Although Joshua Norton was perfectly serious in declaring himself Emperor in 1859, it generally is agreed that the San Francisco Daily Evening Bulletin published his original Proclamation as a joke.
It didn’t take long for other newspapers — in San Francisco, yes, but eventually across California and Nevada — to get in on the game of burlesquing the Emperor with fake stories about — and fake proclamations by — him.
William Drury may have been the first, in his 1986 biography of the Emperor, to point out that the Daily Alta California — in particular, the Alta’s city editor Albert S. Evans, pen name "Fitz Smythe" — was the real "pacesetter" in this, taking the mantle from the Bulletin and fully milking the comic potential of the Emperor’s persona.
Recently, I stumbled upon a couple of pieces of evidence — not mentioned in Drury’s account — that other newspapers at the time recognized the Daily Alta and Evans as tops in the field!
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By 1861 — and for the 18-plus-year remainder of his reign — Emperor Norton was a favorite and enduring subject for San Francisco cartoonists and theater troupes, who found that local audiences enjoyed the good-natured lampooning of their Emperor.
The Emperor himself was less amused — and, there are a couple of oft-cited examples of the Emperor’s expressing his royal displeasure over how he was portrayed in these contexts.
Recently, we uncovered an “episode of displeasure” that is even better documented than the familiar examples.
The occasion was the mounting of an advertisement using Emperor Norton’s image on a construction fence at Montgomery and California Streets. The Emperor borrowed a jackknife; cut out the image of himself; and sliced the image to shreds.
The crowd, as they say, “went wild.”
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Emperor Norton claimed to have arrived in San Francisco in November 1849, on a ship from Rio de Janeiro.
After the Emperor’s death, Theodor Kirchhoff — a friend of the Emperor’s who was a German poet and essayist — supplied a name for the ship: the Franzeska. (Actually, Kirchhoff said “Franzika” — but, that’s a small point.)
All of the Emperor’s major and minor 20th-century biographers ran with this narrative — even though it never has been independently documented.
Norton's San Francisco arrival narrative remains undocumented — BUT...
Here, we present our discovery of two previously unreported episodes from Joshua Norton’s first several months in San Francisco that appear to support his claim to have arrived in San Francisco in November 1849 — even if they don’t put him on the Franzeska:
Norton’s paid notice of a temporary business address in early May 1850, a few weeks before he arrived at what usually is regarded as his first recorded business address, and — even earlier —
what may be Norton’s signature on a February 1850 open letter published in the Daily Alta newspaper.
Joshua’s signature on the open letter would make this letter the earliest known newspaper reference to Joshua Norton in San Francisco.
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In his 1986 book Norton I: Emperor of the United States (Dodd, Mead) — long regarded as the “standard biography” of Emperor Norton — William Drury indulges in some evidentiary sleight-of-hand to create the false impression that the cortege that followed the Emperor from his funeral site to his grave site was “two miles long.”
In the decades since the publication of Drury’s book, this “cortege claim” has become one of the most commonly deployed flourishes in the popular telling of the Emperor Norton story.
In fact, the most reliable and detailed eyewitness report published the day after the Emperor’s funeral indicates that, while the cortege route was about two miles long, the length of the cortege itself was maybe a half-block.
Also included here: The origins of the claim that “30,000” people viewed the Emperor lying in state — or even constituted the cortege — rather than the already-exceptional “10,000” reported the next day.
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The Emperor Norton Trust previously has documented 16 Proclamations of Emperor Norton on various aspects of “the Chinese question” — the latest being published in April 1878, just 2½ weeks before the Emperor’s highly publicized sand-lot encounter that month with the anti-Chinese demagogue Denis Kearney.
But, we’ve discovered three new pieces of evidence, from 1879, indicating that — for nearly 2 years after his encounter with Kearny, and right up until his death in 1880 — the Emperor continued to make good on his 1873 pledge and warning that “the eyes of the Emperor will be upon anyone who shall council [sic] any outrage or wrong on the Chinese” [emphasis in the original].
This evidence includes:
a second encounter between Emperor Norton and Denis Kearny, in January 1879, in which Kearney snarkily addressed the Emperor from his sand-lot platform;
an anti-Kearney public comment by the Emperor on the same day, at one of the freethinking, reform-minded discussion forums he regularly attended — a discovery that provides an opportunity to add a pin to the Trust’s interactive Emperor Norton Map of the World; and
a September 1879 editorial comment in the Sacramento Daily Bee, bearing witness to the Emperor’s ongoing reputation as what the Bee disparagingly called “Protector of China”
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In connection with The Emperor Norton Trust’s recent proposal that the San Francisco Ferry Building’s clock tower be named “The Emperor Norton Tower” next year — the 125th anniversary of the Ferry Building — we’ve been doing some additional research into the design and construction of the building and its tower.
