BILL RANDAL'S COMMENTARY ON VILLA MONTALVO (1983-84 ?) ON THE FRONT TERRACE OF THE VILLA As we view (he main facade of the Villa from the front Terrace we see a handsome structure which is however not an authentic style. It shows, obviously, a Mediterranean influence which is also a general term. There is a suggestion of Andre Palladio in the arched windows and the lightness of detail: in the lightness of the muntin systen for instance. Muntins are the elements which divide the glass into sections. Palladio was one of the great Italian Renaissance architects, the best known probably. He was from Padua and Vicenza and did his best work in the Vicenza areqtoward the end of the Italian Renaissance which would be about the second half of the 16th century. However, the building is not typical of an Italian Pallazo, for instance, which would be much heavier in style. This is a somewhat rusticated version of an Italian ville which combines elements of Palladio with a style which’ grew out of a famous architectural school in Paris called the Ecole des Beaux-Arts. This school influenced architecture in all of the Western world, including South America, Mexico, the eastern seaboard of this country, and. some cities on this coast have buildings which reflect this thinking, which is late, late Ttalian Renaissance revival. This influence extends also to the garden. The gardens arenot formal Italian gardens but there are elements of the Italianate in them and for the most part ‘they suggest a kind of 18th century English approach. This is the style of Capability Brown ** who broke away from the formal French and Italian Parterres or terraces. As we look down toward the Temple of Love, which is a typical prop or structure, however you want to refer to it, in an English garden of the 18th century through the 19th C. and beyond, there are the remains of what was once a parterre or formal garden with box hedges, flowers @#c.. The view across the lawn is typical of the informal English approach because they resisted the very formal allee, as they are referred to, or axis, that usualiy ran from one of the main windows of the house or palace for great distances across the garden. Typical would be the sort of thing you see at Versailles where one looks -out at the main terrace across several fountains and on to the Grand Canal in the distance which is perhaps a distance of five miles. on the left in the lawn is xtLancelot Brown, 1715-1783, called Capab: He _was a lead: “oxsment. toward the natural Eaglish-garden as opposed to the classic Erench garden. aBILL RANDAL'S COMMENTARY ON VILLA MONTALVO (1983-84 2) ON THE FRONT TERRACE OF THE VILLA As ve view the main facade of the Villa from the front Terrace we see a handsome structure which is however not an authentic style. It shows, obviously, a Mediterranean influence which is also a general term. There is a suggestion of Andre Palladio in the arched windows and the lightness of detail: In the lightness of the Muntin system for instance. Muntins are the elements which divide the glass into sections. Palladio was one of the great Italian Renaissance architects, the best known probably. He was from Padua and Vicenza and did his best work in the Vicenza areatoward the end of the Italian Renaissance which would be about the second half of the 16th century. However, the building is not typical of an Italian Pallazo, for instance, which would be much heavier in style. This is a somewhat rusticated version of an Italian ville which combines elements of Palladio with a style which grew out of a famous architectural school in Paris called the Ecole des Beaux-Arts. This school influenced architecture in all of the Western world, including South America, Mexico, the eastern seaboard of this country, and some cities on this coast have buildings which reflect this thinking, which is late, late Italian Renaissance revival. This influence extends also to the garden. The gardens arcnot formal Italian gardens but there are elements of the Italianate in them and for the most part ‘they suggest a kind of 18th century English approach. This is the style of Capability Brown +* who broke away from the formal French and Italian Parterres or terraces. As we look down toward the Temple of Love, which is a typical prop or structure, however you want to refer to it, in an English garden of the 18th century through the 19th C. and beyond, there are the remains of what was once a parterre or formal garden with box hedges, flowers @#c.. The view across the lawn is typical of the informal English approach because they resisted the very formal allee, as they are referred to, or axis, that usually ran from one of the main windows of the house or palace for great distances across the garden. Typical would be the sort of thing you see at Versailles where one looks out at the main terrace across several fountains and on to the Grand Canal in the distance which is perhaps a distance of five miles. on the left in the lawn is **Lancelot Brown, 1715-1783, called