In this post, I want to preview the
first in a series of articles that I will start offering for sale on Amazon
kindle in the new year. This series will present primary research into the
jewel of San Diego
architecture, the Villa Montezuma and
her occupants.
I envision this series to
comprise roughly 6 parts of varying length, focusing on newspaper accounts, but
also pieces from magazines, books and personal letters.
This excerpt from Jesse Shepard & the Villa Montezuma: Tracing
the Man and His Signature Creation Though San Diego's Print Media: The Golden Era -- 1887 - 1889 presents
the "Editor's Comments", the "Introductory Comments" and first
few paragraphs from the magazine article "The Abbe Roux" from the
June 1887 issue of The Golden Era.
Jesse Shepard & the Villa Montezuma: Tracing the Man and His
Signature Creation Though San Diego's Print Media: The Golden Era -- 1887 - 1889 will be available from Amazon.com's
Kindle store beginning early January 2014 for $0.99.
As always, all comments are
welcome.
Good Evening.
***
Now let the work speak for
itself.
From
2002 through 2005 and a little beyond, I was very closely connected to the
Villa Montezuma; first as Assistant Curator of Historic Sites for the San Diego
Historical Society, then as a founding member of the new Friends of the Villa Montezuma, a non-profit organization, which I
helped establish.
My
involvement with the Villa Montezuma was one of the most frustrating,
aggravating, challenging, irritating, heart-breaking, richest, rewarding and
personally fulfilling times of my entire life. It fundamentally changed me and
how I viewed the world around me...And I am grateful.
This
article is the first in a series to present my research into the Villa
Montezuma in the form of primary source materials from various
nineteenth-century publications. Focusing on the years 1887 through 1889, the
period in which Jesse Shepard lived in the Villa Montezuma, this series will
also present pertinent and related materials from later in the nineteenth and
early twentieth centuries.
Sincerely,
I feel that these items should be made available to the greatest possible
audience. Transcribing these articles in their entirety allows me to present
primary source material in a format, that I believe is conducive to further
interest and scholarship. Also, just because my researches into the Villa
Montezuma may have come to an end, that does not mean that a newer, fresher
Historian might not benefit from my previous documentary delvings.
This
first issue showcases articles from the popular magazine, The Golden Era, from 1887 through 1889. Articles both written by
and written about Jesse Shepard and the Villa Montezuma are presented for the
reader to gain a better understanding of the man, the place, and the time.
Enjoy!
Sean K.T. Shiraishi, M.A.
November 2013
Jesse Shepard and the Villa Montezuma were
products of the San Diego ’s
Boom Time (1880s). With the coming of the railroad, the population of San Diego soared and rampant
land speculation led to outrageously inflated real estate prices. However, in
many ways San Diego
was still a rough and tumble port town. To address this perceived flaw and to
improve the town’s reputation overall, Jesse Shepard was invited to San Diego and the Villa
Montezuma born.
The Villa Montezuma was built to impress and
entertain as an example of the exuberance and opulence of the Gilded Age,
especially when coupled with Jesse Shepard’s artistic taste and eccentricity.
The story of the man and the mansion he designed can be traced through the
pages of San Diego
newspapers and journals. From Shepard’s first visit to San Diego , through the announcement that he
would build a large home, to details about his farewell concert; all was
documented in local newspapers and periodicals.
However, the story of Jesse Shepard and the Villa
Montezuma does not end with the last newspaper article reproduced here. Indeed
both of their stories go on for much longer. Jesse Shepard’s (or Francis
Grierson’s, as he was later known) journey ended in May 1927; while the story
of the Villa Montezuma continues to this very day.
What follows is a listing of articles by and
about Jesse Shepard, the Villa Montezuma, and its subsequent owners as printed
in the pages of newspapers and periodicals from the later years of the
nineteenth century until the day the mansion became a museum in 1972.
This work is intended primarily as an aide to
researchers by providing historical context for the Villa Montezuma and Jesse
Shepard as well as a glimpse of the significance of the Villa Montezuma in the
early days of San Diego ’s
evolution from small town to major city. But this monograph also expands upon
the story of this mansion and this man and provides some satisfaction for those
who desire more of the flavor of what life was like in San Diego when Jesse Shepard lived here. This
represents a collection of resources gathered together in order to tell a story
as well as further the research of late-nineteenth century San Diego.
Original spelling has been preserved as much as
possible, except where it would cloud understanding. Grammar and word order
have not been altered. While intended to be as comprehensive as possible, this
work is intended to grow; whether as additional volumes or expanded editions,
this tale is not yet fully told.
Sean K.T. Shiraishi, M.A.
Historian.
THE ABBE ROUX.
Full well we feel, full well we know
Great sorrows spring from little deeds,
Great happiness from some great woe;
The truth humanity most needs
Affliction’s fires can best bestow.
Talent is the faculty
of acquiring knowledge by the cultivation of certain gifts, such as singing,
acting, story-telling, picture making, prose painting and the like, which may
be moulded and modelled after almost any fashion; time patience, imitation and
memory being the principal factors in its development; and if “poetry is truth
in its Sunday clothes,” talent is genius en dishabille; the mimic of the
model, poetic, plastic or philosophical; wit without thought; spirit without
soul, head without heart.
Original thought and
profound feeling constitute a union of the intellectual and emotional faculty
which we may term personality. Without this blending of brain and nerve we have
only the imitator, who mistakes the prevailing modes of psychological rhetoric
for the highest and the deepest conceptions of united mental and moral
attributes.
Clever repartee and
clatter, some wordly experience, an apt mode of expression, sympathy and humor
diluted to cover the susceptibilities of a large portion of humanity who judge
of genius by the laws which govern their own limited capacity to know and to
feel these things with much more of equivalent import are what cause the master
of mere words and action to be mistaken for the profound thinker and creative
artist.
From
the times of Socrates to Dante and George Eliot, the individual environment has
mystified the most experienced psychologists. Genius is rarely, if ever,
displayed under a garb of physical attraction. Nature spreads before us an
illusive show which deceives all who are not close observers of her laws.
Compare the shrill cry and brilliant plumage of the parrot and peacock with the
plain colors and pleasant song of the lark and the nightingale; the brightest
flowers are commonly the least fragrant, and placid waters have the profoundest
depths. These examples might be multiplied without limit, humanity itself
presenting the most interesting and instructive; and in spite of the claims of
certain professors of physiology, we and in almost every instance where the
highest and most complicated natures are involved, that undecipherable
hieroglyphs encompass the soul around about, and “thou shalt not know me,”
written on the emblem of each lofty brow.