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A short drive from my office in Irvine, CA I found this interesting bit of architectural detail.
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Excerpt from lighthousefriends.com:
In 1857, it was noted that Channel Head, the eastern tip of an island just off Port aux Basques, “would be a good place for a Light-house, it would prevent many shipwrecks and Port au Basque, now the Telegraph is so near, is likely to be more visited by vessels.”
In 1873, a Mr. Winter presented a petition to the Newfoundland House of Assembly from M.H. Genge of Channel and Rev. T.A. Goode of Port aux Basques, with the backing of others from each place, praying for a lighthouse on Channel Head. The following year, work on a lighthouse was carried out and Austin Oke arrived on November 5 to fit up the lantern. The season, however, was too far advanced, and the light was not put into operation until the spring of 1875. The nine-metre-tall lighthouse was unique, consisting of a square wooden tower that rose from a slightly larger wooden base. A fixed red light was shown from the tower’s lantern room at a focal plane of 27.5 metres.
Inspector Nevill noted in 1890 that the framework of the lighthouse was in bad condition and that it “never was a satisfactory building, having been as it were extemporized locally.” Nevill recommended that a small iron tower be erected on one side of the present tower, and then the old lighthouse could be demolished. This proposal also took a few years to happen, but in 1895, a circular iron tower, with a height of seventeen metres, was erected adjacent to the wooden tower and equipped with a fourth-order lens.
The Newfoundland Railway, which linked St. John’s and Port aux Basques, was completed in 1898, and at that time ferry service was initiated between Port aux Baques and North Sydney, Nova Scotia. To aid this service, a fog signal building was erected twenty metres south of the lighthouse. During thick or foggy weather, a four-ounce cartridge of gun cotton was exploded every eight minutes. A red brick magazine was erected nine metres northeast of the tower to house the explosives, and the dwelling, tower, and fog signal were all linked by covered passageways for the convenience of the keeper.
In addition to the new fog signal at Channel Head, range lights were established at Port aux Basques in 1898 to help guide the ferry into port. The front light was shown from a square pyramidal wooden tower on the southwest point of Road Island, and the rear light was shone from a similar structure, located 448 metres away on the mainland.
In 1906, a diaphone fog alarm, operated by compressed air, was established at Channel Head to replace the explosives, and a concrete breastwork was built seaward of the newly constructed engine house to protect it from being damaged by the sea. The diaphone trumpet, which projected from the south end of the engine house, would sound one 3 ½ – second blast followed by 114 seconds of silence when needed.
Commercial electricity reached the station in 1963, and the light was converted from kerosene to electric in 1966. A two-storey duplex was built at Channel Head in 1965 along with various utility buildings, and later that decade a radio beacon was installed in the fog alarm building.
The tower was classified a Recognized Federal Heritage Building in 1988.
Beverley Apartments on Anzac Highway Everard Park were built in 1939 for Mrs Lousia Worthly. They are a good example of two storey residential Art Deco building. The residence is cement rendered and painted in a pastel colour with a terracotta trim and cantilevered sun hoods over the windows. The ground floor windows are curved with steel framework. The roof is terracotta tiles but it has an unusual half hipped roof line over the front gable. This was a feature of 1920s bungalows. Chimneys are topped with terracotta pots. Two doors west is another Art Deco residential complex.
"ABZÛ"
-5250x7000 (SRWE Hotsampling)
-Duncan Harris' CE Table (timestop, free camera, FOV)
-ReShade Framework (deband, levels)
This was a bit of a test, for future refinement. 1st exp. [50mm f/5 20s] for window. Swapped to 14mm for 2nd exp. [f/5 25s] Orange flash. Capped. 3rd exp. [f/5 40s] Blue back lighting & mood lamp - MITZ6085
Oberes Torhaus (in English: "Upper Gatehouse") in the village of Ickelheim, a district of the town of Bad Windsheim, Franconia (Bavaria)
Some background information:
Yes, one of the two gatehouses of Ickelheim, the lower one, to be precise, is available for purchase. However, both are almost identically constructed. Of course, you cannot buy the large building at its site, but only a small model of it for your model railway. The company Busch, a German producer of model railway equipment, has recreated the gate and offers it as a building kit for sale. So if you are the proud owner of a model railway, how about a nice little timber-framed gatehouse for your model railway layout?
With its more than 600 residents the village of Ickelheim is situated just about four km (2.5 miles) south of the district town of Bad Windsheim, in which it is incorporated. It is also located about 50 km (31 miles) west of the city of Nuremberg. Most likely, the settlement was already founded during the so-called Franconian colonisation in the 6th century. However, documented is its existence since the year 741.
In 889, Ickelheim was mentioned in a document as a Franconian royal seat. In the following centuries, the settlement evolved into a so-called Rundling (a circular village) with two gatehouses, which was surrounded by a rampart and a moat. However, the two gatehouses, which exist now, are not the original ones from medieval times. Instead, both were built in 1713 just to flag both accesses to the village. Anyway, the timber-framed gatehouses of Ickelheim are very unusual buildings and I don’t remember ever having seen any gatehouses resembling them – neither in Germany nor anywhere else.
In 1249, Pope Innocent IV put Heilsbronn Abbey and the fortified settlement of Ickelheim under his protection. However, another charter proves that in 1259, Ickelheim was already in possession of the burgraves of Nuremberg. In 1294, burgrave Conrad IV bestowed the municipal area to the German Order. Subsequently, Ickelheim became a minor administrative seat of the German Order, while the major seat of the whole area was in nearby Virnsberg Castle.
In the first half of the 16th century, the reformation in Franconia was in full swing. Many neighbouring communities had already converted to Protestantism, while Ickelheim was still under control of the Catholic German Order. In 1539, the villagers even demanded a Protestant minister, but the reformation wasn’t implemented in Ickelheim before 1565.
The Thirty Years’ War didn’t spare the community. In 1621, Ickelheim was afflicted with lootings and infringements by the Catholic Imperial forces under command of the military leader Peter Ernst, Count of Mansfeld. And in 1631, Imperial forces once again looted Ickelheim and its neighbouring communities Marktbergel and Ipsheim.
In 1806, the village was incorporated into the new Kingdom of Bavaria. In 1811, the rural community of Ickelheim was created. In 1856, a significant part of the commune was destroyed by fire. The fire was caused by arson and fanned by adverse winds. At the end of World War II, American troops tried to occupy the village. But as the resistance was rather fierce, they draw back and shelled Ickelheim with incendiary grenades. As a result, several houses were destroyed and the municipality was finally seized on 15th April 1945.
Today, Ickelheim is a beautiful little village with not less than three inns. In 1987, the commune won a gold medal in the Germany-wide competition "Unser Dorf soll schoener werden" (in English: "Our village should become more beautiful"). Ickelheim, which used to be an agricultural settlement in the past, is now mainly a village of commuters who work in the towns of Bad Windsheim or Ansbach or even in the city of Nuremberg. Only a few farms have survived. However, it’s noteworthy that at the southern slopes of Ickelheim vines are cultivated, which is quite unique in this area.
A Class 390 Pendolino electric multiple unit in the fleet of Virgin Trains West Coast accelerates away from Carlisle with 1M15, the 14:40 Glasgow Central - Euston service on Thursday 20th October 2016.
On my first visit to Carlisle station for many years my initial thought was "why is it so dark?" The explanation soon became apparent: self-evidently the overall roof is being refurbished, and I'm sure it will look fantastic when it's finished, but I wouldn't want to have to pay that scaffolding bill.
Hamelin / Lower Saxony / Germany
Album of "Doors Of The world":
www.flickr.com/photos/tabliniumcarlson/sets/7215762599909...
Album of Germany (the north): www.flickr.com/photos/tabliniumcarlson/albums/72157712098...
Lies Baas 2011 Framework needs to keep up any structure....balance is needed to hold it all together....mine seems off a bit lately. So there are plans to be made, health to be kept, and an open mind to fine tune the lay out. But most of all...open your shutters to let the light shine in.
