Frenchman’s Creek artist Galen Wolf

being interviewed [probably at his Frenchman’s Creek “home”] for a documentary. The interviewer’s name is Ruth.

[Image below: Galen Wolf’s students sketch along Tunitas Creek Road, south of Half Moon Bay.[

Watercolor of Devil’s Slide by Galen Wolf. wolfa_2

Wednesday I was in the City and met a former resident of Half Moon Bay who knew Galen Wolf and his brothers very well. I am hoping to hear from her and I will share with you everything she tells me.

Sanchez Adobe Was Once Pacifica’s “Crime Shack”

Image: (Watercolor by Coastside artist Galen Wolf or one of his students, probably one of his students.)

By June Morrall (I wrote this in 1998)

It’s hard to imagine that Pacifica, a Coastside community of neat neighborhoods, was once a dumping ground for victims of the criminal underworld.

The organized underworld of 1920s Prohibition-era San Francisco consisted of criminals who specialized in bootlegging, gambling, the “white slave trade,” and all the other vices that spilled onto next door neighbor Pacifica.

Isolated and often hidden under a net of fog, the two-story “Old Adobe,” originally the site of a mission outpost in present-day Pacifica, was better known to law enforcement officials as the sleazy “Crime Shack.”

The house was built with sun-dried bricks by Francisco Sanchez, the grantee to the Rancho San Pedro. Sanchez resided in the fine adobe between 1846 and 1862, but 50 years later, surly armed guards were posted around the dilapidated structure, the favorite rendezvous for criminals gathering in Pacifica’s remote Pedro Valley.

Rumor had that the toughest lawbreakers felt safe hiding in the “Crime Shack.” Today, the beautifully restored Sanchez Adobe on Linda Mar Blvd remains an authentic reminder, perhaps the only reminder, of Spanish-American days on the Coastside.

No one knew more about criminal activity at the Crime Shack than Colma Constable S.A. Landini. At the adobe in 1920, Landini led police officers in a shootout with a band of liquor smugglers. On another occasion, the constable arrested members of the Baciagalipi gang for robbing and murdering an elderly man. Landini also broke up a “white slave” vice ring, rescuing four young women from the sinister network.

One woman, a regular at the Crime Shack, told Constable Landini that she could identify San Francisco mob leader Charles Valento as the murderer of her husband. Valento also had been identified as the killer of legendary San Francisco Police Detective Miles Jackson.

A few months earlier, Detective Jackson had been the lead investigator of Dr. Galen Hickok’s “abortion mill,” housed in the famous “castle of mystery” high above Pacifica’s Salada Beach surf. The “castle,” originally built for Ocean Shore Railroad attorney Henry H. McCloskey, grandfather of former Congressman “Pete” McCloskey, still stands overlooking Pacifica’s busy Municipal Fishing Pier.

Three days after testifying for prosecutors in the Hickok trial, held under the dome of the Redwood City Courthouse, Detective Jackson was gunned down by gangster Charles Valento in a brutal shootout in Santa Rosa. Unable to elude the authorities, Valento was captured and jailed.

Revenge for Detective Jackson’s death came swiftly. In Wild West vigilante style, a party of 100 masked men in 15 automobiles burst into the Santa Rosa jail, seized Valento and two other gang members, hanging all three on a tree overlooking the Odd Fellows cemetery.

Constable Landini, who had assisted Jackson with the Hickok case, was deeply familiar with Pacifica’s terrain. He knew every hidden valley and cow path; he knew every bend and turn of twisty Pedro Mountain Road. These skills proved invaluable later when the constable led a manhunt in Pacifica for Colma priest, the Reverend Patrick E. Heslin, abducted from his parish house in the summer of 1921.

On food and horseback, Landini and his men fanned out from Colma, heading south toward Pedro Mountain Road. The manhunt was meticulous. After threading through the mass of scrub and thick underbrush high on the side of the mountain, the posse approached a “squalid shack” at the end of a narrow foot trail. Near the shack stood two horses, saddled, with a rifle holster hanging from each saddle. A search of the shack came up empty; the riders of the horses were nowhere to be found, nor was there a trace of Father Heslin.

