NormalizeHEADmain

43 files changed, 17 insertions, 3608 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..08d2400
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #53127 (https://www.gutenberg.org/ebooks/53127)
diff --git a/old/53127-0.txt b/old/53127-0.txt
deleted file mode 100644
index f6512dc..0000000
--- a/old/53127-0.txt
+++ /dev/null
@@ -1,1077 +0,0 @@
-The Project Gutenberg EBook of San Xavier Del Bac, Arizona, by 
-Arizona Pioneers Historical Society
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: San Xavier Del Bac, Arizona
-       A Descriptive and Historical Guide
-
-Author: Arizona Pioneers Historical Society
-
-Release Date: September 23, 2016 [EBook #53127]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
-
-
-
-
-Produced by Stephen Hutcheson, MFR and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-  [Illustration: Mission San Xavier Del Bac]
-
-  [Illustration: THE FACADE.]
-
-
-
-
-                                _Mission
-                           San Xavier Del Bac
-                                Arizona_
-
-
-                      A Descriptive and Historical
-                                 GUIDE
-
-  [Illustration: Front View]
-
-   _Compiled by Workers of the Writers’s Program of the Work Projects
-                Administration in the State of Arizona_
-
-                              Sponsored by
-                 _Arizona Pioneers’ Historical Society_
-
-                 HASTINGS HOUSE, Publishers    NEW YORK
-
-
-                     First Published in March 1940
-
-                          FEDERAL WORKS AGENCY
-                    John M. Carmody, _Administrator_
-
-                      WORK PROJECTS ADMINISTRATION
-                    F. C. Harrington, _Commissioner_
-                Florence Kerr, _Assistant Commissioner_
-                 W. J. Jamieson, _State Administrator_
-
-       Copyright 1940 by the Arizona Pioneers’ Historical Society
-                           Printed in U.S.A.
-            All Rights are Reserved, Including the Rights to
-            Reproduce This Book or Parts Thereof in Any Form
-
-  [Illustration: FRONT VIEW]
-
-  [Illustration: THERE IS A SPLENDID PANORAMA OF THE VALLEY FROM THIS
-  POINT.]
-
-
-
-
-                                Preface
-
-
-The Mission of San Xavier del Bac, generally conceded to be the greatest
-of all the old Spanish missions and the finest example of pure mission
-architecture in the United States, has enjoyed a variable and
-fascinating development through nearly two and a half centuries. This
-descriptive and historical guide to the mission is designed to enable
-native Arizonans and tourists the more appreciably to enjoy San Xavier’s
-great beauty and significance.
-
-Acknowledgment is due to Dr. Herbert Eugene Bolton, Chairman, Department
-of History and Director of the Bancroft Library, University of
-California, for his helpful suggestions in connection with the history
-of the mission. Dr. Rufus Kay Wyllys, Head, Department of Social
-Science, Arizona State Teachers College at Tempe, was also very helpful
-in this respect. As to the architectural descriptions, the authority of
-Prent Duell, in his publication “Mission Architecture, Exemplified in
-San Xavier del Bac” was generously employed.
-
-                                                            The Editors.
-
-
-
-
-                         List of Illustrations
-
-
-  Mission San Xavier Del Bac—_Norman G. Wallace_              _Endpapers_
-  The Facade—_Buehman Studio_                              _Frontispiece_
-  Front View—_Buehman Studio_                                _Title Page_
-                                                                     PAGE
-  Glimpse Through Archway—_Buehman Studio_                              3
-  Bells—_Joseph Miller_                                                 4
-  Papago Village—_Buehman Studio_                                      37
-  Mission Courtyard From Above—_Joseph Miller_                         38
-  —And Below—_National Park Service_                                   39
-  Detail of Wooden Balcony—_Joseph Miller_                             40
-  Papago Indian Children—_Joseph Miller_                               41
-  High Altar From Rear of Nave—_Joseph Miller_                         42
-  Grotesque Lion—_Joseph Miller_                                       42
-  High Altar                                                           43
-  High Altar From Choir Loft—_Joseph Miller_                           44
-  Hand-Carved Pulpit—_Joseph Miller_                                   44
-  Choir Loft From the High Altar                                       45
-  Corner of West Transept                                              46
-  Gospel Chapel—West Transept                                          47
-  East Transept—Epistle Chapel                                         48
-  The Statue of Mary—_Joseph Miller_                                   49
-  The Mother of Sorrows—_Joseph Miller_                                49
-  Baptismal Font—_Joseph Miller_                                       50
-  Baptismal Font From Nave—_National Park Service_                     51
-  Detail of Baptistry Window—_John P. O’Neill_                         52
-  Window Over Entrance Portal—_Joseph Miller_                          52
-  The Bells of San Xavier—_Joseph Miller_                              53
-  Papago Indian Homes—_Joseph Miller_                                  53
-  The Great Dome—_Joseph Miller_                                       54
-  Corner of the Garden—_Joseph Miller_                                 55
-  Mortuary Chapel and Garden—_Joseph Miller_                           56
-  Burial Grounds                                                       57
-  Gates of San Xavier                                         _Endpapers_
-
-
-The mission of San Xavier del Bac is on an elevation facing the Santa
-Rita Mountains, nine miles to the south of Tucson, Arizona, and is a
-conspicuous monument of the Santa Cruz Valley. An isolated church, white
-against the soft shades of the bare desert and the distant colors of the
-low-lying mountains, it is visible for miles in every direction.
-
-Prent Duell, who calls San Xavier “the greatest of all missions” in his
-book on mission architecture, gives the following description of the
-view from the front: “The facade of the church is symmetrical, with two
-plain towers on either side of an ornate gabled entrance. Above the
-broken pediment of the gable, the noble dome may be seen between the
-towers. The windows and doors are symmetrically placed and thrown wholly
-in shadow by the heavy walls. Their blackness, contrasted with the
-glistening whiteness of the walls, and the reddish ornamentation about
-the entrance make a picture against the cloudless sky and endless
-desert, not to be forgotten.”
-
-The mission was founded by Eusebio Francisco Kino, picturesque pioneer
-missionary of the Jesuit Order, whose purpose was to Christianize the
-Indian population. San Xavier is the northernmost of his mission chain,
-extending up the West coast from Sinaloa to Pimería Alta. Pimería Alta,
-meaning the upper country of the Pima Indians, included all the
-territory between the Gila River, in what is now Arizona, on the North
-and the Río del Altar in Sonora, Mexico, on the south.
-
-Kino visited the “great ranchería” of Bac on the Santa Cruz River for
-the first time in 1692 and later wrote an eloquent report to King Philip
-V of Spain describing the beauty and fertility of the valley whose
-fields extended as far as the present site of Tucson. It was during this
-visit that Kino named the place San Xavier, in honor of his own patron
-saint, the great Jesuit “Apostle to the Indies.”
-
-A visit in 1694 to Bac and the nearby ruins of Casa Grande, prehistoric
-fortress, convinced him that under proper tutelage the Indians might
-erect large and permanent buildings.
-
-In 1697 he drove cattle up from his mission Dolores in Mexico and
-established the first stock farm at Bac for the support of the projected
-mission.
-
-Construction of the church began in April 1700, and Kino in his
-autobiography relates: “On the 28th we began the foundations of a very
-large and capacious church of San Xavier del Bac, all the many people
-working with much pleasure and zeal, some in digging the foundations,
-others in hauling many and very good stones of tezontle from a little
-hill about a quarter of a league away. For the mortar for these
-foundations it was not necessary to haul water, because by means of
-irrigation ditches we very easily conducted the water where we wished.
-And that house, with its great court and garden nearby, will be able to
-have throughout the year all the water it may need, running to any place
-or workroom one may please, and one of the greatest and best fields in
-all Nueva Biscaya ... on the 29th we continued laying the foundations of
-the church and of the house.” (Note: The site of these foundations is
-not where the present mission stands, but at a point some two miles
-north.)
-
-Kino died in 1711 and it is uncertain how much of the building had been
-completed. In 1751 the generally peaceful Pimas, disturbed by the
-inroads being made by Spanish settlers and prospectors, revolted and
-plundered the mission. Some of the Indians had been obliged to work in
-the mines, practically as slaves for the Spanish colonists, and it is
-probable that others found the discipline and regular work of the padres
-burdensome. All Pimería was shaken by this great uprising which nearly
-wiped out the frontier missions.
-
-The following year a presidio was established at the visita of Tubac, 37
-miles to the south, for the protection of San Xavier, its visitas, and
-the villages of the Christian Indians. Missionary activities were again
-started and many of the Indians who had previously fled, returned.
-
-In 1767, by Royal Order, the Jesuits were expelled from all Spanish
-domain. Charles III of Spain, fearing the Jesuits were too persistent in
-their quest of new lands, decided to replace them with the Franciscan
-Order. San Xavier, like most of the abandoned missions of the region,
-was taken over by the Franciscans in 1768. San Xavier came under the
-direction of Friar Francisco Garcés and before the year was out, while
-he lay sick at a nearby visita, the mission buildings were destroyed by
-Apaches.
-
-The padres’ courage and spirit were unshaken however, as we find that
-four years later a “fairly large” church was erected. The danger from
-Apache raids became increasingly serious and in 1776, a presidio was
-established at nearby Tucson for greater protection of San Xavier.
-
-About 1785 two Franciscan friars, successors to Garcés, began work on
-the building. This evidently was at the site of the present mission.
-What part, if any, of the present structure belongs to the period of
-Jesuit occupation is conjectural and there seems to be some confusion at
-this period regarding the two sites. However, the cruciform
-(cross-shaped) design of the present structure was not used by the
-Franciscans for missions and it is reasonable to suppose that the
-Jesuits may have laid the foundations for the present church, under
-these circumstances. Also, the name of San Xavier, a Jesuit, was
-retained, while the Franciscans changed the names of the other Jesuit
-missions.
-
-The labor of building went on for more than ten years. Except for part
-of one tower, the structure was probably finished in 1797, as an
-inscription on the door of the Sacristy indicates: “Pedro Bojs ano
-die—1797 (Pedro Bojourques—on a day in the year 1797).” The actual
-building of San Xavier was carried on under the direction of Ignacio
-Gaona, Spanish architect and master mission builder. Ornaments and
-fixtures of the older church were placed in the new building.
-
-After Mexico won independence from Spain in 1822, the friars were
-expelled from the country and the missions were confiscated. San Xavier
-remained for years without a priest, and the buildings were used for
-stables, barns, or barracks. At this time the faithful Indians buried
-many of the ornaments and statues to prevent their destruction in Apache
-raids.
-
-In 1859, following the Gadsden Purchase, whereby the United States
-Government purchased from Mexico a large strip of land, San Xavier was
-brought within the boundaries of the United States. The Arizona missions
-were put in the diocese of Santa Fe, New Mexico. When the Indians heard
-that a priest was returning they brought forth the statues and other
-sacred articles, rang the long silent mission bells and brought their
-children to be baptized. The church of San Xavier was the only mission
-not in complete ruin. Extensive repairs were made on the building.
-
-Although the mission withstood the earthquake of 1887, a period of rainy
-weather caused damage to its walls and ceilings. Restoration work, for
-the most part by Indian labor, was begun in 1906. Old pictures were
-studied in an effort to retain the lines of the mission as faithfully as
-possible. The work was so skillfully done that in many instances it is
-impossible to distinguish between the old and new construction.
-
-The exteriors of the mission and dependent buildings were newly
-plastered and the decorations repaired. Some changes were made in the
-walls of the atrium and in the patio, which had been constructed as a
-measure of defense against the attacks of Apaches. Additional dormitory
-and class rooms were constructed. In 1908 the “Grotto of Lourdes,” a
-replica of the shrine at Lourdes, France, was constructed on the “Little
-Mountain of the Holy Cross” just east of the mission.
-
-In accordance with the usual custom of the Spanish friars in selecting a
-building site for a mission, San Xavier del Bac occupies a position in
-the very heart of the desert, slightly elevated above the surrounding
-terrain and hemmed in by distant mountains. The majestic mass of the
-church with its tiny mortuary chapel to the left, its walled atrium
-fronting a spacious plaza, and its L-shaped dormitory and patio
-adjoining the church proper at the right, forms an imposing
-architectural ensemble. The church faces directly south, contrary to the
-general rule that the apse should be to the east.
-
-San Xavier is the best preserved and the only one of the old Spanish
-missions still being used. For two centuries and more the Indians have
-been coming to this shrine, exemplifying their faith in Christianity as
-first introduced by the kindly padre Kino.
-
-No mission excels San Xavier in serious design and pure artistry. It
-more completely embodies the elements which enter into mission
-architecture, that is, the architecture of the Spanish Renaissance
-modified by native influences, than any other, and stands a perfect
-example of its type. In reality San Xavier, which cannot be designated
-as an example of any one style, is a combination of the many influences
-that created the mission architecture of the Southwest. Not the least of
-these influences was the scarcity of artisans capable of executing the
-elaborate detail of the churches in the homeland and the fantastic
-Churrigueresque mode of vice-regal Mexico with which the padres were
-familiar. Also the building materials were for the most part confined to
-those available at the site. In view of these many limitations it is not
-surprising that the structures, executed largely by native workmen,
-reflected Indian influences.
-
-About the only materials used in the construction of San Xavier Mission
-not native to the site were the iron bells and the hinges on the doors.
-The statuary for the most part, and the gilt used on interior decorative
-features, were probably brought from Mexico. According to legend, the
-clappers of the Arizona mission bells were made from a meteorite that
-fell in the Santa Rita Mountains nearby.
-
-The architecture of San Xavier has traces of both Byzantine and Moorish
-styles. The lower half of the interior with its many brilliant
-decorations, statuettes, frescoes, and glitter of golden tones is
-partially Byzantine. The upper part reflects the Moorish style with
-stilted arches, domes, and fantastic windows. The distinctive towers and
-belfries were developed in Mexico and much of the accented yet
-restrained decoration suggests the influence of the Aztec.
-
-The mission, except for the foundation, is constructed entirely of
-kiln-baked clay brick, covered with a white lime plaster. The
-pendentives and groins—even the roof including the huge dome, and the
-choir loft—are carried completely on vaulted arches. The ornamental
-features of the facade are of brick and plaster.
-
-The foundation of stones imbedded in mortar, is nearly six feet thick
-under the front towers in order to support their great weight. The
-massive towers, with their arcaded belfries arranged in two stages, were
-of identical design. The one on the right, never having been completed,
-lacks the crowning dome and cupola of the one on the left, thereby
-destroying the otherwise perfect symmetry of the facade, though not
-detracting from the charm of the structure. A number of legends have
-arisen to account for the unfinished tower. It is said the King of
-Spain, anxious to increase his revenues, ruled that each church upon
-completion must pay a tax to the royal treasury. The astute padres left
-the church in a state that could not be considered completed. Another
-version relates that Ignacio Gaona, the mission builder, with but a few
-months of labor left, sustained a fatal injury in a fall off the
-unfinished tower which may account for its not being completed, as well
-as for the fact that the name of his assistant was inscribed on the
-Sacristy door, viz. “Pedro Bojourquez, 1797.”
-
-The imposing silhouette of the towers is greatly enhanced by the flowing
-lines of their flying buttresses at each corner. These corner buttresses
-are arched across to the base of the upper belfry in the form of
-graceful scrolls. The platform around the lower stage of the belfry is
-protected by a balustrade of finely turned balusters.
-
-The most decorative feature of the facade is the gabled entrance
-pavilion which, with its curvilinear silhouette and baroque detail,
-exemplifies the excesses of the late Spanish Renaissance and recalls the
-Churrigueresque embellishments of the Mexican cathedrals. The original
-ornamentations—arabesques, shells, niched figures, and swirling volutes
-in both low and high relief—appear in soft shades of red, the faded
-residue of the original vermilion paint.
