JANUARY 1978 VOL. 54, NO. 1
James E. Stevens,
Director of Publications
Tom C. Cooper, Editor
Wesley Holden, Associate Editor
Richard G. Stahl, Assistant Editor
Marvin Beck, Circulation Manager
Wesley Bolin, Governor of Arizona
~:~::.en! of ~
Transportation ~
William A. Ordway, Director
Oscar T. Lyon, Jr., State Engineer
Board Members
Len W. Mattice, Chairman, Pima
William A. "Bill" Erdmann,
Vice Chairman, Casa Grande
John S. Houston, Member, Yuma
Robert M. Bracker, Member, Nogales
Armand P. Ortega, Member, Sanders
E. J. "Charlie" McCarthy, Member,
Kingman
Ralph A. Watkins, Jr., Member,
Wickenburg
In This Issue
3 The Miracle of Hopi Corn
A centuries-old story, rich in tradition,
of deep abiding faith and a millenium
of living in harmony with the land.
16 Bae
Two hundred years ago a mission
church of unearthly beauty was built.
This is the story of that church,
known as " the white dove of the
desert."
32 Trekking the Mysterious Paria
A colorful 1000-foot-deep canyon
spells danger and high adventure for
the seasoned backpacker.
44 Ken Goldman's Dioramas
A closeup of nature, captured in a
unique 3-dimensional art form.
Arizona High ways is published monthly by
the Arizona Department of Transportati on.
Address: Arizona Highways, 2039 W. Lewis Ave.,
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copies one dollar each. Second Class Postage
paid at Phoeni x, Arizona, und er Act of March 3,
1879. Copyright© 1977 by the Arizona Department
of Transportation.
Design and Production by Lorna Holmes .
Allow six weeks for a change of address. Send
in the old as well as the new address including
ZIP code. Telephone (602) 258-6641.
The editors will not be responsible for unsolicited
manuscripts, photographs, artwork, or
other materials sent for editorial consideration.
Dr. John P. Schaefer
An
Intimate
Book
on Bae
Mission San Xavier del Bae southwest
of Tucson is visited annually by many
thousands of persons. They roam the
grounds examining the mission from
every angle, then enter the church
proper and thoroughly scrutinize the
walls, statues, ceilings and altars. In
short, the mission gets a thorough going
over from visitors because it is a classic
piece of architecture dating back to its
completion in 1797.
Few have " seen" the mission so thoroughly, so completely, as Dr. John P.
Schaefer, president of the University of Arizona, and even fewer, if any, have
come away with such dramatic photographic images.
Dr. Schaefer is a dynamic person. In 1971, at the age of 36, he was named
president of the university. It was about that time that the former chemist took
up photography in earnest - perhaps to find a release from the pressures of his
university position. He has since rapidly earned a reputation as one of the finest
black and white photographers in the state - maybe the Southwest.
Dr. Schaefer has combined talents with Father Kiernan McCarty, a Franciscan
priest and historian at the mission, to produce a superb book entitled
"Bae." Fr. McCarty, who has been at
the mission since 1965, researched and
wrote the text, intertwining it with Dr.
Schaefer's magnificent imagery.
We were privileged to have an
advance look at the material before it
went into production, and knew immediately
that Arizona Highways readers
would enjoy excerpts fro~ it. So we
did! And the result is the special section
in this issue, beginning on page 16. It
is the strongest and most interesting
look at this outstanding mission church
we have ever published. If you wish to
purchase the complete book, see page
30. Net proceeds go to the University's
Center for Creative Photography, which
Dr. Schaefer has spearheaded, and to
further restoration and maintenance of
the mission.
Our thanks to these talented and
dedicated men. They have given us an
intimate and documented look at one
of the Southwest's most cherished
structures.
Tom C. Cooper
(Front cove r) Ageless beauty bathed in flood lit
splendor- Mission San Xavier del Bae, on the
Papago Reservation, south of Tucson. The
Mission is no longer lit in orde r to save energy.
David Muench
Father Kiernan McCarty
(Inside front cover) 'With corn we pray from it
for rain. We pray from it for all life .. . all that is
living ' - Hopi farmer.
Jerry Jacka
The
Miracle
of Hopi Corn
Story and Photographs by Jerry Jacka
(Above) 'With corn ... we pray for all life, all
people, not just Hopi .'
(Left) A Hopi corn field nestled in a dry creek
bed, east of Oraibi. As in ancient times most
fields are located in val leys below the mesas
on which the people live, usually a goodly
walk from the farmer 's home.
"Under the direction of the two Bird
Men, the chiefs begin to build an
altar. They smooth sand into a level
square, in the center of which they
place a small ceremonial water bowl.
Then a perfect ear of yellow corn is
placed to the north of the bowl, a
blue ear to the west of it, a red ear
to the south of it, and a white ear to
the east of it." And so it is, even in
the legendary world of Hopi origin,
corn has its magic powers. - Pages
From Hopi History.
There is an uncanny balance between
man and nature in the Hopi country. In
summer it is hot and dry - very dry.
Through the day, hot dry breezes sap
the moisture from soil and vegetation.
Later in the afternoon, giant thunderheads
peer over the mesas, only to
spread a few light showers upon the
parched land; then they retreat to the
north and east, hoarding their precious
cargo of rain.
Dry as it may be, green patches of
corn grow everywhere .. . on sandy
hills and plains, on the banks of dry
washes and even in the very bottoms of
dry sandy creek beds. There are also
fields of squash, beans and melons; but
most of all, corn.
How do the Hopi people grow this
corn? How long have they farmed this
land? And why do they continue to
farm under these most difficult conditions?
For answers we must go to the
continued page 6
3
In order to be successful, the Hopi farmer
would be the first to admit, he must also have
the help of a power much greater than that of
mortal man. This is acquired through religion,
ceremonies and prayers.
(Below) Hopi corn field at First Mesa.
(Left) North of Hotevilla another field of corn grows in the sun.
(Below) Terraced fields below the village of Hotevilla.
(Above) Growing corn in a creek wash, east of Oraibi.
(Left) At Second Mesa a corn field flourishes.
(Far left) Hopi corn fields flank the village of Moenkopi.
5
Clockwise from top: the begin'ning of the Hopi
dry farming cycle starts with planting the corn
kernals in the moist sandy soil; hole dug with
the traditional planting stick, corn kernals wi ll
be covered first with the damp soil from the
bottom of the hole; protecting the young corn
from wind and rodents; planting sticks, such
as the one being used here, date as far back
as 400 A.O.
6
CORN continued from page 3
Hopi villages, look into the heritage of
the people and into the depth of
their spiritual understanding and
reverence for life.
Perhaps the single most important
factor underlying the success of the
Hopi farmer is his adaptability to the
environment. The Hopi have learned to
respect and live in close harmony with
their land. To them, everything in
nature is important and part of a wellbalanced
plan. The sky, with its stars
and clouds - the Father Sun, the
Mother Earth and all things which live
upon it; even the sand and stone have
significance.
Corn is a tradition and a way of life
among the Hopi. These green stands of
corn are a product of centuries of farming
experience, handed down through
the many generations.
They are the result of careful planting
practices and patient, continuous
care of the fields, not unlike the loving
care a Hopi mother gives her child. But,
this is not all. In order to be successful,
the Hopi farmer would be the first to
admit, he must also have the help of a
power much greater than that of mortal
man. This is acquired through religion,
ceremonies and prayers.
Evidence of this deep abiding faith
can be heard in the distant rhythmic
sounds of a drum and the song of the
kachinas which, on a still day, might be
heard coming from the mesas overlookings
the fields. Too, there are pahos
(prayer sticks) which are carefully
placed in shrines, some in fields and
others in various sacred locations
throughout the land - the Hopi's constant
prayer for rain, good crops and
all that is good ... for all people.
"He (the little chipmunk) took his
sacred corn meal in his right hand
and stood over the plant and said
his prayers in silence. Then, he threw
the meal high up toward the sky.
Then the others followed." - from
Truth of a Hopi, by Edmund
Negutewa
The origin of Hopi corn has its roots
in prehistory. In the legendary underworld
of Hopi genesis corn was used
prior to their emergence on the face of
the earth. Scientists, however, have yet
to affix a date to man's first use of corn
in the Southwest, though archaeological
evidence dates the use of a very primitive
type of corn as far back as 2500
B.C. This "pod corn" was very small
and each kernel was individually
sheathed, unlike the modern day variety
which has an individual husk over
the ear. continued page 11
(Left) 'Long-hair Rainmakers' by
Coochiwukioma (Delbridge Honanie) .