The Ferry Building opened in 1898, and one of the chestnuts that has been repeated about the building for most of its lifetime — increasingly so in the period after World War II — is the claim that the design of the clock tower is “based on” — or “modeled after” — or “patterned after” the 12th-century bell tower, known as La Giralda, of the Seville Cathedral in Spain.
Some commentators have gone so far as to say that the Ferry Building clock tower is a “replica” of the Giralda.
But, the historical and visual record reveals the Ferry Building tower’s architectural debt to the Giralda to be significantly less than these unqualified claims suggest.
Read on for a well-documented, highly illustrated deep-dive.
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There are many contemporaneous references to Emperor Norton’s associations with various people and places.
But, the Emperor was a public character. And, the accounts of his engagements with particular people mostly are accounts of conversations and sightings in public places: libraries, lecture halls, churches, saloons, parks, resorts, trains, ferries, streets.
Much rarer are eyewitness reports of Emperor Norton in more intimate settings, such as someone’s home.
Herein, a trace memoir of the Jewish friend who had the Emperor home for dinner on more than one occasion — and documentation of who the friend was.
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The Emperor Norton Treasure Hunts, produced by the San Francisco Chronicle between 1953 and 1962, loom large in modern Nortonian lore.
The central symbol and talisman of these treasure hunts is an elaborate 7” medallion. When winning competitors discovered and dug up a plastic version of this medallion, they were gifted with a keepsake bronze “original” that was struck by Shreve & Co., the legendary jeweler established in San Francisco in 1852.
But, it’s never been clear exactly what these medallions looked like — front and back — until now.
New close-up photographs of one of the original 1953 medallions is on the flip.
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The received wisdom, since the time of Emperor Norton’s death in January 1880, has been that the Emperor lived at his final and most famous San Francisco residence — the Eureka Lodgings, at 624 Commercial Street between Montgomery and Kearny — “for seventeen years.”
That was the phrase that a number of San Francisco papers used in their obituaries and funeral notices. The most influential Norton biographers of the twentieth century extrapolated from this that the Emperor lived at the Eureka from 1863 to 1880. And, now, this claim is firmly ensconced as one of the most oft-invoked tenets of the biographical catechism of Norton I.
But, the directories of the period don’t support an 1863 arrival date.
Rather, they suggest that the Emperor might have taken up his room at the Eureka Lodgings as late as summer 1865.
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In the 17 years since the San Francisco Chronicle noted in 2004 that the Emperor Norton Sundae no longer was on the menu at the Ghirardelli ice cream shop in San Francisco's Ghirardelli Square, the conventional wisdom has held that 2004 was when the “Emperor Norton” was removed.
But, I always have pointed out that 2004 is when the absence was noticed and reported as news — the removal itself could have happened earlier.
Turns out I was right. But, the cherry on top may be that the Emperor Norton Sundae has been hiding in plain sight at Ghirardelli — under a different name — for 20-plus years.
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In the Trivia Time feature that accompanied his 19 September 2020 history column for the San Francisco Chronicle, historian Gary Kamiya stated that Emperor Norton imposed a $25 fine for using the word “Frisco.”
In the Trivia Time that ran with his next column, published on 3 October 2020, Kamiya issued a correction and cited Emperor Norton Trust founder John Lumea as the authority for saying that “no primary documents have been found to support this claim.”
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The period of the 1950s and ‘60s was a high-water mark of the Norton Cultural Complex in San Francisco.
Probably the best-known engine of “Emperor Norton awareness” during this time was the San Francisco Chronicle’s Emperor Norton Treasure Hunt. But, there were many other Norton-related projects, too — and some of them left behind beautiful physical traces.
At least three — perhaps all four — of the Nortonian artifacts discussed here trace their origins, production and promotion to the Chronicle.
And, two of them — a medallion and a medal — are relics of a “Grand Order of the West” that remains very mysterious indeed.
Includes rarely seen photographs.
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The two book-length biographies of Emperor Norton, published in 1939 and 1986, mention “the undertakers” and “the undertaking rooms.” But, a blind spot in Norton studies has been that there was a specific firm — with a name and an address — that provided funeral and burial services for the Emperor, including manufacturing the oft-mentioned rosewood and silver-trimmed casket.