Constable Landini picked up the scent of Father Heslin’s abductor while interviewing a Salada Beach restaurant owner. Landini had a description of the kidnapper, and the restaurateur confirmed seeing the man, his clothes, gritty with sand.

The clue led Landini to Father Heslin’s shallow grave located beneath a Salada Beach billboard advertising a pancake mix.

Charged with murder in the first degree was William A. Hightower, a cook and former manual laborer for the Ocean Shore Railroad. In a sensational trial held at the Redwood City courthouse, Hightower was found guilty and sentenced to life in prison. At the time of Hightower’s trial, there were unconfirmed reports that he had ties to the underworld of Sacramento.

Five years later, when the body of a young woman, wrapped in a sheet, was found in “O’Malley’s Gulch” near Salada Beach, police confirmed that the victim was the “Moth Girl,” part of San Francisco’s underworld. A police search of the “Moth Girl’s” apartment–where the last recording she played on her portable Victrola was the jazz favorite, “Charleston”–led investigators to believe she led a double life: one as a conscientious piano student, the other as a player in the city’s dangerous night life. Continue reading “Sanchez Adobe Was Once Pacifica’s “Crime Shack””

In Pictures & Words, Watercolors & Legends, Artist Galen Wolf Left Us the History of the Coastside

sketchingthumbnail10.jpg (Photo: Sketching on Tunitas Creek Rd. Note the old Tunitas one-room Schoolhouse at left.)

[I wrote this in 2002]
By June Morrall

When 87-year-old Coastside artist Galen Wolf died in 1976, the inventory of paintings he left behind could have been created by two different peoploe.

Most them are know as “the Pictures,” and then thre is a small, unique series called “the Legends.”

The “Pictures” are watercolors and some oils, many of them of reflections of Galen’s beloved Coastside. There is also a series devoted to the Peninsula’s famous 19th century mansions, historic California missions and evocative seascapes painted in Mendocino, home to one of his three brothers.

Galen began sketching as early as 1909, and aside from artistic merit, his work may be as valuable to historians as are vintage photographs. His pictures provide a visual history of scenes that may have changed or no longer exist.

This Coastside artist was neither reclusive nor Bohemian. Galen Wolf was outgoing. He loved people and they returned that love. Wearing suspenders and a hat, sometimes a tam o’ shanter, he was an advocate of plein air painting, often sketching on site at remote Tunitas Creek, Mills Mansion in Millbrae, and Mission Dolores in San Francisco.

At his modest studio on rural Frenchman’s Creek Road north of Half Moon Bay, he transformed the smaller drawings into larger pictures.

But Galen’s talents as an artist did not help him in his role as a husband and father. During the desperate years of the Great Depression, he made a decision that forever marked his life: He separated from his wife and their two children, with emotional repercussions for everyone.

We may not know all the reasons for his break with the family but he did fit the description of the classical artist, a free thinker who said what was on his mind, un-fazed by conventional pressures, driven to paint, paint, paint. Galen supported himself painting pictures of people’s homes for a small fee and earned a few dollars teaching students as well.

Outside Galen’s studio on Frenchman’s Creek Road, there was the unusual sight of a avocado tree. Without the help of a tropical climate, the avocado tree thrived through the long summers of endless Coastside foggy days. It flourished, as did Galen, who also seemed like a transplant from a different place.

There was always laughter and chatter in the studio as Galen painted. He had a loyal following. Many–mostly women–made what could only be called “the pilgrimage” to see and hear “the master.” Some of the students were there to learn to paint while others sat his feet and listened to the retelling of Galen’s Coastside Legends. Certainly Galen Wolf would be the first to say he was no guru but all who met the artist revered him and agreed he spun a magic web about Half Moon Bay. Continue reading “In Pictures & Words, Watercolors & Legends, Artist Galen Wolf Left Us the History of the Coastside”

1950: Coastside Artist Galen Wolf Found The Secret of a Good Life

Part II

From: This Is Your Coastside: Its People, Places and Industries by Gino Lea

Half Moon Bay Review, October 26, 1950

Galen also has been doing some remarkable work in Opaques, a technique originally suggested by leaded stained glass or Mosaic found in the arcades, walls and floors of monastaries in Europe. It was originally a surface decoration made by inlaying in patterns small pieces of colored glass, stone, quartz, rock jades, and other material. This Mosaic work presents the first form of broken color ever used. Galen has been experimenting with an opaque techn ique in solid colors that is partially an innovaqtion of his own. It makes beautiful and effective art.