Courtesy Dr. Reynold F. Brown
(Below) 'When the planting is over, you go
pray for rain ... every day.' A light summer
shower dampens a Hopi co rn field .
The first planting of corn in mid-April furnishes corn and
green corn stalks for the last of the major ceremonies of the Hopi kachina
cycle, the Ni man Kachina or Home Dance, which acknowledges the
sources of heat, moisture, germination and the magnetic forces of the air.
During the ceremony the green stalks are used as ritual 'gifts' for
family and friends. 'Jemez Kachinas,' by Fred Kabotie. From the book Fred Kabotie: Hopi
Indian Artist, Northland Press, Flagstaff, Az. -
8
CORN LEGEND
Oh, Mother of Man.
Oh, Sun Father,
Thank you for keeping us.
Oh, Corn Mother,
We are happy.
You gave us my name.
I am happy.
When I am happy,
When I have my name,
I can greet the sun
And my world begins.
Oh, it is hardship
And that is appreciated.
It is the spirit of corn.
It is the truth of corn.
It is the use of the husk-skins of corn
For many things.
Oh, it is good
What you provide.
It is the ability to think.
It is the wisdom that comes.
It is the understanding.
Oh the sun comes up everyday.
Oh, the sun sets everyday.
Oh, Corn Mother,
We are happy.
Oh, Sun Father
thank you for keeping us.
Oh, Mother of Man.
"The Meaning of Corn" - as told by
Charles Loloma and interpreted by Jim
McGrath. Hotevilla, Arizona.
August 26, 1977.
9
10
" Tomorrow, when it comes,
We will gather in our corn.
It gladdens my heart to look upon
The bounteous fi elds.
We will husk the co rn ,
We wi ll shell it,
Bring it home rejo icing,
How glad my heart."
- Hopi Journal by Alexander M. Stephen,
1936. (Translated directly from the Hopi
language. Song sung by Women's Society,
Mamzeau, at harvesttime)
CORN continued from page 6
"On the fourth day all the tribes
came together - Navajo, Supai,
Paiute, Apache, Zuni, Utes and the
Bahana (white man). When they came
up, the chief had all the different
kinds of seeds of corn and grain, of
melon and fruit, laid out for them
to choose. Then he asked the different
tribes to step forward and take
their choice.
The Navajo slipped forward hurriedly
and picked out the largest ear
of corn, which he thought was the
wise thing to do. But the chief and
the others knew that the long ear of
corn could not last long and was not
easily raised. Afterward the rest of
the tribes took their choice in turn.
The Hopi took the shortest ear of
corn and also squash and beans. The
Apache didn't take any, for they said
they would rather live on game. Supai
took some peaches - he preferred the
fruit most. The Zuni took corn and
wheat. Paiute didn't take any, he, too,
said he would rather live on wild
game and fruit. Utes didn't take any
either. The Bahana took his choice
last and was rather slow and considered
well and finally he took some
wheat which was not so heavy and
he could carry more of it than the
corn. - from Truth of a Hopi, by
Edmund Negutewa
With time, new and more adaptable
varieties of corn began to appear and by
the time of Christ, corn was probably
beginning to be cultivated widely
throughout the Southwest. It was during
this period that cultures in the
Southwest began to change. Agriculture,
in particular the growing of corn,
enabled a people who once were forced
to devote most of their time to foodgathering,
to pursue new interests and
rechannel energies to more diversified
activities. These ancestors of the Hopi
experienced the beginnings of new life
styles and slowly, the era of the great
pueblos blossomed. Undoubtedly, the
importance of corn grew along with
these new cultures.
"There is my field. It is by an old
ruin. This is where my clan people
once lived. They grew corn here . ..
as I do now." - Hopi farmer.
The growing of Hopi corn today,
although heavily influenced by the
white man, bears remarkable similarities
to the process used 1000 years ago.
Most fields still are under control of
the clans, having been passed down
through generations of female lineage.
Since the Hopi Society is matrilineal,
field ownership is vested in the women.
New farming plots may be utilized but
only with the sanction of clan leadership.
Hopi corn fields today range in size
from one-half acre to ten or more acres.
Sight selection is usually based upon
the capacity of the soil to retain water
and the availability of water from surface
run-off.
The choice of plots and growing
techniques vary slightly between farmers
of the three Hopi mesas, this being
due, in part, to variance in general terrain.
However great differences occur
at Moenkopi (meaning "place of the
The growing of Hopi corn
today ... bears remarkable
similarities to the process
used 1000 years ago.
flowering stream"), a village on the far
west end of the reservation where
Hopi farmers are able to irrigate their
crops, and at the villages of Hotevilla,
Bacobi, and Sheep Spring, where
terraced gardens are spring-fed.
Prior to planting, men, women and
children clear the fields of weeds by
hand. With few exceptions, Hopi
farmers do not enjoy the luxury of
mechanized farm equipment, or even a
horse or mule. Those few who do own
tractors often use them only for initial
field preparation, carrying· out the
planting and subsequent tasks by hand.
Planting time, itself, is determined by
the position of the rising sun in relationship
to fixed landmarks on the eastern
horizon. In fact, this centuries old
method of determining "time" is used
to begin ceremonies and other major
events as well.
The person responsible for keeping
track of the sun's path is called the Sun
Watcher or Sun Chief (Tawawunitaka).
When the sun is right, the Sun Watcher
informs the appropriate leader or
"crier" who announces the beginning
of the event.
At Second Mesa, the village chief
(Kikmongwi) of Shongopovi is the Sun
Watcher. From high on top of the village
roofs, he sings a prayer song that
announces the beginning of the planting
season. The bear clan is the first to
plant at Second Mesa. Members of the
other clans, men and boys alike, join in
a "planting party" to assist this "chief
clan" with their initial planting. Then
the other clans can begin their planting.
Each year there are two plantings of
corn. The first or "early" planting is
usually in mid April. This crop produces
some corn for general use and, perhaps
of more importance, it furnishes corn
and green corn stalks for the Niman
kachina ceremony or Home Dance in
July. This is the last of the major ceremonies
of the Hopi kachina cycle. The
dance, itself, acknowledges the sources
of heat, moisture, germination and magnetic
forces -of the air. The main corn
crop then is usually planted in late May
or early June.
The traditional planting stick is still
used extensively. It is usually made
from the stalk of salt brush two to three
feet in length and sharpened to a
wedge-shaped point at one end. Evidence
of the planting stick in the Southwest
has been found placing it as far
back as 300 to 400 B.C. and it is likely
that it is as old as domesticated maize
itself. In some cases, today, wood planting
sticks are being replaced by short
lengths of pipe or metal rod, flattened
to a point at one end.
Considering the method used, the
Hopi farmer plants his corn with
remarkable speed. The crop is usually
planted in rows, each about four paces
apart. First a thin layer of soil is
removed, either by hand or hoe, leaving
a shallow indentation. Then, with the
aid of the planting stick, a small hole is
dug in the ground, usually to the depth
of eight inches or more, until moist sand
is found. When the hole is at the desired
depth, the soil at the bottom is loosened
with a few last strokes of the stick, and
a handful of kernels, usually eight to
twelve, is placed in the bottom of the
hole. The moist -soil removed from the
hole then is replaced directly on the
kernels and the hole is filled with the
remaining soil.
Two key factors in a successful planting
are surrounding the seed with moist
soil and sufficiently warm temperatures,
both of which are necessary for
germination.
Planting is done by the men and boys
of the clan. Quite often, Hopi men will
farm several fields alone or with the
help of one or two boys. Occasionally,
planting parties made up of groups of
farmers, families and neighbors will
assist one another in planting larger
fields. continued page 14
11
(Far left) Norma Ami grinds corn for piki, a
paper-thin bread.
(Left) Polik Mana Kachina (Butterfly Maiden),
carved by Alvin James Makya. This Kachina
occasionally grinds corn at puppet dances
during Kiva ceremonies.
