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.