-
-The deeply recessed entrance portal is framed with a low unstilted
-classic arch. Its aged wooden doors are hewn from solid mesquite, swung
-on original hand-made hinges, and fastened with locks and bolts of the
-same period. The spandrels of the portal arch are adorned with rich
-floral arabesques. The portal is flanked by double columns, elaborately
-molded and decorated, and engaged to the face of broad pilasters. These
-columns are repeated in a superimposed ordinance flanking a central
-window. The window, admitting light to the choir loft within, has a
-delicate wooden balcony which casts a deep shadow over the entrance
-portal below. It is crowned with a large shell motif, symbolic of
-pilgrimage or baptism. Two other balconies of similar design accent the
-base of each tower at the same level. Decorative niched figures are
-placed between the columns. The upper figure on the left, with crown and
-royal robes, is variously described as representing either King Charles
-III of Spain or Saint Catherine. The black-robed figure below, though
-nearly effaced, is judged to be that of a lady saint. The upper figure
-on the right, with tambourine, is a representation of Saint Cecelia; the
-figure below, often blackened by the grease dripping from the candles of
-pious Indians who affirm that the saint cures their sore eyes, is
-thought to be an image of Saint Lucy. The gable of the entrance
-pavilion, in the form of a broken scroll pediment, is adorned with the
-arms of the Franciscan order, executed in high relief. The coat of arms
-consists of an escutcheon with a white ground against which are
-displayed a twisted cord, part of the Franciscan dress, and a cross
-bearing one arm of Jesus and one of Saint Francis. To the right of the
-escutcheon is the monogram of Jesus and to the left that of the Virgin.
-In the decoration above are two small Lions of Castile, and bunches of
-grapes signifying fertility. A broken bust of Saint Francis of Assisi
-surmounts the pediment.
-
-Regarding the facade as a whole one is impressed with the striking
-contrast between the blank surfaces of the smooth outer walls and
-towers, and the concentrated decoration of the few wall openings. Over
-each of the lower windows in the towers is a delicate relief almost
-monastic in its simplicity. These windows are grilled with slender
-wooden spindles in the traditional Spanish manner.
-
-Inside to the left of the nave is the Baptistry and over head the choir
-loft from which the best view of the interior is obtained. The plan of
-the vaulted interior is a perfect Latin cross with transepts, apse and
-nave. The right and left transepts are treated as chapels. At the north
-end is the chancel with its high altar. Over the crossing of transept
-and nave, the lofty dome rises over an octagonal drum supported on the
-arches and pendentives, while to the left and right are richly appointed
-transept chapels each containing two altars. Light streaming through the
-high windows in the clearstory and the four medallion windows in the
-drum of the dome is refracted from wall to wall in soft bluish tones.
-
-The walls of the interior are richly adorned with frescoes and gilded
-ornament. The interior decorations of San Xavier, though somewhat faded
-in color are perhaps richer than those of other missions—the elaborate
-detail of its gilded altars, the bizarre painted statues, the spindled
-altar rails and wine glass pulpit, are in keeping with the rich
-traditions of Spain and Mexico.
-
-The sides of the vaulted nave, adorned with frescoes, a painted dado and
-cornice, are lined with heavily capped pilasters. Frescoes, painted in
-bold reds, yellows, blues, and browns and outlined in orange and black,
-recall at once the work of early Spanish painters, the eastern heritage
-of early Christian art, and at the same time, the hand of a native race
-attuned to brilliant color. The large frescoes, _The Last Supper_ and
-_The Holy Ghost Descending Upon The Disciples_, to the left and right
-respectively, are said to be the work of a monk from the college of
-Queretaro. The dadoes painted in imitation of tiles have almost
-disappeared. Below the molded brick cornice is a colorful frieze
-decorated with the cord and hem of the Franciscan vestments and the
-traditional fringe of bell and pomegranate.
-
-The pilasters flanking the nave are adorned with niched figures of
-saints. On the left (front and rear) are St. Mathew, St. Bartholomew and
-St. Philip, on the right St. Simon and St. Thaddeus. These apostolic
-figures and many others set into the high altar and transept chapels are
-painted and modeled with charming naivete of form and expression. As
-Duell has suggested, “They were intended for the Indian, and his first
-lessons in Christianity were through art.”
-
-The frescoes on the pendentives and on the drum and dome over the
-crossing are especially decorative in that they are painted on the white
-ceiling in vignette. Here again are figures of various saints. Those
-decorating the pendentives represent St. Thomas Aquinas, St. Augustine,
-St. Jerome and St. Ambrose.
-
-In the Gospel Chapel formed by the left transept are two richly carved
-and gilded altars. The larger one at the end, somewhat resembling the
-high altar, is dedicated to the Passion of Our Lord, the other, on the
-right, to St. Joseph. The frescoes on the left wall of this chapel
-symbolize _The Presentation of Our Lord in the Temple_ (upper) and _Our
-Lady of the Pillar_ (lower). Here also is the confessional.
-
-The apse, containing the elaborately encrusted high altar, is framed by
-a wide and stilted chancel arch. On the piers of the arch (left and
-right) are figures of St. James, St. John, St. Thomas and St. Ignatius
-Loyola, founder of the Society of Jesus. On the corners of the piers are
-hung the figures of angels, life-size, said to be the likenesses of the
-two daughters of the artist who decorated the interior. The apse is
-separated from the rest of the church by a low spindled chancel rail.
-The central gate of the hand-carved railing is flanked by two grotesque
-carvings of lions on the escutcheon of Castile and Leon. In their paws
-were candlesticks—long since carried away by vandals.
-
-The high altar is dedicated to St. Francis Xavier. A figure of the saint
-occupies a central niche above the altar table. Around it are carved
-cherubs and arabesques. Still higher is a brilliantly painted figure of
-the Holy Virgin. On each side of this central motif the corners of the
-octagonal apse are lined with elaborately carved and gilded columns and
-between them the niched figures of St. Peter and St. Paul. Surmounting
-the altar is the figure of God the Creator. The domed ceiling of the
-apse is embellished with a shell—a motif frequently used in the
-decoration of the church. The side walls of the apse are painted with
-colorful frescoes: _The Adoration of the Wise Men_ and _The Flight Into
-Egypt_ (right wall) and the _Adoration of the Shepherds_ and the
-_Annunciation_ (left wall).
-
-A small door in the right wall of the apse leads into the Sacristy, a
-high square domical chamber containing the sacred vessels and
-reliquaries. The delicate floral decorations on the sacristy ceiling are
-especially notable. On the north wall is the _Crucifixion_, the largest
-and best preserved of any of the frescoes in the church. A small door in
-the east wall gives access to the arched cloisters of the patio.
-
-In the east transept is the Epistle Chapel containing, like the Gospel
-Chapel on the left, two altars—the large altar at the end, dedicated to
-the Mother of Sorrows, containing a statue of Mary, clothed in a bridal
-gown donated by an Indian girl in appreciation of an answered prayer.
-Imbedded in the wall above is an antique wooden cross which formerly
-bore a “life-size” statue of the crucifixion, though nothing remains now
-but one arm. It is thought the statue was carried away by vandals. The
-altar at the left is dedicated to the Immaculate Conception.
-
-A high canopied hand-carved pulpit of rich dark pine, fastened with
-wooden pegs, stands against the transept pier at the right of the
-Epistle Chapel. Octagonal in shape and raised on a slender shaft-like
-pedestal, it is a notable example of skillful craftsmanship in
-woodcarving. The pulpit platform is approached by a narrow railed flight
-of steps.
-
-Entrance to the finished tower is through the Baptistry. This room is
-groin-vaulted and handsomely ornamented. A fresco of the _Baptism of
-Christ_ completely covers one of the walls. The baptismal font in the
-center of the room with its hand-hammered copper bowl, bears the
-inscription “IHS,” three letters of the name Jesus in the Greek
-language. This is one of the sacred fixtures that was taken from the
-original Kino church and placed in the present building.
-
-A narrow stairway built into the thick walls leads to the choir vestry.
-The choir loft is adjacent. The walls of the choir loft are covered with
-frescoes of the _Holy Family_, the _Home at Nazareth_, _St. Francis in a
-Heavenly Chariot_, and _St. Dominic Receiving the Rosary from the Holy
-Virgin_. A door opposite that of the choir vestry gives access to the
-other tower. The old doors in the church still have their original heavy
-iron hinges, locks and latches. They are designed with heavy stiles and
-rails, enclosing small panels, and are relatively low and narrow.
-
-The belfry of the finished tower, reached through a tunnel-like stairway
-from the choir vestry, is enclosed by a parapet with molded balustrades.
-Only three of the original four bells remain. It is thought that one of
-the three, accounted the best, is the “lost chime” from the San Juan
-Bautista mission of California, which was cast by a Peruvian who died
-without divulging the secret of his process. The inscription: “S. Jvan
-Bavtjsta,” is quite clear. Just how it came to be lost by the California
-mission however, if it came from there, remains a mystery.
-
-Flights of stairs lead on upward to the cupola, which culminates in a
-domical vault. There is a splendid panorama of the valley from this
-point. In earlier days the cupola was perhaps used as a lookout to warn
-against Apache attacks. Here one may look down upon the domed surface of
-the roof which was painted in imitation of tile, and examine the detail
-of the elaborate roof parapet with its slender posts and finials and
-graceful wall curved in scalloped loops between them. The finials are
-flanked by carved Castilian lion heads.
-
-The dormitory wing constructed of adobe has been greatly altered. Early
-drawings indicated that the windows and doors were originally arched.
-Especially notable is the roof over the dormitory and adjoining loggia.
-Except for the outer covering of tile its structure has never been
-disturbed. It is supported on heavy beams of mesquite timber and, as was
-the general custom, the beams were covered with stalks of ocotillo,
-leaves and reeds, the cracks then filled with soft adobe, the whole
-finally forming a solidly reinforced roof. The north wing of the
-dormitory, although entirely new, harmonizes with the earlier structure.
-
-Engineers are working to bring back into line the massive walls of the
-mission and plan to reinforce the dome and portions of the fine facade
-which have recently fallen away.
-
-Secret processes used in painting the murals are being utilized in
-restoring the walls of the structure. This process, recently discovered
-through research at the Smithsonian Institution, solves a problem
-artists have been attempting for years to achieve through the use of oil
-paint. The root of the ocotillo plant supplies the red. The pulpy sap of
-the saguaro (giant) cactus gives the blue. Brown and yellow are made
-from the first layer of skin under the bark of the palo verde tree, and
-green comes from sage leaves while mesquite beans make the thick black.
-The degree of boiling gives the shades desired.
-
-The preservation of San Xavier del Bac is a worthy gesture in enabling
-increasing thousands to see intact this magnificent example of early
-mission architecture.
-
-
-
-
-                              Bibliography
-
-
-  Bancroft, Hubert Howe. _History of Arizona and New Mexico._ San
-  Francisco, The History Company, 1889. Vol. 17 of his _History of the
-  Pacific States of North America_.
-
-  Bolton, Herbert Eugene. _Kino’s Historical Memoir of Pimería Alta._
-  Cleveland, Arthur H. Clark Company, 1919. 2 v.
-
-  ——, _Rim of Christendom_. New York, Macmillan, 1936.
-
-  ——, _Padre on Horseback_. San Francisco, Sonora Press, 1932.
-
-  Bonaventure, Father, O.F.M. _Mission San Xavier del Bac._ Topawa,
-  Ariz., Franciscan Fathers of Arizona, San Solano Missions.
-
-  Duell, Prent. _Mission Architecture Exemplified in San Xavier del
-  Bac._ Tucson, Arizona Archaeological and Historical Society, 1919.
-
-  Engelhardt, Father Zephyrin. _The Franciscans in Arizona._ Harbor
-  Springs, Mich., Holy Childhood Indian School, 1899.
-
-  Hallenbeck, Cleve. _Spanish Missions of the Old Southwest._ New York,
-  Doubleday, Page & Company, 1926.
-
-  Hinton, R. J. _Handbook to Arizona._ New York, Payot, Upham & Company,
-  1878.
-
-  Lockwood, Frank C. _With Padre Kino on the Trail._ Tucson, University
-  of Arizona, 1934.
-
-  Lummis, Charles F. _The Spanish Pioneers._ Chicago, A. C. McClurg &
-  Company, 1914.
-
-  Lutrell, Estelle. _The Mission of San Xavier del Bac._ Tucson, Acme
-  Press, 1934.
-
-  Newcomb, Rexford. _Spanish-Colonial Architecture in the United
-  States._ New York, J. J. Augustin, 1937.
-
-  Willys, Rufus Kay. _Pioneer Padre._ Dallas, Southwest Press, 1935.
-
-
-
-
-                             Illustrations
-
-
-  [Illustration: MISSION of SAN XAVIER DEL BAC · 1700-1797]
-    KEY
-  A Nave
-  B Provision Room
-  C Epistle Chapel
-  D Sacristy
-  E Apse
-  F Gospel Chapel
-  G Crossing
-  H Baptistry
-  I Narthex
-  J Cloister
-  K Dormitory Wing
-
-  [Illustration: THE MISSION OF SAN XAVIER DEL BAC. PAPAGO VILLAGE IN
-  FOREGROUND.]
-
-  [Illustration: MISSION COURTYARD FROM ABOVE....]
-
-  [Illustration: ... AND BELOW.]
-
-  [Illustration: THE ENTRANCE PORTAL HAS A DELICATE WOODEN BALCONY
-  ABOVE, CROWNED WITH A LARGE SHELL MOTIF.]
-
-  [Illustration: PAPAGO INDIAN CHILDREN RECESSING AT THE MISSION SCHOOL.]
-
-  [Illustration: HIGH ALTAR FROM REAR OF NAVE.]
-
-  [Illustration: ONE OF TWO GROTESQUE CARVINGS OF LIONS.]
-
-  [Illustration: HIGH ALTAR.]
-
-  [Illustration: HIGH ALTAR FROM CHOIR LOFT.]
-
-  [Illustration: A HIGH CANOPIED HAND-CARVED PULPIT OF RICH DARK PINE.]
-
-  [Illustration: CHOIR LOFT FROM THE HIGH ALTAR.]
-
-  [Illustration: LOOKING TOWARD ONE CORNER OF THE WEST TRANSEPT.]
-
-  [Illustration: GOSPEL CHAPEL—WEST TRANSEPT.]
-
-  [Illustration: EAST TRANSEPT—EPISTLE CHAPEL.]
-
-  [Illustration: THE STATUE OF MARY CLOTHED IN A BRIDAL GOWN DONATED BY
-  AN INDIAN WOMAN.]
-
-  [Illustration: ALTAR DEDICATED TO THE MOTHER OF SORROWS.]
-
-  [Illustration: BAPTISMAL FONT IN CENTER OF BAPTISTRY. PEDESTAL AND
-  BOWL OF BAKED BRICK WHICH INCLOSES A COPPER BOWL ENGRAVED ON TOP WITH
-  MONOGRAM I. H. S.]
-
-  [Illustration: THE BAPTISMAL FONT SEEN FROM THE NAVE.]
-
-  [Illustration: DETAIL OF BAPTISTRY WINDOW.]
-
-  [Illustration: WINDOW OVER ENTRANCE PORTAL.]
-
-  [Illustration: THE BELLS OF SAN XAVIER.]
-
-  [Illustration: PAPAGO INDIAN HOMES.]
-
-  [Illustration: THE GREAT DOME, THE DOMED ROOF, AND THE FINIALS FLANKED
-  WITH CARVED CASTILIAN LION HEADS.]