Some of the general remarks Galen made concerning art and painting are probably common knowledge to artists but it should be of interest to the like of many like the writer whose knowledge of art has mostly been gleaned from the arresting pages of Esquire.

The most difficult part of a picture is in the proportioning of the main features and general pattern. Balancing the body of a picture is the most subtle job in painting. Subtle because if it isn’t handled properly the layman couldn’t tell you what was wrong with it but he would remain disturbed by it. For example, by sketching a tree in the foreground, using distant mountains and scenery for the background, the mountains in the background must be proportionately related to the tree in the foreground in order to properly convey distance and size. As for the tree which is the main object, there is only one position in that sketch where the tree can be placed to give the picture balance. A half inch or inch to the right or left, up or down, and the picture just doesn’t come off.

Among other things, the artist knows that the colors he works with are characteristically individual. He knows that warm colors have more power of appeal than cool colors. Therefore a small area of orange or red or yellow is comparable to a larger area of green or blue. Also, large areas of color tend to saturate the eyes. The eye is attracted by the strength and amount of color. But a small picture to attract attention must be sharp and distinctive, done in fine detail to compensate for the reductions in size, darkness of shadows, and strength of hues.

Continue reading “1950: Coastside Artist Galen Wolf Found The Secret of a Good Life”

1950: Coastside Artist Galen Wolf Found The Secret of a Good Life

From the Half Moon Bay Review, Oct. 19, 1950
Story by Gino Lea

“This Is Your Coastside; Its People, Places and Industries”

“Galen Wolf–Part I

“Galen Wolf long ago discovered what most of us spend a lifetime futilely seeking–a pleasant way of life. It is the essence of this gentle man’s existence and his work.

“If you like interesting people, you would like Galen Wolf. He’s a sharp featured, loose jointed man flirting with his early sixties and standing just beyond medium height. He has the square jaw and jutting chin usually associated with a fighter, and a wide generous mouth that lends itself easily into a humorous smile.

“His small alert blue eyes are made to appear smaller and more deeply set by their conditioning to be heavily lensed glasses he wears. A bandanna or large handkerchief covers his head, a smooth expanse of skin, except for a fringe of snow white hair, which has little in common with a comb. The ends of the bandanna re rolled up into a beret like affair, which is held in place by the straps of green eyeshade Galen usually wears over it. The combination actually amounts to a homemade cap that is cool, comfortable, and restful.

“He’s slightly stoop shouldered from his constant hunching over his sketches and paintings, but he sits and stands with the relaxed ease of an athlete. It is a poised sort of relaxation whose nature is primarily mental, whereas the conditioned athlete’s is almost purely physical. It is the man’s inner harmony that seems to manifest itself in a physical sense.

“There is something singularly [missing words] complete to sweater and tie, are well worn and loose fitting and yet are in no way casual or sloppy. Rather there is an exactness about them, even to neatly knotted loose fitting tie, that suggests a precise and orderly but tolerant mind. Clothes have a way o losing their identity on Galen. Regardless of what clothes he wears, it is only a matter of time until they become part of him, merely one phase of his personality.

(Photo: Galen Wolf with a friend on the tractor.)


“There’s an unpretentious sort of dignity about him that combines the worshipful simplicity of a man’s love of nature and land with the added refinements of the cultured mind of an underpaid college professor.

“Everything that Galen is–a pleasant, cultured man of simple dignity–is reflected in his art.

