Rest in Peace, Mr. Mayor: Damien Marchesseault

Los Angeles has had three French mayors, and Damien Marchesseault was the first. (Grab some tissues. Not every story gets to have a happy ending.)

Damien Marchesseault was born in 1818 in Saint-Antoine-sur-Richelieu, Quebec. In 1845, he left for New Orleans and became a riverboat gambler. (I should note that gambling professionally was considered socially acceptable at the time, not stigmatized as it sometimes is today.)

In 1850, Marchesseault left New Orleans for California, settling in Los Angeles. He soon partnered with another French Canadian, Victor Beaudry (whose brother, Prudent Beaudry, would also become mayor), in the ice business. In those days before refrigeration, ice had to be harvested and transported to cities to keep food from spoiling and keep drinks cold. Beaudry and Marchesseault built an ice house and operated a mule train to bring ice from the San Bernardino Mountains to Los Angeles and beyond (their customers included saloons in faraway San Francisco). Ice House Canyon, located between Mount Baldy and Mount San Antonio, is named for their ice house. In 1858, he again partnered with Beaudry, this time in the Santa Anita Mining Company.

Marchesseault also owned a saloon - and kept up his gambling skills. He became a popular local figure and was asked to run for Mayor. Which he did, winning the election and serving a one-year term in 1859-1860. (Mayors of Los Angeles served one-year terms at the time, but could serve an unlimited number of terms.)

Before long, Marchesseault's mettle was tested by disaster. The winter of 1859-1860 brought the worst rains and flooding Los Angeles had seen in many years, and the Los Angeles River shifted its bed by a quarter mile. Much of the original pueblo was destroyed.

Undaunted, Marchesseault put his considerable energy to work helping to rebuild his adopted city, including the all-important Plaza Church.

Marchesseault was elected again in 1861, serving four consecutive terms afterwards. This was a very trying time for Los Angeles - the Civil War was raging back East, the economic effects of war were felt strongly in California, a deadly measles outbreak killed a number of Angelenos, another flood destroyed the primitive water system (again), and Southern California suffered a drought so severe that farmers let their fields go fallow and ranchers had no choice but to cull many of their cattle.

Through it all, Marchesseault was applauded by Los Angeles residents for his capable management of the city. Under his tenure, the Wilmington Drum Barracks were established (just in case...), new brick buildings went up, the first Chinese market opened, the city's first public mural was commissioned from Henri Penelon, gas streetlights and telegraph wires were installed, and the Mayor himself helped organize LA's first municipal gas company (remember, this was before LA had home electricity).

In 1863, Marchesseault met Mary Clark Gorton Goodhue, who came to California from Rhode Island and had been widowed twice. She was a talented musician and spoke several languages. The Mayor and the sophisticated widow married in San Francisco in October of that year.

The onslaught of droughts, flooding, and more droughts inspired Marchesseault to seek better water management for Los Angeles. At the end of his 1865 term, he was appointed Water Overseer, a more important (and higher-paying) job than Mayor in parched Los Angeles, and served for one year.

Marchesseault temporarily served as Mayor for four months in 1867 and returned to his duties as Water Overseer before being elected Mayor again. He pushed on with improvements in the water system, awarding a contract to a business partner, engineer Jean-Louis Sainsevain. Sainsevain had been awarded the contract previously, in 1863, but gave up due to extreme difficulty and excessive costs.

Sainsevain and Marchesseault installed pipes made from hollowed-out logs, which had a frustrating tendency to leak or burst. (One of these logs, bound with metal and wire and and showing multiple splits, is displayed at the Natural History Museum’s “Becoming Los Angeles” exhibit.) By the middle of summer, stories about their water system turning the streets into muddy sinkholes were becoming all too common. Meanwhile, the fact that Sainsevain was Marchesseault's business partner did not escape notice, drawing accusations of corruption.

The Mayor was under a great strain. His administration was being harshly criticized, he had lost large amounts of money on bad investments and his partnership with Sainsevain, he had borrowed money from everyone he knew, and he was unable to repay his debts. The fact that the stress caused him to drink heavily and gamble more than ever didn't help. Mary offered to get a teaching job, but Marchesseault wouldn't hear of it.