The Witcher 3: Wild Hunt - Lanczos2 dowsampled 6MP shot | ReShade Framework 1.1.0 /w custom palettes | ini tweaks | Zanzer's CE table | PhotoMode2inOne, AMM, ULM, UGOM, Debug Console Extensions, &c.
The straight lines unstraightened, reflected in the water below - organic construction?
The original framework (a slightly different PoV) in the previous upload:
Waiting to go to exercise class and enjoyed looking at the Bus Station lean-to. For the record the aperture was f8.
The Postcard
A postally unused postcard that was published in 1986 by Impact of Pittsburg, California 94565. The card, which was designed and distributed in the USA, was printed in Korea.
The photography was by Ken Raveill, and the card, which has a divided back, was made with recycled paper.
Hearst Castle
Hearst Castle, known formally as La Cuesta Encantada ("The Enchanted Hill"), is an estate in San Simeon, located on the Central Coast of California. Conceived by William Randolph Hearst, the publishing tycoon, and his architect Julia Morgan, the castle was built between 1919 and 1947.
George Bernard Shaw described Hearst Castle as:
"What God would have built
if he had had the money."
Today, Hearst Castle is a museum open to the public as a California State Park and registered as a National Historic Landmark and California Historical Landmark.
George Hearst, William Randolph Hearst's father, had purchased the original 40,000-acre (162 km2) estate in 1865 and Camp Hill, the site for the future Hearst Castle, was used for family camping vacations during Hearst's youth.
In 1919 William inherited $11,000,000 (equivalent to $172,000,000 in 2021) and estates, including the land at San Simeon. He used his fortune to further develop his media empire of newspapers, magazines and radio stations, the profits from which supported a lifetime of building and collecting.
Within a few months of Phoebe Hearst's death, he had commissioned Morgan to:
"Build something a little more
comfortable up on the hill."
This was the genesis of the present castle. Morgan was an architectural pioneer:
"America's first truly independent
female architect."
She was the first woman to study architecture at the School of Beaux-Arts in Paris, the first to have her own architectural practice in California, and the first female winner of the American Institute of Architects' Gold Medal.
Julia worked in close collaboration with Hearst for over twenty years, and the castle at San Simeon is her best-known creation.
In the Roaring Twenties and into the 1930's, Hearst Castle reached its social peak. Originally intended as a family home for Hearst, his wife Millicent and their five sons, by 1925 he and Millicent had effectively separated and he held court at San Simeon with his mistress, the actress Marion Davies.
Their guest list comprised most of the Hollywood stars of the period; Charlie Chaplin, Cary Grant, the Marx Brothers, Greta Garbo, Buster Keaton, Mary Pickford, Jean Harlow and Clark Gable all visited, some on multiple occasions.
Political luminaries encompassed Calvin Coolidge and Winston Churchill, while other notables included Charles Lindbergh, P. G. Wodehouse and George Bernard Shaw.
Visitors gathered each evening at Casa Grande for drinks in the Assembly Room, dined in the Refectory and watched the latest movie in the theater before retiring to the luxurious accommodation provided by the guest houses of Casa del Mar, Casa del Monte and Casa del Sol.
During the days, they admired the views, rode, played tennis, bowls or golf and swam in "the most sumptuous swimming pool on earth".
While Hearst entertained, Morgan built; the castle was under almost continual construction from 1920 until 1939, with work resuming after the end of World War II until Hearst's final departure in 1947.
Hearst, his castle and his lifestyle were satirized by Orson Welles in his 1941 film Citizen Kane. In the film, which Hearst sought to suppress, Charles Foster Kane's palace Xanadu is said to contain:
"Paintings, pictures, statues, the very stones
of many another palace – a collection of
everything so big it can never be cataloged
or appraised; enough for ten museums; the
loot of the world".
Welles's was referring to Hearst's mania for collecting; the dealer Joseph Duveen called him the "Great Accumulator".
With a passion for acquisition almost from childhood, he bought architectural elements, art, antiques, statuary, silverware and textiles on an epic scale. Shortly after starting San Simeon, he began to conceive of making the castle:
"A museum of the best
things that I can secure".
Foremost among his purchases were architectural elements from Western Europe, particularly Spain. Over thirty ceilings, doorcases, fireplaces and mantels, entire monasteries, paneling and a medieval tithe barn were purchased, shipped to Hearst's Brooklyn warehouses and transported on to California.
Much was then incorporated into the fabric of Hearst Castle. In addition, he built up collections of more conventional art and antiques of high quality; his assemblage of ancient Greek vases was one of the world's largest.
In May 1947, Hearst's health compelled him and Marion Davies to leave the castle for the last time. He died in Los Angeles in 1951, and Morgan died in 1957. The following year, the Hearst family gave the castle and much of its contents to the State of California, and the mansion was opened to the public on the 17th. May 17, 1958.
It has since operated as the Hearst San Simeon State Historical Monument, and attracts about 750,000 visitors annually.
The Hearst family retains ownership of the majority of the 82,000 acres (332 km2) wider estate and, under a land conservation agreement reached in 2005, has worked with the California State Parks Department and American Land Conservancy to preserve the undeveloped character of the area.
Early History to 1864
The coastal range of Southern California has been occupied since prehistoric times. The indigenous inhabitants were the Salinans and the Chumash. In the late 18th. century, Spanish missions were established in the area in order to convert the Native American population.
The Mission San Miguel Arcángel, one of the largest, opened in what is now San Luis Obispo county in 1797. By the 1840's, the mission had declined and the priests departed. In that decade, the governors of Mexican California distributed the mission lands in a series of grants.
Three of these were Rancho Piedra Blanca, Rancho Santa Rosa and Rancho San Simeon. The Mexican–American War of 1846–1848 saw the area pass into the control of the United States under the terms of the Mexican Cession. The California Gold Rush of the next decade brought an influx of American settlers, among whom was the 30-year old George Hearst.
Buying the land: 1865–1919
Born in Missouri in 1820, George Hearst made his fortune as a miner of gold and silver, notably at the Comstock Lode and the Homestake Mine. He then undertook a political career, becoming a senator in 1886, and bought The San Francisco Examiner.
Investing in land, he bought the Piedra Blanca property in 1865, and subsequently extended his holdings with the acquisition of most of the Santa Rosa estate, and much of the San Simeon lands.
In the 1870's George Hearst built a ranch house on his estate, which remains a private property maintained by the Hearst Corporation. The San Simeon area became a site for family camping expeditions, including his young son, William. A particularly favored spot was named Camp Hill, the site of the future Hearst Castle.
Years later Hearst recalled his early memories of the place:
"My father brought me to San Simeon
as a boy. I had to come up the slope
hanging on to the tail of a pony.
We lived in a cabin on this spot and I
could see forever. That's the West –
forever."
George Hearst developed the estate somewhat, introducing beef and dairy cattle, planting extensive fruit orchards, and expanding the wharf facilities at San Simeon Bay. He also bred racehorses.
While his father developed the ranch, Hearst and his mother traveled, including an eighteen-month tour of Europe in 1873, where Hearst's life-long obsession with art collecting began.
When George Hearst died in 1891, he left an estate of $18 million to his widow including the California ranch. Phoebe Hearst shared the cultural and artistic interests of her son, collecting art and patronizing architects.
She was also a considerable philanthropist, founding schools and libraries, supporting the fledgling University of California, Berkeley, including the funding of the Hearst Mining Building in memory of her husband, and making major donations to a range of women's organizations, including the YWCA.
During the late 1890's, Mrs Hearst encountered Julia Morgan, a young architecture student at Berkeley. On Phoebe Hearst's death in 1919, William Hearst inherited the ranch, which had grown to 250,000 acres and 14 miles (23 km) of coastline, as well as $11 million.
250,000 acres is a huge area for an estate - to accommodate that area in a square, it would need sides of over 19.8 miles (32 km).
Within days of his mother's death, William was at Morgan's San Francisco office.
Julia Morgan
Julia Morgan, who was born in 1872, was 47 when Hearst entered her office in 1919. Her biographer Mark A. Wilson has described her subsequent career as that of:
"America's first independent
full-time woman architect".