(Below) Vivian Mumzewa demonstrates the
making of piki bread, spreading the creamy
batter on the heated stone with a quick swipe
of her hand, and just as quickly forming the
paper-thin bread into an 8" roll before it cools
crisp and sweet.
Oh, Mother of Man
Oh, Sun Father
Oh, Corn Mother
Thank you for your gifts.
The understanding of color
The understanding of music
The understanding of clouds
The understanding of work.
It is then we teach our children
Is is then we acquire laughter
It is then we acquire a smile
And the soul is healed.
Thank you for this
understanding
Oh, Mother of Man
Oh, Sun Father
Oh, Corn Mother.
Excerpt from 'The Meaning of Corn' - as
told by Charles Loloma and interpreted by Jim
McGrath. Hotevil/a, Arizona. August 26, 1977.
14
CORN continued from page 10
Occasionally a corn planting dance is
performed by the kachinas. Following
this, they proceed to the fields to plant
corn. The planting usually concludes
about noon when the kachinas return
to the village to dance until sundown.
When planting is finished, a feast is
given for all who took part in the day's
work. The supper table is plentifully
stocked with a large variety of food
including fresh baked bread, piki, fry
bread, mutton or beef stew, hominy,
beans, pies, cakes, coffee - and more.
Frequently, a bowl of water is placed
with each table setting. Each person
sprinkles a liberal amount of sweet corn
meal in the water which then serves
as a beverage.
At this point, the Hopi farmer's work
has actually just begun; for nature challenges
his skill with a number of
obstacles, any of which can easily
destroy an entire crop: the moisture
robbing winds can be a constant threat
to the small shoots as well as the mature
ears of corn; worms, kangaroo rats and
gophers often attack the plant roots
from below; rabbits and prairie dogs
may nibble away at the top, while
armies of ants tackle the entire corn
stalk - even the seemingly immortal
weeds may appear once again. And
then, there is the rain ... either not
enough or a cloudburst which can wash
away an entire field of young corn.
The Hopi farmer deals with these
problems in two ways. He utilizes his
skills and ingenuity as a farmer, taking
advantage of his own past experiences,
plus those of his forefathers. And, of
equal importance, he relies upon his
religion. The entire growing cycle, from
planting to harvest, is paralleled with
a series of ceremonies and prayers.
"When the planting is over, you go
pray for rain - every day. That's why
we perform all kinds of ceremonies.
Even the social dances ... the ladies
are praying for things that benefit
our children, especially the rain. The
rain is the main thing. Rain can help
our life. When our crops are up, we
feed our families and feed our
people." - Hopi farmer.
As it is throughout the world, and for
countless ages of the past, the harvest
is a time of thanksgiving .. . and more
hard work. The Hopi harvest is quite
often a family affair, where young and
old alike help. Other times a farmer
may gather his crop alone over a period
of days or even weeks, as time allows.
The ears of corn may be picked sheath
and all to be dried or husked in the field
before they are taken home. Or as happens
occasionally, the entire corn stalk
will be picked for use in ceremonies,
such as when Niman kachinas carry
green corn stalks into the village plaza
as ritualized gifts for family and
friends.
After the harvest, colorful Hopi corn
may be seen drying on roof-tops and
tables or hanging from rafters throughout
the villages - a truly beautiful sight
and no doubt, a rewarding one to those
who have worked so hard. Again, there
is feasting.
When the drying period is over the
kernels are shucked by the women and
the healthiest corn is set aside for future
plantings.
"When it gets dry, we go to the field
and husk them (the corn). And then
take th em home and dry them some
more. Th en you have to pick out the
good ones - see - then you can shell
them and then you can plant it ( corn
kernels) next year!" - Hopi farmer.
Other kernels are ground into meal
'Sacred Prayer' by Honvantewa (Terrance Talaswaima). Courtesy Mr. & Mrs. Robert Frahm.
for ceremonial use and for bread, cakes,
mush and piki (a wafer-thin bread made
of a batter of blue corn meal and ashes).
"The sacred ceremonial corn meal,
we grind it, the white corn. This, the
blue corn, they grind it and make
piki - the piki bread out of it."
- Hopi farmer.
" Early in the morning my mother
used to grind the corn with her stones
and make the corn meal out of it.
And make the blue marbles, you
know, Povolpiki . .. . It's good. But
now we haven't got much Hopi food.
Now we eat like the bahana . .. eggs,
potatoes, food from cans. My grandma,
she used to have peaches, dried
peaches to boil . .. and with the white
corn meal she would make pikami
... but no coffee." - Hopi farmer.
In ceremonies, the use of corn and
corn symbols seem endless. Corn meal
is a symbol of fertility and friendship,
and also serves as ceremonial body
make-up. Corn stalks are used during
kachina ceremonies and corn husks in
the making of pahos and parts of
various ceremonial dress. An ear of corn
will be placed with a newborn baby,
symbolizing a spiritual relationship
with the earth, and one is given to each
child at the time of initiation. Ears of
corn also are carried by kachina dancers
and are used extensively in a host of
other ceremonies. Corn pollen, itself,
is used symbolically in christenings, and
young Hopi girls grind corn for four
days as part of their initiation into
womanhood. Symbols of corn appear
on garments, head. pieces and wands
used during ceremonies and on altars.
While some of its meaning has been
lost in time, additional knowledge con- ,
cerning the ceremonial uses of corn is
closely guarded within the confines of
the pueblo kivas and by those entrusted
with the perpetuation of religious life.
Thus the complete story of Hopi corn
- and its special value to other Indian
tribes, as well - will probably never
be revealed.
"This old man at the rock under the
fir trees would sprinkle corn meal on
the trees and th ey would grow about
an inch or two, and by the time the
kachinas got there, they were quite
tall trees . . .. " - Truth of a Hopi.
Nurtured over the centuries into a
nourishing and beautifully variegated
maize, corn has had a strong influence
on the people of this land. Perhaps no
other single item has played so important
a role in the development of a
culture, a role that continues to be
important even today.
Why does the Hopi farmer in this
20th century, continue to plant his corn
in sandy washes, on hills and plains
with the aid of a planting stick? Why
does he continue to struggle with the
obstacles that make his task so great?
"With the corn, we pray from it for
rain. We pray from it for all life . .. all
that is living .. . pray for the benefit of
the people, all people, not just Hopi."
- Hopi farmer. f1
15
San Xavier facade.
David Muench
Article by Fr. Kieran McCarty
Photographs by Dr. John P. Schaefer
Contractor's name - sacri sty door.
18
Cascading down from the soaring Santa Ritas the waters flow
north under the sands of the Santa Cruz to join the myriad
arroyos which have slowly worked their way northeastward for
a thousand generations from the distant Sierrita del Oro. At Bae,
at last, the waters surface and meet . . . and time stands still.
Two hundred years ago there appeared at Bae a church of
unearthly beauty. framed in the warm browns of the surrounding
hills and the violet shadows of distant mountains, it rises today
brilliantly white from the desert floor of dusty green mesquite
and sage. Its massive dome and solidly ascending towers, its
graceful spires and rounded parapets, etched against the vivid
blue of heaven, create a skyline of pastel enchantment.
This is the story of that church, popularly known as " the
white dove of the desert," Mission San Xavier del Bae.
Eusebio Francisco Kino had impressive material plans for his
northernmost mission at Bae. Although nothing visible remains
of his bare beginnings nearly 300 years ago, his enduring inspiration
is reflected mystically in every curve and corner of the great
church that stands here today. The missions of Pimeria Alta were
his idea. He was founder and pioneer of all and every one of them.
He dreamed of Bae in particular as center and core of a greater
mission system, which he never lived to realize, reaching to the
San Pedro, Gila, and Colorado rivers . Thus he reserved for Bac's
celestial patronage the central figure of his own private devotion,
San Francisco Xavier, his confrere and predecessor in the general
mission effort of the Society of Jesus. In the ensuing and still
ongoing mission work of Pimeria Alta, Kino will never be surpassed
either for his dreams or his accomplishment, and Mission
San Francisco Xavier del Bae has indeed become, as he desired,
the jewel and the queen of all the desert missions.
