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
THE FACADE.
A Descriptive and Historical
GUIDE
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
THERE IS A SPLENDID PANORAMA OF THE VALLEY FROM THIS POINT.
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.
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 10 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 11 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 12 ... 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 13 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 14 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 15 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 18 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 19 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 20 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 21 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, 22 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 23 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 24 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. 25 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 26 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 27 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 28 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 29 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. 30 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 31 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.
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.
34Hinton, 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.
MISSION of SAN XAVIER DEL BAC · 1700-1797
THE MISSION OF SAN XAVIER DEL BAC. PAPAGO VILLAGE IN FOREGROUND.
MISSION COURTYARD FROM ABOVE....
... AND BELOW.
THE ENTRANCE PORTAL HAS A DELICATE WOODEN BALCONY ABOVE, CROWNED WITH A LARGE SHELL MOTIF.
PAPAGO INDIAN CHILDREN RECESSING AT THE MISSION SCHOOL.
HIGH ALTAR FROM REAR OF NAVE.
ONE OF TWO GROTESQUE CARVINGS OF LIONS.
HIGH ALTAR.
HIGH ALTAR FROM CHOIR LOFT.
A HIGH CANOPIED HAND-CARVED PULPIT OF RICH DARK PINE.
CHOIR LOFT FROM THE HIGH ALTAR.
LOOKING TOWARD ONE CORNER OF THE WEST TRANSEPT.
GOSPEL CHAPEL—WEST TRANSEPT.
EAST TRANSEPT—EPISTLE CHAPEL.
THE STATUE OF MARY CLOTHED IN A BRIDAL GOWN DONATED BY AN INDIAN WOMAN.
ALTAR DEDICATED TO THE MOTHER OF SORROWS.
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.
THE BAPTISMAL FONT SEEN FROM THE NAVE.
DETAIL OF BAPTISTRY WINDOW.
WINDOW OVER ENTRANCE PORTAL.
THE BELLS OF SAN XAVIER.
PAPAGO INDIAN HOMES.
THE GREAT DOME, THE DOMED ROOF, AND THE FINIALS FLANKED WITH CARVED CASTILIAN LION HEADS.
PRICKLY PEAR CACTUS IN A CORNER OF THE GARDEN.
MORTUARY CHAPEL AND GARDEN.
MEXICAN AND INDIAN BURIAL GROUNDS JUST WEST OF THE MISSION.
End of the Project Gutenberg EBook of San Xavier Del Bac, Arizona, by
Arizona Pioneers Historical Society
*** END OF THIS PROJECT GUTENBERG EBOOK SAN XAVIER DEL BAC, ARIZONA ***
***** This file should be named 53127-h.htm or 53127-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/5/3/1/2/53127/
Produced by Stephen Hutcheson, MFR and the Online
Distributed Proofreading Team at http://www.pgdp.net
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www.gutenberg.org. If you are not located in the
United States, you'll have to check the laws of the country where you
are located before using this ebook.
1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that
* You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg-tm trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, "Information about donations to the Project Gutenberg
Literary Archive Foundation."
* You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg-tm
works.
* You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
* You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic works.
Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.