After studying at Berkeley, where she worked with Bernard Maybeck, and in 1898 she became the first woman to win entry to the prestigious École des Beaux-Arts in Paris. Passing out from the École in 1902, Morgan returned to San Francisco and took up a post at the architectural practice of John Galen Howard.
Howard recognized Morgan's talents, but also exploited them:
"The best thing about this person
is, I pay her almost nothing, as it is
a woman."
In 1904, Julia passed the California architects' licensing examination, the first woman to do so, establishing her own office in 1906 at 456 Montgomery Street in San Francisco.
During her time with Howard, Morgan was commissioned by Phoebe Hearst to undertake work at her Hacienda del Pozo de Verona estate at Pleasanton. This led to work at Wyntoon and to a number of commissions from Hearst himself; an unexecuted design for a mansion at Sausalito, north of San Francisco, a cottage at the Grand Canyon, and the Los Angeles Examiner Building.
In 1919, when he turned up at Morgan's office, Hearst was fifty-six years old, and the owner of a publishing empire that included twenty-eight newspapers, thirteen magazines, eight radio stations, four film studios, extensive real-estate holdings and thirty-one thousand employees.
He was also a significant public figure: although his political endeavors had proved largely unsuccessful, the influence he exerted through his direct control of his media empire attracted fame and opprobrium in equal measure.
In 1917, one biographer described him as:
"The most hated man
in the country".
The actor Ralph Bellamy, a guest at San Simeon in the mid-1930's, recorded Hearst's working methods in a description of a party in the Assembly Room:
"The party was quite gay. And in the midst of it,
Mr Hearst came in. There was a teletype machine
just inside, and he stopped and he read it.
He went to a table and picked up a phone.
He asked for the editor of his San Francisco
newspaper and he said, 'Put this in a two-column
box of the front pages of all the newspapers
tomorrow morning.'
And without notes he dictated an editorial."
Morgan and Hearst's partnership at San Simeon lasted from 1919 until his final departure from the castle in 1947. Their correspondence, preserved in the Julia Morgan archive in the Robert E. Kennedy Library at Cal Poly San Luis Obispo, runs to some 3,700 letters and telegrams.
Victoria Kastner, Hearst Castle's in-house custodian, has described the partnership as "a rare, true collaboration," and there are many contemporary accounts of the closeness of the relationship. Walter Steilberg, a draughtsman in Morgan's office, once observed them at dinner:
"The rest of us could have been a
hundred miles away; they didn't pay
any attention to anybody ... these
two very different people just clicked".
Thomas Aidala, in his 1984 history of the castle, made a similar observation:
"Seated opposite each other, they
would discuss and review work,
consider design changes, pass
drawings back and forth ... seemingly
oblivious of the rest of the guests."
Having a Ball: 1925–1938
Hearst and his family occupied Casa Grande for the first time at Christmas, 1925. Thereafter, Hearst's wife, Millicent, went back to New York, and from 1926 until they left for the last time in 1947, Hearst's mistress Marion Davies acted as his chatelaine at the castle.
The Hollywood and political elite often visited in the 1920's and 1930's. Among Hearst's guests were Calvin Coolidge, Winston Churchill, Charlie Chaplin, Cary Grant, the Marx Brothers, Charles Lindbergh, and Clark Gable.
Churchill described his host, and Millicent Hearst and Davies, in a letter to his own wife:
"A grave simple child – with no doubt a
nasty temper – playing with the most
costly toys.
Two magnificent establishments, two
charming wives, complete indifference
to public opinion, oriental hospitalities."
Weekend guests were either brought by private train from Glendale Station north of Los Angeles, and then by car to the castle, or flew into Hearst's airstrip, generally arriving late on Friday evening or on Saturday. Cecil Beaton wrote of his impressions during his first visit for New Year's Eve in 1931:
"We caught sight of a vast, sparkling white
castle in Spain. It was out of a fairy story.
The sun poured down with theatrical
brilliance on tons of white marble and white
stone.
There seemed to be a thousand statues,
pedestals, urns. The flowers were unreal in
their ordered profusion.
Hearst stood smiling at the top of one of
the many flights of garden steps".
Guests were generally left to their own devices during the day. Horseback riding, shooting, swimming, golf, croquet and tennis were all available, while Hearst would lead mounted parties for picnics on the estate. The only absolute deadline was for cocktails in the assembly room at 7.30 on Saturday night.
Alcohol was rationed; guests were not permitted to have liquor in their rooms, and were limited to one cocktail each before dinner. This was due not to meanness on Hearst's part, but to his concerns over Davies's alcoholism, though the rule was frequently flouted.
The actor David Niven later reflected on his supplying illicit alcohol to Davies:
"It seemed fun at the time to stoke up
her fire of outrageous fun and I got a
kick out of feeling I had outwitted one
of the most powerful and best informed
men on earth, but what a disloyal and
crummy betrayal of him, and what a
nasty potential nail to put in her coffin."
Dinner was served at 9.00 in the refectory. Wine came from Hearst's 7,000-bottle cellar. Charlie Chaplin commented on the fare:
"Dinners were elaborate -- pheasant, wild
duck, partridge and venison -- but were
also informal: amidst the opulence, we
were served paper napkins, it was only
when Mrs Hearst was in residence that
the guests were given linen ones."
The informality extended to the ketchup bottles and condiments in jars which were remarked on by many guests.
Dinner was invariably followed by a movie; initially outside, and then in the theater. The actress Ilka Chase recorded a showing in the early 1930's:
"The theater was not yet complete – the plaster
was still wet – so an immense pile of fur coats
was heaped at the door, and each guest picked
one up and enveloped himself before entering...
Hearst and Marion, close together in the gloom
and bundled in their fur coats, looked for all the
world like the big and baby bears".
Movies were generally films from Hearst's own studio, Cosmopolitan Productions, and often featured Marion Davies. Sherman Eubanks, whose father worked as an electrician at the castle, recorded in an oral history:
"Mr Hearst would push a button and call up to
the projectionist and say 'Put on Marion's Peg
o' My Heart'.
So I've seen Peg o' My Heart about fifty times.
This is not being critical. I'm simply saying that's
the way it was. This repetition tended to put a
slight strain on the guests' gratitude."
In 1937, Patricia Van Cleeve married at the castle, the grandest social occasion there since the visit of President and Mrs Coolidge in February 1930. Ken Murray records these two events as the only occasions when formal attire was required of guests to the castle.
Van Cleeve, who married the actor Arthur Lake, was always introduced as Marion Davies' favorite niece. It was frequently rumored that she was in fact Davies and Hearst's daughter, something she herself acknowledged just before her death in 1993.
In February 1938, a plane crash at the San Simeon airstrip led to the deaths of Lord and Lady Plunket, who were traveling to the castle as Hearst's guests, and the pilot Tex Phillips. The only other passenger, the bobsledding champion, James Lawrence, survived.
The Specter at the Feast: Hearst, Welles and Xanadu
Hearst Castle was the inspiration for Xanadu, and Hearst himself the main model for Charles Foster Kane in Orson Welles's 1941 film Citizen Kane.
Having made his name with the Mercury Theatre production of The War of the Worlds in 1938, Welles arrived in Hollywood in 1939 to make a film version of Joseph Conrad's novel, Heart of Darkness for RKO Pictures.
The film was not made, and Welles began a collaboration with the screenwriter Herman J. Mankiewicz on a screenplay originally entitled American. The film tells the stories of Kane, a media magnate and aspiring politician, and of his second wife Susan Alexander, a failed opera singer driven to drink, who inhabit a castle in Florida.
Filming began in June 1940, and the movie premiered on the 1st. June 1941. Although at the time Orson Welles and RKO denied that the film was based on Hearst, his long-time friend and collaborator, John Houseman was clear:
"The truth is simple: for the basic concept
of Charles Foster Kane and for the main
lines and significant events of his public life,
Mankiewicz used as his model the figure of
William Randolph Hearst".
