Olivia
As the missionaries permeated Native American societies in pursuit of future converts, they brought with them a repertoire of customs that forever altered traditional lifestyles. The rich history of Christianity in Europe was translated into the Americas via the construction of elaborate missions. With the purpose of luring the Native Americans “in from the desert,” these churches boasted a unique blend of customarily Christian styles and distinctively American materials and forms. This mélange of influences contributed to the establishment of an utterly new style of construction, one that eventually, in the year of 1797, gave birth to San Xavier del Bac in the desert south of present-day Tucson. The name alone represents the multicultural heritage of the mission, fusing San Xavier, a Spanish saint, with an Indian word for a watering place, Bac.
Mexican artists designed the structure to represent the Spanish heritage of the Franciscans. The façade decidedly depicts the Christian faith. The shape holds with customary church design, two bell towers bracketing the façade. A Franciscan coat of arms serves as a focal point, marking the intent of the structure. The scrolls and other sculptures, depicted in flat relief, are akin to customary Baroque embellishments. As a visual representation of the Spanish culture, the builders melded Moorish influence into the buildings, connoting Spain’s era of Arab occupation. Between the two towers, a red ochre panel is deeply reminiscent of North African design, the usage of such a medium evoking the many red ochre Moorish constructions in Spain. Furthermore, historians note that the highly defined geometric shapes that govern the exterior call upon Moorish memory. The inclusion of these distinctly foreign styles is intended to introduce Indians to the splendor of the Christian church. The mystery of these new styles acts as a harsh contrast with native, desert life. Capitalizing on the Native American’s curiosity, the builders intended to cultivate the indigenous people’s faith.
Keeping in tune with the surroundings, designers readily included Native American influence. Utilizing Indian labor, the Franciscans had access to indigenous expertise. Therefore, the materials and construction methods perpetuate the practices of the natives. San Xavier del Bac is built upon a foundation of river stones. The walls, erected with fired brick, are coated with lime plaster. These techniques, inherited from the Indian workmen, infuse an indigenous semblance. The unembellished exterior walls (excluding the front panel) are reminiscent of the austere adobe constructions of the Indians. The ornate Baroque designs contrast with this apparent simplicity, ensconcing European styles in a recognizable context. Drawing upon native practices, the Franciscans facilitated a sense of familiarity, and possibly even affinity, with the church.
Masters of mission development, Franciscan monks boasted a network of churches that enabled the attraction and ultimate conversion of the Indian populace. The church design, in part, was the secret to their success. With an air of mystery and the sense of comfort, Native Americans were drawn into the churches. The appeal was founded upon a clever mixture of novel and local styles. The result was a fresh method of construction and the birth of traditional Southwestern mission design. Each mission rose high above the desert floor, its unique architectural styles appealing to natives far across the plains.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 110 – 112.
Images Cited
“San Xavier Del Bac.” 2012. National Park Service. 22 September 2012.
< http://www.nps.gov/nr/travel/amsw/sw6.htm.>
As the missionaries permeated Native American societies in pursuit of future converts, they brought with them a repertoire of customs that forever altered traditional lifestyles. The rich history of Christianity in Europe was translated into the Americas via the construction of elaborate missions. With the purpose of luring the Native Americans “in from the desert,” these churches boasted a unique blend of customarily Christian styles and distinctively American materials and forms. This mélange of influences contributed to the establishment of an utterly new style of construction, one that eventually, in the year of 1797, gave birth to San Xavier del Bac in the desert south of present-day Tucson. The name alone represents the multicultural heritage of the mission, fusing San Xavier, a Spanish saint, with an Indian word for a watering place, Bac.
Mexican artists designed the structure to represent the Spanish heritage of the Franciscans. The façade decidedly depicts the Christian faith. The shape holds with customary church design, two bell towers bracketing the façade. A Franciscan coat of arms serves as a focal point, marking the intent of the structure. The scrolls and other sculptures, depicted in flat relief, are akin to customary Baroque embellishments. As a visual representation of the Spanish culture, the builders melded Moorish influence into the buildings, connoting Spain’s era of Arab occupation. Between the two towers, a red ochre panel is deeply reminiscent of North African design, the usage of such a medium evoking the many red ochre Moorish constructions in Spain. Furthermore, historians note that the highly defined geometric shapes that govern the exterior call upon Moorish memory. The inclusion of these distinctly foreign styles is intended to introduce Indians to the splendor of the Christian church. The mystery of these new styles acts as a harsh contrast with native, desert life. Capitalizing on the Native American’s curiosity, the builders intended to cultivate the indigenous people’s faith.
Keeping in tune with the surroundings, designers readily included Native American influence. Utilizing Indian labor, the Franciscans had access to indigenous expertise. Therefore, the materials and construction methods perpetuate the practices of the natives. San Xavier del Bac is built upon a foundation of river stones. The walls, erected with fired brick, are coated with lime plaster. These techniques, inherited from the Indian workmen, infuse an indigenous semblance. The unembellished exterior walls (excluding the front panel) are reminiscent of the austere adobe constructions of the Indians. The ornate Baroque designs contrast with this apparent simplicity, ensconcing European styles in a recognizable context. Drawing upon native practices, the Franciscans facilitated a sense of familiarity, and possibly even affinity, with the church.
Masters of mission development, Franciscan monks boasted a network of churches that enabled the attraction and ultimate conversion of the Indian populace. The church design, in part, was the secret to their success. With an air of mystery and the sense of comfort, Native Americans were drawn into the churches. The appeal was founded upon a clever mixture of novel and local styles. The result was a fresh method of construction and the birth of traditional Southwestern mission design. Each mission rose high above the desert floor, its unique architectural styles appealing to natives far across the plains.
Works Cited
Miller, Angela, et al. American Encounters: Art, History, and Cultural Identity. London: Prentice Hall, 2008. 110 – 112.
Images Cited
“San Xavier Del Bac.” 2012. National Park Service. 22 September 2012.
< http://www.nps.gov/nr/travel/amsw/sw6.htm.>