Kino began an ambitious and enthusiastic building program
at Bae in 1700. By this time he was confident that he could soon
make his permanent residence here and begin branching out to
the San Pedro, the Gila, and the Colorado. five short days, however,
after starting to dig foundations, he had to return south to
his base camp at Mission Dolores del C6sari. Later he wrote :
"The missionary never came to replace me at Dolores, and I was
never able to move permanently to Bae." It may be presumed that
the building operation, hardly even begun, was discontinued.
Kino never mentioned it again although he continued to visit at
Bae. It was but one of many disappointments that made his life
all the more heroic. In 1768 Kino's Jesuit successors in Pimeria
Alta were replaced by the Sons of St. Francis of Assisi, who built
in its entirety the church which stands at San Xavier today.
The massive structure of the present edifice at Bae is due to
the amazing endurance of Juan Bautista Velderrain, Franciscan
missionary for His Majesty, who came to San Xavier in 1776 and
died here in 1790 ;,spitting blood," worn out by his persistent
building efforts. for Velderrain was indeed a builder. Two years
before coming up to Bae, he was engaged in constructing another
mission church at the Lower Pima village of Suaqui.
What was the day to day routine in building a desert church,
such as that of San Xavier del Bae? In his report from Suaqui,
Velderrain reveals something of this and gives us incidental
insight into the work capability of the Piman nation, as well as
his own physical participation in mission church construction.
May 25, 1774.
Two days ago I received a contract for the building of the church.
The Lower Pimas here at Suaqui will do the manual labor, but
th ey will obviously not be able to tend th eir crops during the
building operation . W e wish to thank you th erefore for the
twenty bushels of wheat you granted us through th e good graces
of Bernabe Angel de Toledo. This wheat has already arriv ed.
Miss ion facade.
19
20
Enough wood to roof two rooms of the mission residence has also
arrived and six yoke of oxen have come in from Pitic.
An oven to fire the tile and brick is almost finished. Over 3000
adobes are already made and ready for the church construction.
The old roof has been removed from the mission residence, which
has been cleaned up, and the broken beams have been taken
down.
All of this has been accomplished in the eleven days we have
been working on the project. These Pimas work not like Indians,
nor even lilce the Spanish settlers of this land, but more like the
workers of our own homeland. If I had only 300 bushels of wheat
or corn in my possession at this very moment to provide them, we
could dedicate this church by February of next year.
On May 12 I wrote to you requesting authority to requisition a
large cooking cauldron or two medium-sized pozole pots from
Guaymas. I arn still waiting for that authorization. Meanwhile
I continue to labor for God and king, at times playing the role
of governor of this village, at times constable, at times questmaster,
at times quartermaster, at times master builder, at times
common laborer. I have to be everywhere at once and with everyone.
I almost forget that I am a priest except when I am saying
Mass or teaching Christian doctrine - and the youth here are
making good progress in it - or when I am saying the Divine
Office. In fact, during the one day I was not able to be at their
side, my workers accomplished little. I also have to spend considerable
sums on cigarettes and raw sugar for my workers,
although the two contractors have promised that upon their
arrival they will spare no expense to complete this project.
Trans lated from a report of Velderrain to Pedro Corbalan, fiscal
intendant of Spanish Sonora, on folios 94-96 of volume 247,
Provincias Internas section, Archivo General de la Nacion, Mexico
City.
When Velderrain died at Bae in 1790, father Juan Bautista
Llorens came up from Mission San Antonio de Oquitoa to replace
him. It was he who saw the church project to its conclusion in
1797. This date of completion is attested to by the following
document and by the date and name of the person presumed to
be the master builder burned into the sacristy door.
The exact year when Velderrain started construction is more
elusive. A currently popular oral tradition stemming from an
unidentified informant in the latter part of the last century, testifying
from mere hearsay a century after the church was built,
places it in 1784. A more reliable source, the superior of all of
the Franciscan missions of Sonora, writing in mid-1788, assures
us that the overall structure was finished at his time of writing.
Considering the massiveness of this structure and the added complication
of working not with simple adobe, but with kilned brick
Iron handle on mesquite door, front.
(Above) Dome detail.
(Left) Bell tower.
(Far left) Towers at noon.
21
Bapti stry.
22
and lime mortar; a starting date of 1780 or even before is not
unlikely. Velderrain came to Bae in 1776 and his confreres at
San Ignacio, Tubutama, and Pitiguito were building churches in
the general style of San Xavier well before 1784. Why should
Velderrain, a master builder, wait until last? A construction duration
of some twenty years for the great church at Bae seems
entirely plausible, considering the time, the place, and a sophistication
of style far surpassing frontier missions from the Pacific
to the Gulf of Mexico.
Thus Llorens oversaw in the main the intricate work of the
finishers, the sculptors and fine artists. Who and how many were
they? Art historians assure us that they could not have been
ordinary frontiersmen. Was an entire guild from central Mexico
involved? A summary census of Bae in 1795 records the presence
of twenty-nine Spaniards. Although some exceptions were being
made at this late date, their residence at an Indian mission was
against all the laws of the Indies, unless a good part of their
number was here temporarily for the purpose of finishing the
church.
The occasion for the following document was the periodic
inspection or visitation made by the president of Pimeria Alta
and required by Franciscan law. Father Francisco Iturralde, whose
home mission was Tubutama, was presidente in 1797. Like all
of the rest of us, Iturralde was intrigued by the unfinished tower:,
"All that is really needed to finish it is a small dome and lantern
at the top." If Iturralde at his enviably close time range was
mystified, Bac's greatest secret is safe forever. Written in the
same year the church was completed, his report describes San
Xavier essentially as it stands today. The basic work of Velderrain
and his industrious Pimas has withstood the violence of man and
nature for nearly two centuries.
September 23, 1797
On this day I, Friar Francisco Iturralde, preacher apostolic and
president of the missions of Pimeria Alta, visited this village and
mission of San Francisco Xavier del Bae. Friar Juan Bautista
Llorens and Friar Bartolome Socies reside here as its missionaries.
After the celebration of the Holy Sacrifice of the Mass, attended
by most of the village, the Indians recited their prayers and catechism
in the Castilian language, and then their catechism in the
Pima language. My conscience is satisfied that they know how
to pray.
After the prayers I gave them a short talk in their own language.
I told them the purpose of my visit and urged them to reveal to
me without fear any complaints they had against their missionaries
- without lying, of course - and I assured them that I would
not only gladly hear them out but that I could even remedy the
situation. I encouraged them to obey the laws of God and the
precepts of our holy church, to work faithfully and comport themselves
as cultured people, clean and neatly dressed, and to obey
their native officials and the fathers.
Then I inspected the baptistry, the holy oils, and the sacramental
record books. I found everything in accord with the Roman
Ritual. According to the records, since a visitation two years ago
by Friar Diego Bringas, there have been nine baptisms from the
village. Six non-Christians from the desert, five adults and one
child, have been baptized. There were ten marriages and seventeen
burials. The present population of the village is 116 people:
thirty-five married couples, six widowers and widows'. and forty
unmarried people of both sexes and all ages. There zs also one
non-Christian woman under instruction.
I visited the sacristy, which is a separate room, and the church.
They are excellent. The entire construction is kilned brick and
Courtyard.
lime mortar with a vaulted roof. The church is quite spacious.
There are five altars in all: a main altar in the sanctuary and four
in the transept. Behind each altar is a retable of fired brick,
figured with lime plaster. The sanctuary retable is both painted
and gilded: the four retables in the transept are painted only.
All of the retables are adorned with statues of the saints. There
are thirty-two statues in all, including four in the four pillars
of the main body of the church . All of these statues are finely
done.
The walls of the church, the eight-sided drum supporting the
main dome, the inside of the dome itself, and also the choir loft
are embellished with fine paintings of figures and mysteries of
the Faith. Although these paintings are done on the wall itself,
they convey an illusion of being framed canvases. There are four
windows in the main body of the church, all complete with their
glass window panes, and four more up in the octagonal drum
supporting the main dome.
23
Domes through arch.
24
The church has two towers. One tower remains unfinished -
all that is really needed to finish it is a small dome and lantern
at the top.
The floor of the church is of highly polished lime plaster. The
baptistry, replete with a door and a fine baptismal font, is in
the ground-floor room of the finished tower.
The space immediately in front of the mission is well enclosed
with solid walls of kilned brick and lime plaster and a fine gate.
Another gate and the same type of walls enclose a new cemetery
with its small chapel, also of fired brick and lime plaster.