-
-  [Illustration: PRICKLY PEAR CACTUS IN A CORNER OF THE GARDEN.]
-
-  [Illustration: MORTUARY CHAPEL AND GARDEN.]
-
-  [Illustration: MEXICAN AND INDIAN BURIAL GROUNDS JUST WEST OF THE
-  MISSION.]
-
-  [Illustration: Gates of San Xavier]
-
-
-
-
-                          Transcriber’s Notes
-
-
---Copyright notice provided as in the original—this e-text is public
-  domain in the country of publication.
-
---Silently corrected palpable typos; left non-standard spellings and
-  dialect unchanged.
-
---Moved some captions closer to the corresponding pictures, removing
-  extraneous spatial references like “(next page)”.
-
---In the text versions, delimited italicized text by _underscores_.
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of San Xavier Del Bac, Arizona, by 
-Arizona Pioneers Historical Society
-
-*** END OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
-
-***** This file should be named 53127-0.txt or 53127-0.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/5/3/1/2/53127/
-
-Produced by Stephen Hutcheson, MFR and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world at no cost and with almost no
-  restrictions whatsoever. You may copy it, give it away or re-use it
-  under the terms of the Project Gutenberg License included with this
-  eBook or online at www.gutenberg.org. If you are not located in the
-  United States, you'll have to check the laws of the country where you
-  are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
diff --git a/old/53127-0.zip b/old/53127-0.zip
deleted file mode 100644
index 474c4a8..0000000
--- a/old/53127-0.zip
+++ /dev/null
diff --git a/old/53127-8.txt b/old/53127-8.txt
deleted file mode 100644
index a62592f..0000000
--- a/old/53127-8.txt
+++ /dev/null
@@ -1,1077 +0,0 @@
-The Project Gutenberg EBook of San Xavier Del Bac, Arizona, by 
-Arizona Pioneers Historical Society
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: San Xavier Del Bac, Arizona
-       A Descriptive and Historical Guide
-
-Author: Arizona Pioneers Historical Society
-
-Release Date: September 23, 2016 [EBook #53127]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
-
-
-
-
-Produced by Stephen Hutcheson, MFR and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-  [Illustration: Mission San Xavier Del Bac]
-
-  [Illustration: THE FACADE.]
-
-
-
-
-                                _Mission
-                           San Xavier Del Bac
-                                Arizona_
-
-
-                      A Descriptive and Historical
-                                 GUIDE
-
-  [Illustration: Front View]
-
-   _Compiled by Workers of the Writers's Program of the Work Projects
-                Administration in the State of Arizona_
-
-                              Sponsored by
-                 _Arizona Pioneers' Historical Society_
-
-                 HASTINGS HOUSE, Publishers    NEW YORK
-
-
-                     First Published in March 1940
-
-                          FEDERAL WORKS AGENCY
-                    John M. Carmody, _Administrator_
-
-                      WORK PROJECTS ADMINISTRATION
-                    F. C. Harrington, _Commissioner_
-                Florence Kerr, _Assistant Commissioner_
-                 W. J. Jamieson, _State Administrator_
-
-       Copyright 1940 by the Arizona Pioneers' Historical Society
-                           Printed in U.S.A.
-            All Rights are Reserved, Including the Rights to
-            Reproduce This Book or Parts Thereof in Any Form
-
-  [Illustration: FRONT VIEW]
-
-  [Illustration: THERE IS A SPLENDID PANORAMA OF THE VALLEY FROM THIS
-  POINT.]
-
-
-
-
-                                Preface
-
-
-The Mission of San Xavier del Bac, generally conceded to be the greatest
-of all the old Spanish missions and the finest example of pure mission
-architecture in the United States, has enjoyed a variable and
-fascinating development through nearly two and a half centuries. This
-descriptive and historical guide to the mission is designed to enable
-native Arizonans and tourists the more appreciably to enjoy San Xavier's
-great beauty and significance.
-
-Acknowledgment is due to Dr. Herbert Eugene Bolton, Chairman, Department
-of History and Director of the Bancroft Library, University of
-California, for his helpful suggestions in connection with the history
-of the mission. Dr. Rufus Kay Wyllys, Head, Department of Social
-Science, Arizona State Teachers College at Tempe, was also very helpful
-in this respect. As to the architectural descriptions, the authority of
-Prent Duell, in his publication "Mission Architecture, Exemplified in
-San Xavier del Bac" was generously employed.
-
-                                                            The Editors.
-
-
-
-
-                         List of Illustrations
-
-
-  Mission San Xavier Del Bac--_Norman G. Wallace_             _Endpapers_
-  The Facade--_Buehman Studio_                             _Frontispiece_
-  Front View--_Buehman Studio_                               _Title Page_
-                                                                     PAGE
-  Glimpse Through Archway--_Buehman Studio_                             3
-  Bells--_Joseph Miller_                                                4
-  Papago Village--_Buehman Studio_                                     37
-  Mission Courtyard From Above--_Joseph Miller_                        38
-  --And Below--_National Park Service_                                 39
-  Detail of Wooden Balcony--_Joseph Miller_                            40
-  Papago Indian Children--_Joseph Miller_                              41
-  High Altar From Rear of Nave--_Joseph Miller_                        42
-  Grotesque Lion--_Joseph Miller_                                      42
-  High Altar                                                           43
-  High Altar From Choir Loft--_Joseph Miller_                          44
-  Hand-Carved Pulpit--_Joseph Miller_                                  44
-  Choir Loft From the High Altar                                       45
-  Corner of West Transept                                              46
-  Gospel Chapel--West Transept                                         47
-  East Transept--Epistle Chapel                                        48
-  The Statue of Mary--_Joseph Miller_                                  49
-  The Mother of Sorrows--_Joseph Miller_                               49
-  Baptismal Font--_Joseph Miller_                                      50
-  Baptismal Font From Nave--_National Park Service_                    51
-  Detail of Baptistry Window--_John P. O'Neill_                        52
-  Window Over Entrance Portal--_Joseph Miller_                         52
-  The Bells of San Xavier--_Joseph Miller_                             53
-  Papago Indian Homes--_Joseph Miller_                                 53
-  The Great Dome--_Joseph Miller_                                      54
-  Corner of the Garden--_Joseph Miller_                                55
-  Mortuary Chapel and Garden--_Joseph Miller_                          56
-  Burial Grounds                                                       57
-  Gates of San Xavier                                         _Endpapers_
-
-
-The mission of San Xavier del Bac is on an elevation facing the Santa
-Rita Mountains, nine miles to the south of Tucson, Arizona, and is a
-conspicuous monument of the Santa Cruz Valley. An isolated church, white
-against the soft shades of the bare desert and the distant colors of the
-low-lying mountains, it is visible for miles in every direction.
-
-Prent Duell, who calls San Xavier "the greatest of all missions" in his
-book on mission architecture, gives the following description of the
-view from the front: "The facade of the church is symmetrical, with two
-plain towers on either side of an ornate gabled entrance. Above the
-broken pediment of the gable, the noble dome may be seen between the
-towers. The windows and doors are symmetrically placed and thrown wholly
-in shadow by the heavy walls. Their blackness, contrasted with the
-glistening whiteness of the walls, and the reddish ornamentation about
-the entrance make a picture against the cloudless sky and endless
-desert, not to be forgotten."
-
-The mission was founded by Eusebio Francisco Kino, picturesque pioneer
-missionary of the Jesuit Order, whose purpose was to Christianize the
-Indian population. San Xavier is the northernmost of his mission chain,
-extending up the West coast from Sinaloa to Pimer�a Alta. Pimer�a Alta,
-meaning the upper country of the Pima Indians, included all the
-territory between the Gila River, in what is now Arizona, on the North
-and the R�o del Altar in Sonora, Mexico, on the south.
-
-Kino visited the "great rancher�a" of Bac on the Santa Cruz River for
-the first time in 1692 and later wrote an eloquent report to King Philip
-V of Spain describing the beauty and fertility of the valley whose
-fields extended as far as the present site of Tucson. It was during this
-visit that Kino named the place San Xavier, in honor of his own patron
-saint, the great Jesuit "Apostle to the Indies."
-
-A visit in 1694 to Bac and the nearby ruins of Casa Grande, prehistoric
-fortress, convinced him that under proper tutelage the Indians might
-erect large and permanent buildings.
-
-In 1697 he drove cattle up from his mission Dolores in Mexico and
-established the first stock farm at Bac for the support of the projected
-mission.
-
-Construction of the church began in April 1700, and Kino in his
-autobiography relates: "On the 28th we began the foundations of a very
-large and capacious church of San Xavier del Bac, all the many people
-working with much pleasure and zeal, some in digging the foundations,
-others in hauling many and very good stones of tezontle from a little
-hill about a quarter of a league away. For the mortar for these
-foundations it was not necessary to haul water, because by means of
-irrigation ditches we very easily conducted the water where we wished.
-And that house, with its great court and garden nearby, will be able to
-have throughout the year all the water it may need, running to any place
-or workroom one may please, and one of the greatest and best fields in
-all Nueva Biscaya ... on the 29th we continued laying the foundations of
-the church and of the house." (Note: The site of these foundations is
-not where the present mission stands, but at a point some two miles
-north.)
-
-Kino died in 1711 and it is uncertain how much of the building had been
-completed. In 1751 the generally peaceful Pimas, disturbed by the
-inroads being made by Spanish settlers and prospectors, revolted and
-plundered the mission. Some of the Indians had been obliged to work in
-the mines, practically as slaves for the Spanish colonists, and it is
-probable that others found the discipline and regular work of the padres
-burdensome. All Pimer�a was shaken by this great uprising which nearly
-wiped out the frontier missions.
-
-The following year a presidio was established at the visita of Tubac, 37
-miles to the south, for the protection of San Xavier, its visitas, and
-the villages of the Christian Indians. Missionary activities were again
-started and many of the Indians who had previously fled, returned.
-
-In 1767, by Royal Order, the Jesuits were expelled from all Spanish
-domain. Charles III of Spain, fearing the Jesuits were too persistent in
-their quest of new lands, decided to replace them with the Franciscan
-Order. San Xavier, like most of the abandoned missions of the region,
-was taken over by the Franciscans in 1768. San Xavier came under the
-direction of Friar Francisco Garc�s and before the year was out, while
-he lay sick at a nearby visita, the mission buildings were destroyed by
-Apaches.
-
-The padres' courage and spirit were unshaken however, as we find that
-four years later a "fairly large" church was erected. The danger from
-Apache raids became increasingly serious and in 1776, a presidio was
-established at nearby Tucson for greater protection of San Xavier.
-
-About 1785 two Franciscan friars, successors to Garc�s, began work on
-the building. This evidently was at the site of the present mission.
-What part, if any, of the present structure belongs to the period of
-Jesuit occupation is conjectural and there seems to be some confusion at
-this period regarding the two sites. However, the cruciform
-(cross-shaped) design of the present structure was not used by the
-Franciscans for missions and it is reasonable to suppose that the
-Jesuits may have laid the foundations for the present church, under
-these circumstances. Also, the name of San Xavier, a Jesuit, was
-retained, while the Franciscans changed the names of the other Jesuit
-missions.
-
-The labor of building went on for more than ten years. Except for part
-of one tower, the structure was probably finished in 1797, as an
-inscription on the door of the Sacristy indicates: "Pedro Bojs ano
-die--1797 (Pedro Bojourques--on a day in the year 1797)." The actual
-building of San Xavier was carried on under the direction of Ignacio
-Gaona, Spanish architect and master mission builder. Ornaments and
-fixtures of the older church were placed in the new building.
-
-After Mexico won independence from Spain in 1822, the friars were
-expelled from the country and the missions were confiscated. San Xavier
-remained for years without a priest, and the buildings were used for
-stables, barns, or barracks. At this time the faithful Indians buried
-many of the ornaments and statues to prevent their destruction in Apache
-raids.
-
-In 1859, following the Gadsden Purchase, whereby the United States
-Government purchased from Mexico a large strip of land, San Xavier was
-brought within the boundaries of the United States. The Arizona missions
-were put in the diocese of Santa Fe, New Mexico. When the Indians heard
-that a priest was returning they brought forth the statues and other
-sacred articles, rang the long silent mission bells and brought their
-children to be baptized. The church of San Xavier was the only mission
-not in complete ruin. Extensive repairs were made on the building.
-
-Although the mission withstood the earthquake of 1887, a period of rainy
-weather caused damage to its walls and ceilings. Restoration work, for
-the most part by Indian labor, was begun in 1906. Old pictures were
-studied in an effort to retain the lines of the mission as faithfully as
-possible. The work was so skillfully done that in many instances it is
-impossible to distinguish between the old and new construction.
-
-The exteriors of the mission and dependent buildings were newly
-plastered and the decorations repaired. Some changes were made in the
-walls of the atrium and in the patio, which had been constructed as a
-measure of defense against the attacks of Apaches. Additional dormitory
-and class rooms were constructed. In 1908 the "Grotto of Lourdes," a
-replica of the shrine at Lourdes, France, was constructed on the "Little
-Mountain of the Holy Cross" just east of the mission.
-
-In accordance with the usual custom of the Spanish friars in selecting a
-building site for a mission, San Xavier del Bac occupies a position in
-the very heart of the desert, slightly elevated above the surrounding
-terrain and hemmed in by distant mountains. The majestic mass of the
-church with its tiny mortuary chapel to the left, its walled atrium
-fronting a spacious plaza, and its L-shaped dormitory and patio
-adjoining the church proper at the right, forms an imposing
-architectural ensemble. The church faces directly south, contrary to the
-general rule that the apse should be to the east.
-
-San Xavier is the best preserved and the only one of the old Spanish
-missions still being used. For two centuries and more the Indians have
-been coming to this shrine, exemplifying their faith in Christianity as
-first introduced by the kindly padre Kino.
-
-No mission excels San Xavier in serious design and pure artistry. It
-more completely embodies the elements which enter into mission
-architecture, that is, the architecture of the Spanish Renaissance
-modified by native influences, than any other, and stands a perfect
-example of its type. In reality San Xavier, which cannot be designated
-as an example of any one style, is a combination of the many influences
-that created the mission architecture of the Southwest. Not the least of
-these influences was the scarcity of artisans capable of executing the
-elaborate detail of the churches in the homeland and the fantastic
-Churrigueresque mode of vice-regal Mexico with which the padres were
-familiar. Also the building materials were for the most part confined to
-those available at the site. In view of these many limitations it is not
-surprising that the structures, executed largely by native workmen,
-reflected Indian influences.
-
-About the only materials used in the construction of San Xavier Mission
-not native to the site were the iron bells and the hinges on the doors.
-The statuary for the most part, and the gilt used on interior decorative
-features, were probably brought from Mexico. According to legend, the
-clappers of the Arizona mission bells were made from a meteorite that
-fell in the Santa Rita Mountains nearby.
-
-The architecture of San Xavier has traces of both Byzantine and Moorish
-styles. The lower half of the interior with its many brilliant
-decorations, statuettes, frescoes, and glitter of golden tones is
-partially Byzantine. The upper part reflects the Moorish style with
-stilted arches, domes, and fantastic windows. The distinctive towers and
-belfries were developed in Mexico and much of the accented yet
-restrained decoration suggests the influence of the Aztec.
-
-The mission, except for the foundation, is constructed entirely of
-kiln-baked clay brick, covered with a white lime plaster. The
-pendentives and groins--even the roof including the huge dome, and the
-choir loft--are carried completely on vaulted arches. The ornamental
-features of the facade are of brick and plaster.
