September 1944

Vol. XXIII September, 1944 No. 9

THE GRIZZLY GIANT

THE MONTHLY PUBLICATION OF THE YOSEMITE NATURALIST DEPARTMENT AND THE YOSEMITE NATURAL HISTORY ASSOCIATION VOL. XXIII SEPTEMBER, 1944 NO. 9 THUMBNAIL SKETCHES OF YOSEMITE ARTISTS

By Elizabeth H. Godfrey, NPS Staff

WILLIAM KEITH

William Keith was born in Old Keith's marriage to Miss Elizabeth Meldrum, Aberdeenshire, Scotland, Emerson, a fourth cousin of Ralph on November 21, 1838. Five months Waldo Emerson, in June 1864, before his birth his father had marked the beginning of his career passed away, leaving his mother as an artist. Mrs. Keith was not with three small daughters. Mrs. only an artist, but a teacher of paintKeith took up millinery as soon as ing, and soon recognized that Keith her health permitted, and the children were placed with relatives. Bierstadt and Hill were receiving Thus, until he was 8 years old, Keith handsome sums for their mountain was under the care and influence of landscapes and Keith aspired to his maternal grandparents who rival them, since he felt a tremenwere staunch Scotch Presbyterians. dous urge to become an artist and In 1850, Mrs. Keith took her chilpaint the spectacular scenery of the dren to New York where her brother West. lived. Here Keith secured a fair edAn order from the Oregon Naviucation, worked in a law office, and cation Railroad Company for ten was later apprenticed to a wood enpaintings five oils and five watergraver. colors, of prominent scenic features As an employee of Harper Brothalong the line, such as Mt. Rainier, ers in 1858, Keith was sent to CaliMt. Baker, Mt. Hood and the Columfornia for two months. After a subbia River Highway, gave Keith an sequent sojourn in Scotland and opportunity to prove his worth as England, Keith returned to Califoran artist. Keith's wife had utmost nia by steerage to accept a position faith in him, and his success with on a magazine in San Francisco, this order convinced her beyond all only to find that its publication had doubt of his promising future. been discontinued. Keith then In 1869, with the money received opened up a wood engraving shop from this commission, Keith and his of his own. wife were able to go to Dusseldorf,

Germany, so that Keith might study and received much praise from art art. Their two small children, critics and patrons. Charlie and Tennie, remained with Keith and John Muir relatives in Boston. When Keith and his wife ElizabethAt this time Keith made the Keith called on Ralph Waldo Emerstatement, "What I want to do is to son while in Boston in 1872, Emerson study nature. The best way to do advised Keith to look up John Muir that is to be near her, and I have a in Yosemite. Emerson had previvague idea about living in such ously visited the Valley and had close communion with her that she stopped at Hutchings' place. Emermay adopt me and show me things son told Keith that he and Muir had hidden to every eye, but that which much in common; viz., both were loves her sincerely." born in Scotland in the same year In August 1870, Keith returned to New York, and during his sojourn (1838) and both were nature lovers. in the East, opened a studio in BosUpon his return to California, ton where he sold many paintings Keith received a letter of introduction John Muir in Yosemite

on to Muir from Mrs. Ezra Carr of and now a Yosemite resident, Oakland. Keith spent his first night members Keith's early visits She In Yosemite camping with Muir on stated that when Keith went to visit the shores of Mirror Lake, then, althe Muirs he always took along lots though it was late in October, Muir of good things to eat. conducted Keith into the vast mountain splendors of the Yosemite High Keith and George Inness Sierra studded with lakes and glaciers. When the famous artist George ciers. Thus Keith received a wealth Inness visited San Francisco in 1891, of inspiration for his paintings and he made Keith's acquaintance, and began a lifelong friendship with the the two artists were drawn together Great naturalist. In succeeding years, by many mutual interests. Both Keith accompanied Muir on numerwere members of the Swedenbor ous sketching trips into the High Sian Church, had been born in Scot erra of Yosemite, and his paintings land, and had started out as wood were greatly influenced and in engravers. Their impressionistic spired by Muir's ideals. style of painting was also somewhat