All of the construction I have described is as new as today. The
project was begun by Friar Juan Bautista Velderrain, now
deceased, and finished in great part by Father Juan Bautista
Llorens.
The Mass vestments barely fill out the number required by the
different seasons of the church year. They are old and frayed
but, like the chalice and other sacred vessels, they are carefully
kept.
South view of the miss ion.
Station of the Cross, cemetery.
25
26
There is a Mass and sermon for all on all Sundays and Holy Days,
and, as prescribed, the Mass is offered for the intentions of the
congregation on these days. The holy sacraments are administered
to the sick and to the well whenever requested. One of the fathers
is always present at the recitation of the catechism, and I have
received no complaints against these missionaries. I examined
the financial books also, and to the best of my knowledge an exact
account is being kept. In short, the entire operation here conforms
with the approved method and directives of the college.
FRIAR FRANCISCO ITURRALDE (rubric)
Translated from the original report on folios 80 to 82 of the
second volume of MEXICI MISS/ONES in section 9 of the Franciscan
General Archives, Rome, Italy.
Authorities acclaim San Xavier the finest example of mission
architecture in the United States.
The use of brick throughout the supports for the dome and
vaults are Byzantine in origin, the high arches and flat vaults
are Moorish and the whimsical treatment of vaults and windows
as decorative elements as well as the wealth of arabesques stem
from the style of the Moor. The simulated patterned marble
effects, the glitter of gold, and the frescoes, however, savor of
the lavish display and royal splendor of Byzantium. All these
diverse elements are fused into a design so closely unified and
delightfully harmonious that it is almost impossible to point
out where one style begins and another ends.
Entry to the church, which is in the form of a Latin cross, is
through weathered doors of mesquite. Directly above is the choir
loft and at the opposite end, the main altar.
Between two semi-circular railings of mesquite at the far end
of the church is the sanctuary and main altar. (The free-standing
altar beneath the dome was added only in 1968 to conform with
recent liturgical law.) On either side of the sanctuary gate is the
fantastic figure of a crouched lion. These curious beasts, bearing
only a token resemblance to nature, have ears set high on the
forehead and the lion on the right side has human hands instead
of paws. Unique life-sized angels are suspended from the pilasters
flanking the sanctuary. Heavy canvas dipped in paint was used to
form their flowing draperies, and legend tells us that the twin
daughters of the artist served as his models.
The retable, or highly ornamental background behind the
main altar, is built entirely of burned brick covered with a profusion
of gilded and painted embellishments in plaster. The whole
composition is divided into three tiers supported by eight fanciful
columns, Churrigueresque in style. Surmounting the retable is
the bust of God the Father. Smaller busts set in medallions are
Cain and Abel representing the good and the bad from the beginning
of time. Below these in the central niche is the figure of the
Immaculate Conception, with the statue of St. Peter on her right
and that of St. Paul on her left. Two other apostles stand directly
below them. Sumptuously clothed in rich robes of satin and
velvet, the statue of St. Francis Xavier occupies as principal patron
the place of honor directly above the main altar.
(Above) San Xavier.
(Left) Ceiling and arches:
(Far left above) Interior seen from altar.
(Far left) Wall statuary.
27
As if in echo to St. Peter and St. Paul and two more apostles
below them in the retable, statues of the other apostles grace the
ground floor level of the pilasters beneath the dome and down
the nave of the church. As a Franciscan tribute to the pioneers
of Pimeria Alta, to the number of the apostles was added the
founder of the Jesuit Order, St. Ignatius of Loyola. A vacant
niche behind the pulpit was a reminder of Judas, the traitor.
Time has long since subdued the dazzling colors of the main
retable and muted the gilt to a mellow greenish sienna. The
symphony of riotous arabesques still superbly dominates all else,
nonetheless, and establishes a focal point of fortissimo intensity.
Contributing to an even more breathtaking effect is its position,
veiled in a shadow of mystery behind the curtain of golden light
that falls from the star windows set high in the drum of the dome.
For general artistic merit this has been unanimously acclaimed
the finest example of a Spanish retable north of the great colonial
cities of Mexico. For its rare Moorish style brick-and-plaster
construction, it is perhaps even more unique.
To the west of the church is the old cemetery, occupying an
enclosed area. The only monument for the many unmarked graves
is the mortuary chapel where the deceased reposed until the
Requiem service. The chapel is valuted with a dome and is further
enhanced by a lantern and a small storied gable pierced for three
bells. The marble slab set in the floor in front of the altar marks
the place where two of the Spanish padres who once served the
desert peoples have been buried in the shadows of the mission
walls that rose from this arid dusty land so long ago. The Latin
inscription reads:
"Here rest from their labors two renowned missionaries
who departed this life in the midst of an arduous
and very successful career in this region:
Reverend Father Baltazar Carrillo, O.F.M.
October 9, 1795.
Reverend Father Narciso Guiterrez, O.F.M.
December 21, 1821.
Their bodies, transferred from the old
Franciscan Mission at Tumacacori, Arizona,
were interred in this Mission of
San Francisco Xavier
February 21 , 1935."
Mission San Xavier del Bae is no mere symbol of a great ideal
long since ushered out by the passing years and the fevered
onrush of all we call modern. Upon their return near the beginning
of this century, the Franciscans made the Mission a starting
point from which to continue the work of their Spanish confreres
of long ago. In the vast network of Papago villages to the west
of San Xavier they have already built fifty-six churches and
chapels, ongoing milestones on that long, long desert road seen
in vision nearly 300 years ago by Eusebio Francisco Kino. f1
28
San Jose.
The Blessed Virgin.
St. Francis of Assisi. West altar.
29
View from behind courtya rd .
30
Text and photos of Mission San Xavier del Bae have
been extracted from Bae, Where the Waters Gather,
by Fr. Kieran McCarty and Dr. John P. Schaefer.
Copies of this 56-page soft cover book are available
from : Center For Creative Photography, University of
Arizona, 843 E. University Blvd ., Tucson, Az. 85719.
Cost is $3, plus 50¢ to cover postage and handling.
Net proceeds from the sale of this book will be used
to further the restoration of the mission and to aid
the development of the U.ofA. 's photography center.
San Xavier at dusk.
- .. ~,. _\_. . --'t-~
... ~ -,. ... ~..--",,~p.~·'.'I'· ...... ..., ,.,·~:i "::
31
Trekking
the
Mysterious
Paria
by Bob Whitaker
(Above) Tumbleweed amidst a fantasy of
wind and water-carved sandstone, in
mysterious Par ia Canyon .
Dick Arentz
(Right) In the 'Narrows' a five-mi le region
of constricted sandstone, at the bottom of
Paria Canyon .
Jerry Sieve
32
Slicing through the lonely plateau
region on the eastern edge of the Arizona
Strip country - a land once ruled
by Paiute Indians and nomadic Navajos
- is a scenic wonder that has until
recently remained surprisingly aloof to
exploration and public interest.
Paria Canyon today ranks high on
the list of favored backpack adventures,
but it's not a trip for novices. The danger
of flash floods is real and the
pos sibility of having an injury many
miles from civilization calls for
advanced knowledge in wilderness
travel.
Recognition for Paria Canyon came
late in the 1960s when a small expedition,
sponsored by the Bureau of Land
Management, which included specialis
ts in wilderness, archaeology, wildlife
plu s members of the Sierra Club, hiked
through this untamed gorge as a preliminary
step leading to its designation
as a BLM Primitive · Area. Until that
time, few Arizonans had ever heard the
name Paria, which in the native tongue
of the Paiutes means " dirty water."
Although literature did mention the
river, there were few, if any, references
to the colorful 1100-foot-deep canyon,
with its unique wind- and water-carved
rock formations, natural amphi theaters
and arches.
Paria was a mystery - locked up
between spectacular red-rock canyon
walls. It would take this backpacking
sojourn to awaken the state to one of
its most gorgeous attractions.
Actuall y, Paria River begins its
lonely journey in the high country of
southern Utah, emergi ng from springs
near Br yce Canyon. It spills over rocky
ledges and twists throu gh g narled-oak
canyons, gaining momentum until
finall y, easing back on the throttle , the
river wanders throu g h open Utah
,----------------------------------------
A
N
rangelands before crossing Highway 89
between Page and St. George, and
entering Arizona .