“Galen Wolf is one of the foremost watercolor artists in the state, and certainly the ablest interpreter of Coastside scenes. He has had a traditional show of country pictures at the Peninsula Book Store in Burlingame for 8 years, plus one show at the Mull Galleries on Sutter Street. He has had pictures on exhibit at Grave’s and Maxwell’s, Allied Arts in Palo Alto; at the California Historical on Mission.

“Galen estimates he has sketched and painted over 400 Coastside scenes, mostly farmsteads, which are his favorite subject.

Continue reading “1950: Coastside Artist Galen Wolf Found The Secret of a Good Life”


(The five siblings, left to right: Collin, Heidi, Kai, Sara and Jan, c 1995.)


THE RED HOUSE: Story by Kai Tiura

I heard that name given to the old family home, on one of Dante Dianda’s many properties in El Granada, last night and remembered that it was actually known as that by many locals. That memory gave birth to an entire train of thought revolving around, in short, simpler times.

The El Granada of my youth (1958 to 1966) was a throwback in many of the fondest senses of the term. The dirt streets, the empty lots – block after block of them, the endless opportunities for a kid to make an adventure out of what most adults saw as nothing. But more than that, it was a haven. A haven for individuality, for expression, for the creative to realize a tactile version of a beautiful thought.

El Granada, in much the same way as most of the San Mateo County coastal towns, was a place where artists and free-thinkers went to be allowed to put their thoughts into some kind of action, so many of them feeling stifled in more urban settings with their somewhat stuffy social atmospheres. Talking with June Morrall, one of Half Moon Bay’s biggest supporters, I have been reminded of the things that set El Granada apart from not only the more urban (i.e. soulless) cities and towns of the day, but from the way life was lived in that wonderful time in most bigger cities. Being somewhat secluded, the Coast (which the family has always said with a capital, like “The City” for San Francisco) was its own place for sure, but its own place in time as well.

So when June asked me to write something for her website, I was both honored and a bit intimidated. Then little memories started coming to me of the childhood I experienced there and the butterflies flew up and out and wove themselves into vivid mental images of the time I spent there in my younger years and how the world has changed so much from what it seemed to be then, and some other images, not so idyllic, of what is happening to the world around us today as we head uncertainly into tomorrow. It seemed, somehow, the right time for such a story.


Meandering around El Granada in the early sixties was very much like what one might believe a walk through Mayberry might be, only without paved roads or, in most cases, sidewalks; with a lot fewer people; with entire blocks which DID have sidewalks, but few homes on them; and most notably without the moral judgments of the townsfolk. OK, so maybe Mayberry wasn’t the best choice of simile, but the point is that Aunt Bea would have had a stroke if she’d run into me cruising the streets of El Granada. Living in The Red House (on Alhambra, next to the little post office of the time – currently the Creekside Smokehouse, and across the street from what was then Sam’s Market, now El Granada Market) I had the perfect central base of operations from which to conduct my missions of childhood. One such mission, when I was still wearing diapers (and somehow sneaked out a low window while older sisters Jan and Heidi babysat me) took me to The Ship’s Bell, just across the highway from our house, to visit my mom at work there. Being a free-spirited Coastsider, I saw nothing wrong with this journey, much to the chagrin of the passing Highway Patrolman who picked me up en-route. (Lawmen of the day were notoriously out of touch with the realities of the Coastal mindset [“I’m a ramblin’ man, officer. Let’s get this over with!”]. Then again, there was Ben Donahue, who terrorized all the older kids. When he once caught teenaged boys with beer and found our mom had sold it to them, he took them back to ID her and after sending them on their way, Ben spanked mom over his knee.)

When the flustered officer asked my name, I not only gave it to him, but offered also my address and phone number. When asked where I thought I might be going, I replied that I was, “…on my way to The Ship’s Bell to visit my mother”, who worked there. (I’m sure I was thinking the obligatory “Duh” quietly to myself). Seeing, obviously, that I was of rational thought, and not wanting to be outdone by a toddler, the kind officer applied some rational thought of his own and conveyed me forthwith to the aforementioned Ship’s Bell, where I was duly reunited with my mother, and one of many such family stories was born.