Capability. He was a leader in the jovenent toward the naturalBnglish-garden as opposed to the classic French gardenan Araucaria and this is a magnificent example. They are a nuisance certain times of the year because of very large falling cones of up to 15 1bs. On the right, the Atlas cedar is another fine tree which balances the araucaria. The way they are placed asymmetrically on the lawn, and the whole shape of the lawn is most graceful as it would have been foolish to attempt to produce a totally formal garden because the landscape topography didnot lend itself to that. What we see is appropriate and seems to work very nicely with the mood of the architecture. One of the Villa details which is appropriate to the California scene and to other parts of the country, but not to Italy, is the roof of the Villa. Here are machine made tiles and the color is not the color that we find in Europe or would find in Italy. The little finials that occur where angles are created (hips are created) are not authentic This is not a criticism of the style, but it is a part of this style as it was manifested in California. These roof tiles look as though pigment had been added to make them this red. These tiles were made at the beginning of the 20th C. and unlike the old Mexican or Spanish tiles which were shaped over the knee are actually a kind of S-shape--one tile leads in to the next. That is, horozontally they are tied together which would not be typical of continental tiles. One important roof detail which is typical of this country is the open eave with exposed rafters In Europe this would have been closed and treated with moldings to complete the design. The idea of the arbors supported on columns is classic and very appropriate all through the Nediterranean--Greece, Italy, etc. The idea of handsome beams with classic moldings is quitefrequently found supported by simple Doric, or in this case, Tonic capitals. These half fluted columns are a little more elegant than are usually found on the arbors. At the rear of the Villa we see that the long arbors that reach up the hill are Tuscan--a much simpler style. This high degree of elegance in design is appropriate to the Villa. The detail around the windows is very well handled. It is a modification of an Italian style and more simple than the traditional arabesques which decorate the balcony above. We know that word from the dance, but it is also used in design. The brackets which occur under the balcony are definitely Renaissance.By the way, one of the things I have always enjoyed at Montalvo is the pair of large oil jars on the terrace. They suffer from a typical problem peculiar to much Italian majolica which has a tin base glaze not properly coordinated to the coefficient of expansion and contraction of the clay material under it. These pots which are glazed, in this case the beautiful apple green, show unusual flaking and loss of glaze. on the whole, I think the detailing of the Villa is well handled; it is restrained and there is nothing inappropriate. The string courses, the horizontal moldings which echo the line of the balcony might have been more ornate but I think that as they are they function well. ‘The main architect for the Villa was William Curlett, sr. His son worked with him after the senior Curlett became ill, and then took over about 1913-1914, when his father died. A man by the name of Gottschalk also worked on the Villa. Sited the way it is, the house had a magnificent view from the terrace out across the Santa Clara Valley before the trees grew to the height they are today. indeed, the placenent of the Villa was very well thought out. It is not known how much the park had to be re-structured or whether this was more or less the natural terrain. The question: Who was the landscape architect, remains unanswered. There is nothing written down to indicate that John McLaren had anything to do with the garden. There is the possibility that he had a hand in it in an informal way of course. The Senator and McLaren were friends, contempories who worked together in the City. Obviously, Phelan must have mentioned Montalvo to McLaren who no doubt visited and might have made suggestions, but if so, this was on an informal basis. Nothing is written down anywhere, nor are there any drawings. The stepped terrace that leads up to the Villa is an inspiration. Probably the gardeners abhor it, but it is right. The pair of urns on the terrace lawn are interesting. These, I would say, were probably imported from Italy. Much of this garden furniture is reproduced in this country but not usually with the fine detail that is seen on these urns.Much could be said about the lower gardens; the Temple is beautifully proportioned to its site which is a little bit perilous as it stands at the end of a flat space which drops off abruptly behind it. However, the site is perfect for it. In the Temple is a magnificent European marble fountain which appears now to be in-tact but isn't actually. There are certain