We know that the Emperor’s old friend, James G. Eastland, and friends of Eastland’s at the Pacific Club raised the money and made the arrangements — but, rarely mentioned is who was on the other side of the contract.
The obituaries didn’t name the firm. And, the name appears to have been mentioned only a couple of times by later writers — in 1946 and again in 1974. But, even these were only passing mentions.
Here, we rescue from obscurity the name and the early history of a business that played a crucial role in giving Emperor Norton a fitting farewell.
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By the time Max Cohnheim arrived in San Francisco in 1867, at around age 41 — Cohnheim had immigrated to the United States in 1851 — he already was a noted German-language writer, editor, playwright and sometime actor of political satire.
On 17 June 1871, Cohnheim debuted his latest satirical magazine, the San Francisco Humorist. The inaugural issue featured a comic illustration of the Emperor Norton conferring with another well-known street character of the day — a dandy who styled himself The Great Unknown.
It seems likely that the Emperor and the Unknown at least would have been acquainted with one another.
Read on to learn more about the Great Unknown and to see this early illustration of Emperor Norton — an illustration, drawn during the Emperor’s lifetime, that probably has lain in obscurity for decades and probably has seen by very few people at all since it first was published nearly 150 years ago.
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In spring 1961, two establishments opened in San Francisco.
One was a hotel bar on Geary Street. The other was a lunch spot and cocktail lounge on Maiden Lane.
Both were less than two blocks from Union Square.
One was created by a designer who went on to be celebrated in the pages of the Architectural Digest. It had an "Emperor Norton" doorman. And, per Herb Caen, it once was host to Jack Dempsey and Lefty O'Doul — sharing a bowl of peanuts on the same night.
The other was home to a new portrait of the Emperor commissioned by the San Francisco Chronicle.
Both were called the Emperor Norton Room.
Here’s the intriguing story of two Nortonian stars that briefly rose and just as quickly fell in the same San Francisco season.
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Emperor Norton died on Thursday 8 January 1880.
Time and time again, one reads that the San Francisco Chronicle was up the next morning with a dramatic front-page headline, "Le Roi Est Mort" ("The King Is Dead"), over a brief obituary whose signature passage began "On the reeking pavement, in the darkness of a moonless night under the dripping rain...."
It's a good story — but, it's not quite true.
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Did you know that the longstanding call to name the San Francisco-Oakland Bay Bridge after Emperor Norton traces part of its pedigree to legendary San Francisco Chronicle columnist Herb Caen?
Exactly 70 years ago — in what may be some of the earliest published statements of the idea that a San Francisco Bay-spanning bridge should bear the name of the Emperor — Caen, with some persistence, called for a planned "second Bay Bridge" to be named the "Norton Bridge."
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On 9 November 1879 — just two months before Emperor Norton's death — the San Francisco Chronicle published a Sunday front-page profile of the Emperor that was based on rare interview with the Emperor himself.
The profile was accompanied by a lovely drawing of the Emperor that was reproduced 60 years later for Allen Stanley Lane's 1939 biography, Emperor Norton: The Mad Monarch of America — but that has languished since then.
The Emperor's Bridge Campaign has had a new photographic print made of the drawing and has added a hi-res scan of it to ARENA, our digital ARchive of Emperor Norton in Art.
Learn more and see the drawing, after the flip.
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The familiar version of Joshua Norton's San Francisco immigration story — a narrative developed primarily between 1879 and 1939 by that period's leading writers about Emperor Norton — holds that the future Emperor made his way from Cape Town to Rio de Janeiro, where he booked passage on the Hamburg ship Franzeska and arrived in San Francisco on 23 November 1849.
The "story of the story" — of how this narrative came together and was canonized — is interesting on its own. What has yet to surface, however, is any primary-source documentation verifying Joshua's passage on any particular ship or his arrival in San Francisco in November 1849.
Absent such evidence, what we really have in the "received version" of this story — as with a number of details about the Emperor's pre-imperial life, in particular — is more a work of "collaborative intuition," a theory in search of documentation.
This is the first in an occasional series of articles on aspects of the Emperor Norton biography that should be regarded as "open questions" — and opportunities for research.
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There is a proposal afoot to name the Sharon Meadow, in San Francisco's Golden Gate Park, for the late comedian and actor Robin Williams. The rationale being used strengthens the case for naming the San Francisco-Oakland Bay Bridge for Emperor Norton.
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