Told of the film's content before its release – his friends, the gossip columnists Hedda Hopper and Louella Parsons having attended early screenings – Hearst made strenuous efforts to stop the premiere. When these failed, he sought to damage the film's circulation by alternately forbidding all mention of it in his media outlets, or by using them to attack both the movie and Welles.
Hearst's assault damaged the film at the box office, and harmed Welles' subsequent career.
Since its inception in 1952 through to 2012, the Sight and Sound Critics' Poll voted Citizen Kane the greatest film of all time in every decade of polling. On the 9th. March 2012 the film was screened in the movie theater at Hearst Castle for the first time as part of the San Luis Obispo International Film Festival.
Depression, Death and After: 1939–Present
By the late 1930's, the Great Depression and Hearst's profligacy had brought him to the brink of financial ruin. Debts totaled $126 million, and he was compelled to cede financial control of the Hearst Corporation. Newspapers and radio stations were sold, and much of his art collection was dispersed in a series of sales, often for much less than he had paid.
Hearst railed against his losses, and the perceived incompetence of the sales agents, Parish-Watson & Co:
"They greatly cheapened them and us,
he advertises like a bargain basement
sale. I am heartbroken".
Construction at Hearst Castle virtually ceased. After the attack on Pearl Harbor, the castle was closed up and Hearst and Davies moved to Wyntoon, which was perceived to be less vulnerable to enemy attack.
They returned in 1945, and construction on a limited scale recommenced, finally ending in 1947. In early May of that year, with his health declining, Hearst and Davies left the castle for the last time. The pair settled in at 1007 North Beverly Drive in Beverly Hills.
William Randolph Hearst died in 1951, his death abruptly severing him from Davies, who was excluded from the funeral by Hearst's family:
"For thirty-two years I had him,
and they leave me with his
empty room".
In 1950 Julia Morgan closed her San Francisco office after a career of forty-two years. Ill health marred her retirement and she died, a virtual recluse, in early 1957.
In 1958 the Hearst Corporation donated Hearst Castle, its gardens, and many of its contents, to the state of California. A plaque at the castle reads:
"La Cuesta Encantada presented to
the State of California in 1958 by the
Hearst Corporation in memory of
William Randolph Hearst who created
this Enchanted Hill, and of his mother,
Phoebe Apperson Hearst, who
inspired it".
The castle was opened to the public for the first time in June 1958. Hearst Castle was added to the National Register of Historic Places on the 22nd. June.
Hearst was always keen to protect the mystique of his castle. In 1926, he wrote to Morgan to congratulate her after a successful party was held on the hill:
"Those wild movie people said it was
wonderful and that the most extravagant
dream of a movie picture fell far short of
this reality. They all wanted to make a
picture there but they are NOT going to
be allowed to do this."
Commercial filming at the castle is still rarely allowed. Since 1957 only two projects have been granted permission:
-- Stanley Kubrick's 1960 film Spartacus used the castle to stand in as the villa of Marcus Licinius Crassus, played by Lawrence Olivier.
-- In 2014, Lady Gaga's music video for "G.U.Y." was filmed at the Neptune and Roman Pools.
On the 12th. February 1976, the Casa del Sol guesthouse was damaged by a bomb. The device was placed by allies of the Symbionese Liberation Army (SLA), in retaliation for Patty Hearst, Hearst's granddaughter, testifying in court at her trial for armed robbery, following her kidnapping by the SLA in 1974.
On the 22nd. December 2003, an earthquake occurred with its epicenter some three miles north of the castle. With a magnitude of 6.5, it was the largest earthquake recorded at San Simeon. The very limited structural damage which resulted was a testament to the quality of the castle's construction.
Since its opening, the castle has become a major California tourist attraction, attracting over 850,000 visitors in 2018. Recent changes to the tour arrangements now allow visitors time to explore the grounds independently at the conclusion of the conducted tours.
The Hearst family maintains a connection with the castle, which was closed for a day in early August 2019 for the wedding of Amanda Hearst, Hearst's great-granddaughter.
The castle closed in March 2020, due to the COVID-19 pandemic. After 2 years of closure and repairs to the access road due to rainstorm damage, the castle reopened on the 11th. May 2022.
Architecture of Hearst Castle
Hearst's original idea was to build a bungalow, according to Walter Steilberg, one of Morgan's draftsmen who recalled Hearst's words from the initial meeting:
"I would like to build something up on
the hill at San Simeon. I get tired of
going up there and camping in tents.
I'm getting a little too old for that.
I'd like to get something that would
be a little more comfortable".
However within a month, Hearst's original ideas for a modest dwelling had greatly expanded. Discussion on the style began with consideration of "Jappo-Swisso" themes. Then the Spanish Colonial Revival style was favored. Morgan had used this style when she worked on Hearst's Los Angeles Herald Examiner headquarters in 1915.
Hearst appreciated the Spanish Revival but was dissatisfied with the crudeness of the colonial structures in California. Mexican colonial architecture had more sophistication, but he objected to its abundance of ornamentation.
Thomas Aidala, in his 1984 study of the castle, notes the Churrigueresque influence on the design of the main block:
"Flat and unembellished exterior surfaces;
decorative urges are particularized and
isolated, focused mainly on doorways,
windows and towers".
The Panama-California Exposition of 1915 in San Diego held the closest approximations in California to the approach Hearst desired. But William's European tours, and specifically the inspiration of the Iberian Peninsula, led him to Renaissance and Baroque examples in southern Spain that more exactly suited his tastes. He particularly admired a church in Ronda, Spain and asked Morgan to model the Casa Grande towers after it.
In a letter to Morgan dated 31st. December 1919, Hearst wrote:
"The San Diego Exposition is the best source
of Spanish in California. The alternative is to
build in the Renaissance style of southern Spain.
We picked out the towers of the church at Ronda...
a Renaissance decoration, particularly that of the
very southern part of Spain, could harmonize well
with them.
I would very much like to have your views on what
style of architecture we should select."
This blend of Southern Spanish Renaissance, Revival and Mediterranean examples became San Simeon's defining style:
"Something a little different than other
people are doing out in California".
The architectural writers Arrol Gellner and Douglas Keister describe Casa Grande as
"A palatial fusion of Classicism and Mediterranean
architecture that transcended the Mission Revival
era and instead belonged to the more archaeological
Period Revival styles that gained favor after the
Panama-California Exposition of 1915".
Hearst Castle has a total of 42 bedrooms, 61 bathrooms, 19 sitting rooms, 127 acres (half a square kilometer) of gardens, indoor and outdoor swimming pools, tennis courts, a movie theater, an airfield and, during Hearst's lifetime, the world's largest private zoo.
Hearst was an inveterate rethinker who would frequently order the redesign of previously agreed, and often built, structures: the Neptune Pool was rebuilt three times before he was satisfied.
He was aware of his propensity for changing his mind; in a letter dated the 18th. March 1920, he wrote to Morgan:
"All little houses stunning. Please complete
before I can think up any more changes".
As a consequence of Hearst's persistent design changes, and financial difficulties in the early and later 1930's, the complex was never finished.
By the late summer of 1919, Morgan had surveyed the site, analyzed its geology, and drawn initial plans for Casa Grande. Construction began in 1919 and continued through 1947 when Hearst left the estate for the last time.
During the early years of construction, until Hearst's stays at San Simeon became longer and more frequent, his approval for the ongoing design was obtained by Morgan sending him models of planned developments.
By the late 1920's the main model, designed by another female architect Julian C. Mesic, had become too large to ship, and Mesic and Morgan would photograph it, hand-color the images, and send these to Hearst.
Construction of Hearst Castle
The castle's location presented major challenges for construction. It was remote; when Morgan began coming to the estate for site visits in 1919, she would leave her San Francisco office on Friday afternoon and take an eight-hour, 200-mile train journey to San Luis Obispo, followed by a fifty-mile drive to San Simeon.
The relative isolation made recruiting and retaining a workforce a constant difficulty. In the early years, the estate lacked water, its limited supplies coming from three natural springs on Pine Mountain, a 3,500-foot-high (1,100 m) peak seven miles (11 km) east of Hearst Castle.