elements which have been removed from it unfortunately, but it remains a very handsome design. Originally there vas a standing Venus in the basin with gargoyles attached in four places to the basin. The whole garden area was well planned and the curved entrance to the garden with its v arious vases and sculpture leads us into the garden where there are more details worth examining. The garden is by no means in-tact. There is enough there to say this was originally a parterre. I don't know if anyone has ever analyzed the placement of the Italian cypresses here, but we do see that an effort was made to bring Italy to the slopes of California with the placement of these cypresses and origianally many, many ore than we now see AT THE VILLA ENTRANCE There has been much speculation about why the main entrance to the Villa occurs on one side of the Villa. This isn't unusual: There are many stately homes in Burope, England & France etc. where this is the arrangement. The main entrance to the Palace of Versailles is through an insignificant doorway in one corner of the entrance courtyard . There is an opening there and the next thing you are in the entrance hall. Most of us.tend to think of vast entrance halls with flights of stairs soaring up and this is very often not the case. Here we have a formal entrance--notice the triangular pediment or gable over the arched window and balcony and the flanking lights on either side of the doors. These all state that this is the main entrance, and it is quite an architectural statement. The fact that it occurs here rather than in one of the center arches off the main terrace is not surprising if you stop to think about it. It would have been very inconvenient to enter through those center arches of the f ront elev@sation because one would have had to climb all those stairs and that wouldn't be practicable. So, the idea of the courtyard that one could drive into is nofunusual and is attractive.The stained glass window depicting Cabrillo's ship "San Salvador" over the entrance has been much discussed. We are not sure who created it, but it is peculiarly appropriate--more so than some of the typical Tiffany glass that occurred about the same time. It is lighter, fresher airier and the feeling of this galleon sailing across the water seems very significant. I think the doors and windowss which open out to the adjacent terraces all contribute to a feeling that this is a place where people lived. This is no Renaissance fortress. this is the difference between this Villa and some of the great townhouses in the cities of Italy which were built like fortresses and were meant to be fortresses in the times they were built. If, for instance. you were a person of means and position you had to protect yourself as no one else was going to do it, and this building would have been impossible to protect. Speaking of that, reference should be made to the handsome grillwork which is both decorative and functional and is very typical of spain and Italy and is found clear up into Austria and Central Europe. Notice that it isn't over done: It's very well designed and is appropriate in scale. Again, I would relate the design of these grills to the distri- bution of design motif elements throughout the whole building. I think it is carefully and cautiously handled with no. suggestion of £1amboyance. ‘The whole main entranace is worthy of a little examination and consideration. For instance, the plaster work under the balcony over the main doors is well executed. The molding which encases the door is known as a keystone and pendant. From the keystone to the brackets on either side are what are known as festoons or garlands of fruit and flowers. This was very typical of the kind of thing that was done in the period in which Palladio was working and was handled very lightly. If we go back to the Renaissance we see this kind of thing echoed in a more strenuous way, or its origines let's say, in the famous Della Robbia wreaths and plagues. Much of this kind of plaster work was in- spired by the glazed ceramics of the Della Robbia family.IN THE ENTRANCE HALL OF THE VILLA The interior of the Villa is an interesting style--very eclectic, but it echoes the kind of style that we see stated on the outside. Here, there is more detail to examine. The wood is not authentic to any one period and the design is really a mixture of interesting historic ornament. For instance in the entrance hall, as we face the front doors, which are are beautifully framed by an arch. The carving here was done by Italian artisans brought from Italy to do this work and the other wood carving in the house. They worked from designs created in this country. The design statement is not particularly Italian. Like so many of the interiors we find in England and America, we tend to find overtones from the Continent. Over the doorway is a shield. There was great interes in heraldry in this period. If you didn't have a coat of arms in your family you created a shield simply for