-
-The foundation of stones imbedded in mortar, is nearly six feet thick
-under the front towers in order to support their great weight. The
-massive towers, with their arcaded belfries arranged in two stages, were
-of identical design. The one on the right, never having been completed,
-lacks the crowning dome and cupola of the one on the left, thereby
-destroying the otherwise perfect symmetry of the facade, though not
-detracting from the charm of the structure. A number of legends have
-arisen to account for the unfinished tower. It is said the King of
-Spain, anxious to increase his revenues, ruled that each church upon
-completion must pay a tax to the royal treasury. The astute padres left
-the church in a state that could not be considered completed. Another
-version relates that Ignacio Gaona, the mission builder, with but a few
-months of labor left, sustained a fatal injury in a fall off the
-unfinished tower which may account for its not being completed, as well
-as for the fact that the name of his assistant was inscribed on the
-Sacristy door, viz. "Pedro Bojourquez, 1797."
-
-The imposing silhouette of the towers is greatly enhanced by the flowing
-lines of their flying buttresses at each corner. These corner buttresses
-are arched across to the base of the upper belfry in the form of
-graceful scrolls. The platform around the lower stage of the belfry is
-protected by a balustrade of finely turned balusters.
-
-The most decorative feature of the facade is the gabled entrance
-pavilion which, with its curvilinear silhouette and baroque detail,
-exemplifies the excesses of the late Spanish Renaissance and recalls the
-Churrigueresque embellishments of the Mexican cathedrals. The original
-ornamentations--arabesques, shells, niched figures, and swirling volutes
-in both low and high relief--appear in soft shades of red, the faded
-residue of the original vermilion paint.
-
-The deeply recessed entrance portal is framed with a low unstilted
-classic arch. Its aged wooden doors are hewn from solid mesquite, swung
-on original hand-made hinges, and fastened with locks and bolts of the
-same period. The spandrels of the portal arch are adorned with rich
-floral arabesques. The portal is flanked by double columns, elaborately
-molded and decorated, and engaged to the face of broad pilasters. These
-columns are repeated in a superimposed ordinance flanking a central
-window. The window, admitting light to the choir loft within, has a
-delicate wooden balcony which casts a deep shadow over the entrance
-portal below. It is crowned with a large shell motif, symbolic of
-pilgrimage or baptism. Two other balconies of similar design accent the
-base of each tower at the same level. Decorative niched figures are
-placed between the columns. The upper figure on the left, with crown and
-royal robes, is variously described as representing either King Charles
-III of Spain or Saint Catherine. The black-robed figure below, though
-nearly effaced, is judged to be that of a lady saint. The upper figure
-on the right, with tambourine, is a representation of Saint Cecelia; the
-figure below, often blackened by the grease dripping from the candles of
-pious Indians who affirm that the saint cures their sore eyes, is
-thought to be an image of Saint Lucy. The gable of the entrance
-pavilion, in the form of a broken scroll pediment, is adorned with the
-arms of the Franciscan order, executed in high relief. The coat of arms
-consists of an escutcheon with a white ground against which are
-displayed a twisted cord, part of the Franciscan dress, and a cross
-bearing one arm of Jesus and one of Saint Francis. To the right of the
-escutcheon is the monogram of Jesus and to the left that of the Virgin.
-In the decoration above are two small Lions of Castile, and bunches of
-grapes signifying fertility. A broken bust of Saint Francis of Assisi
-surmounts the pediment.
-
-Regarding the facade as a whole one is impressed with the striking
-contrast between the blank surfaces of the smooth outer walls and
-towers, and the concentrated decoration of the few wall openings. Over
-each of the lower windows in the towers is a delicate relief almost
-monastic in its simplicity. These windows are grilled with slender
-wooden spindles in the traditional Spanish manner.
-
-Inside to the left of the nave is the Baptistry and over head the choir
-loft from which the best view of the interior is obtained. The plan of
-the vaulted interior is a perfect Latin cross with transepts, apse and
-nave. The right and left transepts are treated as chapels. At the north
-end is the chancel with its high altar. Over the crossing of transept
-and nave, the lofty dome rises over an octagonal drum supported on the
-arches and pendentives, while to the left and right are richly appointed
-transept chapels each containing two altars. Light streaming through the
-high windows in the clearstory and the four medallion windows in the
-drum of the dome is refracted from wall to wall in soft bluish tones.
-
-The walls of the interior are richly adorned with frescoes and gilded
-ornament. The interior decorations of San Xavier, though somewhat faded
-in color are perhaps richer than those of other missions--the elaborate
-detail of its gilded altars, the bizarre painted statues, the spindled
-altar rails and wine glass pulpit, are in keeping with the rich
-traditions of Spain and Mexico.
-
-The sides of the vaulted nave, adorned with frescoes, a painted dado and
-cornice, are lined with heavily capped pilasters. Frescoes, painted in
-bold reds, yellows, blues, and browns and outlined in orange and black,
-recall at once the work of early Spanish painters, the eastern heritage
-of early Christian art, and at the same time, the hand of a native race
-attuned to brilliant color. The large frescoes, _The Last Supper_ and
-_The Holy Ghost Descending Upon The Disciples_, to the left and right
-respectively, are said to be the work of a monk from the college of
-Queretaro. The dadoes painted in imitation of tiles have almost
-disappeared. Below the molded brick cornice is a colorful frieze
-decorated with the cord and hem of the Franciscan vestments and the
-traditional fringe of bell and pomegranate.
-
-The pilasters flanking the nave are adorned with niched figures of
-saints. On the left (front and rear) are St. Mathew, St. Bartholomew and
-St. Philip, on the right St. Simon and St. Thaddeus. These apostolic
-figures and many others set into the high altar and transept chapels are
-painted and modeled with charming naivete of form and expression. As
-Duell has suggested, "They were intended for the Indian, and his first
-lessons in Christianity were through art."
-
-The frescoes on the pendentives and on the drum and dome over the
-crossing are especially decorative in that they are painted on the white
-ceiling in vignette. Here again are figures of various saints. Those
-decorating the pendentives represent St. Thomas Aquinas, St. Augustine,
-St. Jerome and St. Ambrose.
-
-In the Gospel Chapel formed by the left transept are two richly carved
-and gilded altars. The larger one at the end, somewhat resembling the
-high altar, is dedicated to the Passion of Our Lord, the other, on the
-right, to St. Joseph. The frescoes on the left wall of this chapel
-symbolize _The Presentation of Our Lord in the Temple_ (upper) and _Our
-Lady of the Pillar_ (lower). Here also is the confessional.
-
-The apse, containing the elaborately encrusted high altar, is framed by
-a wide and stilted chancel arch. On the piers of the arch (left and
-right) are figures of St. James, St. John, St. Thomas and St. Ignatius
-Loyola, founder of the Society of Jesus. On the corners of the piers are
-hung the figures of angels, life-size, said to be the likenesses of the
-two daughters of the artist who decorated the interior. The apse is
-separated from the rest of the church by a low spindled chancel rail.
-The central gate of the hand-carved railing is flanked by two grotesque
-carvings of lions on the escutcheon of Castile and Leon. In their paws
-were candlesticks--long since carried away by vandals.
-
-The high altar is dedicated to St. Francis Xavier. A figure of the saint
-occupies a central niche above the altar table. Around it are carved
-cherubs and arabesques. Still higher is a brilliantly painted figure of
-the Holy Virgin. On each side of this central motif the corners of the
-octagonal apse are lined with elaborately carved and gilded columns and
-between them the niched figures of St. Peter and St. Paul. Surmounting
-the altar is the figure of God the Creator. The domed ceiling of the
-apse is embellished with a shell--a motif frequently used in the
-decoration of the church. The side walls of the apse are painted with
-colorful frescoes: _The Adoration of the Wise Men_ and _The Flight Into
-Egypt_ (right wall) and the _Adoration of the Shepherds_ and the
-_Annunciation_ (left wall).
-
-A small door in the right wall of the apse leads into the Sacristy, a
-high square domical chamber containing the sacred vessels and
-reliquaries. The delicate floral decorations on the sacristy ceiling are
-especially notable. On the north wall is the _Crucifixion_, the largest
-and best preserved of any of the frescoes in the church. A small door in
-the east wall gives access to the arched cloisters of the patio.
-
-In the east transept is the Epistle Chapel containing, like the Gospel
-Chapel on the left, two altars--the large altar at the end, dedicated to
-the Mother of Sorrows, containing a statue of Mary, clothed in a bridal
-gown donated by an Indian girl in appreciation of an answered prayer.
-Imbedded in the wall above is an antique wooden cross which formerly
-bore a "life-size" statue of the crucifixion, though nothing remains now
-but one arm. It is thought the statue was carried away by vandals. The
-altar at the left is dedicated to the Immaculate Conception.
-
-A high canopied hand-carved pulpit of rich dark pine, fastened with
-wooden pegs, stands against the transept pier at the right of the
-Epistle Chapel. Octagonal in shape and raised on a slender shaft-like
-pedestal, it is a notable example of skillful craftsmanship in
-woodcarving. The pulpit platform is approached by a narrow railed flight
-of steps.
-
-Entrance to the finished tower is through the Baptistry. This room is
-groin-vaulted and handsomely ornamented. A fresco of the _Baptism of
-Christ_ completely covers one of the walls. The baptismal font in the
-center of the room with its hand-hammered copper bowl, bears the
-inscription "IHS," three letters of the name Jesus in the Greek
-language. This is one of the sacred fixtures that was taken from the
-original Kino church and placed in the present building.
-
-A narrow stairway built into the thick walls leads to the choir vestry.
-The choir loft is adjacent. The walls of the choir loft are covered with
-frescoes of the _Holy Family_, the _Home at Nazareth_, _St. Francis in a
-Heavenly Chariot_, and _St. Dominic Receiving the Rosary from the Holy
-Virgin_. A door opposite that of the choir vestry gives access to the
-other tower. The old doors in the church still have their original heavy
-iron hinges, locks and latches. They are designed with heavy stiles and
-rails, enclosing small panels, and are relatively low and narrow.
-
-The belfry of the finished tower, reached through a tunnel-like stairway
-from the choir vestry, is enclosed by a parapet with molded balustrades.
-Only three of the original four bells remain. It is thought that one of
-the three, accounted the best, is the "lost chime" from the San Juan
-Bautista mission of California, which was cast by a Peruvian who died
-without divulging the secret of his process. The inscription: "S. Jvan
-Bavtjsta," is quite clear. Just how it came to be lost by the California
-mission however, if it came from there, remains a mystery.
-
-Flights of stairs lead on upward to the cupola, which culminates in a
-domical vault. There is a splendid panorama of the valley from this
-point. In earlier days the cupola was perhaps used as a lookout to warn
-against Apache attacks. Here one may look down upon the domed surface of
-the roof which was painted in imitation of tile, and examine the detail
-of the elaborate roof parapet with its slender posts and finials and
-graceful wall curved in scalloped loops between them. The finials are
-flanked by carved Castilian lion heads.
-
-The dormitory wing constructed of adobe has been greatly altered. Early
-drawings indicated that the windows and doors were originally arched.
-Especially notable is the roof over the dormitory and adjoining loggia.
-Except for the outer covering of tile its structure has never been
-disturbed. It is supported on heavy beams of mesquite timber and, as was
-the general custom, the beams were covered with stalks of ocotillo,
-leaves and reeds, the cracks then filled with soft adobe, the whole
-finally forming a solidly reinforced roof. The north wing of the
-dormitory, although entirely new, harmonizes with the earlier structure.
-
-Engineers are working to bring back into line the massive walls of the
-mission and plan to reinforce the dome and portions of the fine facade
-which have recently fallen away.
-
-Secret processes used in painting the murals are being utilized in
-restoring the walls of the structure. This process, recently discovered
-through research at the Smithsonian Institution, solves a problem
-artists have been attempting for years to achieve through the use of oil
-paint. The root of the ocotillo plant supplies the red. The pulpy sap of
-the saguaro (giant) cactus gives the blue. Brown and yellow are made
-from the first layer of skin under the bark of the palo verde tree, and
-green comes from sage leaves while mesquite beans make the thick black.
-The degree of boiling gives the shades desired.
-
-The preservation of San Xavier del Bac is a worthy gesture in enabling
-increasing thousands to see intact this magnificent example of early
-mission architecture.
-
-
-
-
-                              Bibliography
-
-
-  Bancroft, Hubert Howe. _History of Arizona and New Mexico._ San
-  Francisco, The History Company, 1889. Vol. 17 of his _History of the
-  Pacific States of North America_.
-
-  Bolton, Herbert Eugene. _Kino's Historical Memoir of Pimer�a Alta._
-  Cleveland, Arthur H. Clark Company, 1919. 2 v.
-
-  ----, _Rim of Christendom_. New York, Macmillan, 1936.
-
-  ----, _Padre on Horseback_. San Francisco, Sonora Press, 1932.
-
-  Bonaventure, Father, O.F.M. _Mission San Xavier del Bac._ Topawa,
-  Ariz., Franciscan Fathers of Arizona, San Solano Missions.
-
-  Duell, Prent. _Mission Architecture Exemplified in San Xavier del
-  Bac._ Tucson, Arizona Archaeological and Historical Society, 1919.
-
-  Engelhardt, Father Zephyrin. _The Franciscans in Arizona._ Harbor
-  Springs, Mich., Holy Childhood Indian School, 1899.
-
-  Hallenbeck, Cleve. _Spanish Missions of the Old Southwest._ New York,
-  Doubleday, Page & Company, 1926.
-
-  Hinton, R. J. _Handbook to Arizona._ New York, Payot, Upham & Company,
-  1878.
-
-  Lockwood, Frank C. _With Padre Kino on the Trail._ Tucson, University
-  of Arizona, 1934.
-
-  Lummis, Charles F. _The Spanish Pioneers._ Chicago, A. C. McClurg &
-  Company, 1914.
-
-  Lutrell, Estelle. _The Mission of San Xavier del Bac._ Tucson, Acme
-  Press, 1934.
-
-  Newcomb, Rexford. _Spanish-Colonial Architecture in the United
-  States._ New York, J. J. Augustin, 1937.
-
-  Willys, Rufus Kay. _Pioneer Padre._ Dallas, Southwest Press, 1935.
-
-
-
-
-                             Illustrations
-
-
-  [Illustration: MISSION of SAN XAVIER DEL BAC � 1700-1797]
-    KEY
-  A Nave
-  B Provision Room
-  C Epistle Chapel
-  D Sacristy
-  E Apse
-  F Gospel Chapel
-  G Crossing
-  H Baptistry
-  I Narthex
-  J Cloister
-  K Dormitory Wing
-
-  [Illustration: THE MISSION OF SAN XAVIER DEL BAC. PAPAGO VILLAGE IN
-  FOREGROUND.]
-
-  [Illustration: MISSION COURTYARD FROM ABOVE....]
-
-  [Illustration: ... AND BELOW.]
-
-  [Illustration: THE ENTRANCE PORTAL HAS A DELICATE WOODEN BALCONY
-  ABOVE, CROWNED WITH A LARGE SHELL MOTIF.]
-
-  [Illustration: PAPAGO INDIAN CHILDREN RECESSING AT THE MISSION SCHOOL.]
-
-  [Illustration: HIGH ALTAR FROM REAR OF NAVE.]
-
-  [Illustration: ONE OF TWO GROTESQUE CARVINGS OF LIONS.]
-
-  [Illustration: HIGH ALTAR.]
-
-  [Illustration: HIGH ALTAR FROM CHOIR LOFT.]
-
-  [Illustration: A HIGH CANOPIED HAND-CARVED PULPIT OF RICH DARK PINE.]
-
-  [Illustration: CHOIR LOFT FROM THE HIGH ALTAR.]
-
-  [Illustration: LOOKING TOWARD ONE CORNER OF THE WEST TRANSEPT.]
