Did Rocket Pioneer Robert Goddard Ever Work On Mount Wilson?

by Reinhard Kargl, March 16, 2026

Today is the 100th anniversary of the first launch of a liquid fueled rocket. In a snowy field near Auburn, Massachusetts, the feat was accomplished by American rocket pioneer Robert Hutchings Goddard (October 5, 1882 – August 10, 1945).

According to Goddard’s field notes, the contraption nicknamed “Nell” reached an altitude of 41 feet (12.5), during a total flight time of 2.5 seconds. There were only a few witnesses: Goddard’s 25-year old wife Esther (serving as photographer), Goddard’s crew chief Henry Sachs, and Clark University assistant physics professor Percy Roope. Some boys who were out sledding happened to pass by and were mesmerized by the surreal display of an object being launched into the air.

Before the launch of “Nell” on March 16, 1926. Photo (most likely) by Esther Goddard.

Unfortunately, it doesn’t appear that anything but fragments of the historical rocket are still around. Goddard and his compatriots took the parts to their workshop, and most parts were reused.

Goddard was a staunch American patriot. At a time when the military was still very skeptical of any military potential for rockets (or plainly ridiculed the idea), Goddard tirelessly advocated for research and development of rockets for military use. Long before commercial uses for rockets, military funding must have seemed vastly more rational than asking for money to pursue another grandiose idea: that of using rockets to leave the Earth and fly to space. The latter concept had captured Goddard’s imagination since childhood. But aside from a few visionaries, most serious engineers and scientists at the time thought of such ideas as just plain silly, unviable, and ridiculous. (Meanwhile in Europe, Hermann Oberth mirrored Goddard’s ambitions for leaving the Earth’s atmosphere and sending rockets to space).

Robert Goddard lecturing at Clark University

Much of the work Goddard did for the military was rather secretive. And this wasn’t just because of the need to keep weapons development secret, but also because funding rocket research from military budgets would have been controversial, to say the least, even within the military.

It appears to me that Goddard was discretely involved in military research very early on in his career. Re-reading some of Goddard’s biography, I came across an interesting tidbit in the notice announcing his death, published by the New York Times of August 11, 1945.

In the very last paragraph, it casually notes:

During the first World War he was research director for the United States Signal Corps, both at Worcester and at Mount Wilson Observatory in California.

“Worcester” might refer to Worcester Polytechnic Institute, where Goddard enrolled in physics classes in 1904, and eventually became a laboratory assistant and tutor. Goddard remained at WPI until 1908, then began his graduate studies at Clark University in Worcester in the fall of 1909.

While studying at Clark, Goddard continued working in Salisbury Labs at WPI and anecdotally caused a damaging explosion, whereupon his work was moved to the Magnetic Lab. In 1912, Goddard accepted a research fellowship at Princeton University’s Palmer Physical Laboratory.

But this was all before WW-1. Therefore, the reference in the New York Times would either be incorrect, or Goddard had already started working on secret “side projects” on behalf of the military as early as during his graduate studies at Clark, beginning in 1909, or possibly even earlier, at WPI.

So what was he secretly working on?

The project was a man-portable recoilless anti-tank rocket launcher weapon, nicknamed the “stovepipe” or “bazooka”. The development of the bazooka involved the development of two specific lines of technology: the rocket-powered weapon and a “shaped charge” warhead. Goddard was probably commissioned to work on the solid fuel rocket and its launch tube. In other words, the delivery system for the warhead.

Reportedly, Goddard and his co-worker Clarence N. Hickman successfully demonstrated the weapon to the U.S. Army Signal Corps at Aberdeen Proving Ground, Maryland, on November 6, 1918. But as the Compiègne Armistice was signed only five days later, the project was halted. (It reemerged for the WW-2 effort, at which point Hickman had taken the lead, and Goddard may no longer have been involved at all).

What about the New York Times’ reference to Mount Wilson Observatory? This one is rather intriguing. Obviously, a secluded astronomical observatory on a California mountaintop would seem like a rather unlikely place for rocket research.

Although notes linking Goddard to Mount Wilson can be found in several sources, none of them are original, and I found no definitive evidence. All I was able to locate is a photograph.