The issue was addressed by the construction of three reservoirs, and Morgan devised a gravity-based water delivery system that transported water from the nearby mountain springs to the reservoirs, including the main one on Rocky Butte, a 2,000-foot (610 m) knoll less than a mile southeast of Hearst Castle.
Water was of particular importance; as well as feeding the pools and fountains Hearst desired, it provided electricity, by way of a private hydroelectric plant, until the San Joaquin Light and Power Corporation began service to the castle in 1924.
The climate presented a further challenge. The proximity to the coast brought strong winds in from the Pacific Ocean, and the site's elevation meant that winter storms were frequent and severe.
After a period of severe storms in February 1927, Hearst wrote a letter:
"We are all leaving the hill. We are drowned,
blown and frozen out. Before we build anything
more, let's make what we have practical,
comfortable and beautiful.
If we can't do that we might just as well change
the names of the houses to Pneumonia House,
Diphtheria House and Influenza Bungalow.
The main house we can call the Clinic."
Water was also essential for the production of concrete, the main structural component of the houses and their ancillary buildings.
Morgan had substantial experience of building in steel-reinforced concrete and, together with the firm of consulting engineers Earl and Wright, experimented in finding suitable stone, eventually settling on that quarried from the mountain top on which the foundation platform for the castle was built.
Combining this with desalinated sand from San Simeon Bay produced concrete of exceptionally high quality. Later, white sand was brought in from Carmel. Material for construction was transported either by train and truck, or by sea into a wharf built in San Simeon Bay below the site. In time, a light railway was constructed from the wharf to the castle, and Morgan built a compound of warehouses for storage and accommodation for workers by the bay.
Brick and tile works were also developed on site, as brick was used extensively, and tiling was an important element of the decoration of the castle. Morgan used several tile companies to produce her designs, including Grueby Faience, Batchelder, California Faience and Solon & Schemmel.
Albert Solon and Frank Schemmel came to Hearst Castle to undertake tiling work, and Solon's brother, Camille, was responsible for the design of the mosaics of blue-and-gold Venetian glass tile used in the Roman pool and the murals in Hearst's Gothic library.
Morgan worked with a series of construction managers; Henry Washburn from 1919 to 1922, then Camille Rossi from 1922, until his firing by Hearst in 1932, and finally George Loorz until 1940. From 1920 to 1939, there were between 25 and 150 workmen employed in construction at the castle.
Costs of Hearst Castle
The exact cost of the entire San Simeon complex is unknown. Kastner makes an estimate of expenditure on construction and furnishing the complex between 1919 and 1947 as "under $10,000,000".
Thomas Aidala suggests a slightly more precise figure for the overall cost at between $7.2 and $8.2 million. Hearst's relaxed approach to using the funds of his companies, and sometimes the companies themselves, to make personal purchases made clear accounting for expenditure almost impossible.
In 1927 one of his lawyers wrote:
"The entire history of your corporation
shows an informal method of withdrawal
of funds".
In 1945, when the Hearst Corporation was closing the Hearst Castle account for the final time, Morgan gave a breakdown of construction costs, which did not include expenditure on antiques and furnishings.
Casa Grande's build cost is given as $2,987,000, and that for the guest houses, $500,000. Other works, including nearly half a million dollars on the Neptune pool, brought the total to $4,717,000.
Morgan's fees for twenty-odd years of almost continuous work came to $70,755. Her initial fee was a 6% commission on total costs. This was later increased to 8.5%. Many additional expenses, and challenges in getting prompt payment, led her to receive rather less than this.
Kastner suggests that Morgan made an overall profit of $100,000 on the entire, twenty-year, project. Her modest remuneration was unimportant to her. At the height of Hearst's financial travails in the late 1930's, when his debts stood at over $87 million, Morgan wrote to him,
"I wish you would use me in any way
that relieves your mind as to the care
of your belongings. There never has
been, nor will there be, any charge in
this connection, it is an honor and a
pleasure".
Casa del Mar
Casa del Mar, the largest of the three guest houses, provided accommodation for Hearst himself until Casa Grande was ready in 1925. He stayed in the house again in 1947, during his last visit to the estate.
Casa del Mar contains 5,350 square feet (546 square meters) of floor space. Although luxuriously designed and furnished, none of the guest houses had kitchen facilities, a lack that sometimes irritated Hearst's guests. Adela Rogers St. Johns recounted her first visit:
"I rang and asked the maid for coffee.
With a smile, she said I would have to
go up to the castle for that.
I asked Marion Davies about this. She
said W. R. Hearst did not approve of
breakfast in bed."
Adjacent to Casa del Mar is the wellhead from Phoebe Hearst's Hacienda del Pozo de Verona, which Hearst moved to San Simeon when he sold his mother's estate after her death in 1919.
Casa del Monte
Casa del Monte was the first of the guest houses, originally entitled simply Houses A (del Mar), B (del Monte) and C (del Sol). It was built by Morgan on the slopes below the site of Casa Grande during 1920–1924.
Hearst had initially wanted to commence work with the construction of the main house, but Morgan persuaded him to begin with the guest cottages because the smaller structures could be completed more quickly.
Each guest house faces the Esplanade, and appears as a single story at its front entrance. Additional stories descend rearward down the terraced mountain side. Casa del Monte has 2,550 sq ft (237 sq. meters) of living space.
Casa del Sol
The decorative style of the Casa del Sol is Moorish, accentuated by the use of antique Persian tiles. A bronze copy of Donatello's David stands atop a copy of an original Spanish fountain.
The inspiration for the fountain came from an illustration in a book, The Minor Ecclesiastical, Domestic and Garden Architecture of Southern Spain, written by Austin Whittlesey and published in 1919.
Hearst sent a copy to Morgan, while retaining another for himself, and it proved a fertile source of ideas. The size of the house is 3,620 square feet (242 sq. meters).
Morgan's staff were responsible for the cataloguing of those parts of Hearst's art collection which were shipped to California, and an oral record made in the 1980's indicates the methodology used for furnishing the buildings at San Simeon:
"We would set the object up, and then I would
stand with a yardstick to give it scale. Sam Crow
would take a picture. Then we would give it a
number and I would write a description.
These were made into albums.
When Mr Hearst would write and say 'I want a
Florentine mantel in Cottage C in Room B, and
four yards of tiles,' then we would look it up in
the books and find something that would fit."
Casa Grande
Construction of Casa Grande began in April 1922. Work continued almost until Hearst's final departure on the 2nd. May 1947, and even then the house was unfinished. The size of Casa Grande is 68,500 square feet (5,634 sq. meters).
The main western façade is four stories. The entrance front, inspired by a gateway in Seville, is flanked by twin bell towers modeled on the tower of the church of Santa Maria la Mayor.
The layout of the main house was originally to a T-plan, with the assembly room to the front, and the refectory at a right angle to its center. The subsequent extensions of the North and South wings modified the original design.
As elsewhere, the core construction material is concrete, though the façade is faced in stone. In October 1927 Morgan wrote to Arthur Byne:
"We finally took the bull by the horns
and are facing the entire main building
with a Manti stone from Utah."
Morgan assured Hearst that it would be "the making of the building".
A cast-stone balcony fronts the second floor, and another in cast-iron the third. Above this is a large wooden overhang or gable. This was constructed in Siamese teak, originally intended to outfit a ship, which Morgan located in San Francisco.
The carving was undertaken by her senior carver Jules Suppo. Sara Holmes Boutelle suggests Morgan may have been inspired by a somewhat similar example at the Mission San Xavier del Bac in Arizona. The façade terminates with the bell towers, comprising the Celestial suites, the carillon towers and two cupolas.
The curator Victoria Kastner notes a particular feature of Casa Grande, the absence of any grand staircases. Access to the upper floors is either by elevators or stairwells in the corner turrets of the building. Many of the stairwells are undecorated and the plain, poured concrete contrasts with the richness of the decoration elsewhere.
