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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. 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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 Pimera Alta. Pimera 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 Ro del Altar in Sonora, Mexico, on the south. - -Kino visited the "great ranchera" 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 Pimera 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 Garcs 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 Garcs, 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 Pimera 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. 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} - -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’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’ 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’ 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’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 “Mission -Architecture, Exemplified in San Xavier del -Bac” 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—<i>Norman G. Wallace</i></a><span class="jr"> <i>Endpapers</i></span></dt> -<dt class="ill"><a href="#fig2">The Facade—<i>Buehman Studio</i></a><span class="jr"> <i>Frontispiece</i></span></dt> -<dt class="ill"><a href="#fig3">Front View—<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—<i>Buehman Studio</i></a><span class="jr"> 3</span></dt> -<dt class="ill"><a href="#fig5">Bells—<i>Joseph Miller</i></a><span class="jr"> 4</span></dt> -<dt class="ill"><a href="#fig6">Papago Village—<i>Buehman Studio</i></a><span class="jr"> 37</span></dt> -<dt class="ill"><a href="#fig7">Mission Courtyard From Above—<i>Joseph Miller</i></a><span class="jr"> 38</span></dt> -<dt class="ill"><a href="#fig8">—And Below—<i>National Park Service</i></a><span class="jr"> 39</span></dt> -<dt class="ill"><a href="#fig9">Detail of Wooden Balcony—<i>Joseph Miller</i></a><span class="jr"> 40</span></dt> -<dt class="ill"><a href="#fig10">Papago Indian Children—<i>Joseph Miller</i></a><span class="jr"> 41</span></dt> -<dt class="ill"><a href="#fig11">High Altar From Rear of Nave—<i>Joseph Miller</i></a><span class="jr"> 42</span></dt> -<dt class="ill"><a href="#fig12">Grotesque Lion—<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—<i>Joseph Miller</i></a><span class="jr"> 44</span></dt> -<dt class="ill"><a href="#fig15">Hand-Carved Pulpit—<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—West Transept</a><span class="jr"> 47</span></dt> -<dt class="ill"><a href="#fig19">East Transept—Epistle Chapel</a><span class="jr"> 48</span></dt> -<dt class="ill"><a href="#fig20">The Statue of Mary—<i>Joseph Miller</i></a><span class="jr"> 49</span></dt> -<dt class="ill"><a href="#fig21">The Mother of Sorrows—<i>Joseph Miller</i></a><span class="jr"> 49</span></dt> -<dt class="ill"><a href="#fig22">Baptismal Font—<i>Joseph Miller</i></a><span class="jr"> 50</span></dt> -<dt class="ill"><a href="#fig23">Baptismal Font From Nave—<i>National Park Service</i></a><span class="jr"> 51</span></dt> -<dt class="ill"><a href="#fig24">Detail of Baptistry Window—<i>John P. O’Neill</i></a><span class="jr"> 52</span></dt> -<dt class="ill"><a href="#fig25">Window Over Entrance Portal—<i>Joseph Miller</i></a><span class="jr"> 52</span></dt> -<dt class="ill"><a href="#fig26">The Bells of San Xavier—<i>Joseph Miller</i></a><span class="jr"> 53</span></dt> -<dt class="ill"><a href="#fig27">Papago Indian Homes—<i>Joseph Miller</i></a><span class="jr"> 53</span></dt> -<dt class="ill"><a href="#fig28">The Great Dome—<i>Joseph Miller</i></a><span class="jr"> 54</span></dt> -<dt class="ill"><a href="#fig29">Corner of the Garden—<i>Joseph Miller</i></a><span class="jr"> 55</span></dt> -<dt class="ill"><a href="#fig30">Mortuary Chapel and Garden—<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 “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 -<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.”</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 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.</p> -<p>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.”</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: -“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.” (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 Pimería 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 Garcés 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’ 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.</p> -<p>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 -<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: -“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.</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 -“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.</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—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.</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. “Pedro Bojourquez, -1797.”</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—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.</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—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, -“They were intended for the Indian, and his -first lessons in Christianity were through art.”</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—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—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—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 -<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 “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.</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 “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.</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’s Historical Memoir -of Pimería Alta.</i> Cleveland, Arthur H. Clark -Company, 1919. 2 v.</p> -<p>——, <i>Rim of Christendom</i>. New York, Macmillan, -1936.</p> -<p>——, <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 & Company, -1926.</p> -<div class="pb" id="Page_34">34</div> -<p>Hinton, R. J. <i>Handbook to Arizona.</i> New York, -Payot, Upham & 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 & 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> · 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—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—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’s Notes</h2> -<ul><li>Copyright notice provided as in the original—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 “(next page)”.</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. 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