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diff --git a/old/53127-8.txt b/old/53127-8.txt deleted file mode 100644 index a62592f..0000000 --- a/old/53127-8.txt +++ /dev/null @@ -1,1077 +0,0 @@ -The Project Gutenberg EBook of San Xavier Del Bac, Arizona, by -Arizona Pioneers Historical Society - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: San Xavier Del Bac, Arizona - A Descriptive and Historical Guide - -Author: Arizona Pioneers Historical Society - -Release Date: September 23, 2016 [EBook #53127] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA *** - - - - -Produced by Stephen Hutcheson, MFR and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - [Illustration: Mission San Xavier Del Bac] - - [Illustration: THE FACADE.] - - - - - _Mission - San Xavier Del Bac - Arizona_ - - - A Descriptive and Historical - GUIDE - - [Illustration: Front View] - - _Compiled by Workers of the Writers's Program of the Work Projects - Administration in the State of Arizona_ - - Sponsored by - _Arizona Pioneers' Historical Society_ - - HASTINGS HOUSE, Publishers NEW YORK - - - First Published in March 1940 - - FEDERAL WORKS AGENCY - John M. Carmody, _Administrator_ - - WORK PROJECTS ADMINISTRATION - F. C. Harrington, _Commissioner_ - Florence Kerr, _Assistant Commissioner_ - W. J. Jamieson, _State Administrator_ - - Copyright 1940 by the Arizona Pioneers' Historical Society - Printed in U.S.A. - All Rights are Reserved, Including the Rights to - Reproduce This Book or Parts Thereof in Any Form - - [Illustration: FRONT VIEW] - - [Illustration: THERE IS A SPLENDID PANORAMA OF THE VALLEY FROM THIS - POINT.] - - - - - Preface - - -The Mission of San Xavier del Bac, generally conceded to be the greatest -of all the old Spanish missions and the finest example of pure mission -architecture in the United States, has enjoyed a variable and -fascinating development through nearly two and a half centuries. This -descriptive and historical guide to the mission is designed to enable -native Arizonans and tourists the more appreciably to enjoy San Xavier's -great beauty and significance. - -Acknowledgment is due to Dr. Herbert Eugene Bolton, Chairman, Department -of History and Director of the Bancroft Library, University of -California, for his helpful suggestions in connection with the history -of the mission. Dr. Rufus Kay Wyllys, Head, Department of Social -Science, Arizona State Teachers College at Tempe, was also very helpful -in this respect. As to the architectural descriptions, the authority of -Prent Duell, in his publication "Mission Architecture, Exemplified in -San Xavier del Bac" was generously employed. - - The Editors. - - - - - List of Illustrations - - - Mission San Xavier Del Bac--_Norman G. Wallace_ _Endpapers_ - The Facade--_Buehman Studio_ _Frontispiece_ - Front View--_Buehman Studio_ _Title Page_ - PAGE - Glimpse Through Archway--_Buehman Studio_ 3 - Bells--_Joseph Miller_ 4 - Papago Village--_Buehman Studio_ 37 - Mission Courtyard From Above--_Joseph Miller_ 38 - --And Below--_National Park Service_ 39 - Detail of Wooden Balcony--_Joseph Miller_ 40 - Papago Indian Children--_Joseph Miller_ 41 - High Altar From Rear of Nave--_Joseph Miller_ 42 - Grotesque Lion--_Joseph Miller_ 42 - High Altar 43 - High Altar From Choir Loft--_Joseph Miller_ 44 - Hand-Carved Pulpit--_Joseph Miller_ 44 - Choir Loft From the High Altar 45 - Corner of West Transept 46 - Gospel Chapel--West Transept 47 - East Transept--Epistle Chapel 48 - The Statue of Mary--_Joseph Miller_ 49 - The Mother of Sorrows--_Joseph Miller_ 49 - Baptismal Font--_Joseph Miller_ 50 - Baptismal Font From Nave--_National Park Service_ 51 - Detail of Baptistry Window--_John P. O'Neill_ 52 - Window Over Entrance Portal--_Joseph Miller_ 52 - The Bells of San Xavier--_Joseph Miller_ 53 - Papago Indian Homes--_Joseph Miller_ 53 - The Great Dome--_Joseph Miller_ 54 - Corner of the Garden--_Joseph Miller_ 55 - Mortuary Chapel and Garden--_Joseph Miller_ 56 - Burial Grounds 57 - Gates of San Xavier _Endpapers_ - - -The mission of San Xavier del Bac is on an elevation facing the Santa -Rita Mountains, nine miles to the south of Tucson, Arizona, and is a -conspicuous monument of the Santa Cruz Valley. An isolated church, white -against the soft shades of the bare desert and the distant colors of the -low-lying mountains, it is visible for miles in every direction. - -Prent Duell, who calls San Xavier "the greatest of all missions" in his -book on mission architecture, gives the following description of the -view from the front: "The facade of the church is symmetrical, with two -plain towers on either side of an ornate gabled entrance. Above the -broken pediment of the gable, the noble dome may be seen between the -towers. The windows and doors are symmetrically placed and thrown wholly -in shadow by the heavy walls. Their blackness, contrasted with the -glistening whiteness of the walls, and the reddish ornamentation about -the entrance make a picture against the cloudless sky and endless -desert, not to be forgotten." - -The mission was founded by Eusebio Francisco Kino, picturesque pioneer -missionary of the Jesuit Order, whose purpose was to Christianize the -Indian population. San Xavier is the northernmost of his mission chain, -extending up the West coast from Sinaloa to 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 53127-8.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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