The terrace in front of the entrance, named Central Plaza, has a quatrefoil pond at its center, with a statue of Galatea on a Dolphin. The statue was inherited, having been bought by Phoebe Hearst when her son was temporarily short of money.
The doorway from the Central Plaza into Casa Grande illustrates Morgan and Hearst's relaxed approach to combining genuine antiques with modern reproductions to achieve the effects they both desired. A 16th.-century iron gate from Spain is topped by a fanlight grille, constructed in a matching style in the 1920's by Ed Trinkeller, the castle's main ironmonger.
The castle made use of the latest technology. Casa Grande was wired with an early sound system, allowing guests to make music selections which were played from a Capehart phonograph located in the basement, and piped into rooms in the house through a system of speakers. Alternatively, six radio stations were available.
The entire estate was also equipped with 80 telephones, operated through a PBX switchboard, which was staffed 24 hours a day, and ran under the exclusive exchange 'Hacienda'.
Fortune recorded an example of Hearst's delighting in the ubiquitous access the system provided:
"A guest) fell to wondering about the result
of a ball game while seated by a campfire
with Mr Hearst, a day's ride from the castle.
'I'll tell you' volunteers Mr Hearst and,
fumbling with the rock against which he was
leaning, pulls from there a telephone, asks
for New York, and relieves his guest's curiosity".
The Assembly Room
The assembly room is the main reception room of the castle, described in 1985 by Taylor Coffman as:
"One of San Simeon's most
magnificent interiors".
The fireplace, originally from a Burgundian chateau in Jours-lès-Baigneux, is named the Great Barney Mantel, after a previous owner, Charles T. Barney, from whose estate Hearst bought it after Barney's suicide.
The ceiling is from an Italian palazzo. A concealed door in the paneling next to the fireplace allowed Hearst to surprise his guests by entering unannounced. The door opened off an elevator which connected with his Gothic suite on the third floor.
The assembly room, completed in 1926, is nearly 2,500 square feet in extent, and was described by the writer and illustrator Ludwig Bemelmans as:
"Looking like half of Grand
Central Station".
The room held some of Hearst's best tapestries. These include four from a set celebrating the Roman general Scipio Africanus, designed by Giulio Romano, and two copied from drawings by Peter Paul Rubens depicting The Triumph of Religion.
The need to fit the tapestries above the paneling and below the roof required the installation of the unusually low windows.
The room has the only piece of Victorian decorative art in the castle, the Orchid Vase lamp, made by Tiffany for the Exposition Universelle held in Paris in 1889. It was bought by Phoebe Hearst, who had the original vase converted to a lamp. William placed it in the assembly room in tribute to his mother.
The Refectory
The refectory was the only dining room in the castle, and was built between 1926 and 1927. The choir stalls which line the walls are from the La Seu d'Urgell Cathedral in Catalonia, and the silk flags mounted on the walls are Palio banners from Siena.
Hearst originally intended a "vaulted Moorish ceiling" for the room but, finding nothing suitable, he and Morgan settled on the Italian Renaissance example, dating from around 1600, which Hearst purchased from a dealer in Rome in 1924.
Victoria Kastner considered that the flat roof, with life-size carvings of saints:
"Strikes a discordant note of
horizontality among the vertical
lines of the room".
The style of the whole is Gothic, in contrast to the Renaissance approach adopted in the preceding assembly room. The refectory is said to have been Morgan's favorite interior within the castle.
The design of both the refectory and the assembly room was greatly influenced by the monumental architectural elements, especially the fireplaces and the choir stalls used as wainscoting, and works of art, particularly the tapestries, which Hearst determined would be incorporated into the rooms.
The central table provided seating for 22 in its usual arrangement of two tables, which could be extended to three or four, on the occasion of larger gatherings. The tables were sourced from an Italian monastery, and were the setting for some of the best pieces from Hearst's collection of silverware. One of the finest is a wine cooler dating from the early 18th. century and weighing 14.2 kg by the Anglo-French silversmith David Willaume.
The Library
The library is on the second floor, directly above the assembly room. The ceiling is 16th. century Spanish, and a remnant is used in the library's lobby. It comprises three separate ceilings, from different rooms in the same Spanish house, which Morgan combined into one.
The fireplace is the largest Italian example in the castle. Carved from limestone, it is attributed to the medieval sculptor and architect Benedetto da Maiano.
The library contains a collection of over 5,000 books, with another 3,700 in Hearst's study above. The majority of the library collections, including Hearst's choicest pieces from his sets of, often signed, first editions by Charles Dickens, his favorite author, were sold at sales at Parke-Bernet at 1939 and Gimbels in 1941. The library is also the location for much of Hearst's important holding of antique Greek vases.
The Cloisters and the Doge's Suite
The Cloisters form a grouping of four bedrooms above the refectory and, along with the Doge's Suite above the breakfast room, were completed in 1926. The Doge's Suite was occupied by Millicent Hearst on her rare visits to the castle.
The room is lined with blue silk, and has a Dutch painted ceiling, in addition to two more of Spanish origin, which was once the property of architect Stanford White.
Morgan also incorporated an original Venetian loggia in the suite, refashioned as a balcony. The suite leads on to Morgan's inventive North and South Duplex apartments, with sitting areas and bathrooms at entry level and bedrooms on mezzanine floors above.
The Gothic Suite
The Gothic suite was Hearst's private apartment on the third floor. He moved there in 1927. It comprises the Gothic study or library and Hearst's own South Gothic bedroom and private sitting room.
The ceiling of the bedroom is one of the best Hearst bought; Spanish, of the 14th. century, it was discovered by his Iberian agent Arthur Byne who also located the original frieze panels which had been detached and sold some time before.
The whole was installed at the castle in 1924. The space originally allocated for the study was too low to create the impression desired by Morgan and Hearst, a difficulty Morgan surmounted by raising the roof and supporting the ceiling with concrete trusses.
These, and the walls, were painted with frescoes by Camille Solon. Light was provided by two ranges of clerestory windows. The necessity of raising the roof to incorporate the study occasioned one of the few instances where Hearst hesitated:
"I telegraphed you my fear of the cost...
I imagine it would be ghastly."
Nevertheless Morgan urged further changes and expense. The result vindicated Morgan. The study, completed in 1931, is dominated by a portrait of Hearst at age 31, painted by his life-long friend, Orrin Peck.
The Celestial Suites
The Celestial bedrooms, with a connecting, shared, sitting room, were created between 1924 and 1926. The bell towers were raised to improve the proportions of the building, and the suites constructed in the spaces created below.
The relatively cramped spaces allowed no room for storage, and en-suite bathrooms were "awkwardly squeezed" into lower landings. Ludwig Bemelmans, a guest in the 1930's, recalled:
"There was no place to hang your
clothes, so I hung mine on wire
coat hangers that a former tenant
had left hanging on the arms of
two six-armed gold candelabra,
the rest I put on the floor".
The sitting room contains one of the most important paintings in Hearst's collection, Bonaparte Before the Sphinx (1868) by Jean-Léon Gérôme. The suites are linked externally by a walkway, the Celestial Bridge, which is decorated with elaborate tiling.
The North and South Wings
The North, or Billiard, and the South, or Service, wings complete the castle, and were begun in 1929.
The North wing houses the billiard room on the first floor, which was converted from the original breakfast room. It has a Spanish antique ceiling and a French fireplace, and contains the oldest tapestry in the castle, a Millefleur hunting scene woven in Flanders in the 15th. century.
The spandrel over the doorcase is decorated with a frieze of 16th. century Persian tiles depicting a battle. The 34 tiles originate from Isfahan and were purchased by Hearst at the Kevorkian sale in New York in 1922.
The theater, which leads off the billiard room, was used both for amateur theatricals and the showing of movies from Hearst's Cosmopolitan Studios. The theater accommodated fifty guests and had an electric keyboard that enabled the bells in the carillon towers to be played. The walls are decorated in red damask, which originally hung in the Assembly room, and feature gilded caryatids.