Early in the morning of January 20, 1868, the deeply distressed Mayor entered an empty chamber at City Hall. He wrote a letter to his beloved Mary:

My Dear Mary -

By my drinking to excess, and gambling also, I have involved myself to the amount of about three thousand dollars which I have borrowed from time to time from friends and acquaintances, under the promise to return the same the following day, which I have often failed to do. To such an extent have I gone in this way that I am now ashamed to meet my fellow man on the street; besides that, I have deeply wronged you as a husband, by spending my money instead of maintaining you as it becomes a husband to do. Though you have never complained of my miserable conduct, you nevertheless have suffered too much. I therefore, to save you further disgrace and trouble, being that I cannot maintain you respectably, I shall end this state of thing this very morning. Of course, in all this, there is no blame attached - contrary you have asked me to permit you to earn money honestly by teaching and I refused. You have always been true to me. If I write these few lines, it is to set you right before this wicked world, to keep slander from blaming you in way manner whatsoever. Now, my dear beloved, I hope that you will pardon me, and also Mr. Sainsevain. It is time to part, God bless you, and may you be happy yet.

Your husband,

Damien Marchesseault.

The progressive six-term Mayor then shot himself in the head with a revolver.* The next day, his suicide note appeared in the Los Angeles Semi-Weekly News and the funeral was held at his home.

Damien Marchesseault was buried in the Los Angeles City Cemetery (I surmise he was ineligible for burial at Calvary Catholic Cemetery due to his suicide). Mary remarried after his death (to Italian-born Eduardo Teodoli, who published Spanish-language newspaper La Cronica), but was buried in the City Cemetery along with Marchesseault and her son from her first marriage when she passed away in 1878.

When the old City Cemetery was taken over by the city and turned into (what else...) a Los Angeles Board of Education parking lot, surviving family members moved Mary, Marchesseault, and Mary's son C.W. Gorton to Angelus Rosedale Cemetery.

Although Marchesseault and Sainsevain were ultimately unsuccessful in their struggle to bring reliable water service to the city of Los Angeles, their successors prevailed. A few months after Marchesseault's death, Sainsevain transferred the contract to Prudent Beaudry, Solomon Lazard, and Dr. John S. Griffin. They founded the Los Angeles City Water Company, which was fittingly located at the corner of Alameda and Marchesseault Streets.

Good luck finding Marchesseault Street on a map today - it’s now Paseo de la Plaza. 

There is a memorial plaque to the forgotten Marchesseault in the sidewalk outside the Mexican Consulate and Hispanic Cultural Center. The details of his service to the city are, I'm sorry to say, not listed entirely accurately on the plaque.

Some historians credit Marchesseault's leadership with turning the Pueblo into the City of Los Angeles, citing his many accomplishments and capability in rebuilding the ruined pueblo. Today, he is completely unappreciated by the city that once loved him so.

Repose en paix.

*Okay, fine...the Semi-Weekly News reported that the bullet entered the Mayor's skull next to his nose and lodged in his brain. Which is a polite way of saying he shot himself in the face (think about it...). For Mary's sake, I sincerely hope it was a closed-casket funeral.

Joan of Arc in Chinatown: A Brief History of Los Angeles' French Hospital

Jeanne d'Arc in front of the French Hospital

(now the Pacific Alliance Medical Center)

The first hospital in Los Angeles, St. Vincent's, was (and still is) a Catholic hospital. Which, given the city's Spanish roots and large numbers of Catholic Frenchmen in early LA, isn't surprising.

However, by the late 1850s, LA was becoming a little more diverse. Growing numbers of Protestants began to arrive, requiring the founding of the Los Angeles Unified School District in 1853 (before that, only Catholic schools existed, in spite of California becoming a state in 1848). Jewish newcomers (most of them German or French) also began to arrive.

People of all faiths need medical care. The Daughters of Charity, to their great credit, never turned away a patient in need, but the town was growing, and St. Vincent's only had so much space. The French community decided to see to its own needs. On March 1, 1860, thirty-three Frenchmen (and two Italians) met at the French Consulate, under the invitation of French consul Jacques Antoine Moerenhaut (remember the name Moerenhaut; you'll be reading a very long entry about him later).

The group decided to form a non-sectarian mutual protective association - predating the concept of an HMO - and named it the French Benevolent Society. Members contributed $2.00 each to the treasury (monthly dues were $1.00) and elected a nine-member executive committee responsible for creating the Society's constitution.

The Executive Committee elected its officers as following:

President: J.A. Moerenhaut
Vice President: C. Souza
Treasurer: Jean-Louis Sainsevain (no surprise here)
Secretary: Leon Victor Prudhomme
Commissioners: F. Guiol, Henri Penelon, A. Poulain, A. Labory, Guillaume Laché

Dr. Lacharmois was named the Society's first medical official. Initially, he worked out of an office in a house on Hill Street.

The Society elected a nine-member board each and every year. For many years, Jean Sentous was the Society's president; his son Louis Sentous Jr. held several offices in the Society and was its president for thirteen years (during his tenure, membership more than doubled).