At this point, there is little to indicate
the beauty that lies ahead. The highway
bridge crosses a mere indentation in the
flat, shrubless landscape, with a murky
stream sluggishly pushing its silt load
down to eventual confluence with the
Colorado River.
The most scenic portion of the Primitive
Area (27,635 acres) is in Arizona,
but Utah also has designated a
portion of the Paria and one of its tributaries
for similar protection. The most
outstanding portions in Utah are the
"Narrows," a five mile canyon that
constricts to only 12 feet wide in spots,
with sheer smooth-rock walls rising
upwards to 500 feet, plus Buckskin
Gulch, which is one of the river's
tributary canyons.
Historians tell us the Paria hasn't
always been a dark secret. Actually, the
first known visits by man came over
700 years ago when ancient Pueblo
tribes used the canyon as a "freeway"
route connecting fertile lands in southern
Utah with what now is northern
Arizona. Petroglyph paintings left on
rock walls by these early tribes indicate
they lived well, raising crops and utilizing
plentiful numbers of bighorn sheep,
34
To
PARIA"'C:I~°'
CANYON
PRIMITIVE
AREA
NORTH RIM
GRAND CANYON
mule deer and small game species found
in the canyon and surrounding
plateaus .
The first white men to make mention
of the Paria River was the DominguezEscalante
Expedition in 1776, which
camped at the mouth of the river near
what now is Lees Ferry. After a cold
night, they hiked some distance
upstream to where the canyon begins
to form, then climbed the lower cliffs
to angle back to the Colorado.
Mormon missionary Jacob Hamblin
first attempted crossing the Colorado
River on a raft at this spot in 1860.
His group failed in the river's fast
waters, but succeeded in a second
attempt in 1864. John Wesley Powell
also referred to "Paria Creek" in the
diary of his historic run down the Colorado
in 1869.
Later, on orders from the Mormon
church, John D. Lee established the
first ferry service around 1871. The
location where hundreds of early Mormon
and other pioneers crossed the
roaring torrent to colonize Arizona still
bears his name.
Fortunately, those hiking through the
canyon today will see the Paria just as
we saw it, with all its undisturbed
beauty. The only additions are a few
small signs to help hikers find water
To
FLAGSTAFF
seeps and other significant landmarks.
The hike itself takes one through
eons of geologic time, as expressed in
the varied rock strata. You begin by
passing through the massive Navajo
formation, which is a 1700-foot-thick
layer of solidified sand. The rapidlydeepening
canyon then enters the
Kayenta formation and eventually
drops into the even earlier Moenave
formation. After five miles of descent,
the river passes through the Chinle geologic
era that was laid down when the
area was tropical. Evidence can still be
found here of prehistoric animals and
petrified wood. At the lower end of this
wilderness adventure, you can look up
along the towering walls and easily distinguish
the various layers that were
structured over millions of years and
then gradually eaten away by a relent-:less
river.
Rather than destroy, the erosion process
has left modern man with the
beauty of an outstanding primitive area.
The Paria is not a trip for inexperienced
hikers. This is a long journey
that demands self-sufficiency and a
healthy condition. Once you start the
hike you're committed. There are no
side exits along the way. You either go
all the way through or turn around and
return the way you came. Good canvas
boots with strong arch supports are
required because the trip requires wading
back and forth through the shallow
river.
There are two principal warnings to
heed: carry two quarts of drinking
water to tide you over between occasional
long distances from one spring to
another ; and, make sure you've checked
with BLM in advance as to weather conditions
before entering the dangerously
constrictive Narrows.
The Narrows begin four miles below
the visitor check-in station at White
House ruins, three miles south of U.S.
89. Because of the need to check for last
minute possible flash flood danger, all
hikes should begin at this upper end of
the Primitive Area rather than from
Lees Ferry. Otherwise, a storm could
develop before you reach the Narrows
and produce an extremely dangerous
flash flood . (Summer months, particularly
July and August, are the most
dangerous .) To be sure, check on
weather and runoff conditions in
advance at the BLM office in either
Kanab or St. George, Utah.
Now let's sling our packs and go tor
a backpacking sojourn into the wonderland
of the Paria ... a step by step
odyssey into yesterday.
The site of an old homestead, whose
owners moved long ago to more productive
climes, serves as the jump-off
spot for our trip. BLM has a parking
area here and registration station. A
ranger is on duty during the busiest
season to sign-in hikers and pi;ovide
information. (Note : a permit is required
to enter, and may be obtained at no
cost from BLM.)
After final preparations, the hike
begins down a slowly-descending wash
being eroded out by the Paria River.
About a mile below the White House
ruins, you enter the boundary of the
Primitive Area, with Paria wash gradally
forming canyon walls. A series of
unique "windows" eroded out of the
embankment by water and time will
attract your attention and probably be
the first reason for picture taking.
These eroded sandstone formations
flank the stream for several hundred
yards, as you slog along the soft stream
bank.
By noon of the first day (assuming
you started the hike in early morning),
you'll probably be munching on smoked
sausage and cheese for lunch near the
entrance to the Narrows.
The river enters the Narrows almost
before you realize it. Here, the canyon
varies from 12 to 20 feet in width.
Foreboding slick-rock walls rise straight
continued page 38
(Left) Through eons of geological time the
Paria River has cut a rocky passage of
extraordinary proportions.
David Claassen
(Below) The sandstone wonderland of the
Paria - a wilderness undisturbed .
David Claassen
35
(Left) Ancient Indian petroglyphs speak a
forgotten tongue to passersby in the
Paria River region.
Bob Whitaker
(Below) Paria's waters play a polyphonic
composition to cool a·warm afternoon.
Jerry Sieve
(Far left) Mud flats near Buckskin Gulch,
a 12-mile section of Paria Canyon with an
average width of less than 15 feet.
Jerry Sieve
PARIA continued from page 35
up and y ou suddenly realize why it was
neces s ar y to check weather conditions
beforehand. A flash flood here would
sho w lit tle mercy because there are few
s pots w here you could climb to safety.
The Narrows continue for five miles,
wi th your feet staying wet all the way.
Sliderock Arch is an interesting phenomenon
within the Narrows . It was
created by an undercutting torrent of
water which caused a huge piece of the
canyon wall to slide into the river. The
canyon continues to narrow below this
point until you are gripped by a claustrophobic
feeling that warns you not
to take a deep breath because if you did
y ou ' d rub the sides of the canyon.
About midway through the Narrows
you'll see a sandy bog and the mouth of
Buckskin Gulch. Tight as Paria Narrows
has become, Buckskin Gulch is
even tighter. There are spots in the
gulch where y ou have to turn sideways
to squeeze through the narrow confines,
where sunlight has never penetrated.
1 o hike down the gulch be prepared to
use ropes to get over two major rock
jams .
Adventurous backpackers occasionally
make a shortened two-or threeday
swing by hiking down the 12-mile
Buckskin Gulch from a point four miles
south of U .S. 89 on Houserock Valley
Road and then turn back up the Paria
to White House Ruins. A good campsite
is located in B\lckskin Gulch just above
its confluence with the Paria River,
whe:i:e it's possible to hike out to the
upper benchlands should a sudden
storm develop.
As you emerge from the Narrows in
Paria Canyon, a sandy bench provides
a splendid campsite . . . the first in
several miles, and a small seep opposite
the campsite provides an opportunity
to fill canteens with fresh spring water.
After this the river twists and turns
alternately through open areas, with
excellent grass benches for camping,
and restrictive defiles marked by
natural amphitheaters where nature has
performed some of her most artistic
sculptural work.
Songbirds herald your arrival around
each bend in the river, but otherwise
there ·is little sign of wildlife. A few
deer live in some of the boxed-up side
cany ons, and tracks of raccoon, fo x
38
and bobc a t m a y be evident in the
soft s a nd. Be aver once inhabited the
canyon, too, but they have long since
vani shed.
White - th r o a ted swifts along with
cliff swallow s weave aerial patterns at
dusk as they sear ch for insects , while
high above a golden eagle may be surv
eying the t w o-legged intruders entering
h is priv ate domain.
Indian petrogly phs indicate that bighorn
sheep once climbed the rocky cliffs
flanking the Paria River. As for streamlife
today, the only species able to survive
in the frequently turbid water are
woundfin minnow s and speckled dace.