In depicting mountain splendor similar. Inness was anxious to Keith realized his ambitions of paint Yosemite scenery, but when equaling Hill and Bierstadt. Later, Keith accompanied him there, Inness under the advice and influence of after making a number of sketches gave up in despair with the remark, Keith's friend and minister, Rev. Jo- 'It cannot be done." In this respect seph Worcester, pastor of the Swedenborgian Church of San Fran Keith surpassed him, because he Cisco, Keith chose to paint pastoral had interpreted the Yosemite scenscenes of the lower foothill country ery in his paintings with compara of California, rather than mountain tive ease and success. heights specializing in California Keith's Second Marriage Oaks. Although Muir felt that such One of the tragedies of Keith's life landscapes could in no way comwas the death of his wife, Elizabeth, pare with Keith's paintings of mounin the winter of 1881-82. His daughtain scenery, this latter type of paintter Tennie was 14 and his son ing has stood the test of time far Charles 17. better than the former. In June 1883, being desperately Keith did not share Muir's indiflonely, he married Miss Mary Mcference to food, and often suffered Henry, daughter of Judge McHenry because of the scanty provisions of San Francisco. In October of Muir would take along on their high that year the Keiths went to Munich, country trips. Keith especially Germany, where Keith studied pormissed the sugar for his coffee which trait painting under Carl Marr. they invariably forgot. Mrs. Mills, Although Mrs. Keith had passed daughter of James M. Hutchings, the bar examination and was ready

to take up the practice of law when to him : "The quality of a man's life she married Keith, she gave up her is in its spirit or motive, and there is career and was a devoted wife. only One who knows that." Keith's Paintings Lost in San In personal appearance Keith Francisco Fire commanded attention. In his youth he had an abundance of black hair The San Francisco earthquake in old age it was still heavy and and fire of April 17, 1906, destroyed iron gray. His eyes were large, viKeith's studio and all but 25 of his vivacious, and violet blue, his fea2,000 paintings, valued at one-half tures strong. He was muscular in million dollars. The 25 paintings physique and of medium height, were rescued by Keith's friend, Rev. With his money he was generous Joseph Worcester. Undaunted by and he was ever ready to give an the loss, Keith painted more furiaspiring, struggling artist encourously than ever, and in 1907, his inagement and help. come was around $100,000 per year. Keith's paintings were very popuPrevious to the fire it had been lar in his day and are still exhibabout $60,000. ited in the leading art galleries of Keith passed away on April 10, California, including the University 1911. At one time he had told his of California and Stanford Univerfriend, Rev. Joseph Worcester, that sity. St. Mary's College has a large if he was ever called upon to officiexhibition of his paintings. They ate at his funeral he wanted no perare also exhibited in the Metropolisonal tribute made to him. Rev. tan Museum of New York, in the Worcester kept his promise to Keith Boston Museum of Art, and in the and when officiating at Keith's fuCorcoran and National Galleries of neral he quoted Keith's own words Washington, D. C., and abroad. (Note—The major portion of the above material was obtained from "Keith—Old Master of California," by Brother Cornelius, published by G. P. Putnam's Sons, New York, in 1942. Brother Cornelius for practically 10 years, actually relived Keith's life. To read this book is to know Keith.) Other sources California Art Research—Vol. Two, First Series, Abstract from WPA Project 2874, O. P. 65-3-3632, San Francisco, California, January 1937. Eugen Neuhaus—The History and Ideals of American Art, Stanford University Press, 1931, pp. 114-118.