The Society's earliest members included, but were not limited to: A. Davoust, Seigle, T. Moillan, Jules Segouin, R. Boltz, Delancre, H. Remebe, S. Lebreton, Pierre and Madame L'Arseval, B. Amillac, M. Brunet, P. Larrieux, Louis Vieille, A. Labory, E. Bordenave, Jean Hennequin, P. Lende, the Henriots, G. Dupuy, Cardou, Henri Deleval, Boutet, C. Cassagne, Jean Bernard, V. Fevre, Sanot, J. Lassors, A. Blanche, S. Lelong, A. Gossiot, Guillaume Coppé, Camille Plosson, T. Clermont, the Cléments, Pierre Bassac, J. Marcellin, Mathieu Garboline, C. Plassan, A. Cauginac, F. Brémont, Edouard Naud, E. Baudry, E. Riviere, A. Pouya, Maurice Kremer, Jean B. Trudel, Charles Ducommun, L.J. Coijdarrens, Joseph Hennequin, Damien Marchessault, Claude Planchon, André Briswalter, R. Doleau, A. Grange, P. Lude, M. Pointreaux, G. Murat, A. Hauline, A. Rendon, Antoine Ferrera, P.P. Raho, and C. Soprani.

Regular readers may recall that Michel Lachenais' first murder took place at a wake, when (after the mourners had been drinking for several hours) he got into a fight with Henri Deleval over whether the recently-founded Society had adequately cared for the deceased.

The Society also soon had a parcel at the old City Cemetery for burials. (Beret-tip to Richard Schave for the link.)

By 1861, the Society decided non-French (and non-Italian) Angelenos could see Dr. Lacharmois as well. Los Angeles was still a very dangerous place (so much so that Frenchtown was protected by a unit of the French Foreign Legion!), and there weren't many medical professionals in town. This decision, in effect, created a healthcare safety net for area residents who may not necessarily have preferred St. Vincent's.

General meetings were held twice a year, on the first Sunday in March and the first Sunday in August. This tradition, to the best of my knowledge, continued for the Society's entire existence.

Any extra money in the Society's treasury was earmarked for the purchase of land and construction of a hospital. In spite of the expense of tending to sick or injured Frenchmen (and in some cases burying them as well), the treasury had $5,000 within the decade.

By 1869, four plots of land - enough to build the hospital - had been purchased on the edge of town, one mile from the French Colony. The Executive Committee vocally disagreed on whether to build the hospital that year. While the hospital was badly needed, some members were not convinced it was the best time to spend the money. In the end, the needs of the community won out, and plans were made to build the hospital.

On October 4, 1869, the Society gathered at the corner of College and Castelar Streets and walked to the building site, where the cornerstone of the French Hospital - the first non-sectarian public hospital in Los Angeles - was laid with appropriate ceremony.

By March of 1870, only the hospital's second story and roof remained unfinished. At the semi-annual March meeting, it was discovered that the building fund had run out of money. This was quite upsetting to members, who wanted the hospital open but did not want to go into debt.

The Society made the best of the situation by equipping the completed ground floor and opening the hospital in its unfinished state (perhaps rationalizing that they could finish it later, since bad weather is so infrequent in Southern California). M. Sarlangue was appointed caretaker, with a different French couple overseeing housekeeping and nursing. Sure enough, the Society soon managed to raise the rest of the money and finish the hospital.

In 1876, Dr. Hubert Nadeau (no relation to "Crazy Remi" Nadeau) arrived in Los Angeles, taking employment at the French Hospital. The well-liked doctor also served as county coroner from 1879 to 1884, when he became Chief of Dispensary Clinics and Professor at the University of Southern California. He was also President of the County Medical Association. (Los Angeles boasts a Nadeau Street and a Nadeau Drive; based on their respective properties owned it’s most likely that Nadeau Street is named after Remi and Nadeau Drive is named for the good doctor.)

The Society also held fundraisers, including an annual picnic. The Los Angeles Herald announced the French Benevolent Society's 11th annual picnic would be held at Sycamore Grove Park on June 18, 1882. In part: "Original Game of Ball of Henry IV. Committee of Arrangements - Beaudry, Lower, Casenave. Ladies' Bar - Mrs. Ch. Deleval, Vignes, Penelay. Ice Cream - Mdlles. Vignes, Jos, Dol, Deleval. Bar - Ballade, Dombledy, Rouguy, Lecroq. Dance - R. Weyse, Mailhan, Sombloy, Marticio, Cajal, L. Vignes. Flowers and Lottery - Mrs. Pelissier, Ballade, Cassagne, Sentous, Le Masne. French Restaurant! Music by Wangeman's Band! Carriages will be run to the ground from Downey Block every hour. Price 25 cents."