Good old mom, gone now for many years, was never much given to the “popular thought” process, certainly no Aunt Bea. An artist, who studied under her close friends Galen Wolf and Forest Young, she had the “Coastal” approach to thought. She loved to paint (and although was never the successful painter that Galen was, certain family members think her work trumped Forest’s, and her charcoal and pencil art was stunning) and dabbled in tile mosaics and driftwood sculpture; tempered the offbeat philosophies of Edgar Cayce with the analytical observations of Carl Jung… she was every bit a card-carrying Bohemian (sister Heidi reminds me that “they wouldn’t carry cards; they belonged by not belonging”) of the first order, and as such, she gave me a wonderfully freelance childhood. I rarely gave her back much more than headaches in those years (hell, well into my late thirties, really), but she was a woman on a mission who rarely let the easy path lure her from the rocky, slippery slope of the beliefs she held dear and so, as I grew up (numerous harrumphs and chuckles somewhere in the background…), I enjoyed the freedom to, say, join a newlywed (I’m assuming) couple that passed my house one morning on a walk through Princeton with their new baby, all the way out to Pillar Point and back. This somewhere near the age of five or six. I remember walking out to Surfer’s Beach for the day, listening to the Beach Boys coming from the hot rods and old jalopies parked there; rounding up seashells and driftwood oddities for mom; sitting in front of the post office during the morning rush, asking people we knew (and, I’m told, some we didn’t) if they’d like to stop by for a beer with my mother. Kids… she preferred wine, and not receiving visitors until she “put her face on”!

I was able, without interference from the overbearing typicality of the more unfortunate urbanite kids’ parents, to wrest dimes from the paper rack at the post office by shaking it until they fell on the ground (not sure how I figured that one out) and take them to Sam’s and buy large stockpiles of Black Cow candy bars. In fact, I was able to pull that off for quite a while. Oddly, it was only after I had taken to removing the coke bottles from the back storage area of Sam’s and turning them in to the front counter for the deposit that my spurious ways became suspect and my Black Cow days came to an abrupt end.

I was able, in those days before great concern as to the constant knowledge of the whereabouts of your kids, to wander down to Pop & Peggy’s (now – or last I knew – El Granada Liquors) and get candy whenever I had legitimate fundage (don’t try to look it up…). I could have bought them at Sam’s… I wasn’t forbidden back, just too embarrassed to go there. Yes, El Granada was a haven indeed.


(Kai and his wife, Kit, on their beloved Harley)

My sister Heidi had a donkey named Barney who lived, when he chose to, in a pen next to our garage. Barney had the wanderlust as well. Every time he could get loose, he went on walkabout. Most often, he beelined for Dykstra’s ranch where he’d lived before we bought him. Sometimes he was missing for a week or more. Heidi would hike the hills after school, carrying his bridle with the hopeless optimism she might find and catch him. Sometimes he would just end up incarcerated by family friends who would call the house and say “Heidi, Barney’s here. You wanna come get him?” And off she’d go, returning not long after, riding a disappointed Barney.

There were calls from others too. The Sea Horse Ranch, in those days widely respected for caring for fine race horses, would occasionally call, beside themselves with anger, and report that Barney had somehow penetrated (maybe not the best choice of words…) their defenses and saddled up, as it were, with one of the mares entrusted them by its hopeful owners, informing us that we had better retrieve him posthaste! Barney apparently had the nose of a bloodhound and the testosterone of an adolescent schoolboy, mixed with no fear of Highway 1 traffic and a single-mindedness second to none when it came to female companionship. And after he would get busted consorting with these extremely valuable animals, they were so kind as to call us instead of animal control or some other official entity, accept a heartfelt apology and a promise to have him snipped (which was promised but somehow never happened) and Heidi and Barney would be on their way. Small Town America… what a concept!

Mom and dad would occasionally hear from the sheriff about brother Collin driving his Henry J through town on its rear wheels. They hadn’t arrested him, probably couldn’t have caught him had they tried, but they knew he had the only car in town that would do wheelies and it was their civic duty to call our folks and let them know. Out of touch or not with the Coastal mindset, cops back then had a much better grasp on how to deal with kids.