Movi n g on do w nstream, Paria Canyon
explodes into a kaleidoscope of
color tha t changes as the sun moves
across the sk y. Only an occasional contrail
of a p assing jet indicates that you
are in the 20th century and not following
on the heels of a Ute warrior of a
long a go yesterday.
If you make your trip during the
period of full moon the canyon walls
around your campsite will be bathed in
refle c tive light and it won't be hard to
im a gine the s hadowy forms of Indians
mo vi n g along the walls, with bows and
(Rig ht) The Pa ri a ma ke s curio us san d
patt e rns alon g it s route to the Colo rad o.
Jerry Sieve
(Below) War m sun and a ge ntly flow in g
river prov id e mom ents fo r quiet reflection.
Bob Whitaker
arrows ready for action should a deer
amble by.
At the 10-mile point of the hike,
you'll encounter a side canyon (Rincon)
that turns north and back to the river
again. This once was the main channel,
but over millions of years the river cut
out a straighter course, leaving the old
channel as a reminder of its fickle
moods. A mile below the Rincon is
another excellent spring that generally
pours forth a heady flow of water.
At the 11-mile mark, you may want
to pause for a moment along a short
side canyon coming in from the right .
Spring waters have created a pocket of
cattails and watercress here that makes
a delightful spot for lunch or a relaxing
break.
You'll pass more wind and watercarved
amphitheaters as you slog on -
switching from one side of the stream
to the other . Actually, wading the
Paria' s waters is refreshing to tired legs.
But don't try to make more than six or
seven miles a day if you want to derive
maximum pleasure from your hike, and
still have time available to explore the
many intriguing side canyons where
shards and Indian petroglyphs are still
in evidence.
One of the best grass terraces for
camping is found two miles below this
spring-fed side canyon, after which
there is a rough half-mile stretch of
jumbled rocks and boulders making
travel more difficult.
The remains of an ambitious attempt
by early Mormon pioneers to pipe water
from the Paria to the very top of the
canyon can be seen on the left side of
the river at the 15 1/2 -mile point. You
can examine the ancient pump motor
itself and even see some of the original
pipe still dangling from the 1000-foot
precipice. Whether this engineering
marvel at Judd Hollow ever provided
water for cattle atop the dry Paria
Plateau is a matter for speculation.
Wrather Canyon is the most interesting
side excursion of the entire Paria
trip. Here, at the 18.5 mile marker a
natural stream flows crystal clear out
of a boxed-up pocket in the canyon less
than a mile back from the river. There
are a few deer in Wrather Canyon, but
the main attraction is a giant 200-foot
high natural arch.
Wrather Arch , a massive Navaj o sandstone
formation, is disc losed af te r a short tri p
up one of Pa ria' s side can yons .
Jerry Sieve
The arch is tucked back in against
the wall of the canyon and almost hidden
from view from above. Actually, it
wasn't recorded until the 1950s when a
local airplane pilot accidentally spotted
the arch on a flight up theParia .
Not far below Wrather Canyon you
can shower beneath a cool spring gushing
over a rocky mantle. Again, take
time out to see, feel an enjoy the natural
surroundings. From here, the canyon
walls begin melting back, leaving a
wider sandy floor that becomes heavily
boulder strewn.
" Bush Head" at the 24-mile point
is the last side canyon attraction before
the river breaks out into sandy flats
for the final few miles before meeting
the icy waters of the Colorado River
below Glen Canyon Dam. Bush Head
features lush green vegetation and several
deep pools at the upper end which
are reachable on an undeveloped trail.
It 's a good idea to freshen up here
before tackling the final hot miles
across the open flats.
You'll know you are within five miles
of Lees Ferry when you reach an abandoned
homestead that sits weathering
away near the river.
The Paria has carved out a spectacular
and beautiful monument to itself in
its wild run from White House Ruins
to Lees Ferry. For the hiker, it will
prove an unforgettable experience, with
the canyon's changing colors indelibly
painted in memories.
Paria Canyon, along with Arizona's
Aravaipa Canyon, became the first two
primitive areas to be designated by the
Bureau of Land Management on the
430-million acres of public lands this
Federal agency manages in the West.
Now, new legislation - the Federal
Land Management and Policy Act of
1976 - calls for BLM for the first time
to review lands under their jurisdiction
for possible inclusion in the wilderness
system, thereby affording more lasting
protection.
Those who have sloughed through
the dark corridor of the Narrows,
watched the sun turn canyon walls into
a technicolor spectacular, explored
rocky amphitheaters and massive
Wrather Arch feel that wilderness
status for remarkable Paria Canyon is
a foregone conclusion.
40
(Left) An old pioneer log dwelling in the Paria Wilderness
slowly succumbs to the demands of the elements .
Allen Reed
(Below) At historical Lee 's Ferry, the muddy brown waters
of the Paria join the red waters of the Colorado.
Allen Reed
(Far left) Red Navajo sandstone high on the cliffs of
Bushhead Canyon complements the spring sky.
Jerry Sieve
CAUTION HIKERS!
A trip through Paria Canyon is for experienced backpackers only! The area is extremely
remote and the walking arduous. Much of the 40 miles will be in ankle-deep water, a
very tiring journey in itself, not to mention carrying a backpack filled with 4 to 6 day's
worth of supplies. A "no cost" pe~mit is required! And it is essential that one register at
the north entrance before entering Paria Canyon. The ranger there can confirm weather
reports and the likelihood of flash floods. Being caught in the "Narrows" at such a time
must be avoided at all costs. Water is available at intervals along the route, but springs
sometimes dwindle to seeps, and occasionally it may be necessary to take your water
from the river. Water purification tablets are a good, if not necessary, item to have along .
For complete information on Paria Canyon, including maps and additional hiking
information, contact : U.S. Bureau of Land Management, Arizona Strip District, 196 East
Tabernacle , P.O. Box 250, St. George, Utah 84770, Telephone (801) 673-3545.
44
1he 71{,nders of 7'lature in Arizona,
as captured in
Xen Q-oldman's dioramic art
by Larr,y Toschik, Wildlife Artist
Photographs by Jerry Jacka
Perfect in every deta il, a go l den crowne d ki nglet of A meri can
basswood pe rches on a plastic -coated p ine branch .
To prevent the world from stagnating and from mediocrity
becoming the norm, the Creator occasionally opens new
windows, letting in another kind of light to refresh our lives ...
awakening our sense of beauty.
Here, through the eyes , hand s and spirit of Ken Goldman, come capsules of
Nature held in a timeless suspension. This gifted young man extracts from
chunks of basswood, shimmering, timorous microseconds of moments in
the lives of birds . Taking these exquisite carvings, he places them into a
setting as harmonious as nature's own.
These dioramas (works of art in themselves) are composed of mold-made
stone s and vegetation; of polyform clay insects and fruits ; of plastic coated
and painted grasses and leaves ; and of incredibly realistic fabrications made
of special materials a nd epoxy. The finished piece is then mounted on a turntable
under plexiglass. His works, indeed, are unique reflections of Nature
and her subtle forces, to which we as spectators can respond and be refreshed.
Dedicated to excellence , Goldman does superb taxidermy and exhibit preparation
work for the San Diego Museum of Natural His tory, and Arizona
is his part-time home and n a ture studio.
A Ste ll ar jay , Cyanocitta stellar, is carved fr o m basswood;
its leg s sc u lptured fro m epoxy , clay and wire. 45
Clockwise from above: Ken Goldman diorama
creations include a broad-tailed hummingbird;
hummingbird close up, from detail at left; and
a mockingbird from the collection of Carl
Simmons. All birds are hand-carved from
American basswood with dioramas composed
of newspaper, styrofoam, clay and
plastic-coated leaves.
46
Clockwise from left: Incredibly detailed
dioramas by Ken Goldman: Arizona crested
flycatcher (Wied's); pincushion cactus, from
detail above, is cast in wax with actual needles
replaced; close-up detail of flycatcher creation
shown above, sculpted from basswood and
perched on plaster rocks. The entire assembly
required a total of 90 hours to complete.
Photographs by
Jerry Jacka
47
by Donald M. Powell
The Magnificent West: Grand Canyon.
By Milton Goldstein. Doubl eday, Gard
en City, N .Y., 1977. 201 pp . $24.95 .