-
-  [Illustration: GOSPEL CHAPEL--WEST TRANSEPT.]
-
-  [Illustration: EAST TRANSEPT--EPISTLE CHAPEL.]
-
-  [Illustration: THE STATUE OF MARY CLOTHED IN A BRIDAL GOWN DONATED BY
-  AN INDIAN WOMAN.]
-
-  [Illustration: ALTAR DEDICATED TO THE MOTHER OF SORROWS.]
-
-  [Illustration: BAPTISMAL FONT IN CENTER OF BAPTISTRY. PEDESTAL AND
-  BOWL OF BAKED BRICK WHICH INCLOSES A COPPER BOWL ENGRAVED ON TOP WITH
-  MONOGRAM I. H. S.]
-
-  [Illustration: THE BAPTISMAL FONT SEEN FROM THE NAVE.]
-
-  [Illustration: DETAIL OF BAPTISTRY WINDOW.]
-
-  [Illustration: WINDOW OVER ENTRANCE PORTAL.]
-
-  [Illustration: THE BELLS OF SAN XAVIER.]
-
-  [Illustration: PAPAGO INDIAN HOMES.]
-
-  [Illustration: THE GREAT DOME, THE DOMED ROOF, AND THE FINIALS FLANKED
-  WITH CARVED CASTILIAN LION HEADS.]
-
-  [Illustration: PRICKLY PEAR CACTUS IN A CORNER OF THE GARDEN.]
-
-  [Illustration: MORTUARY CHAPEL AND GARDEN.]
-
-  [Illustration: MEXICAN AND INDIAN BURIAL GROUNDS JUST WEST OF THE
-  MISSION.]
-
-  [Illustration: Gates of San Xavier]
-
-
-
-
-                          Transcriber's Notes
-
-
---Copyright notice provided as in the original--this e-text is public
-  domain in the country of publication.
-
---Silently corrected palpable typos; left non-standard spellings and
-  dialect unchanged.
-
---Moved some captions closer to the corresponding pictures, removing
-  extraneous spatial references like "(next page)".
-
---In the text versions, delimited italicized text by _underscores_.
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of San Xavier Del Bac, Arizona, by 
-Arizona Pioneers Historical Society
-
-*** END OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
-
-***** This file should be named 53127-8.txt or 53127-8.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/5/3/1/2/53127/
-
-Produced by Stephen Hutcheson, MFR and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world at no cost and with almost no
-  restrictions whatsoever. You may copy it, give it away or re-use it
-  under the terms of the Project Gutenberg License included with this
-  eBook or online at www.gutenberg.org. If you are not located in the
-  United States, you'll have to check the laws of the country where you
-  are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
diff --git a/old/53127-8.zip b/old/53127-8.zip
deleted file mode 100644
index 318b16a..0000000
--- a/old/53127-8.zip
+++ /dev/null
diff --git a/old/53127-h.zip b/old/53127-h.zip
deleted file mode 100644
index a3f6cc3..0000000
--- a/old/53127-h.zip
+++ /dev/null
diff --git a/old/53127-h/53127-h.htm b/old/53127-h/53127-h.htm
deleted file mode 100644
index 697fec5..0000000
--- a/old/53127-h/53127-h.htm
+++ /dev/null
@@ -1,1454 +0,0 @@
-<?xml version="1.0" encoding="utf-8"?>
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
-<head>
-<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
-<meta http-equiv="Content-Style-Type" content="text/css" />
-<title>Mission San Xavier Del Bac, Arizona, by Work Projects Administration: a Project Gutenberg eBook</title>
-<meta name="author" content="Work Projects Administration" />
-<link rel="coverpage" href="images/cover.jpg" />
-<link rel="schema.DC" href="http://dublincore.org/documents/1998/09/dces/" />
-<meta name="DC.Creator" content="Work Projects Administration" />
-<meta name="DC.Title" content="Mission San Xavier Del Bac, Arizona" />
-<meta name="DC.Language" content="en" />
-<meta name="DC.Format" content="text/html" />
-<meta name="DC.Created" content="1940" />
-<meta name="pss.pubdate" content="1940" />
-<style type="text/css">
-body { margin-right:4em; margin-left:4em; }
-blockquote { margin-right:0; margin-left:0; }
-
-table.header       { margin-right:auto; margin-left:auto; clear:both; }
-table.header tr td { font-weight:bold;  font-size:110%; }
-table.header img   { margin-bottom:1em; }
-table { margin-right:auto; margin-left:auto; }
-
-h1  { text-align:center; clear:both; }
-h2  { text-align:center; clear:both; margin-top:2em; margin-bottom:1.5em; }
-h3  { text-align:center; clear:both; font-family:sans-serif; margin-top:1.5em; margin-bottom:.5em; font-size:100%; }
-h4  { text-align:center; clear:both; }
-
-.large    { font-size:125%; }
-.small    { font-size:90%; }
-.smaller  { font-size:75%; }
-.sc       { font-variant:small-caps; font-style: normal; }
-.hst      { margin-left:2em; }
-.l  { text-align:left;   }
-.c  { text-align:center; }
-.r  { text-align:right;  }
-.b  { font-weight:bold;  }
-.u  { text-decoration:underline; }
-.ss { font-family:sans-serif; font-weight:bold; }
-.gs { letter-spacing:1.5em; }
-.jr1 { text-align:right; }
-
-.w100 { margin-left:0; width:100%; margin-top:0em; margin-bottom:0em; border-bottom:medium double black; }
-hr    { width:40%; margin-left:30%; }
-
-div.img  { margin-left:auto; margin-right:auto; text-align:center; clear:both; margin-top:1.5em; }
-div.head { margin-bottom:2em; }
-
-p          { text-align:justify; text-indent:1.5em; margin-top:0; margin-bottom:0; }
-p.center    { text-align:center; text-indent:0; margin-top:1em; margin-bottom:1em; clear:both; }
-p.tbcenter  { text-align:center; text-indent:0; margin-top:2em; margin-bottom:1em; clear:both; }
-p.caption  { text-align:justify; text-indent:0; margin-top:0; margin-bottom:1em;
-             margin-right:auto; margin-left:auto; max-width:30em; }
-p.caphead, p.capbody  { text-align:justify; text-indent:0; margin-top:0; margin-bottom:1em;
-             margin-right:auto; margin-left:auto; max-width:30em; }
-p.capbodyxx  { text-align:justify; text-indent:0; margin-top:0; margin-bottom:1em; margin-left:2em; margin-right:2em; font-size:90%; font-style:italic; }
-p.capcenter { text-align:center; text-indent:0; margin-top:0; margin-bottom:1em; margin-left:2em; margin-right:2em; font-size:90%; font-style:italic; }
-.caption .verse { font-size:90%; font-style:italic; margin-top:0; }
-.caption .verse .t0 { margin-left:7em; }
-div.caption { margin-bottom:1.5em; }
-p.author  { text-align:center; text-indent:0; margin-top:0; margin-bottom:1em; font-weight:bold; font-size:90%; }
-p.source, blockquote p  { text-indent:-1em; margin-left:1em; margin-top:2em; margin-bottom:1em; font-size:90%; }
-
-p.lr, div.lr, span.lr { display:block; text-indent:0; margin-left:0em; margin-right:1em; margin-top:0; margin-bottom:0; text-align:right; }
-.center, .tbcenter       { text-align:center; clear:both; }                  /* TEXTUAL MARKUP */
-span.center              { display:block; }
-p.tb                     { margin-top:1.5em; }
-
-                                              /* TOCILL */
-.tocl dt { text-align:right; clear:both; }
-.tocl dt a { text-align:left; float:left; display:inline-block; }
-                                              /* PAGE BREAKS */
-span.pb, div.pb, dt.pb, p.pb  { text-align:right; float:right; margin-right:0em; clear:right; }
-div.pb { display:inline; }
-.pb, dt.pb, dl.toc dt.pb, dl.tocl dt.pb, .index dt.pb
-       { text-align:right; float:right; margin-left: 1.5em;
-         margin-top:.5em; margin-bottom:.5em; display:inline; text-indent:0;
-         font-size:80%; font-style:normal; font-weight:bold;
-         color:gray; border:1px solid gray;padding:1px 3px; }
-div.index .pb  { display:block; }
-.bq  div.pb, .bq span.pb  { font-size:90%; margin-right:2em; }
-
-                                              /* INDEX */
-.index dt { text-align:right; clear:both; }
-.index dt span.jl  { text-align:left; float:left; }
-.index dt.center { text-align:center; }
-                                              /* VERSE */
-.verse    { text-align:left; margin-top:1em; margin-bottom:1em; margin-left:0em; }
-p.t0, p.l { margin-left:4em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.lb                 { margin-left:4em;  text-indent:-3em; margin-top:2em; margin-bottom:0; text-align:left; }
-p.tw, div.tw, .tw    { margin-left:1em;  text-indent:-1em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t,  div.t,  .t     { margin-left:5em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t2,  div.t2,  .t2  { margin-left:6em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t3,  div.t3,  .t3  { margin-left:7em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t4,  div.t4,  .t4  { margin-left:8em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t5,  div.t5,  .t5  { margin-left:9em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t6,  div.t6,  .t6  { margin-left:10em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t7,  div.t7,  .t7  { margin-left:11em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t8,  div.t8,  .t8  { margin-left:12em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t9,  div.t9,  .t9  { margin-left:13em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t10, div.t10,.t10  { margin-left:14em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t11, div.t11,.t11  { margin-left:15em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t12, div.t12,.t12  { margin-left:16em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t13, div.t13,.t13  { margin-left:17em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t14, div.t14,.t14  { margin-left:18em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t15, div.t15,.t15  { margin-left:19em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-
-.fnblock   { margin-top:2em; }
-.fndef     { text-align:justify; margin-top:1.5em; margin-left:1.5em; text-indent:-1.5em; }
-.fndef p.fncont, .fndef dl { margin-left:0em; text-indent:0em; }
-sup, a.fn { font-size:75%; vertical-align:100%; line-height:50%; font-weight:normal; }
-h2   a.fn { font-size:50%; vertical-align:120%; font-weight:normal; }
-h3   a.fn { font-size:50%; font-weight:normal; }
-dl.biblio dt { margin-left:4em; text-indent:-4em; text-align:justify; }
-
-dl.toc dt     { margin-left:1em; text-indent:-1em; }
-dl.toc dd     { margin-left:3em; text-indent:-1em; }
-dl.toc dd.ddt { margin-left:5em; text-indent:-1em; }
-
-dl.dlblock dt  { margin-top:1em;  margin-bottom:.5em; text-align:justify; }
-dl.dlblock dd  { margin-top:.5em; margin-bottom:.5em; text-align:justify; margin-left:0em; }
-
-dl.undent dt  { margin-top:0em; margin-bottom:0em; }
-
-.ab, .abl {
-font-weight:bold; text-decoration:none;
-border-style:solid; border-color:gray; border-width:1px;
-margin-right:0px; margin-top:5px;
-display:inline-block; text-align:center; }
-.ab { width:1em; }
-</style>
-</head>
-<body>
-
-
-<pre>
-
-The Project Gutenberg EBook of San Xavier Del Bac, Arizona, by 
-Arizona Pioneers Historical Society
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: San Xavier Del Bac, Arizona
-       A Descriptive and Historical Guide
-
-Author: Arizona Pioneers Historical Society
-
-Release Date: September 23, 2016 [EBook #53127]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
-
-
-
-
-Produced by Stephen Hutcheson, MFR and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-</pre>
-
-<div id="cover" class="img">
-<img id="coverpage" src="images/cover.jpg" alt="Mission San Xavier Del Bac, Arizona" width="500" height="744" />
-</div>
-<div class="img" id="fig1">
-<img src="images/p01.jpg" alt="Mission San Xavier Del Bac" width="1000" height="740" />
-</div>
-<div class="img" id="fig2">
-<img src="images/p02.jpg" alt="" width="622" height="800" />
-<div class="caption">
-<p class="caphead">THE FACADE.</p>
-</div></div>
-<div class="box">
-<h1><i><span class="smaller">Mission</span>
-<br />San Xavier Del Bac
-<br /><span class="smaller">Arizona</span></i></h1>
-<p class="center"><b>A Descriptive and Historical
-<br />GUIDE</b></p>
-<div class="img" id="fig3">
-<img src="images/p02a.jpg" alt="Front View" width="500" height="741" />
-</div>
-<p class="center"><i>Compiled by Workers of the Writers&rsquo;s Program of the Work Projects Administration in the State of Arizona</i></p>
-<p class="center">Sponsored by
-<br /><span class="large"><i>Arizona Pioneers&rsquo; Historical Society</i></span></p>
-<p class="center"><span class="large">HASTINGS HOUSE, Publishers<span class="hst"> NEW YORK</span></span></p>
-</div>
-<div class="pb" id="Page_2">2</div>
-<p class="tbcenter"><span class="sc"><span class="small">First Published in March 1940</span></span></p>
-<p class="center">FEDERAL WORKS AGENCY
-<br />John M. Carmody, <i>Administrator</i></p>
-<p class="center">WORK PROJECTS ADMINISTRATION
-<br />F. C. Harrington, <i>Commissioner</i>
-<br />Florence Kerr, <i>Assistant Commissioner</i>
-<br />W. J. Jamieson, <i>State Administrator</i></p>
-<p class="center small"><span class="sc">Copyright 1940 by the Arizona Pioneers&rsquo; Historical Society</span>
-<br /><span class="sc">Printed in U.S.A.</span>
-<br /><span class="sc">All Rights are Reserved, Including the Rights to
-<br />Reproduce This Book or Parts Thereof in Any Form</span></p>
-<div class="pb" id="Page_3">3</div>
-<div class="img" id="fig4">
-<img src="images/p03.jpg" alt="FRONT VIEW" width="600" height="676" />
-</div>
-<div class="pb" id="Page_4">4</div>
-<div class="img" id="fig5">
-<img src="images/p04.jpg" alt="" width="597" height="795" />
-<div class="caption">
-<p class="caphead">THERE IS A SPLENDID PANORAMA OF THE VALLEY FROM THIS POINT.</p>
-</div></div>
-<div class="pb" id="Page_5">5</div>
-<h2 id="c1">Preface</h2>
-<p>The Mission of San Xavier del Bac, generally
-conceded to be the greatest of all the old
-Spanish missions and the finest example of pure
-mission architecture in the United States, has
-enjoyed a variable and fascinating development
-through nearly two and a half centuries. This
-descriptive and historical guide to the mission is
-designed to enable native Arizonans and tourists
-the more appreciably to enjoy San Xavier&rsquo;s
-great beauty and significance.</p>
-<p>Acknowledgment is due to Dr. Herbert Eugene
-Bolton, Chairman, Department of History
-and Director of the Bancroft Library, University
-of California, for his helpful suggestions in
-connection with the history of the mission. Dr.
