eisen, 49/3-4: 252
Walker, Albert R., 49/3-4: 126, 127, 252
Wall Street Corporation of La Jolla, 49/3-4: 194
Wallace, Albert G., 49/3-4: 214
Wallace, Edward S., 49/3-4: 214
Wallace, L. R., 49/3-4: 214
Wallace, Sydney, 49/3-4: 252
Walsh, Victor A., article by, 50/1-2: 1-16.
Walters Company, 49/3-4: 241
War Housing, 49/3-4: 168, 174, 246, 259
War on Poverty, 50/3-4: 165
Warburton, H., 49/3-4: 185
Warner, Charles Dudley, 50/3-4: 149
Wassenaar residence, 49/3-4: 247
Waterman, H. A., 49/3-4: 222
Waterman, Hazel Wood, 49/3-4: 111, 113, 119-121
passim, 132n, 222, 253; 50/1-2: vi, 1, 5-13 passim,
13n, 15n, 16n
Waterman, Waldo S., 49/3-4: 119
Watson, Mr. and Mrs. Maurice T., 49/3-4: 222
Watts Building, 49/3-4: 138
WAVES, 50/3-4: 70
Weaver, Emmor Brooke, 50/3-4: 88
Weaver, W. T., 49/3-4: 144
Webb, Fred K., 49/3-4: 192
Weber and Edwards, 49/3-4: 253
Weber, 49/3-4: 222
Weber, David, 50/3-4: 68, 72
Webster, Dr. I. D., 49/3-4: 192
Wednesday Club, 50/3-4: 120
Wegeforth, Mrs. H. M., 49/3-4: 153
Weinberg, Mr. and Mrs. Lewis, 49/3-4: 222
Weinstein, Barbara, 50/3-4: 168
Weld, William, 50/3-4: 146
Welles, Orson, 50/1-2: 22, 23
Wellesley College, 50/3-4: 102, 103, 104, 108,
112, 114, 118
West Coast Langley Theater, 49/3-4: 229
West, Sally, 49/3-4: 112
Western Metal Supply Co., 49/3-4: 149, 150
Weston, C. A., 50/3-4: 124
Whaley, Lillian, 50/1-2: 5, 6, 8, 14n
Wheeler and McCown, 49/3-4: 255
Wheeler, M. G., 50/1-2: 35
Wheeler, Richard (Wheeler, Stevenson and
Loveless), 49/3-4: 170, 253-55
Wheeler, William H., 49/3-4: 183, 254, 255
“When Dr. Fairchild Visited Miss Sessions: San
Diego 1919” (Carter), 50/3-4, 74-101
White, Edward S., 49/3-4: 214
White, Martin G., 49/3-4: 241
Whitney and Company, 49/3-4: 241
Whitney, Governor Robert, 50/1-2: 1
Whitsitt, Hammond W., 49/3-4: 255
Whitson, W. W., 49/3-4: 241, 242
Wide Open Town: A History of Queen San Franciso to
1965 (Boyd), 50/3-4: 163
Wikler, Irving, Dr., 49/3-4: 144
Wild, Mark, 50/3-4: 160
Wilken, Dr. C. E., 49/3-4: 242
Wilkins, 49/3-4: 230
Wilkins, David E., 50/3-4: 167
Williams, Daryle, 50/3-4: 168
Williams, Harry L., 49/3-4: 185
Williams, J. J., 49/3-4: 242
Willoughby, Mr. and Mrs. George, 49/3-4: 222
WILPF, 50/3-4: 104, 105, 117
Wilson, Mr. and Mrs. Harlan, 49/3-4: 112
Wilson, J. S., 49/3-4: 214
Wilson, J. W., 49/3-4: 255
Wilson, Pete, 50/1-2: 64
Wilson, President Woodrow, 50/3-4: 122
Wimmer, Harriett, 49/3-4: 255-259
Winslow, Carleton, 49/3-4: 113, 123, 124, 256
Winsor, Robert, 49/3-4: 192
Wishing Well Hotel, 49/3-4: 222
Wisner, Madelaine, 49/3-4: 222
Wister, Owen, 49/3-4: 207
Wittenberg, Mrs. Lester (Elvira), 50/3-4: 68
Witty, Bob, 50/3-4: 70
Woman’s Home Association, 50/3-4: 107, 121
Women’s Club of San Diego, 49/3-4: 176, 242
Women’s Club of Vista, 49/3-4: 215
Women’s International League, 50/3-4: 105
Woodhouse, Elizabeth J., 49/3-4: 192
Woodjard, G. L., 49/3-4: 153
Woods, Dr. and Mrs. Harry B., 49/3-4: 223
Worchester, Daisy Lee Worthington, 50/3-4: 112,
120-121
Workingman’s Hotel, The (Golden West Hotel),
49/3-4: 135
World Columbian Exposition (see Expositions)
World War I, 49/3-4: 124
94

Index
World War II, 49/3-4: 111, 167, 184; 50/1-2: 13, 22,
24; 50/3-4: 161, 163
Wormley, Katherine, 50/3-4: 147
Worthington, Bryan, 49/3-4: 223
Worthington, Mrs. George (Ethel), 49/3-4: 168
Wounded Knee Massacre, 50/3-4: 159
Wright, Frank Lloyd, 49/3-4: 118, 256
Wright, Leone and Gillett, 49/3-4: 223
Writer, J. A., 49/3-4: 242
Wulff, Fifield, 49/3-4: 168, 179
XEAZ-AM Radio, 50/1-2: 42
XEMO-AM Radio, 50/1-2: 42
XERU Radio, 50/1-2: 42
XETV Television, 50/1-2: 42, 45, 47, 48
XEWT, 50/1-2: 48
XHAS Television, 50/1-2: 42, 49, 50
Y.M.C.A. (Young Men’s Christian Association);
49/3-4, 126, 192, 224, 242, 243; 50/3-4: 99, 107, 119.