The French Hospital began accepting Chinese patients in the early 1900s. It is, perhaps, not surprising that the hospital is now surrounded by Chinatown.

Originally a modest adobe building, the French Hospital soon had a wood-framed front house where the nurses lived. The hospital was expanded in 1926. Supposedly, part of the original adobe building is encased within the walls of the newer hospital building. (What I wouldn't give to find out what happened to the original cornerstone...but I'm not about to go poking around an active hospital facility on private property.)

In 1985, the French Hospital celebrated its 125th anniversary with a party including a six-foot cake, pinatas, Chinese lions, and a presentation by then-Mayor Tom Bradley. By this point, admission pamphlets were printed in English, Spanish, Chinese, and Vietnamese - but not French - and the hospital staff spoke 25 languages.

In 1987, a multimillion-dollar expansion of the French Hospital was approved. Unfortunately, a year later, excessive unpaid medical bills forced the hospital (along with several others, i.e. Linda Vista) to cut back on emergency services.

Within a year, local doctors in Chinatown, with help from a Japanese entrepreneur, sought to save and expand the French Hospital. Since 1989, it has been known as the Pacific Alliance Medical Center, and is still an active hospital (the hospital remained open continuously when it changed hands). Today, most of the patients are Asian; there are also sizable numbers of Latino and African-American patients.

The Jeanne d'Arc statue erected in 1964 stands outside the hospital to this day. Nearby is an Angels Walk stanchion with a brief overview of the history of the French community and the birth of Chinatown. (I suspect it was placed in Chinatown and not in Frenchtown due to the presence of the French Hospital and the nearby Fritz Houses, built as a family compound by a French carpenter.)

The city of Los Angeles just voted to landmark the Japanese Hospital in Boyle Heights. Would anyone like to help me convince the City Council to landmark the French Hospital too?

Welcome to the French Museum of Los Angeles/Bienvenue à la Musée des Français à Los Angeles

Today is my birthday.

What I would like to do is go to a museum.

Specifically, a museum that tells Frenchtown's countless stories.

Imagine, if you will, a surviving 19th century building converted into a museum (in a way that preserves its original bones as much as possible, of course).

Imagine a giant (fiberglass, of course) bottle of Sainsevain Brothers Wine outside, beckoning visitors and reminding attentive passersby that French-owned vineyards once dotted downtown Los Angeles.

Perhaps there is even a rear courtyard where visitors can see wine grapes growing - Mission, Cabernet Sauvignon, Cabernet Franc, and Sauvignon Blanc (i.e. the varieties Jean-Louis Vignes grew at El Aliso long before Union Station was built on the site). Replicas of 19th-century winemaking equipment are also on display (we mustn't expose authentic artifacts to the elements!).

Inside, an entire gallery traces California's wine industry from Louis Bauchet and Jean-Louis Vignes through the present day. Bottles, winemaking equipment, and personal effects, carefully preserved behind glass, bear the names Sainsevain, Vache, Mesnager, and Nadeau (among others). Perhaps, if we are really lucky, Pierre Sainsevain's steam-powered stemmer crusher will be on view.

A second gallery tells the overall story of the French in Los Angeles.

Bricks from the zanja madre, surviving pieces of hollow log pipe, and an original iron pipe speak to the struggle for safe, reliable water in Los Angeles and to the forgotten Frenchmen who gave it their all - Jean-Louis Sainsevain, Damien Marchessault, Prudent Beaudry, and Solomon Lazard. Surviving pictures of Sainsevain's water wheel and the founding members of the Los Angeles City Water Company bring to life the difficulties of hydrating a parched city.

Pharmaceutical ads and medicinal packaging speak to LA's early French pharmacists - Chevalier, Viole & Lopizich, and the Brunswig family. Photos and very old medical equipment represent Dr. Nadeau (no relation to Remi), Dr. Pigne-Dupuytren, and the French Hospital.

A wall of old maps, perhaps with tiny LED lights representing the path of the Temple Street Cable Railway, show Prudent Beaudry's massive impact as a developer.

Paul de Longpré's pretty flowers adorn a wall - and perhaps someday the Seaver Center will loan out a few of Henri Penelon's paintings.

A case of antique watches, jewelry, and hardware, alongside modern-day aerospace materials, testifies to the importance of Charles Ducommun, the talented Franco-Swiss watchmaker who founded California's oldest corporation.