In its archive, Clark University has a picture of Robert Goddard “loading 1918 forerunner of “bazooka” of World War II, Mount Wilson, California”, according to Esther Goddard’s annotation. However, since Goddard and Esther weren’t a couple at the time, this image (if it is indeed from 1918) could not have been taken by Esther. Besides, since a woman’s presence at the all-male Mount Wilson Observatory would have created quite a stir in 1918, we can all but rule out Esther as a first hand witness. Most likely, her annotation was made much later, possibly long after her husband’s death in 1945. Therefore, her annotation does nothing to establish a location. The widow merely recorded something she recalled being told about her late husband’s work.

I take the view, pending evidence to the contrary, that this picture wasn’t taken on Mount Wilson, and that Robert Goddard was never really present there. His supposed work at the observatory was probably just a convenient cover story concocted by someone at the U.S. Army Signal Corps.

It is however possible that the cover story was deemed necessary because Goddard may have had some contacts, interviewed for a job, or done some work at Caltech around that time. Caltech is just down the mountain, so there is at least a geographic proximity. Perhaps the Signal Corps wanted to shield Goddard and the bazooka project. Or perhaps Goddard himself wanted to keep a possible visit and connection to Caltech concealed from Worcester Polytechnic Institute, Clark University, and Princeton University?

Who knows?

Related Articles:

TweetReinhard

Christmas At Hollywood And Vine

As seen in this street scene around Christmas in the early 1950s, the Broadway Hollywood Building (sometimes Broadway Building or Broadway Department Store Building) is situated in the Hollywood Walk of Fame monument area on the southwest corner of the intersection of Hollywood Boulevard and Vine Street.

It was originally built as the B. H. Dyas Building in 1927. The Broadway Hollywood Building is referred to by both its main address of 6300 Hollywood Boulevard and its side address of 1645 Vine Street.

The building housed the Broadway Department Store until 1982, after which building was reconfigured for office use. In 2005, after having been vacant for many years, a renovation began to convert the 10-story building into 96 loft condominiums, while adding two floors to the annex.

(Photographer unknown).

Related Articles:

TweetReinhard

Weren’t They Funny?

I wish we still had artists turning out large volumes of thought-provoking and amusing artwork for magazines and newspapers.

This is a cover of Life magazine from 1914, predicting what people would be wearing in 1950. The caption under the illustration reads, “Weren’t they funny?”

Otho Williams McD. Cushing (October 22, 1870 – October 13, 1942) was an American artist, known primarily for his early 20th century illustration and cartoons, for magazines and posters.

Related Articles:

TweetReinhard

The Ugly Broad

by Reinhard Kargl

I’ll say it: the second half of the 20th Century will go down in history as the time when contemporary architecture went to hell. From the 1960s onward, rarely ever did a newly constructed edifice improve upon what was there before.

The example below shows the southwest corner of the intersection between Grand Avenue and 2nd Street in Downtown Los Angeles, where the old Bunker Hill landmark, the Dome Hotel, once stood at 201 S. Grand Avenue. Built in 1905 as a luxury hotel, the Dome was the embodiment of early century Southern California elegance. (Nathan Marsak has more historical information about the Dome here).

The hotel was later converted to an apartment building. Sadly, there was a fire on July 25, 1964, in which three victims lost their lives, and six more were injured. The reasons for the inferno and its severity have come under suspicion, but foul play could never be proven. By October that year, the ruins had been razed, and no trace of the hotel’s former glory remained.

For the next 44 years, the site was a parking lot. And today, it is home to one ugly broad of a building – the Broad Museum, below.

But since it’s surrounded by other unimaginative, modern structures ranging from bland to hideous, at least some might fight the Ugly Broad stands out as … “interesting”.

Related Articles:

TweetReinhard

The La Monica Ballroom (1924 – 1963)

by Reinhard Kargl

Dated at 1924, this appears to be one of the earliest known aerial photographs of the La Monica Ballroom on the Santa Monica Pier in California. The picture must have been taken shortly before or at the opening of the La Monica Ballroom on July 23, 1924, seen here at the end of the pier. (Dunning Air, Ernest Marquez Collection, The Huntington Digital Library)

Over time, the city of Santa Monica was home to several wharfs and piers, but only the Santa Monica Pier still exists today as a famous historic landmark.

Technically, what we see in the pictures consists of two separate piers. The long, narrow portion constitutes the “Municipal Pier”, which opened on September 9, 1909 and was originally constructed for the rather inglorious purpose of carrying sewage water beyond the breaking waves.

