The Unseen Art of Franceschi House

Much has been made of the medallions of Franceschi House, commissioned in glass, stone and wood by the well-traveled, peace-loving Alden Freeman. The medallions, which are visible to the public, add a timeless quality and a bit of mystery to the home. However, there are additional works of art hidden beyond the front door, unseen and virtually unknown.

In a recent installment of the Pearl Chase Society’s Kellam de Forest Speaker Series, Rick Closson gave an absorbing presentation about the art of Franceschi House. The entertaining and informative event was standing room only, and guests lingered long into the night to discuss the magic of the place.

Despite many attempts over the decades to save the house, it is now slated for demolition — or “deconstruction,” as the Parks Department puts it — with the city promising a “reimagining” of the structure.

In order to “reimagine” it, we must be properly informed about exactly what is contained within the house. According to Jill Zachary, Parks and Recreation Director with the City of Santa Barbara, “We do not have a detailed inventory of the house. It will be developed as part of the Reimagining Franceschi House project.”

Fortunately, we do have a record of the treasures that characterize Franceschi House, thanks to community members who’ve developed deep knowledge of this cherished and meaningful spot as they have visited, photographed, and studied its history and features over the years.

Among the treasures hidden from public view for more than a half-century is a collection of herms. Herms are defined as “a squared stone pillar with a carved head on top (typically of Hermes) used in ancient Greece as a boundary marker or a signpost.” The herms were designed in 1921 by artist Ulrich H. Ellerhusen — who also created the Franceschi House signature installation known as “Peace Boy.”

Originally, Ellerhusen designed four herms, each topped with the bust of a historical person representing a major continent and race. The subjects are Frederick Douglass (Africa), Christopher Columbus (Europe), and Confucius (Asia). The whereabouts of the fourth herm depicting Pocahontas (America) are unknown.

Closson first saw and photographed the herms in the basement of the house in 2001. He noted, “At that time, a city worker remembered previously seeing the fourth herm [Pocahontas] in the basement but had no knowledge of when it went missing.” He added, “They have never been on public display in Santa Barbara, but now are separated from their pedestals and stored in the basement.”

Each of the herms is engraved with the names of multiple individuals Freeman admired. Judy Daniel, author of Franceschi: Santa Barbara’s Lost Garden, observed, “They represent a jumbled mix of modern and historic characters: philosophers, authors, musicians, scientists, inventors, and politicians.” 

“Through art, Alden Freeman again demonstrated his worldview,” Daniel concluded.

Outstanding examples of stained-glass art are also hidden away in Franceschi House, including a stunning installation of four huge vertical panels depicting natural scenes. Repurposed from the original house on the property, the stained glass was set in place on the second level, near a Gothic stairwell, allowing sunlight to stream in through the colorful patterns. A circular stained glass window dates to 1927 and was said to have been featured in an exhibit at the county’s Channing Peake Gallery some years ago, but that cannot be confirmed. Its current whereabouts are unknown. 

According to Zachary, “The three herms are stored in a safe location in the house. All remaining windows are currently installed in the house. The windows and other items will be removed when the house is deconstructed.” She added that display of the herms and windows will be determined as part of the Reimagining Franceschi House project, noting, “The conceptual plans for the view terrace include potential locations for the display of medallions.”

Photographs of the interior in Daniel’s book (taken in 2008) reveal remarkably unique architectural features, including a dramatic Gothic stairway comprising three flights, as well as a built-in church pew and organ, oversized carved doors, and wooden beamed ceilings.

Clearly, before any further thoughts of demolition take place, there is much to see, contemplate, and protect to properly reimagine this remarkable property — its views and interior and exterior features — that was so generously gifted to the City of Santa Barbara in 1931.

For more information about the City’s plans and process, visit: sbparksandrec.santabarbaraca.gov/projects/reimagining-franceschi-house.

Cheri Rae is a longtime neighborhood advocate and the author of A String of Pearls: Pearl Chase of Santa Barbara. She is a boardmember of the Pearl Chase Society, and the longtime editor of the society’s newsletter “The Capital,” where this article first appeared. Email Cheri at pcs@pearchasesociety.org or visit pearlchasesociety.org.