ed as they did for the benefit
of future critics, but for the instruction and pleasure of
the natives. Having been an Indian missionary myself, I acted
just so. I have found that the natives would not appreciate a
work of art, whereas they prized the grotesque. Well, as long
as it drew them to prize the supernatural more, what
difference did it make to the missionary? You yourself refer
to the unwise action of the Pala priest in not considering
the taste and the affection of the Indians."

Another critic of my criticism insists that, "while the Indians, if left
to themselves, possess harmony of color which seems never to fail, they
always demand startling effects from us." This, I am inclined to
question. The Indians' color-sense in their basketry is perfect, as also
in their blankets, and I see no reason for the assumption that they
should demand of us what is manifestly so contrary to their own natural
and normal tastes.

[Illustration: ALTAR AND CEILING DECORATIONS, MISSION SANTA INES.]

[Illustration: INTERIOR OF MISSION SAN FRANCISCO DE ASIS, SHOWING MURAL
AND CEILING DECORATIONS.]

It must, in justice to the padres, be confessed that, holding the common
notions on decoration, it is often harder to decorate a house than it
is to build it; but why decorate at all? The dull color of the natural
adobe, or plaster, would have at least been true art in its simple
dignity of architecture, whereas when covered with unmeaning designs in
foolish colors even the architectural dignity is detracted from.

One writer says that the colors used in these interior decorations were
mostly of vegetable origin and were sized with glue. The yellows were
extracted from poppies, blues from nightshade, though the reds were
gained from stones picked up from the beach. The glue was manufactured
on the spot from the bones, etc., of the animals slaughtered for food.

As examples of interior decoration, the Missions of San Miguel Arcangel
and Santa Ines are the only ones that afford opportunity for extended
study. At Santa Clara, the decorations of the ceiling were restored as
nearly like the original as possible, but with modern colors and
workmanship. At Pala Chapel the priest whitewashed the mural distemper
paintings out of existence. A small patch remains at San Juan Bautista
merely as an example; while a splashed and almost obliterated fragment
is the only survival at San Carlos Carmelo.

At