-Rufus Kay Wyllys, Head, Department of Social
-Science, Arizona State Teachers College at
-Tempe, was also very helpful in this respect. As
-to the architectural descriptions, the authority
-of Prent Duell, in his publication &ldquo;Mission
-Architecture, Exemplified in San Xavier del
-Bac&rdquo; was generously employed.</p>
-<p><span class="lr">The Editors.</span></p>
-<div class="pb" id="Page_7">7</div>
-<h2 id="c2">List of Illustrations</h2>
-<dl class="tocl">
-<dt class="ill"><a href="#fig1">Mission San Xavier Del Bac&mdash;<i>Norman G. Wallace</i></a><span class="jr"> <i>Endpapers</i></span></dt>
-<dt class="ill"><a href="#fig2">The Facade&mdash;<i>Buehman Studio</i></a><span class="jr"> <i>Frontispiece</i></span></dt>
-<dt class="ill"><a href="#fig3">Front View&mdash;<i>Buehman Studio</i></a><span class="jr"> <i>Title Page</i></span></dt>
-<dt class="jr small"><span class="smaller">PAGE</span></dt>
-<dt class="ill"><a href="#fig4">Glimpse Through Archway&mdash;<i>Buehman Studio</i></a><span class="jr"> 3</span></dt>
-<dt class="ill"><a href="#fig5">Bells&mdash;<i>Joseph Miller</i></a><span class="jr"> 4</span></dt>
-<dt class="ill"><a href="#fig6">Papago Village&mdash;<i>Buehman Studio</i></a><span class="jr"> 37</span></dt>
-<dt class="ill"><a href="#fig7">Mission Courtyard From Above&mdash;<i>Joseph Miller</i></a><span class="jr"> 38</span></dt>
-<dt class="ill"><a href="#fig8">&mdash;And Below&mdash;<i>National Park Service</i></a><span class="jr"> 39</span></dt>
-<dt class="ill"><a href="#fig9">Detail of Wooden Balcony&mdash;<i>Joseph Miller</i></a><span class="jr"> 40</span></dt>
-<dt class="ill"><a href="#fig10">Papago Indian Children&mdash;<i>Joseph Miller</i></a><span class="jr"> 41</span></dt>
-<dt class="ill"><a href="#fig11">High Altar From Rear of Nave&mdash;<i>Joseph Miller</i></a><span class="jr"> 42</span></dt>
-<dt class="ill"><a href="#fig12">Grotesque Lion&mdash;<i>Joseph Miller</i></a><span class="jr"> 42</span></dt>
-<dt class="ill"><a href="#fig13">High Altar</a><span class="jr"> 43</span></dt>
-<dt class="ill"><a href="#fig14">High Altar From Choir Loft&mdash;<i>Joseph Miller</i></a><span class="jr"> 44</span></dt>
-<dt class="ill"><a href="#fig15">Hand-Carved Pulpit&mdash;<i>Joseph Miller</i></a><span class="jr"> 44</span></dt>
-<dt class="ill"><a href="#fig16">Choir Loft From the High Altar</a><span class="jr"> 45</span></dt>
-<dt class="ill"><a href="#fig17">Corner of West Transept</a><span class="jr"> 46</span></dt>
-<dt class="ill"><a href="#fig18">Gospel Chapel&mdash;West Transept</a><span class="jr"> 47</span></dt>
-<dt class="ill"><a href="#fig19">East Transept&mdash;Epistle Chapel</a><span class="jr"> 48</span></dt>
-<dt class="ill"><a href="#fig20">The Statue of Mary&mdash;<i>Joseph Miller</i></a><span class="jr"> 49</span></dt>
-<dt class="ill"><a href="#fig21">The Mother of Sorrows&mdash;<i>Joseph Miller</i></a><span class="jr"> 49</span></dt>
-<dt class="ill"><a href="#fig22">Baptismal Font&mdash;<i>Joseph Miller</i></a><span class="jr"> 50</span></dt>
-<dt class="ill"><a href="#fig23">Baptismal Font From Nave&mdash;<i>National Park Service</i></a><span class="jr"> 51</span></dt>
-<dt class="ill"><a href="#fig24">Detail of Baptistry Window&mdash;<i>John P. O&rsquo;Neill</i></a><span class="jr"> 52</span></dt>
-<dt class="ill"><a href="#fig25">Window Over Entrance Portal&mdash;<i>Joseph Miller</i></a><span class="jr"> 52</span></dt>
-<dt class="ill"><a href="#fig26">The Bells of San Xavier&mdash;<i>Joseph Miller</i></a><span class="jr"> 53</span></dt>
-<dt class="ill"><a href="#fig27">Papago Indian Homes&mdash;<i>Joseph Miller</i></a><span class="jr"> 53</span></dt>
-<dt class="ill"><a href="#fig28">The Great Dome&mdash;<i>Joseph Miller</i></a><span class="jr"> 54</span></dt>
-<dt class="ill"><a href="#fig29">Corner of the Garden&mdash;<i>Joseph Miller</i></a><span class="jr"> 55</span></dt>
-<dt class="ill"><a href="#fig30">Mortuary Chapel and Garden&mdash;<i>Joseph Miller</i></a><span class="jr"> 56</span></dt>
-<dt class="ill"><a href="#fig31">Burial Grounds</a><span class="jr"> 57</span></dt>
-<dt class="ill"><a href="#fig32">Gates of San Xavier</a><span class="jr"> <i>Endpapers</i></span></dt>
-</dl>
-<div class="pb" id="Page_9">9</div>
-<p class="tb">The mission of San Xavier del Bac is on an
-elevation facing the Santa Rita Mountains, nine
-miles to the south of Tucson, Arizona, and is a
-conspicuous monument of the Santa Cruz Valley.
-An isolated church, white against the soft
-shades of the bare desert and the distant colors
-of the low-lying mountains, it is visible for miles
-in every direction.</p>
-<p>Prent Duell, who calls San Xavier &ldquo;the greatest
-of all missions&rdquo; in his book on mission architecture,
-gives the following description of the
-view from the front: &ldquo;The facade of the church
-is symmetrical, with two plain towers on either
-side of an ornate gabled entrance. Above the
-broken pediment of the gable, the noble dome
-may be seen between the towers. The windows
-and doors are symmetrically placed and thrown
-wholly in shadow by the heavy walls. Their
-blackness, contrasted with the glistening whiteness
-of the walls, and the reddish ornamentation
-<span class="pb" id="Page_10">10</span>
-about the entrance make a picture against the
-cloudless sky and endless desert, not to be forgotten.&rdquo;</p>
-<p>The mission was founded by Eusebio Francisco
-Kino, picturesque pioneer missionary of
-the Jesuit Order, whose purpose was to Christianize
-the Indian population. San Xavier is
-the northernmost of his mission chain, extending
-up the West coast from Sinaloa to Pimer&iacute;a
-Alta. Pimer&iacute;a Alta, meaning the upper country
-of the Pima Indians, included all the territory
-between the Gila River, in what is now Arizona,
-on the North and the R&iacute;o del Altar in Sonora,
-Mexico, on the south.</p>
-<p>Kino visited the &ldquo;great rancher&iacute;a&rdquo; of Bac on
-the Santa Cruz River for the first time in 1692
-and later wrote an eloquent report to King
-Philip V of Spain describing the beauty and fertility
-of the valley whose fields extended as far
-as the present site of Tucson. It was during
-this visit that Kino named the place San Xavier,
-in honor of his own patron saint, the great
-Jesuit &ldquo;Apostle to the Indies.&rdquo;</p>
-<p>A visit in 1694 to Bac and the nearby ruins of
-<span class="pb" id="Page_11">11</span>
-Casa Grande, prehistoric fortress, convinced
-him that under proper tutelage the Indians
-might erect large and permanent buildings.</p>
-<p>In 1697 he drove cattle up from his mission
-Dolores in Mexico and established the first stock
-farm at Bac for the support of the projected
-mission.</p>
-<p>Construction of the church began in April
-1700, and Kino in his autobiography relates:
-&ldquo;On the 28th we began the foundations of a
-very large and capacious church of San Xavier
-del Bac, all the many people working with much
-pleasure and zeal, some in digging the foundations,
-others in hauling many and very good
-stones of tezontle from a little hill about a quarter
-of a league away. For the mortar for these
-foundations it was not necessary to haul water,
-because by means of irrigation ditches we very
-easily conducted the water where we wished.
-And that house, with its great court and garden
-nearby, will be able to have throughout the year
-all the water it may need, running to any place
-or workroom one may please, and one of the
-greatest and best fields in all Nueva Biscaya
-<span class="pb" id="Page_12">12</span>
-... on the 29th we continued laying the foundations
-of the church and of the house.&rdquo; (Note:
-The site of these foundations is not where the
-present mission stands, but at a point some two
-miles north.)</p>
-<p>Kino died in 1711 and it is uncertain how
-much of the building had been completed. In
-1751 the generally peaceful Pimas, disturbed by
-the inroads being made by Spanish settlers and
-prospectors, revolted and plundered the mission.
-Some of the Indians had been obliged to work
-in the mines, practically as slaves for the Spanish
-colonists, and it is probable that others found
-the discipline and regular work of the padres
-burdensome. All Pimer&iacute;a was shaken by this
-great uprising which nearly wiped out the frontier
-missions.</p>
-<p>The following year a presidio was established
-at the visita of Tubac, 37 miles to the south,
-for the protection of San Xavier, its visitas, and
-the villages of the Christian Indians. Missionary
-activities were again started and many of
-the Indians who had previously fled, returned.</p>
-<p>In 1767, by Royal Order, the Jesuits were
-<span class="pb" id="Page_13">13</span>
-expelled from all Spanish domain. Charles III
-of Spain, fearing the Jesuits were too persistent
-in their quest of new lands, decided to replace
-them with the Franciscan Order. San Xavier,
-like most of the abandoned missions of the region,
-was taken over by the Franciscans in 1768.
-San Xavier came under the direction of Friar
-Francisco Garc&eacute;s and before the year was out,
-while he lay sick at a nearby visita, the mission
-buildings were destroyed by Apaches.</p>
-<p>The padres&rsquo; courage and spirit were unshaken
-however, as we find that four years later a &ldquo;fairly
-large&rdquo; church was erected. The danger from
-Apache raids became increasingly serious and in
-1776, a presidio was established at nearby
-Tucson for greater protection of San Xavier.</p>
-<p>About 1785 two Franciscan friars, successors
-to Garc&eacute;s, began work on the building. This
-evidently was at the site of the present mission.
-What part, if any, of the present structure belongs
-to the period of Jesuit occupation is conjectural
-and there seems to be some confusion
-at this period regarding the two sites. However,
-the cruciform (cross-shaped) design of
-<span class="pb" id="Page_14">14</span>
-the present structure was not used by the Franciscans
-for missions and it is reasonable to
-suppose that the Jesuits may have laid the foundations
-for the present church, under these
-circumstances. Also, the name of San Xavier, a
-Jesuit, was retained, while the Franciscans
-changed the names of the other Jesuit missions.</p>
-<p>The labor of building went on for more than
-ten years. Except for part of one tower, the
-structure was probably finished in 1797, as an
-inscription on the door of the Sacristy indicates:
-&ldquo;Pedro Bojs ano die&mdash;1797 (Pedro Bojourques&mdash;on
-a day in the year 1797).&rdquo; The actual building
-of San Xavier was carried on under the direction
-of Ignacio Gaona, Spanish architect and
-master mission builder. Ornaments and fixtures
-of the older church were placed in the new
-building.</p>
-<p>After Mexico won independence from Spain
-in 1822, the friars were expelled from the country
-and the missions were confiscated. San
-Xavier remained for years without a priest, and
-the buildings were used for stables, barns, or
-barracks. At this time the faithful Indians buried
-<span class="pb" id="Page_15">15</span>
-many of the ornaments and statues to prevent
-their destruction in Apache raids.</p>
-<p>In 1859, following the Gadsden Purchase,
-whereby the United States Government purchased
-from Mexico a large strip of land, San
-Xavier was brought within the boundaries of the
-United States. The Arizona missions were put
-in the diocese of Santa Fe, New Mexico. When
-the Indians heard that a priest was returning they
-brought forth the statues and other sacred articles,
-rang the long silent mission bells and
-brought their children to be baptized. The
-church of San Xavier was the only mission not
-in complete ruin. Extensive repairs were made
-on the building.</p>
-<p>Although the mission withstood the earthquake
-of 1887, a period of rainy weather caused
-damage to its walls and ceilings. Restoration
-work, for the most part by Indian labor, was
-begun in 1906. Old pictures were studied in an
-effort to retain the lines of the mission as faithfully
-as possible. The work was so skillfully done
-that in many instances it is impossible to distinguish
-between the old and new construction.</p>
-<div class="pb" id="Page_16">16</div>
-<p>The exteriors of the mission and dependent
-buildings were newly plastered and the decorations
-repaired. Some changes were made in the
-walls of the atrium and in the patio, which had
-been constructed as a measure of defense against
-the attacks of Apaches. Additional dormitory
-and class rooms were constructed. In 1908 the
-&ldquo;Grotto of Lourdes,&rdquo; a replica of the shrine at
-Lourdes, France, was constructed on the &ldquo;Little
-Mountain of the Holy Cross&rdquo; just east of the
-mission.</p>
-<p>In accordance with the usual custom of the
-Spanish friars in selecting a building site for a
-mission, San Xavier del Bac occupies a position
-in the very heart of the desert, slightly elevated
-above the surrounding terrain and hemmed in
-by distant mountains. The majestic mass of the
-church with its tiny mortuary chapel to the left,
-its walled atrium fronting a spacious plaza, and
-its L-shaped dormitory and patio adjoining the
-church proper at the right, forms an imposing
-architectural ensemble. The church faces directly
-south, contrary to the general rule that
-the apse should be to the east.</p>
-<div class="pb" id="Page_17">17</div>
-<p>San Xavier is the best preserved and the only
-one of the old Spanish missions still being used.
-For two centuries and more the Indians have
-been coming to this shrine, exemplifying their
-faith in Christianity as first introduced by the
-kindly padre Kino.</p>
-<p>No mission excels San Xavier in serious
-design and pure artistry. It more completely
-embodies the elements which enter into mission
-architecture, that is, the architecture of the
-Spanish Renaissance modified by native influences,
-than any other, and stands a perfect example
-of its type. In reality San Xavier, which
-cannot be designated as an example of any one
-style, is a combination of the many influences
-that created the mission architecture of the
-Southwest. Not the least of these influences was
-the scarcity of artisans capable of executing the
-elaborate detail of the churches in the homeland
-and the fantastic Churrigueresque mode of
-vice-regal Mexico with which the padres were
-familiar. Also the building materials were for the
-most part confined to those available at the site.
-In view of these many limitations it is not surprising
-<span class="pb" id="Page_18">18</span>
-that the structures, executed largely by
-native workmen, reflected Indian influences.</p>
-<p>About the only materials used in the construction
-of San Xavier Mission not native to
-the site were the iron bells and the hinges on the
-doors. The statuary for the most part, and the
-gilt used on interior decorative features, were
-probably brought from Mexico. According to
-legend, the clappers of the Arizona mission bells
-were made from a meteorite that fell in the
-Santa Rita Mountains nearby.</p>
-<p>The architecture of San Xavier has traces of
-both Byzantine and Moorish styles. The lower
-half of the interior with its many brilliant decorations,
-statuettes, frescoes, and glitter of golden
-tones is partially Byzantine. The upper part reflects
-the Moorish style with stilted arches,
-domes, and fantastic windows. The distinctive
-towers and belfries were developed in Mexico
-and much of the accented yet restrained decoration
-suggests the influence of the Aztec.</p>
-<p>The mission, except for the foundation, is
-constructed entirely of kiln-baked clay brick,
-covered with a white lime plaster. The pendentives
-<span class="pb" id="Page_19">19</span>
-and groins&mdash;even the roof including the
-huge dome, and the choir loft&mdash;are carried completely
-on vaulted arches. The ornamental features
-of the facade are of brick and plaster.</p>
-<p>The foundation of stones imbedded in mortar,
-is nearly six feet thick under the front
-towers in order to support their great weight.
-The massive towers, with their arcaded belfries
-arranged in two stages, were of identical design.