decoration. There is an interesting relationship between the shield and the stained glass window right above because in many old homes in Europe a shield was incorporated into a window design. They relate to each other without making a final statement which can be accused of being dishonest The arch design is engaged columns,in this cas¢,with interesting capitals. The one on the right incorporates what appears to be angelic faces and, on the left, grotesque or gargoyle-like sculpture. The columns themselves are carved in a style that is almost Jacobean--English early 17th C. with lions heads, acanthus leaves, vases of fruit and cherubs In some cases rather grotesque little cherubs which suggest Gothic architecture. So it would be absolutely impossible to say that there is any one design idiomhere. The is all very imaginatively carved and designed, but notice the finials, for instance. They are a little bit Italian@, a little bit English and really an eclectic mixture. The detailing around the depressed arch, almost a Tudor arch, is a rope molding and shows beautiful carving which is viewed from the entrance. Here we see and indulged kind of egg and dart molding instead of just plain egg and dart, which comes from Greek ornament. ‘This has almost a leaf-like carving. This is a beautifully paneled entrance. The doors seem a little bit rough when we compare them to the very finished cab inet work along the walls, but remember that the doors are verv 914 The nronarkions ofthe entry hall are handsome--they are appropriate to a private residence. some buildings of this kind and size feature entrance halls which are to large--vast drafty areas. This is comfortable and gracious. A very handsome curved staircase rises from the west side of the hall and over the entrance arch, past the stained glass window and on up to the mezzanine, or second level of the building. This is done gracefully and not pretent{iously.. The balustrade is characterized by beautifully turned, very simple, baluster elements; the burlwood nevel post is particularly handsome. I notice that people like to run their hands over it because it is a very comfortable kind of form. ‘The newel is a simple column-like design with very graceful, festive, ribbon-wrapped foliage and fruit looped in very short garlands between bosses. These are the elements which support the carvings.*# IN THE INTERIOR OF THE VILLA The Palladian influence on the Villa is perhaps even nore strongly felt in the interior of the Villa. The handsome French doors with the tall arched design and the fan lights are very graceful and beautifully proportioned to the high ceilings of the interior of the Villa. 1 would guess the ceiling height at about 18 feet. The hardware, lighting fixtures and that kind of thing are all typical of the period. Aside from soméperiod hardvare, an@ interesting style develops, particularly in this country, not necessarily in California, but in America, of metalwork which was softly designed. Certain elements were taken from historic ornament but a contemporary art nouveau influence shows. Another thought about the hardvare: The hardware throughout the. building is remarkably good. This is of solid brass or bronze and is known as the Cremona bolt £xmm which today is incredibly expensive and can only be purchased fron establishments that specialize in this kind of thing--most of them are based in New York city or the eastern seaboard As we continue on into the large living room, it is a handsome room and beautifully proportioned. One can imagine it as it might have been appropriately furnished for gracious living. | The pair of chandelier 4#NATH: Thig gakland motif is used as both interior and exterior decoration at the Villa.may seem small for the room but they are correct in style ana appear to be carved of wood. They are late 17thC or early 18th C style. The style is interestingly eclectic--a number of influences come through—— possibly a little Roccoco design, or Baroque, and then I see something which is almost a Gothic form of foliage which is not usually found in if we would have been Baroque designs. They are handsome chandeliers. thinking of a later period or style they probably would have been crystal in a room like this, but the architect probabiy specified this kind of simplecarved chandelier as being more appropriate. The sconces are re- iated in design although no absolutely identical, but certainly comfortable with the chandeliers and, again, I suspect they are carved wood. In both cases the are gessoed, that is, they are coated with a light plaster and glue mixture, to which gold leaf has been applied The mantelpiece, of course, is the focal point of the room--it is almost a valk-in fireplace. It is a slightly hooded design which is again, appropriate to the Renaissance influence. ‘The principle decoration at the top .is the system of brackets. -There is a pair of very heavy brackets supporting the outer extremities. ofwhat vould be a mantelpiece detail. This is a classic entablature