120
Y.W.C.A. (Young Women’s Christian Association),
49/3-4: 144, 145, 243; 50/3-4: 120
Yale Clinic Building, 49/3-4: 207, 215
Ybañez, Maria de los Reyes, 50/1-2: 2
Young, Joan Emery, 50/1-2: 28n
Zamorano, Agustin V. , 50/3-4: 155-155
Zapata, Emiliano, 50/3-4: 168
Zeuner, Anthony, 49/3-4: 215
Zigo, Mr. and Mrs., 49/3-4: 185
ZLAC Rowing Club, 49/3-4: 216, 223
Zoological Gardens, 49/3-4: 149
Zoological Society of San Diego, 49/3-4: 152,
197, 198
Zoot Suit Riots, 50/1-2: 22; 50/3-4: 161
95

SAN DIEGO HISTORICAL SOCIETY BOARD OF TRUSTEES AND STAFF
Executive Director
David Watson
Officers
Harold G. Sadler, President
Robert F. Adelizzi, President-Elect
Elisabeth Bergan, Vice President
Peter Janopaul, Vice President
Susan W. Kalish, Secretary
Laura Stanley DeMarco, Treasurer
Ronald J. Urich, Past President
BOARD OF TRUSTEES
Terms Ending June 30, 2006
Diane G. Canedo
Ardyce Jarvis
Marlene “Mimi” McCoy
John M. O’Brien
John Rush
Terms Ending June 30, 2007
James R. Dawe
Robert McNeely
James Milch
Drexel Patterson
William V. Whelan
Leon Williams
Terms Ending June 30, 2008
August J. Felando
Kenneth Golden
Al JaCoby
Helen Kinnaird
Michael Morgan
AUXILIARY REPRESENTATIVES
Bobbie Bagel, Marston House
Elisabeth Bergan, Costume Council
Edward Streicher, Jumipero Serra Museum
Fred F. Mullins, Jr., SDHS Tours
MUSEUM OF SAN DIEGO HISTORY,
MUSEUM OF SAN DIEGO HISTORY,
RESEARCH LIBRARY, JUNIPERO SERRA
MUSEUM, VILLA MONTEZUMA, AND
MARSTON HOUSE STAFF
Nicole Benson, Executive Assistant
Karie Dzenkowski-Castillo, Exhibits Preparator
Laurie Egan, Curator of Collections
Laura Finster, Development Coordinator
Arianna Fogelman, Registrar
Keisha Frandsen, Site Interpreter
Katrina Glynn, Education Coordinator
David Hedley, Marston House Site Manager
Carl Hess, Museum Instructor
Raffael Hoffman, Site Interpreter
Jane Kenealy, Archivist
Cindy Krimmel, Assistant Photo Archivist
David Krimmel, Exhibit Designer
Rebecca Lawrence, Director of Education
Joel Levanetz, Serra Museum Site Manager
Treyer Mason-Gale, Assistant Registrar
Monica Molinary, Site Interpreter
Carol Myers, Photo Archivist
Jensen Olaya, Museum Store
Sarah Post, Curatorial Assistant
Ginger Raaka, Director of Retail
Alejandra Saldana, Site Interpreter
Montay Shine, Site Interpreter
Sean Stewart, Assistant Archivist
Susan Stocker, Accounting
Michelle Swinney, Marketing & Site Rental
Chris Travers, Director of the Booth Historical
Photograph Archives/Photographer
Donna Van Ert, Membership Coordinator
Johann Wahnon, Site Interpreter
Carol Watson, Payroll Administrator
CREDITS
Design and Layout
Allen Wynar
Printing
Crest Offset Printing