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The Project Gutenberg eBook of San Xavier Del
Bac, Arizona: A Descriptive and Historical
Guide
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Title: San Xavier Del Bac, Arizona: A Descriptive and Historical
Guide
Author: Writers' Program of the Work Projects
Administration in the State of Arizona
Release date: September 23, 2016 [eBook #53127]
Most recently updated: October 23, 2024
Language: English
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*** START OF THE PROJECT GUTENBERG EBOOK SAN XAVIER DEL
BAC, ARIZONA: A DESCRIPTIVE AND HISTORICAL GUIDE ***
THE FACADE.
Mission
San Xavier Del Bac
Arizona
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
2
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 Arizona Pioneers’ Historical Society
by the
Printed in U.S.A.
All Rights are Reserved, Including the Rights to
Reproduce This Book or Parts Thereof in Any Form
3
4
THERE IS A SPLENDID PANORAMA OF THE VALLEY FROM THIS
POINT.
5
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.
7
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 9
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 10
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, 11
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 12
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 13
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 14
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 15
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 16
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 17
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, 18
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 19
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 20
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 21
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 22
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 23
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 24
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 25
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 26
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 27
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 28
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 29
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 30
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 31
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.
33
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, 34
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.
35
Illustrations
36
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
37
THE MISSION OF SAN XAVIER DEL BAC. PAPAGO VILLAGE IN
FOREGROUND.
38
MISSION COURTYARD FROM ABOVE....
39
... AND BELOW.
40
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