-The one on the right, never having been completed,
-lacks the crowning dome and cupola of
-the one on the left, thereby destroying the
-otherwise perfect symmetry of the facade,
-though not detracting from the charm of the
-structure. A number of legends have arisen to
-account for the unfinished tower. It is said the
-King of Spain, anxious to increase his revenues,
-ruled that each church upon completion must
-pay a tax to the royal treasury. The astute padres
-left the church in a state that could not be considered
-completed. Another version relates that
-Ignacio Gaona, the mission builder, with but a
-few months of labor left, sustained a fatal injury
-in a fall off the unfinished tower which may
-<span class="pb" id="Page_20">20</span>
-account for its not being completed, as well as
-for the fact that the name of his assistant was
-inscribed on the Sacristy door, viz. &ldquo;Pedro Bojourquez,
-1797.&rdquo;</p>
-<p>The imposing silhouette of the towers is
-greatly enhanced by the flowing lines of their
-flying buttresses at each corner. These corner
-buttresses are arched across to the base of the
-upper belfry in the form of graceful scrolls. The
-platform around the lower stage of the belfry
-is protected by a balustrade of finely turned
-balusters.</p>
-<p>The most decorative feature of the facade
-is the gabled entrance pavilion which, with
-its curvilinear silhouette and baroque detail, exemplifies
-the excesses of the late Spanish
-Renaissance and recalls the Churrigueresque
-embellishments of the Mexican cathedrals. The
-original ornamentations&mdash;arabesques, shells,
-niched figures, and swirling volutes in both low
-and high relief&mdash;appear in soft shades of red,
-the faded residue of the original vermilion
-paint.</p>
-<p>The deeply recessed entrance portal is framed
-<span class="pb" id="Page_21">21</span>
-with a low unstilted classic arch. Its aged wooden
-doors are hewn from solid mesquite, swung on
-original hand-made hinges, and fastened with
-locks and bolts of the same period. The spandrels
-of the portal arch are adorned with rich
-floral arabesques. The portal is flanked by
-double columns, elaborately molded and decorated,
-and engaged to the face of broad
-pilasters. These columns are repeated in a superimposed
-ordinance flanking a central window.
-The window, admitting light to the choir loft
-within, has a delicate wooden balcony which
-casts a deep shadow over the entrance portal
-below. It is crowned with a large shell motif,
-symbolic of pilgrimage or baptism. Two other
-balconies of similar design accent the base of
-each tower at the same level. Decorative niched
-figures are placed between the columns. The
-upper figure on the left, with crown and royal
-robes, is variously described as representing
-either King Charles III of Spain or Saint Catherine.
-The black-robed figure below, though
-nearly effaced, is judged to be that of a lady
-saint. The upper figure on the right, with tambourine,
-<span class="pb" id="Page_22">22</span>
-is a representation of Saint Cecelia; the
-figure below, often blackened by the grease
-dripping from the candles of pious Indians who
-affirm that the saint cures their sore eyes, is
-thought to be an image of Saint Lucy. The gable
-of the entrance pavilion, in the form of a broken
-scroll pediment, is adorned with the arms of the
-Franciscan order, executed in high relief. The
-coat of arms consists of an escutcheon with
-a white ground against which are displayed a
-twisted cord, part of the Franciscan dress, and a
-cross bearing one arm of Jesus and one of Saint
-Francis. To the right of the escutcheon is the
-monogram of Jesus and to the left that of the
-Virgin. In the decoration above are two small
-Lions of Castile, and bunches of grapes signifying
-fertility. A broken bust of Saint Francis of
-Assisi surmounts the pediment.</p>
-<p>Regarding the facade as a whole one is impressed
-with the striking contrast between the
-blank surfaces of the smooth outer walls and
-towers, and the concentrated decoration of the
-few wall openings. Over each of the lower windows
-in the towers is a delicate relief almost
-<span class="pb" id="Page_23">23</span>
-monastic in its simplicity. These windows are
-grilled with slender wooden spindles in the traditional
-Spanish manner.</p>
-<p>Inside to the left of the nave is the Baptistry
-and over head the choir loft from which the
-best view of the interior is obtained. The plan of
-the vaulted interior is a perfect Latin cross with
-transepts, apse and nave. The right and left
-transepts are treated as chapels. At the north
-end is the chancel with its high altar. Over the
-crossing of transept and nave, the lofty dome
-rises over an octagonal drum supported on the
-arches and pendentives, while to the left and
-right are richly appointed transept chapels each
-containing two altars. Light streaming through
-the high windows in the clearstory and the four
-medallion windows in the drum of the dome is
-refracted from wall to wall in soft bluish tones.</p>
-<p>The walls of the interior are richly adorned
-with frescoes and gilded ornament. The interior
-decorations of San Xavier, though somewhat
-faded in color are perhaps richer than those of
-other missions&mdash;the elaborate detail of its gilded
-altars, the bizarre painted statues, the spindled
-<span class="pb" id="Page_24">24</span>
-altar rails and wine glass pulpit, are in keeping
-with the rich traditions of Spain and Mexico.</p>
-<p>The sides of the vaulted nave, adorned with
-frescoes, a painted dado and cornice, are lined
-with heavily capped pilasters. Frescoes, painted
-in bold reds, yellows, blues, and browns and outlined
-in orange and black, recall at once the
-work of early Spanish painters, the eastern heritage
-of early Christian art, and at the same time,
-the hand of a native race attuned to brilliant
-color. The large frescoes, <i>The Last Supper</i> and
-<i>The Holy Ghost Descending Upon The Disciples</i>,
-to the left and right respectively, are said
-to be the work of a monk from the college of
-Queretaro. The dadoes painted in imitation of
-tiles have almost disappeared. Below the molded
-brick cornice is a colorful frieze decorated with
-the cord and hem of the Franciscan vestments
-and the traditional fringe of bell and pomegranate.</p>
-<p>The pilasters flanking the nave are adorned
-with niched figures of saints. On the left (front
-and rear) are St. Mathew, St. Bartholomew and
-St. Philip, on the right St. Simon and St. Thaddeus.
-<span class="pb" id="Page_25">25</span>
-These apostolic figures and many others
-set into the high altar and transept chapels are
-painted and modeled with charming naivete of
-form and expression. As Duell has suggested,
-&ldquo;They were intended for the Indian, and his
-first lessons in Christianity were through art.&rdquo;</p>
-<p>The frescoes on the pendentives and on the
-drum and dome over the crossing are especially
-decorative in that they are painted on the white
-ceiling in vignette. Here again are figures of
-various saints. Those decorating the pendentives
-represent St. Thomas Aquinas, St. Augustine,
-St. Jerome and St. Ambrose.</p>
-<p>In the Gospel Chapel formed by the left transept
-are two richly carved and gilded altars. The
-larger one at the end, somewhat resembling the
-high altar, is dedicated to the Passion of Our
-Lord, the other, on the right, to St. Joseph. The
-frescoes on the left wall of this chapel symbolize
-<i>The Presentation of Our Lord in the Temple</i>
-(upper) and <i>Our Lady of the Pillar</i> (lower).
-Here also is the confessional.</p>
-<p>The apse, containing the elaborately encrusted
-high altar, is framed by a wide and
-<span class="pb" id="Page_26">26</span>
-stilted chancel arch. On the piers of the arch
-(left and right) are figures of St. James, St.
-John, St. Thomas and St. Ignatius Loyola,
-founder of the Society of Jesus. On the corners
-of the piers are hung the figures of angels, life-size,
-said to be the likenesses of the two daughters
-of the artist who decorated the interior. The
-apse is separated from the rest of the church by
-a low spindled chancel rail. The central gate of
-the hand-carved railing is flanked by two grotesque
-carvings of lions on the escutcheon of
-Castile and Leon. In their paws were candlesticks&mdash;long
-since carried away by vandals.</p>
-<p>The high altar is dedicated to St. Francis
-Xavier. A figure of the saint occupies a central
-niche above the altar table. Around it are carved
-cherubs and arabesques. Still higher is a brilliantly
-painted figure of the Holy Virgin. On
-each side of this central motif the corners of the
-octagonal apse are lined with elaborately carved
-and gilded columns and between them the
-niched figures of St. Peter and St. Paul. Surmounting
-the altar is the figure of God the Creator.
-The domed ceiling of the apse is embellished
-<span class="pb" id="Page_27">27</span>
-with a shell&mdash;a motif frequently used in the decoration
-of the church. The side walls of the apse
-are painted with colorful frescoes: <i>The Adoration
-of the Wise Men</i> and <i>The Flight Into
-Egypt</i> (right wall) and the <i>Adoration of the
-Shepherds</i> and the <i>Annunciation</i> (left wall).</p>
-<p>A small door in the right wall of the apse
-leads into the Sacristy, a high square domical
-chamber containing the sacred vessels and reliquaries.
-The delicate floral decorations on the
-sacristy ceiling are especially notable. On the
-north wall is the <i>Crucifixion</i>, the largest and
-best preserved of any of the frescoes in the
-church. A small door in the east wall gives access
-to the arched cloisters of the patio.</p>
-<p>In the east transept is the Epistle Chapel containing,
-like the Gospel Chapel on the left, two
-altars&mdash;the large altar at the end, dedicated to
-the Mother of Sorrows, containing a statue of
-Mary, clothed in a bridal gown donated by an
-Indian girl in appreciation of an answered
-prayer. Imbedded in the wall above is an antique
-wooden cross which formerly bore a &ldquo;life-size&rdquo;
-statue of the crucifixion, though nothing remains
-<span class="pb" id="Page_28">28</span>
-now but one arm. It is thought the statue was
-carried away by vandals. The altar at the left is
-dedicated to the Immaculate Conception.</p>
-<p>A high canopied hand-carved pulpit of rich
-dark pine, fastened with wooden pegs, stands
-against the transept pier at the right of the
-Epistle Chapel. Octagonal in shape and raised
-on a slender shaft-like pedestal, it is a notable
-example of skillful craftsmanship in woodcarving.
-The pulpit platform is approached by a
-narrow railed flight of steps.</p>
-<p>Entrance to the finished tower is through the
-Baptistry. This room is groin-vaulted and handsomely
-ornamented. A fresco of the <i>Baptism
-of Christ</i> completely covers one of the walls.
-The baptismal font in the center of the room
-with its hand-hammered copper bowl, bears the
-inscription &ldquo;IHS,&rdquo; three letters of the name
-Jesus in the Greek language. This is one of the
-sacred fixtures that was taken from the original
-Kino church and placed in the present building.</p>
-<p>A narrow stairway built into the thick walls
-leads to the choir vestry. The choir loft is adjacent.
-The walls of the choir loft are covered
-<span class="pb" id="Page_29">29</span>
-with frescoes of the <i>Holy Family</i>, the <i>Home at
-Nazareth</i>, <i>St. Francis in a Heavenly Chariot</i>,
-and <i>St. Dominic Receiving the Rosary from
-the Holy Virgin</i>. A door opposite that of the
-choir vestry gives access to the other tower. The
-old doors in the church still have their original
-heavy iron hinges, locks and latches. They are
-designed with heavy stiles and rails, enclosing
-small panels, and are relatively low and narrow.</p>
-<p>The belfry of the finished tower, reached
-through a tunnel-like stairway from the choir
-vestry, is enclosed by a parapet with molded
-balustrades. Only three of the original four bells
-remain. It is thought that one of the three, accounted
-the best, is the &ldquo;lost chime&rdquo; from the
-San Juan Bautista mission of California, which
-was cast by a Peruvian who died without divulging
-the secret of his process. The inscription:
-&ldquo;S. Jvan Bavtjsta,&rdquo; is quite clear. Just how it
-came to be lost by the California mission however,
-if it came from there, remains a mystery.</p>
-<p>Flights of stairs lead on upward to the cupola,
-which culminates in a domical vault. There is a
-splendid panorama of the valley from this point.
-<span class="pb" id="Page_30">30</span>
-In earlier days the cupola was perhaps used as
-a lookout to warn against Apache attacks. Here
-one may look down upon the domed surface of
-the roof which was painted in imitation of tile,
-and examine the detail of the elaborate roof
-parapet with its slender posts and finials and
-graceful wall curved in scalloped loops between
-them. The finials are flanked by carved Castilian
-lion heads.</p>
-<p>The dormitory wing constructed of adobe
-has been greatly altered. Early drawings indicated
-that the windows and doors were originally
-arched. Especially notable is the roof over the
-dormitory and adjoining loggia. Except for the
-outer covering of tile its structure has never been
-disturbed. It is supported on heavy beams of
-mesquite timber and, as was the general custom,
-the beams were covered with stalks of ocotillo,
-leaves and reeds, the cracks then filled with soft
-adobe, the whole finally forming a solidly reinforced
-roof. The north wing of the dormitory,
-although entirely new, harmonizes with the earlier
-structure.</p>
-<p>Engineers are working to bring back into line
-<span class="pb" id="Page_31">31</span>
-the massive walls of the mission and plan to reinforce
-the dome and portions of the fine facade
-which have recently fallen away.</p>
-<p>Secret processes used in painting the murals
-are being utilized in restoring the walls of the
-structure. This process, recently discovered
-through research at the Smithsonian Institution,
-solves a problem artists have been attempting
-for years to achieve through the use of oil paint.
-The root of the ocotillo plant supplies the red.