The upper stories of the North Wing were the last to be worked upon, and were never completed. Activity recommenced in 1945 and Morgan delegated the work to her assistant, Warren McClure. Many of the rooms are unfinished, but Aidala considers that the bathrooms in the wing represent first-rate examples of streamline design.
The Service Wing contains the kitchen. The hotel-scale units and worktops are constructed in Monel Metal, an expensive form of nickel alloy invented in 1901. The wing contains further bedroom suites, a staff dining room, and gives entry to the 9,000 square foot basement which contained a wine cellar, pantries, the boiler plant which heated the main house, and a barber shop, for the use of Hearst's guests.
Planned but Uncompleted Elements
Hearst and Morgan intended a large ballroom or cloister to connect the North and South wings at the rear of Casa Grande and unify the whole composition, but it was never undertaken.
In 1932, Hearst contemplated incorporating the reja (grille) he had acquired from Valladolid Cathedral in 1929 into this room. He described his vision in a letter to Morgan dated that year:
"A great ballroom and banqueting hall,
that is the scheme! Isn't it a pippin."
The letter was signed "Sincerely, Your Assistant Architect".
Other structures that did not develop beyond drawings and plans included two more guest houses, in English and Chinese architectural styles.
Collections
After a visit to Ansiglioni's workshop in 1889, William wrote the following in a letter to his mother:
"Why didn't you buy Ansiglioni's Galatea. It is
superb...I have a great notion to buy it myself,
the one thing that prevents me is a scarcity of
funds.
The man wants eight thousand dollars for the
blooming thing. I have the art fever terribly.
Queer, isn't it?
I never miss a gallery and I go and nosey about
the pictures and statuary and wish they were mine."
Hearst was a voracious collector of art, with the stated intention of making the castle "a museum of the best things that I can secure."
The dealer Joseph Duveen, from whom Hearst bought despite their mutual dislike, called him the "Great Accumulator." His robust approach to buying, particularly the purchase and removal of entire historic structures, generated considerable ill-feeling, and sometimes outright opposition.
William's deconstruction and removal of the 14th. century Bradenstoke Priory in England led the Society for the Protection of Ancient Buildings to organize a campaign which used language so violent that its posters had to be pasted over for fear of a libel suit.
Hearst sometimes encountered similar opposition elsewhere. In 1919 he was writing to Morgan about:
"The patio from Bergos (sic) which, by the
way, I own but cannot get out of Spain".
The dismantling of a monastery in Sacramenia, which Hearst bought in its entirety in the 1920's, saw his workmen attacked by enraged villagers.
Hearst's tardiness in paying his bills was another less attractive feature of his purchasing approach; in 1925 Morgan was obliged to write to Arthur Byne:
"Mr. Hearst accepts your
dictum – cash or nothing".
Some of the finest pieces from the collections of books and manuscripts, tapestries, paintings, antiquities and sculpture, amounting to about half of Hearst's total art holdings, were sold in sales in the late 1930's and early 1940's, when Hearst's publishing empire was facing financial collapse, but a great deal remains.
William's art buying had started when he was young and, in his tested fashion, he established a company, the International Studio Arts Corporation, as a vehicle for purchasing works and as a means of dealing with their export and import.
In 1975, the Hearst Corporation donated the archive of Hearst's Brooklyn warehouses, the gathering point for almost all of his European acquisitions before their dispersal to his many homes, to Long Island University.
As of 2015, the university has embarked on a digitization project which will ultimately see the 125 albums of records, and sundry other materials, made available online.
Antiquities
The ancient Egyptian, Greek and Roman antiquities are the oldest works in Hearst's collection. The oldest of all are the stone figures of the Egyptian goddess Sekhmet which stand on the South Esplanade below Casa Grande. They date from the Eighteenth and Nineteenth Dynasties, approximately 1550 to 1189 BC.
Morgan designed the pool setting for the pieces, with tiling inspired by ancient Egyptian motifs. In the courtyard of Casa del Monte is one of a total of nine Roman sarcophagi collected by Hearst, dated to 230 AD, and previously held at the Palazzo Barberini, which was acquired at the Charles T. Yerkes sale in 1910.
The most important element of the antiquities collection is the holding of Greek vases, on display in the second-floor library. Although 65 vases were purchased by the Metropolitan Museum of Art in New York after Hearst's death, those which remain at the castle still form one of the world's largest private groups. Hearst began collecting vases in 1901, and his collection was moved from his New York homes to the castle in 1935.
At its peak, the collection numbered over 400 pieces. The vases were placed on the tops of the bookshelves in the library, each carefully wired in place to guard against vibrations from earthquakes. At the time of Hearst's collecting, many of the vases were believed to be of Etruscan manufacture, but later scholars ascribe all of them to Greece.
Sculptures
Hearst often bought multiple lots from sales of major collections; in 1930 he purchased five antique Roman statues from the Lansdowne sale in London. Four are now in the collection of the Los Angeles County Museum of Art, and one in the Metropolitan.
William collected bronzes as well as marble figures; a cast of a stone original of Apollo and Daphne by Bernini, dating from around 1617, stands in the Doge's suite.
In addition to his classical sculptures, Hearst was content to acquire 19th. century versions, or contemporary copies of ancient works:
"If we cannot find the right thing
in a classic statue, we can find a
modern one".
He was a particular patron of Charles Cassou, and also favored the early 19th. century Danish sculptor Bertel Thorvaldsen whose Venus Victorious remains at the castle.
Both this, and the genuinely classical Athena from the collection of Thomas Hope, were displayed in the Assembly room, along with the Venus Italica by Antonio Canova. Other works by Thorvaldsen include the four large marble medallions in the Assembly room depicting society's virtues.
Two 19th. century marbles are in the anteroom to the Assembly room, Bacchante, by Frederick William MacMonnies, a copy of his bronze original, and Pygmalion and Galatea by Gérôme.
A monumental statue of Galatea, attributed to Leopoldo Ansiglioni and dating from around 1882, stands in the center of the pool on the Main terrace in front of Casa Grande.
Textiles
Tapestries include the Scipio set by Romano in the Assembly room, two from a set telling the Biblical story of Daniel in the Morning room, and the millefleur hunting scene in the Billiard room. The hunting scene is particularly rare, one of only "a handful from this period in the world".
Hearst also assembled and displayed an important collection of Navajo textiles at San Simeon, including blankets, rugs and serapes. Most were purchased from Herman Schweizer, who ran the Indian Department of the Fred Harvey Company.
Originally gathered at Hearst's hacienda at Jolon, they were moved to Wyntoon in 1940 before being brought to San Simeon. They were finally donated to the Los Angeles County Museum of Art in 1942.
Hearst was always interested in pieces that had historical and cultural connections to the history of California and Central and Latin America. The North Wing contains two Peruvian armorial banners. Dating from the 1580's, they show the shields of Don Luis Jerónimo Fernández Cabrera y Bobadilla, Count of Chinchón and viceroy of Peru.
Nathaniel Burt, the composer and critic evaluated the collections at San Simeon thus:
"Far from being the mere kitsch that
most easterners have been led to
believe, San Simeon is full of real
beauties and treasures".
Paintings
The art collection includes works by Tintoretto, whose portrait of Alvisius Vendramin hangs in the Doge's suite, Franz Xaver Winterhalter who carried out the double portraits of Maximilian I of Mexico and his empress Carlota, located in Casa del Mar, and two portraits of Napoléon by Jean-Léon Gérôme.
Hearst's earliest painting, a Madonna and Child from the school of Duccio di Buoninsegna, dates from the early 14th. century. A gift from his friend, the editor Cissy Patterson, the painting hangs in Hearst's bedroom.
Portrait of a Woman, by Giulio Campi, hangs in a bedroom in the North Wing. In 1928 Hearst acquired the Madonna and Child with Two Angels, by Adriaen Isenbrandt.
The curator Taylor Coffman describes this work, which hangs in the Casa del Mar sitting room, as perhaps "San Simeon's finest painting". In 2018, a previously unattributed Annunciation in the Assembly room was identified as a work of 1690 by Bartolomé Pérez.