design with a series of small brackets arranged between these two heavy brackets. It is a very satis~ fying statement sufficiently involved to be interesting without over- wheiming the room. The system of paneling,.in whichthe paneling rises to perhaps two-thirds the height of the room, and is surmounted again by the entablature which ve fine on the mantelpiece is one of the systems of interior paneling which was used in the ItalianRenaissance. In other countries the paneling took other forms. In France, it is intended to do something quite different and in England it very often continued to the ceiling. But this idea of having either white painted sand plaster as you see here, or in some cases, beautiful Florentine damask covering the walls above the paneling is quite typical $0 there is historic pre- cedent for this panel system. ‘The beams are what is known as fabricated beams. They don't support. Once again, they are typical of many. Italian structures. We hear of wealthy Americans in the 1920's--maybe in the New York or Los Angeles areas--who went to Italy or other parts of Europe, like William Randolph Hearst, bought ceilings and shipped them home. This is often bewildering to people who are not knowledgeable about architectural system and does not mean that the building from which the ceiling vas removed wasdestroyed. The ceiling was simply bolted to a nore structuralceiling so that one either had.to remove pegs, screws or whatever, the ceiling was taken down in pieces which were. numbered and then re-assembled. In any case, this is typical of fabricated beams--it means that these are not solid beams, are not tremendously heavy--they are simply made up of baords, moldings and assembled on the spot. To return to the fireplace: The tile surround as it is referred to, which reduces the fireplace opening to a more reasonable size,is very typical of California tiles in the early 20th century. Much of this was made by the old California firm, Gladding-McBean, which hadbranches in San Francisco, Oakland and probably in So. California. This is a slightly matte-glazed tile which is very unassuming tile and is used throughout the Villa in several colors. The Southern, or Australian, gumwood used throughout the entry hall, living room and dining room of the Villa is a particularly beautiful color. I think we would almost describe it as a fruitwood color. It -seems to have aged very gracefully--it hasn't turned dark and has weathered time very well in spite of not alvays careful useage. The dining room has some very fine plaster work of the ceiling and over the fireplace. again, there are echoes from historic ornament, in this case Renaissance-like designs, but very modified in a very low relief, rather than the higher relief which is typical of most of the Della Robbia work. The floors throughout the Villa appear to be of white oak and are interestingly planed. This is a system of parquet--a simple narrow plank sustem through the center of the floors with a handsome border of herringbone design. In the library it is interesting to note that the brackets over the fireplace and brackets which support the beams and ceiling are angular in this.case with classic dentils which depend from them. Actually the same basic design was used but it is interesting to note that all of the brackets in each room are different from those used in the living room and dining room. This makes a nice variation in the overall scheme By the vay, this is one of two rooms on the ground floor where we leave the famous gunwood that was used in the larger room and here we find the beautiful Circasion walnut which is sometimes called Persian walnut. It has nothing in common with the American black walnut. This is a European walnut used all over Europe , much lighter in color. As a matter of fact, American black walnut is peculiar to this country alone This is almost a fruitwood color and blends very nicely with the gum-wood used in the other rooms. [Tre library was restored to it'sbriginal condition and use in 1987. For many years it had been used as an art gallery. The book cabinets on the West, South and East walls had been removed and white gallery wall had been installed. These walls covered the alcove and the two doors on the West wall. ‘The tops of those two windows had been painted white as had the beams. When the white panel- ing was removed, it was found that at least one of the orginal wood panels on the West had been removed. The man vho did the wood restoration in the room recreated that panel using feathers, brushes and rags. The wood used to replace the bookcases is not walnut but was finished to blend with the original wood in the room. The chandelier is not original but was placed there by the decorator in 1989, when Montalvo was used for the Decorator Showcase The Solarium is one of the very interesting rooms at Montalvo: totally different from any of the other rooms on either the first or second floor. We hear a great deal about how it was used. Tt is a most