OTHER REFERENCES

Relative to Previously Published "Thumbnail Sketches of Yosemite Artists" by Elizabeth H. Godfrey

THOMAS A. AYRES*

(Yosemite Nature Notes—February 1944) Bunnell, Lafayette Houghton. Discovery of the Yosemite. Chicago, Fleming H. Revell, 1880. p. 311. Hutchings, James Mason. In the Heart of the Sierras. Oakland, Calif. Pacific Press Publishing House, 1886. p. 89, 91, 97. Van Nostrand, Jeanne. Thomas A. Ayres, Artist-Argonaut of California. California Historical Quarterly, Vol. XX, No. 3; p. 275-279. September 1941. Russell, Carl P. Historic Drawings. Yosemite Nature Notes, Vol. V, p. 69. September 1926. San Francisco Bulletin, May 27, 1858, p. 2, col. 2. San Francisco Alta California, May 27, 1858, p. 2, col. 2. (Correct spelling is Ayres in lieu of "Ayers," as inadvertently misspelled in Yosemite NATURE NOTES, February 1944)

THOMAS HILL

(Yosemite Nature Notes March 1944) The San Francisco Bulletin, July 16, 1899. Guest, Lady Theodora. A Round Trip to North America. London. Edward Stanford, 1895. p. 141. Neuhaus, Eugen. The History and Ideals of American Art. Stanford, Calif., Stanford University Press, 1931. p. 86-87. California Art Research. First Series, Vol. 2. Abstract from WPA Project 2874. O. P. 65-3-3632. San Francisco, California. January 1937. pp. 67-97A.

CHARLES DORMAN ROBINSON

(Yosemite Nature Notes—April 1944) Robinson, Miss Lillian M. Personal letters re. father's life and works. 1943. Yosemite Museum Separate File. California Art Research. Vol. 3. First Series. Abstract from WPA Project 2847. O. P. 65-3-3632. San Francisco, Calif. December 1936.

ALBERT BIERSTADT

(Yosemite Nature Notes—May 1944) Taylor, Mrs. H. J. Yosemite Indians and Other Sketches. San Francisco, Johnck & Seeger, 1936. pp. 80-85. California Art Research, Vol. 2, First Series. Abstract from WPA Project 2874. O. P. 65-3-3632. San Francisco, California. January 1937. pp. 98-129.

THOMAS MORAN

(Yosemite Nature Notes—July 1944) Fryxell, Dr. F. M. The Thomas Moran Art Collection of the National Parks. Yosemite NATURE NOTES. Vol. XV. August 1936. p. 57-60. Moran, Ruth B. Further Notes. Yosemite Nature Notes. Vol. XV. August 1936, p. 64. Neuhaus, Eugen. The History and Ideals of American Art. Stanford, Calif., Stanford University Press, 1931. p. 84-85.

GRIZZLY GIANT RESPONDS TO PROTECTION

By Ralph H. Anderson, Park Photographer The gnarled old Grizzly Giant has studies, there was a widespread fire lived an eventful life! For 35 centuin the Mariposa Grove, and another ries or more, forest fires have swept comparatively big fire occurred in through the Mariposa Grove of Big 1860 three years after Galen Clark Trees at fairly regular intervals, explored the grove and made it gnawing at the base of this grand known to the world. old tree. Blazing sugar pines have Throughout the eighties and ninetoppled against its magnificent red ties, small groups of thrilled visitors trunk, and left gaping wounds in its went through the grove and paused sapwood. Torrential rains, hurriunder the Grizzly Giant, one of the canes and heavy winter snows have focal points in the grove. Stageonly strengthened the tree's detercoaches with six-horse teams rummination to live. bled close to the big trunk, 30 feet Studies of cross sections of fallen across at the base, little realizing Giant Sequoias show that about that they were trampling the soil three times every century, fires covthat supported the broad root strucered the area. Apparently, it reture now known to extend as far as quired about 30 years for the under300 feet from the tree, with thoubrush to become thick enough to sands of feeder roots close to the sursupport a sizable lightning-caused face of the ground. fire which inevitably followed. Then In 1903 President Theodore Roosethere would follow a period when velt came for a three-day respite the trees could at least start healing from the affairs of State. The Presitheir wounds, while the brush and dent chose to camp out under the young tree growth gradually came great old tree with John Muir, in again. Charles Leidig and Archie Leonard. But despite fires, windstorm and The latter two were rangers in the heavy snows, the Grizzly lived on. park at that time. In 1710, according to tree ring The following year, the State High-