It has been done before and it probably
will be done again. Goldwater did
it, Eliot Porter did it, the Sierra Club did
it. And now here is another outsize,
beautiful, and expensive, photograph
album in living color about the Grand
Canyon and the Colorado River which
cuts through it. The coffee table begins
to groan.
Yet, the photographs ar e beautiful,
beautifully reproduced and skillfully
organized in a sequence from dawn to
dusk, taken from both rims . However,
tourists who have pored over such
books as this must often experience
pangs of disappointment when they
first view the real thing, for at many
hours of the day bright sunshine drains
the canyonscapes of the brilliant colors
found in the photographs. In short
these and most other photographs of
the canyon are taken under special light
conditions for which the photographer
often waits patiently for hours or even
days. Few of us are privileged to see
the Grand Canyon in so many splendid
moods.
Goldstein has provided brief text for
each of the 60 pictures, but in the introduction
he has wisely let the canyon's
most eloquent interpreters speak for
him: John Muir, William Allen White,
Joseph Wood Krutch, and especially
Clarence Dutton from whose T ertiary
History of the Grand Canyon District,
written nearly a hundred years ago, he
quotes extensively. But James (sic)
Wesley Powell? Who's reading proof
at Doubleday these days?
From Thunder to Breakfast. By Hube
Yates with Gene K. Garrison. Garrison
Publishing, P. 0 . Box 536, Cave Creek,
Arizona 85331, 1977. 211 pp . $6.50;
add 35 ¢ for mailing.
Hube Yates has been a Phoenix fireman.
He is also a rancher, a hunter,
guide, genuine cowboy and a great
story teller.
Hube came with his family to Phoenix
from Oklahoma by covered wagon
in 1914. Some years later the family
made a visit to Oklahoma by automobile.
Hube preferred the wagon. This
kind of preference has carried throughout
his life.
He is a teller of tales around the
camp fire, tales of events that have hap-
48
pened in his life, some heroic, some
solemh and all tinged with a strong
sense of humor. He writes as he talks,
earthy and vivid . Co- author Gene Garrison
also supplies the illustrations.
Fram
Thunder
To
Breakfast
By Hube Vatos
With Go no K. Garrison
A collection of Arizona's master story-t1ll1r's
11tp11i111m • ( rom the humorous to th• heroic
Fot1WG1d by Hugh Downs
Arizona's Heritage. By Jay J . Wagoner.
Pe regrin e Smith, Santa Barbara and Salt
Lak e City, 1977. 403 pp . $18.50.
Most histories of Arizona have paid
less attention to the events of the past
60-odd years - the years since statehood
- than to the period of the
pioneers, the Indian wars, the mining
booms and the overkilled violence like
the shootout at the O K Corral. Wagoner'
s book corrects this imbalance, one
of its great virtues. Indeed almost 200
of its almost 500 pages are devoted to
Arizona, the state, not only political
development, though this is well covered,
but to economic and social history.
Much of this may make pleasantly nos-
STATEMEN T OF OWNERSH IP
talgic reading, recalling such things as
the opening of the Orpheum theater in
Phoenix, the early airplanes and those
rutted dirt roads. Economic growth,
which has so changed the picture, especially
since World War II, is also fully
covered.
An outstanding feature of Ariz ona's
H e ritag e is the wealth of illustration.
There are literally hundreds of pictures,
many never before published. The book
can be enjoyed for these alone. Not ever
before have so many intriguing Arizona
photographs been put between the
covers of a book.
The style is simplified and the narrative
is divided into teaching units; the
general reader can overlook this and sit
back and enjoy.
(Ba ck cover) Dw arfed by me asure less
immen sities in Paria C an yo n.
David Claasse n
(In side bac k co ve r) Ce d ar wa xwi n gs in a
d io rama of incredibly r eal is tic f abricati o n s,
from the hands and sp i rit of Ke n Goldman .
Courtesy A. Hun ey Gall e ry, San Di ego, CA .
Jerry Jacka
35mm COLOR SLIDES
Thi s i ss ue: 35m m slid es in 2" mount s, 1 to 15
slid es, 4 0 ¢ each, 16 to 49 s lid es, 35¢ each ,
50 o r more, 3 fo r $1.0 0. Allow t h ree weeks for
del ivery. Add re ss: Slide De partm e nt , Arizo na
Hi ghways, 2039 W es t L ewis Ave nu e, Phoen ix,
Arizona 85009.
SX-59 Mission San Xavier near Tucson . . . . .. Gov. 1
IH - 57 Corn stil l life ... . .. . ........... . .. . Gov. 2
B-225 Wax wing diora ma .. .. . .. . . . . . . . . .. . Gov . 3
C-58 Paria Canyon view . .. . . , . . , . .. • . . .. . Gov. 4
IH -58 Hop i farmer .. .... .. .. ...... .... .. .... p . 3
SX-60 San Xavier montage . . .. . ...... .. . .. . . . p. 16
C-59 Narrows of Paria Canyon .. . .. ... . , . . . . p . 33
C-62 Buckskin Gulch, Paria Ca nyon . . . . . . .. . . p . 36
C-63 Par i a Petrog l yphs ...... .. .. .. ...... .. . p . 37
C-64 Paria water composition .. . .... . . . • . .. . p . 37
C -65 Paria reflections . . .. .. ... . .. . . .. . .. .. . p. 38
C-66 Par ia sand patterns . .. .. .. . . . . . .. . . .. . p . 39
C-67 Wrather A rch, Paria Canyo n . . . . ... . . p. 40- 41
C-68 Bush head Canyon, Paria Ca nyon . . . .. · .. p. 42
C-69 Pionee r dwe lling, Paria Canyon .. . . .. . . p. 43
C-70 Paria at Lee's Fer ry .. .... .. . . . .. . . ... . p . 43
B-226 Kinglet d iorama . .. .... . . . . .. .. ..•.... p . 44
B-227 Jay di oram a . . .. . .... . ... . , .. .. . • ... .. p. 45
B-228 H ummingbird diorama ....... . , . . .. . .. p. 4 6
B-229 Mockingbird diorama . .. . . . ... .. .. , .. . . p . 46
B-230 Fly-catcher diorama . . . .. ... , . .... .. . . . p. 47
Statement of ownership, management and circulation , fi led Septembe r 26, ·
1977 , title of Publication , ARIZONA HIGH WAYS; locatio n of publication office,
2039 West Lewis , Phoenix , Arizona 85009 ; Headquarters of Owrier-Publis her ,
Arizona Department of Transportation , 206 South 17th Avenue, Phoenix,
Maricopa County , Arizona 85007; Director of Publicatio ns, James E. Steve ns:
Average No .
Copies
each issue
during
Preceding
12 months
Actual Number
of Copies of
Single Issue
Published
Nearest to
Filing Date
Editor, Tom C. Cooper .
10. EXTENT AND NATURE OF CIRCULATION
A. Total No . Copies Printed (Net Press Run ) .. . . . ...... .. ... · ....• .
B. Paid Ci rculation
1. Sales through Dealers and Carriers, Street Vendors
and Counter Sales ...... .. ...... . . . . . .. ... .. .. .• • . .. .
2. Mai l Sub scriptions .. .. .. .. . . ... ... ..... . .. . ... .... • ..
C. Total Paid Circu l ation ........ . .. . .... .. ... .. .... • .. . ... . .
D. Free Distributio n by Ma i l, Carrier or Other Mea ns
Samples, Comp li mentary, and other Free Cop ies .... . • . . . .. .
E. Total Distribution (Sum of C and D) . .. . .. . .. . .... . . . . . •.. .. • .
F. Copie s Not Distrib uted
1. Office Use, Left Over, Unaccounted, Spoiled
After Printing .. . . .. .. .... .. ... . . .. ... . . ..... . .. . . . .
2. Returns from News Agents ... . .... . . ... ..... . .... .• . ..
G. Total (Sum of E, F(l) , and F(2) should equal net press run
756,714
162,573
507,133
669,706
34,120
703,826
25,273
27 ,615
727 ,639
146 ,183
537 ,982
684 ,165
21 ,052
705 ,217
14 ,027
8,395
shown in A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756 ,714 727,639
I certify that the statements made by me above are correct and complete .
JAMES E. STEVENS, Director of Publications