-The pulpy sap of the saguaro (giant) cactus
-gives the blue. Brown and yellow are made from
-the first layer of skin under the bark of the palo
-verde tree, and green comes from sage leaves
-while mesquite beans make the thick black. The
-degree of boiling gives the shades desired.</p>
-<p>The preservation of San Xavier del Bac is a
-worthy gesture in enabling increasing thousands
-to see intact this magnificent example of early
-mission architecture.</p>
-<div class="pb" id="Page_33">33</div>
-<h2 id="c3">Bibliography</h2>
-<blockquote>
-<p>Bancroft, Hubert Howe. <i>History of Arizona and
-New Mexico.</i> San Francisco, The History Company,
-1889. Vol. 17 of his <i>History of the Pacific
-States of North America</i>.</p>
-<p>Bolton, Herbert Eugene. <i>Kino&rsquo;s Historical Memoir
-of Pimer&iacute;a Alta.</i> Cleveland, Arthur H. Clark
-Company, 1919. 2 v.</p>
-<p>&mdash;&mdash;, <i>Rim of Christendom</i>. New York, Macmillan,
-1936.</p>
-<p>&mdash;&mdash;, <i>Padre on Horseback</i>. San Francisco, Sonora
-Press, 1932.</p>
-<p>Bonaventure, Father, O.F.M. <i>Mission San Xavier del
-Bac.</i> Topawa, Ariz., Franciscan Fathers of Arizona,
-San Solano Missions.</p>
-<p>Duell, Prent. <i>Mission Architecture Exemplified in
-San Xavier del Bac.</i> Tucson, Arizona Archaeological
-and Historical Society, 1919.</p>
-<p>Engelhardt, Father Zephyrin. <i>The Franciscans in
-Arizona.</i> Harbor Springs, Mich., Holy Childhood
-Indian School, 1899.</p>
-<p>Hallenbeck, Cleve. <i>Spanish Missions of the Old
-Southwest.</i> New York, Doubleday, Page &amp; Company,
-1926.</p>
-<div class="pb" id="Page_34">34</div>
-<p>Hinton, R. J. <i>Handbook to Arizona.</i> New York,
-Payot, Upham &amp; Company, 1878.</p>
-<p>Lockwood, Frank C. <i>With Padre Kino on the Trail.</i>
-Tucson, University of Arizona, 1934.</p>
-<p>Lummis, Charles F. <i>The Spanish Pioneers.</i> Chicago,
-A. C. McClurg &amp; Company, 1914.</p>
-<p>Lutrell, Estelle. <i>The Mission of San Xavier del Bac.</i>
-Tucson, Acme Press, 1934.</p>
-<p>Newcomb, Rexford. <i>Spanish-Colonial Architecture
-in the United States.</i> New York, J. J. Augustin,
-1937.</p>
-<p>Willys, Rufus Kay. <i>Pioneer Padre.</i> Dallas, Southwest
-Press, 1935.</p>
-</blockquote>
-<div class="pb" id="Page_35">35</div>
-<h2 id="c4">Illustrations</h2>
-<div class="pb" id="Page_36">36</div>
-<div class="img">
-<img src="images/p05.jpg" alt="" width="600" height="987" />
-<div class="caption">
-<p class="caphead"><span class="sc">MISSION of SAN XAVIER DEL BAC</span> &middot; 1700-1797</p>
-</div></div>
-<dl class="undent"><dd><span class="large">KEY</span></dd>
-<dt>A <span class="sc">Nave</span></dt>
-<dt>B <span class="sc">Provision Room</span></dt>
-<dt>C <span class="sc">Epistle Chapel</span></dt>
-<dt>D <span class="sc">Sacristy</span></dt>
-<dt>E <span class="sc">Apse</span></dt>
-<dt>F <span class="sc">Gospel Chapel</span></dt>
-<dt>G <span class="sc">Crossing</span></dt>
-<dt>H <span class="sc">Baptistry</span></dt>
-<dt>I <span class="sc">Narthex</span></dt>
-<dt>J <span class="sc">Cloister</span></dt>
-<dt>K <span class="sc">Dormitory Wing</span></dt></dl>
-<div class="pb" id="Page_37">37</div>
-<div class="img" id="fig6">
-<img src="images/p05a.jpg" alt="" width="600" height="548" />
-<div class="caption">
-<p class="caphead">THE MISSION OF SAN XAVIER DEL BAC. PAPAGO VILLAGE IN FOREGROUND.</p>
-</div></div>
-<div class="pb" id="Page_38">38</div>
-<div class="img" id="fig7">
-<img src="images/p06.jpg" alt="" width="600" height="578" />
-<div class="caption">
-<p class="caphead">MISSION COURTYARD FROM ABOVE....</p>
-</div></div>
-<div class="pb" id="Page_39">39</div>
-<div class="img" id="fig8">
-<img src="images/p06a.jpg" alt="" width="566" height="800" />
-<div class="caption">
-<p class="caphead">... AND BELOW.</p>
-</div></div>
-<div class="pb" id="Page_40">40</div>
-<div class="img" id="fig9">
-<img src="images/p07.jpg" alt="" width="554" height="800" />
-<div class="caption">
-<p class="caphead">THE ENTRANCE PORTAL HAS A DELICATE WOODEN BALCONY ABOVE, CROWNED WITH A LARGE SHELL MOTIF.</p>
-</div></div>
-<div class="pb" id="Page_41">41</div>
-<div class="img" id="fig10">
-<img src="images/p07a.jpg" alt="" width="600" height="691" />
-<div class="caption">
-<p class="caphead">PAPAGO INDIAN CHILDREN RECESSING AT THE MISSION SCHOOL.</p>
-</div></div>
-<div class="pb" id="Page_42">42</div>
-<div class="img" id="fig11">
-<img src="images/p08.jpg" alt="" width="600" height="492" />
-<div class="caption">
-<p class="caphead">HIGH ALTAR FROM REAR OF NAVE.</p>
-</div></div>
-<div class="img" id="fig12">
-<img src="images/p08a.jpg" alt="" width="473" height="600" />
-<div class="caption">
-<p class="caphead">ONE OF TWO GROTESQUE CARVINGS OF LIONS.</p>
-</div></div>
-<div class="pb" id="Page_43">43</div>
-<div class="img" id="fig13">
-<img src="images/p08b.jpg" alt="" width="518" height="800" />
-<div class="caption">
-<p class="caphead">HIGH ALTAR.</p>
-</div></div>
-<div class="pb" id="Page_44">44</div>
-<div class="img" id="fig14">
-<img src="images/p09.jpg" alt="" width="800" height="662" />
-<div class="caption">
-<p class="caphead">HIGH ALTAR FROM CHOIR LOFT.</p>
-</div></div>
-<div class="img" id="fig15">
-<img src="images/p09a.jpg" alt="" width="536" height="799" />
-<div class="caption">
-<p class="caphead">A HIGH CANOPIED HAND-CARVED PULPIT OF RICH DARK PINE.</p>
-</div></div>
-<div class="pb" id="Page_45">45</div>
-<div class="img" id="fig16">
-<img src="images/p09b.jpg" alt="" width="518" height="800" />
-<div class="caption">
-<p class="caphead">CHOIR LOFT FROM THE HIGH ALTAR.</p>
-</div></div>
-<div class="pb" id="Page_46">46</div>
-<div class="img" id="fig17">
-<img src="images/p10.jpg" alt="" width="513" height="800" />
-<div class="caption">
-<p class="caphead">LOOKING TOWARD ONE CORNER OF THE WEST TRANSEPT.</p>
-</div></div>
-<div class="pb" id="Page_47">47</div>
-<div class="img" id="fig18">
-<img src="images/p10a.jpg" alt="" width="554" height="799" />
-<div class="caption">
-<p class="caphead">GOSPEL CHAPEL&mdash;WEST TRANSEPT.</p>
-</div></div>
-<div class="pb" id="Page_48">48</div>
-<div class="img" id="fig19">
-<img src="images/p11.jpg" alt="" width="592" height="799" />
-<div class="caption">
-<p class="caphead">EAST TRANSEPT&mdash;EPISTLE CHAPEL.</p>
-</div></div>
-<div class="pb" id="Page_49">49</div>
-<div class="img" id="fig20">
-<img src="images/p11a.jpg" alt="" width="600" height="499" />
-<div class="caption">
-<p class="caphead">THE STATUE OF MARY CLOTHED IN A BRIDAL GOWN DONATED BY AN INDIAN WOMAN.</p>
-</div></div>
-<div class="img" id="fig21">
-<img src="images/p11b.jpg" alt="" width="500" height="651" />
-<div class="caption">
-<p class="caphead">ALTAR DEDICATED TO THE MOTHER OF SORROWS.</p>
-</div></div>
-<div class="pb" id="Page_50">50</div>
-<div class="img" id="fig22">
-<img src="images/p12.jpg" alt="" width="600" height="645" />
-<div class="caption">
-<p class="caphead">BAPTISMAL FONT IN CENTER OF BAPTISTRY. PEDESTAL AND BOWL OF BAKED BRICK WHICH INCLOSES A COPPER BOWL ENGRAVED ON TOP WITH MONOGRAM I. H. S.</p>
-</div></div>
-<div class="pb" id="Page_51">51</div>
-<div class="img" id="fig23">
-<img src="images/p12a.jpg" alt="" width="604" height="800" />
-<div class="caption">
-<p class="caphead">THE BAPTISMAL FONT SEEN FROM THE NAVE.</p>
-</div></div>
-<div class="pb" id="Page_52">52</div>
-<div class="img" id="fig24">
-<img src="images/p13.jpg" alt="" width="348" height="700" />
-<div class="caption">
-<p class="caphead">DETAIL OF BAPTISTRY WINDOW.</p>
-</div></div>
-<div class="img" id="fig25">
-<img src="images/p13a.jpg" alt="" width="351" height="700" />
-<div class="caption">
-<p class="caphead">WINDOW OVER ENTRANCE PORTAL.</p>
-</div></div>
-<div class="pb" id="Page_53">53</div>
-<div class="img" id="fig26">
-<img src="images/p13c.jpg" alt="" width="600" height="465" />
-<div class="caption">
-<p class="caphead">THE BELLS OF SAN XAVIER.</p>
-</div></div>
-<div class="img" id="fig27">
-<img src="images/p13d.jpg" alt="" width="600" height="461" />
-<div class="caption">
-<p class="caphead">PAPAGO INDIAN HOMES.</p>
-</div></div>
-<div class="pb" id="Page_54">54</div>
-<div class="img" id="fig28">
-<img src="images/p14.jpg" alt="" width="709" height="600" />
-<div class="caption">
-<p class="caphead">THE GREAT DOME, THE DOMED ROOF, AND THE FINIALS FLANKED WITH CARVED CASTILIAN LION HEADS.</p>
-</div></div>
-<div class="pb" id="Page_55">55</div>
-<div class="img" id="fig29">
-<img src="images/p14a.jpg" alt="" width="625" height="600" />
-<div class="caption">
-<p class="caphead">PRICKLY PEAR CACTUS IN A CORNER OF THE GARDEN.</p>
-</div></div>
-<div class="pb" id="Page_56">56</div>
-<div class="img" id="fig30">
-<img src="images/p15.jpg" alt="" width="600" height="770" />
-<div class="caption">
-<p class="caphead">MORTUARY CHAPEL AND GARDEN.</p>
-</div></div>
-<div class="pb" id="Page_57">57</div>
-<div class="img" id="fig31">
-<img src="images/p15a.jpg" alt="" width="600" height="762" />
-<div class="caption">
-<p class="caphead">MEXICAN AND INDIAN BURIAL GROUNDS JUST WEST OF THE MISSION.</p>
-</div></div>
-<div class="pb" id="Page_58">58</div>
-<div class="img" id="fig32">
-<img src="images/p16.jpg" alt="Gates of San Xavier" width="1000" height="734" />
-</div>
-<h2 id="c5">Transcriber&rsquo;s Notes</h2>
-<ul><li>Copyright notice provided as in the original&mdash;this e-text is public domain in the country of publication.</li>
-<li>Silently corrected palpable typos; left non-standard spellings and dialect unchanged.</li>
-<li>Moved some captions closer to the corresponding pictures, removing extraneous spatial references like &ldquo;(next page)&rdquo;.</li>
-<li>In the text versions, delimited italicized text by _underscores_.</li></ul>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of San Xavier Del Bac, Arizona, by 
-Arizona Pioneers Historical Society
-
-*** END OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
-
-***** This file should be named 53127-h.htm or 53127-h.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/5/3/1/2/53127/
-
-Produced by Stephen Hutcheson, MFR and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world at no cost and with almost no
-  restrictions whatsoever. You may copy it, give it away or re-use it
-  under the terms of the Project Gutenberg License included with this
-  eBook or online at www.gutenberg.org. If you are not located in the
-  United States, you'll have to check the laws of the country where you
-  are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
-
-
-</pre>
-
-</body>
-</html>
diff --git a/old/53127-h/images/cover.jpg b/old/53127-h/images/cover.jpg
deleted file mode 100644
index 25aedee..0000000
--- a/old/53127-h/images/cover.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p01.jpg b/old/53127-h/images/p01.jpg
deleted file mode 100644
index 28ec94d..0000000
--- a/old/53127-h/images/p01.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p02.jpg b/old/53127-h/images/p02.jpg
deleted file mode 100644
index 461e44d..0000000
--- a/old/53127-h/images/p02.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p02a.jpg b/old/53127-h/images/p02a.jpg
deleted file mode 100644
index 6d12434..0000000
--- a/old/53127-h/images/p02a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p03.jpg b/old/53127-h/images/p03.jpg
deleted file mode 100644
index 410e50b..0000000
--- a/old/53127-h/images/p03.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p04.jpg b/old/53127-h/images/p04.jpg
deleted file mode 100644
index 5416db1..0000000
--- a/old/53127-h/images/p04.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p05.jpg b/old/53127-h/images/p05.jpg
deleted file mode 100644
index 5aab996..0000000
--- a/old/53127-h/images/p05.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p05a.jpg b/old/53127-h/images/p05a.jpg
deleted file mode 100644
index 8bbeb2f..0000000
--- a/old/53127-h/images/p05a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p06.jpg b/old/53127-h/images/p06.jpg
deleted file mode 100644
index 43ef40d..0000000
--- a/old/53127-h/images/p06.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p06a.jpg b/old/53127-h/images/p06a.jpg
deleted file mode 100644
index 5ab0feb..0000000
--- a/old/53127-h/images/p06a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p07.jpg b/old/53127-h/images/p07.jpg
deleted file mode 100644
index 6f6493a..0000000
--- a/old/53127-h/images/p07.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p07a.jpg b/old/53127-h/images/p07a.jpg
deleted file mode 100644
index ecc979c..0000000
--- a/old/53127-h/images/p07a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p08.jpg b/old/53127-h/images/p08.jpg
deleted file mode 100644
index 2ddda0b..0000000
--- a/old/53127-h/images/p08.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p08a.jpg b/old/53127-h/images/p08a.jpg
deleted file mode 100644
index ecd6248..0000000
--- a/old/53127-h/images/p08a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p08b.jpg b/old/53127-h/images/p08b.jpg
deleted file mode 100644
index 1cb1b95..0000000
--- a/old/53127-h/images/p08b.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p09.jpg b/old/53127-h/images/p09.jpg
deleted file mode 100644
index bce4af4..0000000
--- a/old/53127-h/images/p09.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p09a.jpg b/old/53127-h/images/p09a.jpg
deleted file mode 100644
index 0abfd8b..0000000
--- a/old/53127-h/images/p09a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p09b.jpg b/old/53127-h/images/p09b.jpg
deleted file mode 100644
index 69f0cb4..0000000
--- a/old/53127-h/images/p09b.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p10.jpg b/old/53127-h/images/p10.jpg
deleted file mode 100644
index b2fe0dd..0000000
--- a/old/53127-h/images/p10.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p10a.jpg b/old/53127-h/images/p10a.jpg
deleted file mode 100644
index a7fc864..0000000
--- a/old/53127-h/images/p10a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p11.jpg b/old/53127-h/images/p11.jpg
deleted file mode 100644
index 5698343..0000000
--- a/old/53127-h/images/p11.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p11a.jpg b/old/53127-h/images/p11a.jpg
deleted file mode 100644
index fcac2d6..0000000
--- a/old/53127-h/images/p11a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p11b.jpg b/old/53127-h/images/p11b.jpg
deleted file mode 100644
index 2303ce7..0000000
--- a/old/53127-h/images/p11b.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p12.jpg b/old/53127-h/images/p12.jpg
deleted file mode 100644
index 899e852..0000000
--- a/old/53127-h/images/p12.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p12a.jpg b/old/53127-h/images/p12a.jpg
deleted file mode 100644
index b771600..0000000
--- a/old/53127-h/images/p12a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p13.jpg b/old/53127-h/images/p13.jpg
deleted file mode 100644
index 0ffcd72..0000000
--- a/old/53127-h/images/p13.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p13a.jpg b/old/53127-h/images/p13a.jpg
deleted file mode 100644
index 89b68b7..0000000
--- a/old/53127-h/images/p13a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p13c.jpg b/old/53127-h/images/p13c.jpg
deleted file mode 100644
index 8da712e..0000000
--- a/old/53127-h/images/p13c.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p13d.jpg b/old/53127-h/images/p13d.jpg
deleted file mode 100644
index d8e85d1..0000000
--- a/old/53127-h/images/p13d.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p14.jpg b/old/53127-h/images/p14.jpg
deleted file mode 100644
index 3a361e9..0000000
--- a/old/53127-h/images/p14.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p14a.jpg b/old/53127-h/images/p14a.jpg
deleted file mode 100644
index 8cef1b4..0000000
--- a/old/53127-h/images/p14a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p15.jpg b/old/53127-h/images/p15.jpg
deleted file mode 100644
index 23bc4be..0000000
--- a/old/53127-h/images/p15.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p15a.jpg b/old/53127-h/images/p15a.jpg
deleted file mode 100644
index 893a3d9..0000000
--- a/old/53127-h/images/p15a.jpg
+++ /dev/null
diff --git a/old/53127-h/images/p16.jpg b/old/53127-h/images/p16.jpg
deleted file mode 100644
index 5ec9dab..0000000
--- a/old/53127-h/images/p16.jpg
+++ /dev/null