The evolution of law and order in Los Angeles might be seen in a case displaying photos of the Lachenais lynching, Judge Julius Brousseau's gavel, and perhaps the badge of Eugene Biscailuz, former LA County Sheriff and founder of the California Highway Patrol.

Perhaps one of Victor Ponet's cabinets has survived. Perhaps it displays milk bottles from the Sentous, Alpine, and Pellisier dairies. (Heck, I'd be happy if one of Ponet's coffins survived and was in decent enough condition for display.) And perhaps a copy of the Doors' album "Morrison Hotel" - built on Ponet's land - hangs on the wall, linking long-forgotten LA with still-in-living-memory LA.

A sizable wall case shows glassware, dinnerware, menus, matchbooks, and other items from French-owned restaurants. I just might be thrilled to death to point out the glasses from Café de Paris that are on permanent loan from my personal collection*. But we all know Philippe Mathieu, creator of the French Dip, is going to be the star here (even if he did move back to France when he retired).

One unique display stacks fruit crates high, with labels reading Model, Basque, Daily, Popular, and Golden Ram. Next to the stack? If we are very lucky, a surviving jug from Bastanchury Water - since all of those brands were based on the Bastanchury family's enormous orange grove in Fullerton.

Surviving pictures and the odd schoolbook speak to LA's French educators, ranging from Father Lestrade and his boys' boarding school to Madame Henriot and her Francophone private school to the modern-day Lycée Français. Perhaps there is even a clipping from one of the olive trees used to create olive oil in a contest at Caltech during Dr. Jean-Lou Chameau's tenure.

World War One is recalled, perhaps, by a rare surviving plaster statuette of Pedretti's Doughboy (sold to raise funds for the statue), Lucien Brunswig's dispatches from war-torn France, Georges Le Mesnager's correspondence with General Pershing, and artifacts from the many French war-relief organizations headquartered in LA (and, probably, chaired by Brunswig). Perhaps there is even something that belonged to Dr. Kate Brousseau, who used her brilliant bilingual mind and Ph.D in psychology to rehabilitate traumatized soldiers.

Perhaps there are still surviving items from the City of Paris - LA's biggest and best early department store. Perhaps they could be artfully arranged into a life-size diorama of a fashionable, well-to-do lady's boudoir, circa 1880.

Maybe, just maybe, an entire wall could be "papered" with blown-up images of the city's forgotten Francophone newspapers - Le Progres, L'Union, L'Union Nouvelle. (There was reportedly a fourth paper early on, called the Republican, but I will be very surprised if there are ANY surviving copies.) One of those newspapers was still being published in the 1960s. Just saying...

Remi Nadeau, quite possibly the greatest Angeleno who has been forgotten by the remote frontier town he helped to turn into a world-class city, really deserves his own gallery (if not his own museum). But even one case of artifacts would be a damn good start.

In the middle of it all, I for one would love to see a scale model of early downtown LA - which, with a little magic from projectors, can layer "LA now" over "LA then" when a switch is flipped.

Perhaps a third space - a small theater - showcases French Angelenos in film. Any surviving scraps of film shot at Blondeau's Tavern - Hollywood's first film studio - segue into the stunts of aviatrix Andrée Peyre, cut to Claudette Colbert, and perhaps finish up with Lilyan Chauvin (who went on to teach at USC). It would be a no-brainer to use the space for special screenings, too.

I have so many more people, places, and accomplishments in my list of future blog posts that I won't even try to list them all here.

But here's the problem...

I can't go to this museum.

It doesn't exist outside of my own head.

Chinese Americans make up 1.8% of LA's population (county-wide, the number rises to 4%). They have their own museum AND the Chinatown Historical Society (both of which, by the way, are based in buildings constructed by French immigrants).

Mexican Americans make up 32% of LA's population. They have their own museum.

Japanese Americans make up 0.9% of LA's population and have largely spread to the suburbs (hello, Torrance!). They have their own museum.

African Americans make up 9.6% of LA's population. They have their own museum.

Los Angeles' itty-bitty Little Italy (try to say THAT three times fast) grew out of Frenchtown (two of the French Benevolent Society's founding members were Italian), vanished during the war, and is now part of Chinatown. They have their own museum.

Should these ethnic groups all have their own museums? Of course they should. They are all a part of LA history and they all have their own stories to tell modern-day Angelenos (and whoever else is listening).

For a good chunk of Los Angeles' history, the city was 20% French. Until sometime around the turn of the 20th century, only Californios outnumbered them.