The wide “Pleasure Pier” to the south (on the right side in the pictures) was privately owned and also known as the “Newcomb Pier”. This portion was added by amusement park pioneers Charles I. D. Looff and his son Arthur.

Charles I. D. Looff (born Carl Jürgen Detlef Looff) was a Danish master carver and builder of hand-carved carousels and amusement rides, who immigrated to the United States of America in 1870. Looff built the first carousel at Coney Island in 1876. During his lifetime, he built over 40 carousels, several amusements parks, numerous roller coasters and Ferris wheels, including California’s famous Santa Monica Pier. He became famous for creating the unique Coney Island style of carousel carving. Photo: Long Beach Public Library.

On June 12, 1916, Santa Monica’s “Looff Hippodrome”, containing a carousel opened to the public. Eventually, other attractions included the Blue Streak Racer wooden roller coaster (which was purchased from the defunct Wonderland amusement park in San Diego), the Whip, merry-go-rounds, Wurlitzer organs, and a “funhouse”.

The La Monica Ballroom at the end of the pier and seen in the front of the photograph was designed by T. S. Eslick and featured a Spanish façade, and a French Renaissance inspired interior. It was advertised as “the largest dance hall on the west coast”.

La Monica’s 15,000-square-foot (1,400 m2) hard maple floor offered space for 5,000 dancers and competed with the the Bon Ton Ballroom (later renamed Aragon Ballroom) on what was then known as the “Lick Pier”, located a few miles down the coast in Venice.

Autos crowd the pier during the grand opening of the La Monica Ballroom on July 23, 1924. The event was reported to have attracted 50,000 people producing the first traffic jam in Santa Monica.

In the days before air conditioning, Santa Monica’s Pleasure Pier and its attractions thrived during the 1920s, but faded during the Great Depression.

Ca. 1926. Adelbert Bartlett Papers. Department of Special Collections, Charles E. Young Research Library, UCLA.

Ca. 1930: The Santa Monica Deauville Club in the foreground, with the La Monica Ballroom rising in the distance above the pier.

People on the Santa Monica Pier looking out over Santa Monica Beach below, ca. 1930. The Santa Monica Athletic Club and part of the Deauville Club are in view at upper right.

Subsequently, during the 1930s most of the amusement park attractions were closed down, sold off, or falling into disrepair. Then in 1934, a breakwater was built. This provided protected docking for up to 100 fishing and pleasure boats near the pier, and helped attract new income.

Ca. 1934: A crowd amid beach umbrellas watching two pugilists boxing in an outdoor boxing ring on the beach in front of the Santa Monica Athletic Club. The Santa Monica Pleasure Pier with the La Monica Ballroom and Municipal Pier are in the background.

1936: Crowds of people standing in line at the Catalina Steamer Landing on Santa Monica Pier across from the La Monica Ballroom.

A 1936 postcard view of Santa Monica Beach showing the La Monica Ballroom on the pier. A portion of the Deauville Club (opened in 1927) can be seen in lower right. Photo by Burton Frasher Sr. (1888-1955), Pomona Public Library, Frasher Foto Postcard Collection).

The “Swinging Years” of Big Band Jazz from 1935 to 1945 also brought new crowds to the ballroom. And country music and “western swing” star Spade Cooley began broadcasting his weekly television show from the the La Monica Ballroom in 1948, where the program remained until 1954.

After that, in the summer of 1955, the Hollywood Autocade opened at the La Monica, featuring roughly one hundred famous and unusual cars, including Jack Benny’s Maxwell and a Rumpler Drop Car. Between 1955 to 1962, the ballroom served as a roller skating rink, first as “Skater’s Ballroom”, and later as the “Santa Monica Roller Rink”. A local speed skating club is said to have won many state and regional championships. Speed skater Ronnie Rains became a Roller Derby star. The rink’s operator was a former vaudeville and silent film star, Jack Goodrich, whose daughter, Michelle Goodrich, later became a showgirl in Ice Capades.

The owners of the pier and the ballroom, the Newcomb family didn’t invest enough in upkeep and upgrades to keep the venue from decaying.

And so, the La Monica Ballroom was closed to the public 1962, and demolished in 1963.

Related Articles:

TweetReinhard