Those days didn’t just create and exemplify what all our ideas of freedom were (they DID that); they gave us, our family and friends an understanding of what life can be. There were no worries that the neighbor would sue you if their kid fell off your rope swing. Neighbors knew one another, and cared for one another, and took responsibility for their own kids and lives and decisions and actions. If not always, most of the time certainly. That kind of upbringing gave us all tools with which, I like to believe, we were able to go into the world much better people than we might have been otherwise.

Knowing people like those who dwelled on the Coast in those days gave us insight and opened our minds to the possibilities out there, not satisfied to simply focus on the realities of what was visible, tangible. It makes me wonder, in today’s world, where we are headed if we do not remember these things, hold them dear, and force ourselves and our children to respect personal responsibility. There is no greater gift one can pass on to a child than the ability to make conscientious decisions of which they can be proud. God only knows it’s not always the easiest way to raise kids, giving them the freedom to make mistakes and then lovingly but firmly teaching them that the lesson is not in the fact that you made a bad decision, but in how you address that decision and administer the personal responsibility that it entails.

We have, as a society of “modern” and “advanced” people, lost sight of a lot of those valuable lessons taught us by simple and unassuming parents of yesterday. This little essay was not meant as, and will not be, a podium from which to pontificate or proselytize, for anyone who has watched me stumble through my adolescence knows I am in no position to do so. But it is the New Year, and as such, it is a perfect time for remembrances of this sort; reflections on what a wonderful world we have. Perhaps it’s time we spend more energy focusing on the positive instead of bemoaning the negative. Thinking back to what our parents taught us isn’t living in the past, it’s looking toward the future.

In that vein I would like to extend my best wishes to June and all her readers for a happy, healthy and productive New Year; one full of new ideas, and old, put to good use.


Note: Kai is an artist who designs websites, click here –and has created gorgeous stained glass pieces like the one below featuring the lighthouse for a Montara client. I alsokt5.jpeg love the butterfly motif.


St. Matthew’s Land by Coastside artist Galen Wolf (Part X)


It [the sea] strewed beach wood everywhere and created the aquarium-like pools flowering with anemone and garnished with kelp and sea urchins.

Big-faced capazoni, like Chinese fish-kites, prowled the reefs. Swift cod of many colors swam deep, and flashing silver schools awoke the sea birds and fishermen to intense activity.

The sea held the fog and the coolness, and never were the coastland people unaware of its pervasive presence.

The mountains, the sea, the indifferent access, kept this slender coastal plain apart in time and in ways of life for years. It acquired a serene and unspectacular beauty.

Houses and barns turned weather grey. Moss formed golden green patina on the roofs and fences. Thick hedges of cypress and eucalyptus, intended as windbreaks, helped compose pictures so lovely no artist could pass them by.

Glimpses down steep gullies to the blue or the froth of waves intensified the color. The warm greens of the varied brush was dusted in gold by yellow flowers–the lupin, the wormwood and the primrose.

With a sad heart one sees the change. A new day cannot be denied. Old shingles are replaced with tin or corrugated roofing. Trees are ruthlessly cut. The lovely curves of old roads are lost. A painter feels a desperation to record what is left, what is passing so fast.

This San Mateo, this Saint Matthew’s land, was rich and old when most of California was raw and unknown. The Spaniard had here achieved a courtesy, a hospitality, a serenity almost without historic compare.

There are times, moments, when we still may feel this enduring magic. Try it. Walk in the warm deserted canyons as October sun makes Indian summer. You will feel the spell, more tangible than dream.

In glades that have not changed at all, the centuries drop away. The day and the mood of Spain are here.

Quail leap up and take flight. The muted thunder of their wings becomes the mutter of Spanish drums. Along fence rows the pomp and glory and hope of a vanished empire stand in its bannered colors.

In purple and gold, the dusty ranks of aster and goldenrod ask remembrance of the birthday of our homeland. With joyful hearts we answer and celebrate and a strange benediction is ours and a renewed love of our heritage.