I have written about the founders of California's wine industry, humble hoteliers (wait until I get to the fancier ones), a pharmacist who threw himself into supporting World War One, a renegade general, entire families of ranchers, LA's first struggling artist, and the city's first priests.

I have barely scratched the surface. There are HUNDREDS of stories left to tell.

And one doozy of a question to ask:

Why doesn't Los Angeles have a French-American Museum?

I've previously addressed the fact that the Pico House hosted a temporary exhibit on French Angelenos in late 2007/early 2008. But it lasted less than six weeks, ran during the busy holiday season (not a time when most people want to go to museums), and has, of course, since been forgotten (go on, ask anyone who isn't French if they remember it...I'll wait).

The forgotten French community in Los Angeles deserves to be remembered just as much as every other ethnic group that has ever made a home for itself in LA. We deserve our own museum - a permanent one.

Alas, I don't have the funds or the connections to do this myself.

Can anyone spare several million dollars (damn LA real estate) and a resourceful curatorial staff?

*I do indeed own glassware from the shuttered French-owned Café de Paris in Hollywood (an extremely lucky flea-market find). And if a French-American museum ever does open its doors in Los Angeles, I'll happily - enthusiastically, even - loan out some of those glasses. I'll lead tours, give lectures, you name it. I want our stories told.

The Artist: Henri Penelon

Certain modern-day Angelenos say they're into their art (usually meaning they're auditioning for an art film so weird even I won't watch it) and grumble that no one appreciates them. They have nothing on Henri Penelon, the city's first artist.

Henri Joseph Penelon* was born in Lyon, France, around 1827. The exact date of his arrival in Los Angeles is unclear - he was not listed in the 1850 census, but Harris Newmark claimed Penelon was in the Pueblo by 1853, and tax records indicate he owned a property on Calle Principal (now Main Street) by 1856. (Surviving photographs indicate his studio was on the second floor of the Downey Block, also home to the Lafayette Hotel, on Main between First and Second.) Penelon had a business partner by the name of Adrien Davoust, who co-owned the Main Street property.

Penelon was one of the founding members of the French Benevolent Society, founded in 1860. Before the French Hospital was built in 1869, Society members helped care for the French community's ill and injured. Nowadays we'd say he did volunteer work in the community.

In 1861, heavy rains and flooding spelled disaster for the pueblo of Los Angeles. La Placita, the Plaza Church, was so badly damaged by a leaky roof that its front wall collapsed into the street. Penelon was contracted to paint the rebuilt church inside and out. And paint he did.

Henri Penelon most famously painted a mural of the Madonna and Child over the church's door, flanked by angels (probably the city's first public work of art). He lettered the church's marble tablets. He may have painted the church's ornately framed Stations of the Cross (which are consistent with his other work). He added an inscription to one of the walls: Los Fieles de Esta Parroquia á la Reina de los Angeles, 1861. (I have no idea what that means. Penelon could speak Spanish quite well, but I'm another story.)

In Harris Newmark's words, "he added some ornamental touches."(Ouch.) Supposedly, some of the Pueblo's more artistically inclined residents hated the mural and found the new church distasteful. (Ouch, again.)

To make matters worse, there was a persistent suggestion that Penelon, who made most of his living from photography, painted over photographs instead of starting with a blank canvas. While Penelon had little (if any) formal training, no one has ever produced any evidence of this ridiculous rumor being true. (And we think today's Twitter-feuding celebrities are childish jackasses...)

Surviving photographs indicate that the mural was painted over sometime between 1932 and 1937, and plastered over in 1950. A tile mosaic was installed in the same spot in 1981. The lettering on the marble tablets was visible at least as late as 1932; it isn't clear if it still dates to 1861 (the lettering would now be 155 years old; your guess is as good as mine). The Stations of the Cross are, to my knowledge, still on long-term loan to a church in Mexico. (Ouch...again and again.)

Painting murals is hard work, and Penelon was assisted at La Placita by a new arrival from France - Bernard Etcheverry, then 21 years old. We'll meet him again in a future entry.

Penelon was married to Emilia Herriot, twenty-five years younger than he was (sources disagree on whether Emilia was born in France or San Francisco, but she was certainly of French parentage). Their daughter Hortense was born in 1871, with son Honore following around 1874. 

It has been said that Penelon hand-tinted photographs (a common practice until color film made tinting obsolete). Supposedly, at least one other photographer contracted with Penelon to tint his pictures. The Museum of Natural History's archive of Penelon's known photographs shows no evidence of tinting. It is certainly possible, however, that he did tinting for other photographers without necessarily tinting his own pictures (or, alternately, that his surviving pictures just didn't happen to have been tinted). Without physical evidence, we may never be completely sure.