pleasant setting-- a part of the garden,really, it creates a nice trans- ition from the main room of the Villa to the terrace and then out into the garden. It is a beautifully proportioned room again, with a strong feeling of indoor-outdoor relationship which in some ways anticipates the kind of floor ve take for granted today. The room is interestingly finished in a trellis or treillage design similar’ to the garden seat in the yard. It has been conjectured that this was inspired by some of Elsie DeWolff'swork which was usually in green and white. and it is very much like some of the rooms that Miss DeWolff didin New York in various hotels and private residences. one sees a great deal of this in France, and we usually give credit for this kind of thing , at least the interpretation of it, to Elsie DeWolff. Some of her finest rooms were decorated in this way. This is on ly a brief reference to Elsie DeWolff£ because we don't wasnt to overstate and we don't have accurate information on this, but we do know the famous lady did decorate a number of large houses on the Peninsula, between San Jose and San Francisco and did some work in San Francisco, Santa Barbara, and the Los Angeles Hollywood area. We also know she visited here. Again, in the Solarium, we see the interesting combination of cast brick and pressed brick that is used quite frequently in the interior of the Villa with colored tiles typical again of Gladding-McBean or one of the California tile manufactureres. These are not over stated, but just occasional accentsof color introduced into the floor. The design is a combination of a kind of lattice design in the center of the room and herringbone brick with tiles in the border! ON THE SECOND FLOOR OF THE VILLA Here on the second floor the handsome room we walk through is a long room quite elegantly proportioned. It is referred to as the Loggia and was originally a morning room, or a’smaller sitting room of some kind. One of the distinctive features of it is its very handsome vaulted ceiling, in this case a laurel wreath wrapped with ribbon which, of course, is classic ornament. Without this band of ornament’ and if it were flat it would simply be a long, dull ceiling, or if’ there were no bands of ornament, it would probably be known as the barrel hall. The fireplace is prominent in the room, almost too prominent, but there it is. It is functioning fireplace, designed in this was So that the chimney stack doesh't intrude into the room behind it. The tiles here are very soft greens which vary from a deep bottle green to a pale celadon color. Generously proportioned, as are most of thé fireplaces in the Villa, we sée again that the imantelpiece is resting on a bracket system. This is an inevitable’ motif uséd on every fireplace.AROUND THE EXTERIOR OF THE VILLA One of the things we should notice in working our way around the building is the interesting use of brick and the different kinds of brick. This is, especially by European architects, considered to be an important issue. Where various kinds of brick are used, and how appropriate is the brick in the fountain court in the situation in which it is used. For instance, the stairs here (going down to the fountain court) and other stairs and some other aspects of the architectural detail are executed in a very hard edged, quite dark red brick. I don't believe any of it is made any more. It is a brick which is made with a line molded on the edge of it whereas the brick which was used as pavers alternating with brushed aggregate or concrete is much softer brick. One can see that the softer brick has worn aimost hollow in places and the moisture collects in the resultant depressions. These molded bricks have not worn at all and this vas an excellent and intelligent use of them. They are hard, they are never going to wear away andthey don't chip easily. The brick is varied enough to avoid any feeling of monotony Student architects might learn a lot by examining the brick work at Montalvo. Some of it is old and a little damaged but for the most part it is intact. There is an interesting use of Flemish bond and brick laid in herringbone pattern, especially in the courtyard. It can be easily recognized that some of the brick work whichflanks the herringbone was laid at the later date simply so that all the courtyard space could be used. ‘This, however, creates a heat problem andhs it was originally was really much better. Looking up from the fountain courtyard, the exterior brick work which alternates with what is known as half-timbering, is very effective. The red brick and unglazed tile, some of it in a herringbone pattern with the dark green glazed tiles, is appropriate to the date of the house. In a way, it is really a part of the American scene. I don't know that it is only typical of California, but there are old houses in Berkeley, for instance, some of the old Naybeck houses where this sort of detail has been used. In Burope, this decoration would have been more classic and related to the other