way Commissioner reported that the Grizzly leaned 18 feet from the center axis, and was doomed unless immediate steps were taken to prevent its fall. Various suggestions were advanced for saving the tree by means of cables, etc. Years rolled on, but suggestions for cable support must have recurred from time to time. In 1923, Superintendent W. B. Lewis answered these Suggestions, stating that the weight of 3700 tons was too great to support, and that little could be done to support such a tonnage. In 1935 a careful study was made by engineers and the lean of the Grizzly Giant was accurately determined to be approximately 18 feet. Yosemite Valley and the Mariposa Grove of Big Trees were re-ceded back to the Federal Government in 1906 to become incorporated into the larger adjoining Yosemite National Park. As soon as the troops arrived to administer the Mariposa Grove, there were naturally improvements to be made over that of the former State administration. In addition, something had to be done to protect the great old tree to prevent the further carving of initials on its base. In 1911 many of the tree's roots were exposed from the trampling of horses and visitors, and dirt was hauled in to cover the exposed roots. The next year, a high wire fence was erected with evenly spaced iron posts set deep into the roots of the Giant. (It is recalled by oldtimers that some controversy arose when a visitor saw the workmen digging a hole through a large piece of wood, reported to have been fir.) Carving of initials was undoubtedly A Giant Sequoia - Mariposa Grove discouraged, and the tree seemed to suffer no apparent ill effects from the harsh root treatment.

In 1925 the road was moved far north so that the edge of the old road was filled in and obliterated. road would be about 30 feet from For five years no further steps the base of the tree. Large roots of were taken to protect the Grizzly the Grizzly had been cut through to Giant. In 1938 the paths were remake the road possible, but in conlocated under the CCC program, sideration for the tree, a great deal and many more shrubs were planted of extra earth filling was placed in deep holes among the tree's around the base. roots. Log railings were installed Some time after the National Park to keep visitors from approaching Service replaced the Army administhe tree too closely. The barbed trators the unsightly wire fence was wire, long such an eye sore, was reremoved, and in its place more holes moved and the underbrush was rewere dug deep and at regular interstored as much as possible. vals, and heavy Sequoia-wood posts Vegetation around the base of the were set. Signs on the posts read Grizzly Giant is now well estab- "Do Not Enter This Circle." Later on, lished. Young trees are growing a chain was suspended from post rapidly, and the mat of ceanothus to post making a more obvious barand manzanita is becoming more ricade. dense each year. Watering of the By 1930 it was apparent that the shrubbery is probably responsible chain suspended from sequoia posts for the greatly improved top of the was not completely protecting the old tree. The foliage of the Grizzly tree from occasional initial carvers. Giant is much more dense and luxThe posts were removed and an exuriant than it was when Watkins tensive planting program was inaugurated. Large quantities of aza1858 or '59, and made the first leas, ceanothus and manzanita were known photograph of a Giant Seplanted and watered. Between the quoia tree. newly planted shrubs were driven Comparing the photographs of iron stakes in an over-all pattern, that day and this, the only differand long enough to reach many of ence seems to be in the improved the Grizzly's roots. Barbed wire was condition of its top. The relatively strung loosely over the entire area. poor condition of the foliage noted The following summer, most of the in early photos may have been the planting died from lack of water, but result of repeated fires. during the fall and the following After all, it has been less than a season, many more shrubs were hundred years that white men have planted and a good watering syspaid homage to the Grizzly Giant— tem was installed. In 1932, the road less than a century out of more than was moved away from the base of thirty centuries of rugged living. the tree entirely, to a location sevHow can we measure the value of eral hundred feet to the south. The our protective system?

Digitized by Yosemite Online Library Dan Anderson