Still, Penelon was a working artist with a family to support. It is hard to imagine that he would turn down paying work, especially if it meant not having to take so many out-of-town photography jobs. (In a situation all too familiar to today's aspiring stars, Henri Penelon took pictures to pay the bills, but his true love was painting, and as photography replaced traditional portraiture, he worked as a photographer so he could also afford to keep working as a painter. The backs of his photographs bore the stamp "H. Penelon, Artistic Gallery, Los Angeles" - which could reference either trade - along with an artist's palette.)

In an interesting twist of fate, Penelon once turned down a young Swedish photographer who applied for a job, deeming him too young and inexperienced. The photographer, Valentin Wolfenstein, set out to prove Penelon wrong - and the two later took turns working for each other.

Henri Penelon was a portrait painter. In fact, the only known painting of his that is not a portrait is an idyllic scene called The Swan and the Rabbit (interestingly, it is signed "H. Penelon 1871"; his portraits weren't signed). His other subjects were all people - nearly all from well-to-do Californio families (Penelon was fluent in Spanish and friendly with Californios, which probably helped him secure patrons).

One portrait in particular may very well be suffering from a case of mistaken identity. Long assumed to be Concepcion Arguello of Monterey, it was later assumed that she must be Concepcion Arguello of San Diego, a relative of Pio Pico. To make things even more confusing, the portrait was later identified as Feliciana Yndart by an acquaintance. A picture of Sra. Yndart in the Natural History Museum's collection is said to strongly resemble the painting, and another surviving Penelon portrait is of Jose Miguel Yndart, Feliciana's husband.

Penelon's best-known portrait, however, is likely the equestrian portrait of José Andres Sepulveda (who owned most of modern-day Orange County), astride his winning racehorse Black Swan. That portrait now belongs to the Bowers Museum in Santa Ana (if making a trip, call ahead to confirm that it is on display). As of this writing, it is the only one of Penelon's surviving works that I have seen in person.

Penelon is also credited with introducing the carte de visite to Los Angeles. Cartes de visite were tiny prints or photographs used as calling cards. In Penelon's case, at least two surviving examples were hand-painted.

Henri Penelon traveled to Prescott, Arizona on a photography assignment in 1874. He died suddenly during the trip (none of my references list a cause of death) and is buried in Prescott.

The 1880 census lists Emilia and Hortense living with relatives, with Emilia keeping their house. Curiously, I could find no reference to Honore. The 1888 city directory lists Honore as a student living in Boyle Heights (which was, at the time, LA's first suburb).

In the 1950s, Penelon's granddaughter walked into the Museum of Natural History (which was also the county Museum of Art; LACMA wasn't a separate entity yet) looking to donate two of his paintings. Less than a century after his death, none of the Museum staff knew who Henri Penelon was (OUCH!). Today, thirteen of Penelon's surviving paintings belong to the appointment-only Seaver Center for Western History Research at the Los Angeles County Natural History Museum. I sincerely hope I will be able to see them myself one day.

If you have deep pockets (or at least deeper pockets than I do), please consider sponsoring Penelon's equestrian portrait of Don Vicente Lugo. I, unfortunately, don't have that kind of money.

Want to see one of Penelon's earliest photographs? Just look at the background image for this blog. Not only is it the earliest known photograph of Los Angeles, it is credited to Penelon.

Even though his surviving works are now prized by those in the know, LA's first artist remains forgotten.

*Penelon's first name is often incorrectly written as "Honore", "Horacio", and/or "Henry"; historians searching old records for the man should make a note of this. (As someone whose first AND last names have been brutally butchered too many times to count, I am acutely aware of spelling errors when researching my own people.)

The French and the Old Plaza Church

Los Angeles proper has never had its own mission (200+ years ago, the San Gabriel and San Fernando missions were about a day's journey from the pueblo, which almost makes modern LA traffic seem less atrocious). Most people don't know that.

In many cities, the oldest building is likely to be a house of worship. There is some debate over what LA's oldest building is, but La Placita, or the Old Plaza Church, is certainly one of the oldest.

Before the church's dedication in December 1822, the pueblo's residents had to rely on visiting priests from the San Gabriel and San Fernando missions to have their spiritual needs met (non-Catholics began to arrive in the 1840s).