elevations of the Villa.In any event, this lessens the formality of the building and makes the whole courtyard a more friendly kind of place, even though we have very formal Palladian or Roman arches which flank the courtyard on three sides. The Tuscan column seen here is an interesting one; it is a form of the Doric column, but a ring has been added three or four inches below the modified cap on the top of the column and it has become, over the years, on ofthe most popular columns. I suppose it's becausethere's enough detail to cast a shadow which you see here and bring interest to the column and still it isn't overstated. Corinthian columns would have been ridiculous here, simply too lavish. By the way, it is interesting to notice that these columns are not simply cylindrical forms of cast concrete. Each of them has an entasis and that is really necessary to a respectable column. This means that the column swells in the center--almost exactly center and it diminishes slightly as it moves up and diminishes slightly as it descends and unless this entasis is is included in a column, the tends to appear to sink in the middle. Today we see supports which pretend to be columns and are simply dylindrical castings of no detail and no sensitivity to the entasis or anything of that kind. NOTE: All the columns in the courtyard were replacedafter the 1989 Loma Prieta earthquake. One had sheared completely and others were damaged. The replacement cost was about $110,000. Sometimes the main entrance to the Villa has been criticized as being arid and especially on a hot day, bare and rather dusty, but here in the fountain court I feel that the whole statement is totally success— ful. Not only the use of wood, brick and tile in the upper story which slightly overhangs the court, bufthe elements used with these materials. The arches with double columns create a cloister. The several fountains which occur here fit with the proportions of the courtyard and are very successful. I have never heard and criticism of thif. It has several elements in it which are worth mentioning: The white marble fountain in the center of the court is made of what is usually referred to a statuary marble. it has been in the weather so long. It is a fine quality marble which marble which is quite white even though this has stains because is beautifully sculpted in a classic form. There is a baluster type column supporting a basin and on the basin there are shell forms alternating with acanthus leaves. It undoubtedly was carved in Europe, probably in Italy, and it is totally appropriate. ‘There is a finely carved finial- like element from which the water emerges and it makes a very satisfying statement. The wall fountain is an interesting work--it is presented in an architectural frame which is traditional classic; with Ionic columns and all the details one would find in the classic orders and a handsome arched pediment over it. But what happens within the frame is another statement and it belongs to the period of the turn of the 19th C It appears to relate to the art nouveau idiom.(The words above the fountain are Phelan's words referring to Ordonez de Montalvo who wrote the book from vhich the name California is supposed to have come and the fountain itself was done by Jo Mora who worked in the Carmel, Monterey area and it refers to the Montalvo story of the Amazons who ruled this Terrestrial Land). TI think it is a good period design and indicates that Senator Phelan was not only interest in estab- lishing a building here which suggested Southern Burope, but he was inter- ested eclectically, if you will, in other design movements which would relate to his interest in the arts, generally. In a way, this tell the story of the whole Montalvo structure. In one corner of the covered area or Loggia, as it is sometimes referred to in thefountain courtyard, near the entrance to the front hall, is a structure which has often been remarked on,clearly it is an interesting fountain, usually referred to as a lavabo--that's the French term and I would guess the Italian is very similar. It is simply a small basin mounted on the wall, and the shape behind it is an arch which echoes the design of the Loggia, and this is supported on what is referred to as a bracket and that is beautifully detailed and carved in marble. A lavabo is exactly what it says --a place to wash hands, or to perhaps resort to this for fresh water, or it may have been a drinking fountain, but usually a lavabo is a tank of water. IN this case that wasn't necessary and there is a basin under it which may have served a very prac- tical purpose for watering plants in the Villa. It is an interesting item and with sufficient detail and character to merit passing notice. The bas relief which hangs in the center of the center arch on the wall facing the fountains, the wall against the living room, is a recasting of a Della Robbia plaque, not one of his Madonna-1ike plaques, buta different kind of decoration which depicts a number of children or young people singing from a hymn book, or whatever, and the name of the piece is 'Chanteurs aulivre'. This is a recent addition--not here in Phelan ‘spay . IN THE OVAL COURT Here in the oval terrace, vhicl{ised to be the svinming pool, we are in one of the most successful parts of the garden. Unlike the fountain court, this really is a garden-like situation which is just large enought so that ve are able to maintain it more or less as it should be maintained. This is where most of the weddings are performedThe arbor which surrounds it and the small Italian style pavilion which arises on the south side of the garden with the tree covered hill above is one of the finest prospects of the garden. It is what ve might call an intimate garden view. ‘The arbor which surround the space on three sides is very typical of Mediterranean gardens and it supports the wisteria for which Montalvo is justlyfamous. It is said that at one time nearly all of the important species of wisteria were represented here. I don't know whether this is is still the case, but I see principally white and lavender and maybe there are differences of which I am not avare. Veryeffective are the masses of hydrangeas which flank the small pavilion and enhance the weddings held here. Whether the Pavilion served any special purpose, it is and elegant structure and entirely appropriate inthis garden. It is an architectural entity of considerable importance. LOOKING UP THE FIRE ROAD PAST THE ARTIST APARTMENTS This is the road which leads past the garden apartments and eventually up to the tennis court site and the reservoir above that. The building now used as the artist residency was originally the guesthouse on the property and was the first building erected here. Just as we pass by the apartments and at the bend of this road, is a very handsome garden seat. These were very popular, especailly in England in the 18th and 19th centuries. They are created in a trellis- like pattern. On the Continent this would be called treillage, simply the French word for trellis.These are graceful and typical of Georgian gardens. The famous Capability Brown type gardens vould have these at intervals throughout the garden and theywere often roofed so that in the dubious English weather one could take cover if suddenly a downpour started. This one was restored bout 4 years agovhen it was beginning to disintegrate. The main structure has always been sound but some of the details, moldings and parts of the seat were not in very good shape and required restoration. NOTE: This structure was moved to it's location at the edge of the lawn in preparation for the 1989 Designer Showcase.AT THE KITCHEN ENTRANCE TO THE VILLA this was originally the kitchen entrance to the Villa. Now the business ofice is here. The door leads into what was originally the Butler's pantry, the original kitchen being the room to the left off the present kitchen. As we face the Villa, to the extreme left is the old Carriage House (actually garage, never a carriage house) which is an interesting structure built about the same time as the Villa but certainly not the same style idiom. Tt is an interesting style which is sometimes called carpenter Federal. In other words, we suspect that sketches were made of what was required to be used for the carriages, etc.,big double doors opening into it, and the carpenters, or there may have been a designer involved, came up with a very functional statement. It isn't pretentious, ut on the other hand has very handsome moldings and certain details with pilasters flanking the doorway and classically detailed entrance. It is the kind of thing that might have come out of the old pattern books that carpenters very often had. They simply thumbed through the book,founddetails they thought would be appropriate and then followed them and quite frequently did something very handsome, and that is what we think occured here. The structure between the Carriage House and the Villa is, of course, the only new building of any importance that has occurred at Montalvo and it is referred to as the Pavilion. It is a building independant of either the Carriage House or the Villa and it is intended to be used for receptions, exhibitions, meetings, classes, conferences and possible music on some occasions. This is a light, airy structure with doors which open out into a rear terrace and the more important colonaded terrace. Again the design of the colonade includes Tuscan columns and echoes the arbors behind the Villa. The building is designed to relate to the Carriage House rather than to the Villa. The feeling here was that it would be unwise to have another building in competition and probably not nearly as good as the Villa and this was an easier style to emulate. Also the use of the Pavilion is more immediately related in useto the Carriage House than to the Villa It is interesting to note, looking toward the front terrace, that the stairs leading up to it on this side of the Villa were added around 1960.