[The End]


St. Matthew’s Land by Coastside artist Galen Wolf (Part IX)


The galleons had long given way to a new ship, the clipper. These now came in an endless stream to San Francisco. The ocean that fought these fast ships for the months-long voyage of the Horn, sometimes seized them on the very doorstep of their arrival.

The cargoes of these wrecks became a part of the sea-bordering life. Pescadero folk salvaged so much white lead from the stranded Columbia that the town was known as the whitest in California.

from the wreck of the Sir John Franklin, extravagant furniture for the gaudy hotels of San Francisco’s tenderloin district, fell into the hands of the Steele family. The New York provided tea and ginger, the Ridal Hall silk thread.

In a happier mood the waves cast countless thousands of sea shells upon the sand. They ranged from ponderous abalone to fragile translucent fan shells. The sea polished myriads of pebbles and left them in shoals at Pebble Beach and Columbia Beach.

…to be continued…

St. Matthew’s Land by Coastside artist Galen Wolf (Part VIII)


A brief-lived port at Pigeon Point terminated in a gun duel and bloodshed sharp and ugly as western literature can provide.

Power on land was generally horses. The plowing, hauling, stages and buggies all needed them. Hay growing turned the fields sweet with harvest.

In logging, however, it was the powerful and calm ox that was used. He could pull and he could not be easily upset by the crash of trees and the vicissitudes of timber cutting. These beasts weighed a ton apiece, and though gentle, were terrible to behold.

Portuguese, mostly from the Azores, came early. Some were fishermen, some whalers. At Beluta’s Beach and at the Old Landing they dragged their many-oared boats ashore and relaunched them at the cry “Thar she blows!”

Farming was the mainstay of these gentle people. They were flower lovers and no home had the awful desolation of many midwest houses of that period. Instead they were embowered in over-running roses, nasturium, geranium and fuchsia. In the fields they planted the horse bean and the pea.

The harvests went on in the wet fogs of summer. If the palaces of the eastern hills had much of the Renaissance and the baroque about them, these harvesters, standing or kneeling in wet, glistening oilskins, recreated the tableau of Millet’s “Angelus”. This was a humble land and a gentle folk.

….to be continued…

St. Matthew’s Land by Coastside artist Galen Wolf (Part VII)

A salute to the flexible and heroic people of the new age, who seemingly are not obviously discouraged.

Let us return to a land whose semi-isolation is taking longer for the fairy wand of progress to bring its ambivalent magic.

Over the western ridge lies the narrow coastal shelf, the land of the sea. It is green always and cool forever. And its ways have been paced and slow.

Its people look out on the sea. The sea and the sea world are never apart from them.

Long before the brothers of St. Francis had worn the Camino, the coast had known of the Spaniard.

Indians, crouched about a smoky clam bake or mussel feed had seen strange apparitions pass in the mist to seaward. High awkward shapes, but buoyant as sea birds. They were the Manila galleons of Spain.

Before Drake and not long after Magellan, these ships were taking short-circle route, making landfall near the Columbia’s mouth. Hence to La Paz, to take on Loreto’s pearls and tranship at Panama.

They skirted the coast closely, but with the Spanish distaste for fog, they did not land. A century would pass before they would come to California.

It was the Franciscan brothers, Serra, Palou and Lasuen, who came, with conversion of the heathen Indian as their intention. Missions were started. The Camino became well marked and well travelled long before these sun lovers accepted the coast as a home.

Spanish grants were allotted. Many passed intact through the Mexican days.

Presently disappointed gold diggers moved to the coastal land, and then the Scots, irish and occasional German. Mostly from Ohio, Indiana, Nebraska and Kansas, sometimes Kentucky and Tennessee, they were imaginative and enterprising folk.

Roads of a primitive sort soon were built. Sawmills were set up, stores opened and steamer landings constructed. A very active period began. San Francisco was hungry–for everything. Lumber, grain, potatoes, cheese and butter.

Little steam schooneers landed at the Old Landing (Princeton), at the New Landing or Amesport (Miramar) or lay to anchor at Gordon’s Chute (Tunitas). Just beyond the county, and used by Pescadero ranchers, was Davenport.

…to be continued…