La Placita's first resident priest, believe it or not, was a Frenchman. Jean-Augustin Alexis Bachelot was born and educated in France, becoming a priest in 1820 at the age of 24. In 1827, he led the first Catholic mission to Hawaii (besides Catholicism, Bachelot introduced bougainvillea* and mesquite plants to the islands). Bachelot and his fellow priests were well-received by locals (the fact that Bachelot learned the Hawaiian language well enough to translate a prayer book and write a Hawaiian-language catechism probably helped), but they faced persecution by the Protestant regent, Queen Ka'ahumanu, who deported them from Hawaii in December 1831.

Bachelot and fellow priest Patrick Short landed near San Pedro in January 1832, traveling to Mission San Gabriel. Not only did Bachelot become La Placita's first resident priest, he served as the mission's assistant minister, temporarily led the mission when its head priest was reassigned in 1834 (turning down the substantial salary he was offered), and taught in one of LA's first schools during a teacher shortage. Besides French and Hawaiian, Bachelot spoke Spanish well (the Autry Museum of the American West has, in its collection, a photostat of a letter Fr. Bachelot wrote in 1836 - in Spanish). He was, by all accounts, well-liked by Angelenos.

Bachelot ministered in Los Angeles until 1837, when he had the opportunity to return to Hawaii. Sadly, things did not go well in Hawaii (see above), his health suffered, and he passed away later that year while at sea. Bachelot was buried off the coast of Pohnpei, Micronesia. Because of the way their priests had been treated in Hawaii, the French government intervened, and King Kamehameha III finally granted religious freedom to Catholics in Hawaii.

In Los Angeles, Bachelot was succeeded by another French priest - Reverend Anaclet Lestrade. Like Bachelot before him, he doubled as a teacher - in 1852, he taught twenty students due to lack of a proper school system (public, private, or parochial - LAUSD didn't exist until 1853). Lestrade is credited with helping to establish the first boys' boarding school in Southern California. For a time, he also held claim to the Rancho Rosa Castilla in El Sereno.

As for the building itself...the original church was destroyed due to severe flooding in 1859-1860 (the LA River burst its banks a few times - which is quite a thing to contemplate if, like me, you have only ever seen it as a tiny trickle in a vast concrete ditch). La Placita was rebuilt under the leadership of LA's popular French-Canadian mayor, Damien Marchesseault (more on him later...stock up on tissues, it's a sad story).

Henri Penelon, LA's first commercial artist and photographer, painted a mural of the Madonna and Child with two angels over the door in 1861, assisted by a new arrival, 21-year-old Bernard Etcheverry (both hailed from France, and don't worry, you'll read more about them later). Sadly, the mural - probably the first outdoor mural in Los Angeles - is long gone. In yet another example of Los Angeles erasing its own history, the mural was plastered over in 1950 (there is now a mosaic on that part of the facade, installed in 1981). The church's marble tablets bore Penelon's lettering at least as late as 1932, and the Stations of the Cross are consistent with his other work.

Although a bit beyond the topic, but worth noting, are La Placita's bells. They were cast by George Holbrook, apprentice to Paul Revere - whose father was a French Huguenot.

Let's not forget the surrounding neighborhood. In Fr. Bachelot's day, French transplant Pierre Domegue and his wife (a Chumash woman named Maria Dolores Chihuya) baked French-style sourdough bread in a low adobe that stood next to the church's courtyard. Domegue also partnered with another French baker, Andre Mano, in a bakery just around the corner (Angelenos weren't afraid of carbs yet).

La Placita is still an active parish church. Do take the time to visit, but please be respectful of those who are there for spiritual reasons.**

*Edited to add (7/1/17): A friend who reads this blog lived on Kauai for 25 years. She told me that Fr. Bachelot brought bougainvillea plants to Hawaii because they're thorny, and the Catholic Church was trying to get Native Hawaiians to wear shoes (and, for that matter, other Western garments). She describes Bachelot as "a bad, bad man" and tells me he's widely disliked in Hawaii. In the interest of presenting history in a fair and truthful manner (Native Hawaiians' stories matter too), I felt I should add the dark side of Bachelot's story. (And honestly, it sounds exactly like something the Church would have done back then.)

**Edited to add (11/9/17): I was finally able to visit La Placita when there wasn't a wedding, baptism, or other ceremony taking place. I will not, however, be adding any pictures of the interior...because I didn't take any. In spite of it being a Wednesday afternoon, there were still about 15 parishioners praying inside the church, and I refuse to disrupt someone else's religious practice. The church's interior, while on the humble side, is still beautiful and well worth seeing. Just keep any noise to an absolute minimum - this is a VERY small church with relatively high ceilings for its modest size and even the slightest noise will carry through the space. (And my sincere apologies to anyone who may have been distracted by my boot heels clicking on the tile floor. I tiptoed as much as I could.)