The Gardens and Grounds of Hearst Castle
The Esplanade, a curving, paved walkway, connects the main house with the guest cottages; Hearst described it as:
"Giving a finished touch to the big
house, to frame it in, as it were."
Morgan designed the pedestrianized pavement with great care, to create a coup de théâtre for guests, desiring:
"A strikingly noble and saississant effect
be impressed upon everyone on arrival."
Hearst concurred:
"Heartily approve. I certainly want that
saississant effect. I don't know what it
is, but I think we ought to have at least
one such on the premises".
A feature of the gardens are the lampposts topped with alabaster globes; modeled on "janiform hermae", the concept was Hearst's. The Swan lamps, remodeled with alabaster globe lights to match the hermae, were designed by Morgan's chief draftsman, Thaddeus Joy.
Others who influenced Hearst and Morgan in their landscaping include Charles Adams Platt, an artist and gardener who had made a particular study of the layout and planting of Italian villas. Also Nigel Keep, Hearst's orchardman, who worked at San Simeon from 1922 to 1947, and Albert Webb, Hearst's English head gardener who was at the hill from 1922 to 1948.
The Neptune Pool
The Neptune Pool, "the most sumptuous swimming pool on earth", is located near the edge of the hilltop. It is enclosed by a retaining wall and underpinned by a framework of concrete struts to allow for movement in the event of earthquakes.
The pool is often cited as an example of Hearst's changeability; it was reconstructed three times before he was finally satisfied. Originally begun as an ornamental pond, it was first expanded in 1924 as Millicent Hearst desired a swimming pool.
It was enlarged again during 1926–1928 to accommodate Cassou's statuary. Finally, in 1934, it was extended again to act as a setting for a Roman temple, in part original and in part comprising elements from other structures which Hearst transported from Europe and had reconstructed at the site.
The pool holds 345,000 gallons of water, and is equipped with seventeen shower and changing rooms. It was heated by oil-fired burners. In early 2014, the pool was drained due to drought conditions and leakage.
After a long-term restoration project to fix the leaking, the pool was refilled in August 2018. The restoration of the pool was recognized with a Preservation Design Award for Craftsmanship from the California Preservation Foundation in 2019.
The pool is well-supplied with sculpture, particularly works by Charles Cassou. His centerpiece, opposite the Roman temple, is The Birth of Venus. An even larger sculptural grouping, depicting Neptune in a chariot drawn by four horses, was commissioned to fill the empty basin above the Venus. Although carved, it was never installed.
Roman Pool
The Roman Pool, constructed under the tennis courts, provided an indoor alternative to the Neptune pool. Originally mooted by Hearst in 1927, construction did not begin until 1930, and the pool was not completed until 1935.
Hearst initially wanted the pool to be fed by salt-water, but the design challenges proved to be insuperable. A disastrous attempt to fulfill Hearst's desires by pouring 20 tons of washed rock salt into the pool saw the disintegration of the cast-iron heat exchanger and pump.
Inspiration for the mosaic decoration came from the Mausoleum of Galla Placidia in Ravenna. The tiles are of Murano glass, with gold-leaf, and were designed by Solon and manufactured in San Francisco.
Although a pool of "spectacular beauty", it was little used as it was located in a less-visited part of the complex.
The Pergola and Zoo
Two other major features of the grounds were the pergola and the zoo. The pergola, an ornamental bridleway, runs to the west of Casa Grande. Comprising concrete columns, covered in espaliered fruit trees, Morgan ensured that it was built to a height sufficient to allow Hearst, "a tall man with a tall hat on a tall horse", to ride unimpeded down its mile-long length.
Plans for a zoo, to house Hearst's large collection of wild animals, were drawn up by Morgan, and included an elephant house and separate enclosures for antelopes, camels, zebras and bears. The zoo was never constructed, but a range of shelters and pits were built, sited on Orchard Hill.
The Estate
At the height of Hearst's ownership, the estate totaled more than 250,000 acres. W. C. Fields commented on the extent of the estate while on a visit:
"Wonderful place to bring up children.
You can send them out to play. They
won't come back till they're grown."
23 miles to the north of the castle, Morgan constructed the Milpitas Hacienda, a ranch-house that acted as a trianon to the main estate, and as a focus for riding expeditions.
Appraisals of Hearst Castle
As with Hearst himself, Hearst Castle and its collections have been the subject of considerable criticism. From the 1940's the view of Hearst and Morgan's most important joint creation as the phantasmagorical Xanadu of Orson Welles's imagination has been commonplace.
Some literary depictions were gently mocking; P. G. Wodehouse's novel of 1953, The Return of Jeeves has a character describe her stay:
"I remember visiting San Simeon once,
and there was a whole French Abbey
lying on the grass."
John Steinbeck's unnamed description was certainly of Hearst:
"They's a fella, newspaper fella near the
coast, got a million acres. Fat, sof' fella
with little mean eyes an' a mouth like a
ass-hole".
The writer John Dos Passos went further, explicitly referencing Hearst in the third volume of his 1938 U.S.A trilogy:
"The emperor of newsprint retired to his
fief of San Simeon where he built an
Andalusian palace and there spends his
last years amid the relaxing adulations
of screen stars, admen, screenwriters,
publicity-men, columnists.
Until he dies, a spent Caesar grown old
with spending."
The English architectural writer Clive Aslet was little more complimentary about the castle. Disliking its "unsympathetic texture of poured concrete", he described it as "best seen from a distance".
The unfinished, and unresolved, rear façade of Casa Grande has been the subject of particular negative comment; Carleton Winslow and Nicola Frye, in their history from 1980, suggest:
"The flanking North and South wings
compete rather disastrously with the
central doge's suite block."
Others questioned the castle's very existence; the architect Witold Rybczynski asked:
"What is this Italian villa doing on the
Californian Coastal Range? A costly
piece of theatrical décor that ignores
its context and lacks meaning."
Hearst's collections were similarly disparaged. The art historian William George Constable echoed Joseph Duveen when he assessed Hearst as:
"Not a collector but a gigantic
and voracious magpie."
Later decades after Hearst's death have seen a more sympathetic and appreciative evaluation of his collections, and the estate he and Morgan created to house them.
The director of the Metropolitan Museum of Art, Thomas Hoving, although listing Hearst only at number 83 in his evaluation of America's top 101 art collectors, wrote:
"Hearst is being reevaluated. He may
have been much more of a collector
than was thought at the time of his
death."
The curator Mary Levkoff, in her 2008 study, Hearst the Collector, contends that he was indeed a collector, describing the four separate "staggeringly important" collections of antique vases, tapestries, armor and silver which Hearst had brought together.
She wrote of the challenge of bringing their artistic merit to light from under the shadow of his own reputation.
Of Morgan's building, its stock has risen with the re-evaluation of her standing and accomplishments, which saw her inducted into the California Hall of Fame in 2008. She became the first woman to receive the American Institute of Architects Gold Medal in 2014, and to have an obituary in The New York Times as recently as 2019.
The writer John Julius Norwich recorded his recantation after a visit to the castle:
"I went prepared to mock; I remained
to marvel. Hearst Castle is a palace in
every sense of the word."
Final Thoughts From William Randolph Hearst
"News is something somebody doesn't
want printed; all else is advertising.”
"Don't be afraid to make a mistake,
your readers might like it."
"Putting out a newspaper without
promotion is like winking at a girl
in the dark -- well-intentioned, but
ineffective."
"Truth is not only stranger than
fiction, it is more interesting."
"You must keep your mind on the
objective, not on the obstacle."
This HYBYCOZO sculpture is titled Axis Mundi. It is in the Lewis Desert Portal and anchors the keystone of the Desert Discovery Trail.
Axis Mundi 2024.
Stainless Steel, Powder Coat Pigment, LED
Axis Mundi draws inspiration from the crystalline structure of fluorite, which contains shapes similar to honeycomb. This artwork is made up of hexagons and squares that efficiently fill space without gaps. These patterns are remarkably elegant and balanced in their division of three-dimensional space.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom