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diff --git a/old/67027-h/67027-h.htm b/old/67027-h/67027-h.htm deleted file mode 100644 index c264b8f..0000000 --- a/old/67027-h/67027-h.htm +++ /dev/null @@ -1,6967 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - Turquois Mosaic Art -In Ancient Mexico, by Marshall H. 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Saville</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Turquois mosaic art in ancient Mexico</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Marshall H. Saville</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 27, 2021 [eBook #67027]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Alan Thompson, Charlene Taylor, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK TURQUOIS MOSAIC ART IN ANCIENT MEXICO ***</div> - -<div class="figcenter"> -<img src="images/cover.jpg" alt="" /> -</div> - -<p><span class="pagenum" id="Page_ix">[Pg ix]</span></p> - - -<p class="c p6"> -CONTRIBUTIONS</p> -<p class="c little">FROM THE</p> -<p class="c">MUSEUM OF THE AMERICAN INDIAN</p> -<p class="c">HEYE FOUNDATION</p> -<p class="c">VOLUME VI</p> - - - - - -<p class="c p4 xlarge"> -TURQUOIS MOSAIC ART</p> -<p class="c xlarge">IN ANCIENT MEXICO -</p> - -<div class="figcenter1" id="f1"> -<p class="captiona">PL. I</p> -<a id="fig1" href="images/fig1big.jpg"> -<img src="images/fig1.jpg" alt="" /> -</a> -<p class="caption">SHIELD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - - - - -<h1> -TURQUOIS MOSAIC ART<br /> -IN ANCIENT MEXICO<br /> -</h1> -<p class="c p4 little"> -BY</p> - -<p class="c large"> -MARSHALL H. SAVILLE</p> - -<div class="figcenter1"> -<img src="images/fig2.jpg" alt="" /> -</div> - - -<p class="c p6"> -NEW YORK</p> - -<p class="c"> -MUSEUM OF THE AMERICAN INDIAN</p> - -<p class="c"> -HEYE FOUNDATION</p> - -<p class="c xlarge"> -1922 -</p> - - - - -<p class="c p6 more"> -CONDÉ NAST PRESS GREENWICH, CONN. -</p> - - - - -<p class="c p6 little"> -TO</p> - -<p class="c large"> -GEORGE GUSTAV HEYE</p> - -<p class="c"> -<i>In appreciation of his long-continued interest in all<br /> -that pertains to the study of the aboriginal race of<br /> -America, which has reached fruition in the opening of the</i> -</p> - -<p class="c"> -<span class="smcap">Museum of the American Indian</span></p> - -<p class="c"> -<span class="smcap">Heye Foundation</span></p> - -<p class="c"> -<i>this volume is dedicated by the author and the<br /> -staff of the Museum</i> -</p> - - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="PREFACE">PREFACE</h2> -</div> - - -<p><span class="smcap">The</span> writer has undertaken the present study of Mexican -Turquois Mosaics in honor of the approaching opening to the -public of the Museum of the American Indian, Heye Foundation, -the only institution devoted exclusively to the study of -the aboriginal American peoples ever established; and the -proximate International Congress of Americanists to be held -at Rio de Janeiro this summer. Owing to lack of time it has -been impossible to obtain new photographic illustrations of all -the specimens of mosaic-work in European museums, but the -author desires to express his thanks to T. A. Joyce, Esq., for -his courtesy in furnishing photographs of the examples in the -British Museum. To Dr. Franz Heger, of the State Natural -History Museum, Vienna, we are under deep obligations for -photographs and description of the interesting Xolotl figure -preserved in that Museum. Dr. S. K. Lothrop has kindly had -photographs made of the objects of this class in the Prehistoric -and Ethnographic Museum in Rome, and has made certain -valuable observations concerning them. To Drs. A. M. -Tozzer and H. J. Spinden special acknowledgment is due for -their generous permission to illustrate the mosaics from Chichen -Itza, thus anticipating their own description of the objects in -the work now being prepared regarding one of the most important -discoveries ever made in ancient America. The fine drawings -are from the pen of William Baake, and the beautiful -plates represent the best efforts of the Heliotype Company. -Finally must be acknowledged the characteristic generosity of -one of the trustees of the Museum, James B. Ford, Esq., who -has made it possible for us to publish this paper, and to whom -the Museum is indebted for its acquisition of the precious -collection of Mexican mosaics which are now described for -the first time.</p> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_xi">[Pg xi]</span></p> - -<p class="ph2">CONTENTS</p> -</div> - - -<table> - -<tr><td class="tdl"></td> - <td class="tdr"><span class="more">PAGE</span></td></tr> - -<tr><td class="tdl"><span class="smcap">Preface</span></td> - <td class="tdr"><a href="#PREFACE">ix</a></td></tr> - - -<tr><td class="tdl"><span class="smcap">Introduction</span> </td> - <td class="tdr"><a href="#INTRODUCTION">1</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Earliest Historical Accounts of Turquois Mosaic<br /> - in Mexico</span></td> - <td class="tdrb"><a href="#c3">3</a></td></tr> - -<tr><td class="tdlp">The Grijalva Expedition, 1518</td> - <td class="tdr"><a href="#c3a">3</a></td></tr> - -<tr><td class="tdlp">Loot obtained by Cortés, 1519-1525</td> - <td class="tdr"><a href="#c4">8</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Tribute of Mosaic Paid to the Aztec Rulers</span></td> - <td class="tdr"><a href="#c5">22</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Source of Turquois</span></td> - <td class="tdr"><a href="#c6">27</a></td></tr> - -<tr><td class="tdl"><span class="smcap">The Aztec Lapidaries and Their Work</span></td> - <td class="tdr"><a href="#c7">29</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Objects Decorated with Mosaic</span></td> - <td class="tdr"><a href="#c8">40</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Existing Specimens of Mosaic</span></td> - <td class="tdr"><a href="#c9">47</a></td></tr> - -<tr><td class="tdlp">Minor Examples</td> - <td class="tdr"><a href="#c10">48</a></td></tr> - -<tr><td class="tdlp">Chichen Itza Specimens</td> - <td class="tdr"><a href="#c11">55</a></td></tr> - -<tr><td class="tdlp">Major Examples</td> - <td class="tdr"><a href="#c12">59</a></td></tr> - -<tr><td class="tdlp2">Helmet</td> - <td class="tdr"><a href="#c13">60</a></td></tr> - -<tr><td class="tdlp2">Masks</td> - <td class="tdr"><a href="#c14">60</a></td></tr> - -<tr><td class="tdlp2">Skull Masks</td> - <td class="tdr"><a href="#c15">67</a></td></tr> - -<tr><td class="tdlp2">Shields</td> - <td class="tdr"><a href="#c16">68</a></td></tr> - -<tr><td class="tdlp2">Ear-plug</td> - <td class="tdr"><a href="#c17">79</a></td></tr> - -<tr><td class="tdlp2">Animal Figures</td> - <td class="tdr"><a href="#c18">80</a></td></tr> - -<tr><td class="tdlp2">God Figure</td> - <td class="tdr"><a href="#c19">82</a></td></tr> - -<tr><td class="tdlp2">Knife Handles</td> - <td class="tdr"><a href="#c20">82</a></td></tr> - -<tr><td class="tdlp2">Human Femur Musical Instrument</td> - <td class="tdr"><a href="#c21">84</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Conclusion</span></td> - <td class="tdr"><a href="#c22">86</a></td></tr> - -<tr><td class="tdl"><span class="smcap">Notes</span></td> - <td class="tdr"><a href="#c23">92</a></td></tr> - -<tr><td class="tdl"><span class="smcap">List of Works Describing Mexican Mosaics</span></td> - <td class="tdr"><a href="#c24">103</a></td></tr> - - -</table> - - -<p><span class="pagenum" id="Page_xii">[Pg xii]</span></p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_xiii">[Pg xiii]</span></p> - -<p class="ph2">ILLUSTRATIONS</p> -</div> - - -<p class="c"> -<span class="smcap">Plates</span> -</p> - -<table> - -<tr><td class="tdr"></td> - <td class="tdl"></td> - <td class="tdr"><span class="more">PAGE</span></td></tr> - -<tr><td class="tdrt">I.</td> - <td class="tdl">Wooden shield with turquois mosaic decoration<br /> - Museum of the American Indian, Heye Foundation,<br /> - New York </td> - <td class="tdrb"><a href="#f1"><i>Frontispiece</i></a></td></tr> - -<tr><td class="tdrt">II.</td> - <td class="tdl">Stone idol with mosaic decoration National Museum,<br /> - Mexico</td> - <td class="tdrb"><a href="#f3">22</a></td></tr> - -<tr><td class="tdrt">III.</td> - <td class="tdl"><i>a</i>, Wooden staff with turquois mosaic decoration,<br /> - from Sacred cenote, ruins of Chichen Itza,<br /> - Yucatan Peabody Museum, Cambridge</td> - <td class="tdrb"></td></tr> - -<tr><td class="tdrt"></td> - <td class="tdl"><i>b</i>, Wooden rattle with turquois mosaic decoration,<br /> - from Sacred cenote, ruins of Chichen Itza, Yucatan<br /> - Peabody Museum, Cambridge</td> - <td class="tdrb"><a href="#f4">22</a></td></tr> - -<tr><td class="tdrt">IV.</td> - <td class="tdl">Wooden helmet with mosaic decoration British<br /> - Museum, London</td> - <td class="tdrb"><a href="#f5">24</a></td></tr> - -<tr><td class="tdrt">V.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration<br /> - British Museum, London</td> - <td class="tdrb"><a href="#f6">26</a></td></tr> - -<tr><td class="tdrt">VI.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration<br /> - British Museum, London</td> - <td class="tdrb"><a href="#f7">28</a></td></tr> - -<tr><td class="tdrt">VII.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration<br /> - Prehistoric and Ethnographic Museum, Rome</td> - <td class="tdrb"><a href="#f8">30</a></td></tr> - -<tr><td class="tdrt">VIII.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration<br /> - Prehistoric and Ethnographic Museum, Rome</td> - <td class="tdrb"><a href="#f9">32</a></td></tr> - -<tr><td class="tdrt">IX.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration<br /> - Museum of the American Indian, Heye<br /> - Foundation, New York </td> - <td class="tdrb"><a href="#f10">34</a></td></tr> - -<tr><td class="tdrt">X.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration<br /> - Museum of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f11">36</a><span class="pagenum" id="Page_xiv">[Pg xiv]</span></td></tr> - -<tr><td class="tdrt">XI.</td> - <td class="tdl">Wooden mask (fragment) with turquois mosaic<br /> - decoration Museum of the American Indian,<br /> - Heye Foundation, New York</td> - <td class="tdrb"><a href="#f12">38</a></td></tr> - -<tr><td class="tdrt">XII.</td> - <td class="tdl">Wooden mask (fragment) with turquois mosaic<br /> - decoration Museum of the American Indian,<br /> - Heye Foundation, New York</td> - <td class="tdrb"><a href="#f13">40</a></td></tr> - -<tr><td class="tdrt">XIII.</td> - <td class="tdl">Wooden mask with mosaic decoration Museum<br /> - of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f14">42</a></td></tr> - -<tr><td class="tdrt">XIV.</td> - <td class="tdl">Wooden mask with mosaic decoration Museum<br /> - of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f15">44</a></td></tr> - -<tr><td class="tdrt">XV.</td> - <td class="tdl">Wooden mask (fragment) with mosaic decoration<br /> - Museum of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f16">46</a></td></tr> - -<tr><td class="tdrt">XVI.</td> - <td class="tdl">Wooden mask formerly covered with mosaic decoration<br /> - Museum of the American Indian,<br /> - Heye Foundation, New York</td> - <td class="tdrb"><a href="#f17">48</a></td></tr> - -<tr><td class="tdrt">XVII.</td> - <td class="tdl">Wooden mask with turquois mosaic decoration,<br /> - from Honduras Museum of the American<br /> - Indian, Heye Foundation, New York</td> - <td class="tdrb"><a href="#f18">50</a></td></tr> - -<tr><td class="tdrt">XVIII.</td> - <td class="tdl">Skull mask with mosaic decoration Ethnographical<br /> - Museum, Berlin</td> - <td class="tdrb"><a href="#f19">52</a></td></tr> - -<tr><td class="tdrt">XIX.</td> - <td class="tdl">Skull mask with mosaic decoration British Museum,<br /> - London</td> - <td class="tdrb"><a href="#f20">54</a></td></tr> - -<tr><td class="tdrt">XX.</td> - <td class="tdl">Wooden shield with turquois mosaic decoration<br /> - British Museum, London</td> - <td class="tdrb"><a href="#f21">56</a></td></tr> - -<tr><td class="tdrt">XXI.</td> - <td class="tdl">Wooden shield with turquois mosaic decoration<br /> - State Natural History Museum, Vienna</td> - <td class="tdrb"><a href="#f22">58</a></td></tr> - -<tr><td class="tdrt">XXII.</td> - <td class="tdl">Back of wooden shield illustrated in Pl. I. Museum<br /> - of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f23">60</a><span class="pagenum" id="Page_xv">[Pg xv]</span></td></tr> - -<tr><td class="tdrt">XXIII.</td> - <td class="tdl">Wooden shield with mosaic decoration. Museum<br /> - of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f24">62</a></td></tr> - -<tr><td class="tdrt">XXIV.</td> - <td class="tdl">Wooden shield with mosaic decoration. Museum<br /> - of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f25">64</a></td></tr> - -<tr><td class="tdrt">XXV.</td> - <td class="tdl">Wooden shield (fragment) with mosaic decoration.<br /> - Museum of the American Indian, Heye<br /> - Foundation, New York</td> - <td class="tdrb"><a href="#f26">66</a></td></tr> - -<tr><td class="tdrt">XXVI.</td> - <td class="tdl">Wooden shield (fragment) with mosaic decoration.<br /> - Museum of the American Indian, Heye<br /> - Foundation, New York</td> - <td class="tdrb"><a href="#f27">68</a></td></tr> - -<tr><td class="tdrt">XXVII.</td> - <td class="tdl">Wooden shield (fragment) with mosaic decoration.<br /> - Museum of the American Indian, Heye<br /> - Foundation, New York</td> - <td class="tdrb"><a href="#f28">70</a></td></tr> - -<tr><td class="tdrt">XXVIII.</td> - <td class="tdl">Wooden shield (fragment) with mosaic decoration.<br /> - Museum of the American Indian, Heye<br /> - Foundation, New York</td> - <td class="tdrb"><a href="#f29">72</a></td></tr> - -<tr><td class="tdrt">XXIX.</td> - <td class="tdl">Wooden shield (fragment) with mosaic decoration.<br /> - Museum of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f30">74</a></td></tr> - -<tr><td class="tdrt">XXX.</td> - <td class="tdl">Wooden ear-plug with mosaic decoration. Museum<br /> - of the American Indian, Heye Foundation,<br /> - New York</td> - <td class="tdrb"><a href="#f31">76</a></td></tr> - -<tr><td class="tdrt">XXXI.</td> - <td class="tdl">Wooden head with head-piece, with mosaic decoration.<br /> - National Museum, Copenhagen</td> - <td class="tdrb"><a href="#f32">78</a></td></tr> - -<tr><td class="tdrt">XXXII.</td> - <td class="tdl"><a href="#f33"><i>a</i></a>, Wooden jaguar head with mosaic decoration.<br /> - Ethnographical Museum, Berlin</td> - <td class="tdrb"></td></tr> - -<tr><td class="tdrt"></td> - <td class="tdl"><a href="#f34"><i>b</i></a>, Wooden head of animal and human face in<br /> - jaws with mosaic decoration. National Museum,<br /> - Copenhagen</td> - <td class="tdrb">78</td></tr> - -<tr><td class="tdrt">XXXIII.</td> - <td class="tdl"><a href="#f35"><i>a</i></a>, Wooden head of animal with mosaic decoration.<br /> - State Natural History Museum, Vienna</td> - <td class="tdrb"></td></tr> - -<tr><td class="tdrt"></td> - <td class="tdl"><a href="#f36"><i>b</i></a>, Wooden head of monkey with mosaic decoration.<br /> - British Museum, London</td> - <td class="tdrb">78<span class="pagenum" id="Page_xvi">[Pg xvi]</span></td></tr> - -<tr><td class="tdrt">XXXIV.</td> - <td class="tdl"><a href="#f37"><i>a</i></a>, Wooden two-headed jaguar figure with mosaic<br /> - decoration. Ethnographical Museum, Berlin</td> - <td class="tdrb"></td></tr> - -<tr><td class="tdrt"></td> - <td class="tdl"><a href="#f38"><i>b</i></a>, Wooden bird’s head with mosaic decoration.<br /> - Museum, Gotha</td> - <td class="tdrb">78</td></tr> - -<tr><td class="tdrt">XXXV.</td> - <td class="tdl">Wooden animal figure on haunches with mosaic<br /> - decoration. British Museum, London</td> - <td class="tdrb"><a href="#f39">78</a></td></tr> - -<tr><td class="tdrt">XXXVI.</td> - <td class="tdl">Wooden double-headed snake figure with mosaic<br /> - decoration. British Museum, London</td> - <td class="tdrb"><a href="#f40">80</a></td></tr> - -<tr><td class="tdrt">XXXVII.</td> - <td class="tdl">Wooden figure of Xolotl god with mosaic decoration.<br /> - State Natural History Museum, Vienna</td> - <td class="tdrb"><a href="#f41">80</a></td></tr> - -<tr><td class="tdrt">XXXVIII.</td> - <td class="tdl">Flint knife with wooden handle with mosaic decoration.<br /> - British Museum, London</td> - <td class="tdrb"><a href="#f42">82</a></td></tr> - -<tr><td class="tdrt">XXXIX.</td> - <td class="tdl"><i>a</i>, Wooden knife handle with mosaic decoration.<br /> - Prehistoric and Ethnographic Museum, Rome</td> - <td class="tdrb"></td></tr> - -<tr><td class="tdrt"></td> - <td class="tdl"><i>b</i>, Wooden knife handle with mosaic decoration.<br /> - Prehistoric and Ethnographic Museum, Rome</td> - <td class="tdrb"><a href="#f43">82</a></td></tr> - -<tr><td class="tdrt">XL.</td> - <td class="tdl">Human femur musical instrument with mosaic<br /> - decoration. Prehistoric and Ethnographic<br /> - Museum, Rome</td> - <td class="tdrb"><a href="#f44">84</a></td></tr> - -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<p class="c p2"><span class="smcap">Text Figures</span></p> - -<table> - -<tr> -<td class="tdrt">1.</td> -<td class="tdl">Bowl filled with turquois. After Tribute Roll of<br /> Montezuma</td> -<td class="tdrb"><a href="#f46">24</a></td> -</tr> - -<tr> -<td class="tdrt">2.</td> -<td class="tdl">Ten masks of turquois. After Tribute Roll of<br /> Montezuma</td> -<td class="tdrb"><a href="#f47">24</a></td> -</tr> - -<tr> -<td class="tdrt">3.</td> -<td class="tdl">Small bag filled with turquois. After Tribute Roll of<br /> - Montezuma</td> -<td class="tdrb"><a href="#f48">25</a></td> -</tr> - -<tr> -<td class="tdrt">4.</td> -<td class="tdl">Shields with turquois mosaic decoration. After Tribute<br /> - Roll of Montezuma</td> -<td class="tdrb"><a href="#f49">25</a></td> -</tr> - -<tr> -<td class="tdrt">5.</td> -<td class="tdl"> Serpent scepter with turquois mosaic decoration. After<br /> - Sahagun, manuscript of the Real Palacio, Madrid</td> -<td class="tdrb"><a href="#f50">43</a><span class="pagenum" id="Page_xvii">[Pg xvii]</span></td> -</tr> - -<tr> -<td class="tdrt">6.</td> -<td class="tdl"><i>a</i>, Gold crown with turquois mosaic decoration. After<br /> - Sahagun, manuscript of the Real Palacio, Madrid</td> -<td class="tdrb"></td> -</tr> - -<tr> -<td class="tdrt"></td> -<td class="tdl"><i>b</i>, Gold crown. After Tribute Roll of Montezuma</td> -<td class="tdrb"><a href="#f51">45</a></td> -</tr> - -<tr> -<td class="tdrt">7.</td> -<td class="tdl">Pottery disc with hematite mosaic decoration, from<br /> - Cuilapa, Oaxaca. American Museum of Natural History,<br /> - New York</td> -<td class="tdrb"><a href="#f52">51</a></td> -</tr> - -<tr> -<td class="tdrt">8.</td> -<td class="tdl">Gold shield breast ornament with turquois mosaic decoration,<br /> - from Yanhuitlan, Oaxaca. National Museum,<br /> - Mexico</td> -<td class="tdrb"><a href="#f53">52</a></td> -</tr> - -<tr> -<td class="tdrt">9.</td> -<td class="tdl">Wooden object (fragment) with turquois mosaic decoration,<br /> - from Sacred cenote, ruins of Chichen Itza, Yucatan.<br /> - Peabody Museum, Cambridge</td> -<td class="tdrb"><a href="#f54">57</a></td> -</tr> - -<tr> -<td class="tdrt">10.</td> -<td class="tdl">Wooden object (fragment) with turquois mosaic decoration,<br /> - from Sacred cenote, ruins of Chichen Itza,<br /> - Yucatan. Peabody Museum, Cambridge</td> -<td class="tdrb"><a href="#f54">57</a></td> -</tr> - -<tr> -<td class="tdrt">11.</td> -<td class="tdl">Rattle of the god Xipe Totec. After Sahagun, manuscript<br /> - of the Real Palacio, Madrid</td> -<td class="tdrb"><a href="#f55">58</a></td> -</tr> - -<tr> -<td class="tdrt">12.</td> -<td class="tdl"><i>a</i>, <i>b</i>, <i>c</i>, Crowns with mosaic decoration, from sculptured<br /> - wall, Temple of the Jaguars, ruins of Chichen<br /> - Itza, Yucatan. After Maudslay</td> -<td class="tdrb"><a href="#f56">58</a></td> -</tr> - -<tr> -<td class="tdrt">13.</td> -<td class="tdl">Mask with mosaic decoration, from sculptured wall,<br /> - Temple of the Jaguars, ruins of Chichen Itza, Yucatan.<br /> - After Maudslay</td> -<td class="tdrb"><a href="#f57">59</a></td> -</tr> - -<tr> -<td class="tdrt">14.</td> -<td class="tdl">Mask with mosaic decoration, from sculptured wall,<br /> - Temple of the Jaguars, ruins of Chichen Itza, Yucatan.<br /> - After Maudslay</td> -<td class="tdrb"><a href="#f57">59</a></td> -</tr> - -<tr> -<td class="tdrt">15.</td> -<td class="tdl">Mask of wood with turquois mosaic decoration. Prehistoric<br /> - and Ethnographic Museum, Rome. After<br /> - Pigorini</td> -<td class="tdrb"><a href="#f58">63</a></td> -</tr> - -<tr> -<td class="tdrt">16.</td> -<td class="tdl">God Paynal with shield decorated with turquois mosaic.<br /> - After Sahagun, manuscript of the Real Palacio, Madrid</td> -<td class="tdrb"><a href="#f59">70</a></td> -</tr> - -<tr> -<td class="tdrt">17.</td> -<td class="tdl">God Paynal with shield decorated with turquois mosaic.<br /> - After Sahagun, Florentine manuscript</td> -<td class="tdrb"><a href="#f59">70</a><span class="pagenum" id="Page_xviii">[Pg xviii]</span></td> -</tr> - -<tr> -<td class="tdrt">18.</td> -<td class="tdl">Glyphs of the town of Culhuacan. After Codex Telleriano<br /> - Remensis</td> -<td class="tdrb"><a href="#f60">74</a></td> -</tr> - -<tr> -<td class="tdrt">19.</td> -<td class="tdl">Knife handle of wood with turquois mosaic decoration.<br /> - Prehistoric and Ethnographic Museum, Rome. After<br /> - Pigorini</td> -<td class="tdrb"><a href="#f61">83</a></td> -</tr> - -</table> - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_1">[Pg 1]</span></p> - -<p class="c xlarge">TURQUOIS MOSAIC ART IN ANCIENT MEXICO</p> -</div> - -<p class="c more"><span class="smcap">By</span> MARSHALL H. SAVILLE</p> - - -<div class="chapter"> -<h2 class="nobreak p2" id="INTRODUCTION">INTRODUCTION</h2> -</div> - -<div> -<img class="drop-capp" src="images/fig45.jpg" alt="" /> -</div> - -<p class="drop-capp">ONE of the tragedies of the discovery of the New -World was the abrupt and summary blotting out of -the flourishing and still advancing civilization of the -Aztec and other Mexican tribes. Had their complete conquest -and subjection been delayed a few decades they in all probability -would have developed a written phonetic language. -Their intellectual abilities are evidenced by a study of the -intricate calendar system, and the picture and hieroglyphic -records which survive. The triumphs of their architectural -attainments are well known, and may be investigated in the -numerous monuments and buildings in the ruined cities scattered -throughout Mexico. They had made notable strides -toward civilization in certain of the minor fine arts. Ignorant -of glass and of glazed pottery, they nevertheless developed -the ceramic art to a high degree of excellence. Their inventive -genius and technical skill were manifest in their goldsmith’s -art.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></p> - -<p>Without the knowledge of iron, in the working of hard -precious and semi-precious stones into idols and personal -ornaments, their craftsmanship was equal to that of the best -lapidaries of Europe at the beginning of the sixteenth century. -In the lapidarian art they had advanced so far as to fashion -and adorn many objects with designs, both geometric and -realistic, in stone mosaic, employing turquois chiefly for this -purpose, but also making use of other stones—marcasite and -shell. But the supreme esthetic achievement of the Aztecs was -the production of a class of mosaics in which they used tiny -bits of colored feathers instead of stones in making the designs.<span class="pagenum" id="Page_2">[Pg 2]</span> -This unique art was employed in adorning objects for personal -use, for warfare, or for priestly ceremonies. The patterns were -produced by applying the tiny bits of feathers with glue either -directly on wood or on wooden objects covered with skin or -with native paper. From descriptions of feather mosaics in -the writings of early chroniclers, and from a study of the -handful of specimens which have escaped the ravages of time, -it is evident that this art reached the highest artistic level -attained by any of the aboriginal tribes of America.</p> - -<p>We will not enter into a discussion of feather mosaics at -this time, but will consider primarily the parallel art of turquois -mosaic. Aside from the numerous historical notices contained -in the early chronicles and in the inventories of the loot of the -Aztecs sent to Europe by Cortés, there is little of this art upon -which to base a careful study that has survived. It is one of -the most interesting and highly developed arts of ancient -America, but it was practised by only a few tribes. Apart -from the Mexican region where turquois mosaic was most -highly developed, excellent examples have been found with -other ancient remains of the Pueblos of Arizona and New -Mexico, and incrusted objects have also been found with -ancient burials on the coast of Peru, indicating a somewhat -similar technique though far less skill in application. The -materials usually employed in Mexico were turquois, jadeite, -malachite, quartz, beryl, garnet, obsidian, marcasite, gold, -bits of red and other colored shell, and nacre. The base upon -which the incrustation was laid was wood, stone, gold, shell, -pottery, and possibly leather and native paper, the mosaic -being held in place by means of a tenacious vegetal pitch or -gum, or a kind of cement.</p> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_3">[Pg 3]</span></p> - -<h2 class="nobreak" id="c3">EARLIEST HISTORICAL ACCOUNTS OF TURQUOIS -MOSAIC IN MEXICO</h2> -</div> - -<p class="c large" id="c3a"><span class="smcap">The Grijalva Expedition</span>, 1518</p> - - -<p><span class="smcap">The</span> first knowledge received by Europeans of the existence -of turquois mosaic objects among the Mexicans was by members -of the expedition sent out from Cuba by the governor, -Diego Velásquez, during the spring of 1518, under the command -of Juan de Grijalva. After reaching the shores of Yucatan -near the island of Cozumel, the party coasted the Yucatan -peninsula, reaching the territory of the present State of Campeche, -which had been discovered the previous year by -Francisco Hernández de Córdoba. Proceeding westward along -unknown lands, they reached a great river in the State of -Tabasco, to which the name of the commandant was given, -and it is still known as Rio de Grijalva. Here, according to -some accounts, the expedition obtained the first specimens -of turquois mosaic. We shall consider this point later. Leaving -the Rio de Grijalva they went westward and arrived at the -site of the present city of Vera Cruz, where they obtained by -barter with the Indians a considerable treasure, including some -objects of turquois mosaic, which Grijalva decided to send -immediately to the governor in Cuba with a report of his discoveries -up to that time. Consequently, on June 24, 1518, one -of Grijalva’s captains, Pedro de Alvarado, set out on the return -voyage to Fernandina (Cuba), while Grijalva himself continued -the exploration of the eastern coast of Mexico.</p> - -<p>The provenience of the treasure obtained by Grijalva on -this first expedition of discovery to the coasts of Tabasco and -Vera Cruz in 1518 is not at all clear from the accounts of this -voyage in the writings both of the eye-witnesses themselves -and of those who shortly afterward wrote of the conquest -from the reports of the participants in the events. It has been<span class="pagenum" id="Page_4">[Pg 4]</span> -generally assumed that Grijalva obtained mosaic objects from -the Indians of Tabasco; this is specifically stated by both -Oviedo and Gomara, who recorded detailed accounts of the -Grijalva expedition. The account by Oviedo<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> is even more -extended and valuable than the narrations of the eye-witnesses, -namely, Juan Díaz<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> the chaplain, and the redoubtable Bernal -Díaz. Oviedo states that his account is from the report forwarded -to the King of Spain by the governor Velásquez, who -sent out the expedition from Cuba. Gomara, who for a time -was chaplain of Cortés in Spain, never visited the New World, -but had access to the various reports sent to Spain regarding -the conquest.</p> - -<p>Unfortunately in the writings of the eye-witnesses no detailed -descriptive lists are to be found relating just what pieces -of mosaic-work were obtained by Grijalva from the Mayan -Indians of Tabasco and the people of the coast of the present -State of Vera Cruz. The extended account given by Oviedo -recites the voyage from day to day and the character of various -objects received from the Tabasco Indians, followed by the -list of specimens obtained from the Mexican Indians near the -Isla de Sacrificios, Vera Cruz. We will quote from these lists -later. Gomara’s list is quite extended. In the first part of his -<i>Historia de las Indias</i> he describes various articles procured -by Grijalva from the Indians at the mouth of the river in -Tabasco, to which his name was applied, followed in turn by -the inventory of objects obtained at San Juan de Ulua, Vera -Cruz. In the second part of his history, the <i>Conquista de -Mexico</i>, he gives only a single long inventory of the barter -obtained, as he says, “from the Indians of Potonchan [Tabasco], -San Juan de Ulua, and other places of that coast.” It seems -highly probable, however, that such interesting and valuable -loot must have been accompanied with an inventory when it -was sent to Spain late in 1518 or early in 1519 by Governor -Velásquez. Oviedo mentions seeing the things, apparently in -Barcelona, in May 1519. It is possible that both Oviedo and -Gomara may have had access to such an inventory, or if not,<span class="pagenum" id="Page_5">[Pg 5]</span> -they wrote their own descriptions of the objects after seeing -them.</p> - -<p>Bernal Díaz, who accompanied both Grijalva and Cortés -to Mexico, wrote his history nearly fifty years after the stirring -events of the discovery and conquest. He was a prejudiced -writer, and seems to have been largely animated in his old age -to tell the story of the conquest primarily to refute many of -the statements of Gomara. Bernal Díaz writes bluntly at the -very outset of his invaluable history, which he calls the “True -History,” that he speaks “here in reply to all that has been -said and written by persons who themselves knowing nothing, -have received no true account from others of what really took -place, but who nevertheless now put forward any statements -that happen to suit their fancy.” While not describing the -treasure obtained by Grijalva, he mentions “some gold jewels -some (of which) were diadems and others were in the shape of -ducks like those of Castile, and other jewels like lizards, and -three necklaces of hollow beads, and other articles of gold not -of much value, for they were not worth more than two hundred -pesos.”<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> These he states were obtained from the Indians of -Potonchan. For some reason he apparently was not greatly -impressed either by the technical excellence or by the esthetic -beauty of the objects procured by barter from the vicinity of -the present city of Vera Cruz; he simply writes that the -Spaniards were engaged for six days in trading with the Indians -and got more than sixteen thousand dollars’ worth of jewelry -of low-grade gold worked into various forms. He then says: -“This must be the gold which the historians Gomara, Yllescas, -and Jovio say was given by the natives of Tabasco, and they -have written it down as though it were true, although it is -well known to eye-witnesses that there is no gold in the province -of the Rio de Grijalva or anywhere near it, and very few -jewels.”<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> Torquemada wrote in later years to the same -effect.</p> - -<p>In none of the accounts by the participants of this expedition -are mosaic pieces specifically mentioned. The chaplain<span class="pagenum" id="Page_6">[Pg 6]</span> -of Grijalva’s fleet, Juan Díaz, states merely that they were -given “a mask of gold beautifully wrought, and a little figure -of a man with a little mask of gold, and a crown of gold beads -with other jewels and stone of various colors.” This report was -first printed in Venice, March 3, 1520, appearing in Italian as -an appendix to the <i>Itinerario</i> of Ludovico de Varthema.</p> - -<p>An anonymous independent relation in Italian of this -voyage seems to have been printed at Venice in the same year -under the title <i>Littera Mãdata della Insula de Cuba</i>, etc., the -copy in the Marciana Library, Venice, being the only one -known. From a photostat copy of the Italian we are able to -present a translation of the mention of these objects, somewhat -similar to that given by Juan Díaz. The <i>Littera Mãdata</i> states -that the Spaniards obtained “a mask of gold, and the figure of -a man all of gold, seemingly of the age of twelve, and a fan of -gold, and other jewels of divers colors.”<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></p> - -<p>Another anonymous early printed report, in Latin, without -date or place of printing, affords practically the same information -as that contained in the <i>Itinerario</i> of Juan Díaz and in -the <i>Littera Mãdata</i>.<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a></p> - -<p>The earliest printed information regarding the Grijalva -voyage in which mosaic objects are specifically noted is in -Peter Martyr’s <i>De Nvper Sub D. Carolo Repertis Insulis</i>, -printed in Basle in 1521. In speaking of the valuable objects -obtained by Grijalva in Coluacan (Vera Cruz), and sent to -Spain, he mentions that “the cacique brought a small golden -statue of a man, also a gold fan, and a mask beautifully wrought -and decorated with stones.”<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a> It will be observed that these -objects correspond with those mentioned in the reports noted -above, only that Peter Martyr speaks of the decoration of the -mask with stones. With the exception of this note by Peter -Martyr, who saw the objects in Spain, there is, as we have -said, no special statement regarding mosaic-work to be found -in the earliest known printed accounts of the Grijalva voyage. -In 1535 the great work of Oviedo was first published, and here -we find the following itemized description of pieces of mosaic-work,<span class="pagenum" id="Page_7">[Pg 7]</span> -said to have been obtained from the Indians of Potonchan, Tabasco.<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a></p> - -<div class="blockquot"> - -<p>Another mask covered from the nostrils upward with well set -mosaic-work of stones resembling turquoises, and from the nostrils -downward with a thin plate of hammered gold.</p> - -<p>Another mask resembling the first, but the stones were placed -from the eyes upward, and below them there were thin plates of -beaten gold over wood, the ears being of turquois mosaic-work.</p> - -<p>Another mask made with bands or rods of wood, two of the -strips being covered with mosaic-work, and the remaining other -three with thin beaten gold.</p> - -<p>A thin disc with a figure of a cemi or devil, covered above with -beaten gold-leaf, and in other parts were scattered some stones.</p> - -<p>A tablet of wood like the headstall of a horse in armor, covered -over with thin gold-leaf, with some strips of black stones well set -between the gold.</p> - -<p>The head of a dog covered with stones, and very well made.</p> -</div> - -<p>From Ulua in Vera Cruz these mosaic pieces are noted:</p> - -<div class="blockquot"> - -<p>Two masks of small stones like turquois set over wood like mosaic, -with some spangles of gold in the ears.</p> - -<p>Two guariques of blue stones set in gold, each having eight -pendants of the same.</p> - -<p>A mask of stone mosaic-work.</p> -</div> - -<p>In the work of Gomara, printed in 1553, appears also an -extended account of this barter.<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a></p> - -<p>Seler<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a> and Lehmann<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a> believe that most of the mosaic -objects “apparently came from the eastern provinces, i.e., -Tabasco.” Relying on the authority of both Oviedo and -Gomara, Lehmann further uses in his discussion the original -Nahuatl text of Sahagun in the Florentine manuscript copied -and translated by Seler. In this section of Sahagun’s work -relating to the attributes of the Mexican deities occurs the -paragraph, “<i>In jtlatquj Quetzalcoatl coa-xaiacatl xiuhticatl -achivalli, quetzalapanecaiotl</i>,” which Lehmann renders, “The -Quetzalcoatl dress, the snake-mask with turquois work, the -feather ornament of the people of Quetzalapan (Tabasco).”<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a><span class="pagenum" id="Page_8">[Pg 8]</span> -But there is no mention in early chronicles or on early maps of -any town <i>in this region</i> bearing the name Quetzalapan, and -Torquemada in giving an account of some of the wars of -Montezuma writes that “during the twelfth year of his reign -(which was in 1514), his armies set out for the land of the -Chichimecas, and entered the Huaxteca, subduing those of -Quetzalapan.”<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a> Other places bearing the name Quetzalapan -were in the present states of Morelos, Guerrero, and Colima.<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a> -In recounting the episode of the conquest of this town, Clavijero -writes explicitly that “Montezuma sent out an army in -1512 to the north against the Quetzalapanecas and conquered -them with but little loss.”<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a> Hence the place mentioned by Sahagun -would seem to have been in Vera Cruz, and probably the -region of Huaxteca or Cuexteca, for the Aztecs had considerable -communication with this territory.</p> - - -<p class="c large" id="c4"><span class="smcap">Loot Obtained by Cortés</span>, 1519-1525</p> - -<p>But the treasures of native art secured by the Grijalva -expedition were insignificant by comparison with the enormously -valuable loot obtained the next year (1519) by Cortés. -It is not necessary in this study of Mexican mosaics to enter -into the details of the expedition which set out from Cuba to -follow the discoveries of Grijalva and which resulted in the -conquest of Mexico. This has been done many times, but in -the main most weight is given to the writings of the Spanish -participants and to the early chroniclers. We have already -studied in considerable detail the accounts of the art objects -sent to Spain by Cortés, as contained in these early writings, -and especially the inventories which accompanied the shipments -of objects sent to Europe by the conqueror. Let us -quote here merely what we wrote in presenting a summary of -the events that occurred when Cortés first landed on the coast -of Vera Cruz.</p> - -<div class="blockquot"> - -<p>After the arrival of the Spaniards on the coast of Vera Cruz, -the Indians were not long in ignorance of the consuming thirst of -the conquerors for gold. In order to placate the formidable strangers<span class="pagenum" id="Page_9">[Pg 9]</span> -with childlike confidence that by giving them their wish the invasion -of his dominions would be averted, Montezuma sent rich -presents to Cortés through Tendile (Teuhtlile), governor of Cuetlaxtla -(the modern Cotastla), which was then subject to the Aztecs. -When all this treasure thus brought together was ready to be sent -to Spain, with the report of the voyage, an inventory or list of the -objects was drawn up and despatched with two special messengers, -Alonso Portocarrero and Francisco de Montejo, who were charged -to deliver the treasure to the King. These valuable gifts have been -briefly described by several members of the expedition who saw -them before they left Mexico, and on their receipt in Spain they -were described by various other chroniclers.</p> -</div> - -<p>From the inventory, which we translated, we select the items -relating to objects ornamented with stone mosaic.</p> - -<div class="blockquot"> - -<p>Item: two collars of gold and stone mosaic-work (precious -stones)....</p> - -<p>Another item: a box of a large piece of feather-work lined with -leather, the colors seeming like martens, and fastened and placed in -the said piece, and in the center (is) a large disc of gold, which -weighed sixty ounces of gold, and a piece of blue stone mosaic-work -a little reddish, and at the end of the piece another piece of colored -feather-work that hangs from it.</p> - -<p>Item: a miter of blue stone mosaic-work with the figure of monsters -in the center of it, and lined with leather which seems in its -colors to be that of martens, with a small (piece) of feather-work -which is, as the one mentioned above, of this said miter.</p> - -<p>Item: ... a scepter of stone mosaic-work with two rings of -gold, and the rest of feather-work.</p> - -<p>Item: an armlet of stone mosaic-work....</p> - -<p>Item: a mirror placed in a piece of blue and red stone mosaic-work, -with feather-work stuck to it, and two strips of leather stuck -to it....</p> - -<p>Item: some leggings of blue stone mosaic-work, lined with leather, -of which the colors seem like martens; on each one of them (there -are) fifteen gold bells.</p> - -<p>Item: two colored (pieces of) feather-work which are for two -(pieces of) head armor of stone mosaic-work....</p> - -<p><span class="pagenum" id="Page_10">[Pg 10]</span></p> - -<p>More: two guariques (ear ornaments) of blue stone mosaic-work, -which are to be put in the head of the big crocodile.</p> - -<p>More: another head armor of blue stone mosaic-work with -twenty gold bells which hang pendent at the border, with two -strings of beads which are above each bell, and two guariques of -wood with two plates of gold.</p> - -<p>Item: another head armor of blue stone mosaic-work with -twenty-five gold bells, and two beads of gold above each bell, that -hang around it with some guariques of wood with plates of gold, -and a bird of green plumage with the feet, beak, and eyes of gold.</p> - -<p>Moreover: sixteen shields of stone mosaic-work with their colored -feather-work hanging from the edge of them, and wide-angled slab -with stone mosaic-work with its colored feather-work, and in the -center of the said slab, made of stone mosaic-work, a cross of a -wheel which is lined with leather, which has the color of martens.</p> - -<p>Again: a scepter of red stone mosaic-work, made like a snake, -with its head, teeth, and eyes (made) from what appears to be -mother-of-pearl, and the hilt is adorned with the skin of a spotted -animal, and below the said hilt hang six pieces of small feather-work.</p> - -<p>Item: a piece of colored feather-work which the lords of this land -are wont to put on their heads, and from it hang two ear-ornaments -of stone mosaic-work with two bells and two beads of gold, and above -a feather-work of wide green feathers, and below hang some white, -long hairs.<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a></p> -</div> - -<p>Peter Martyr, who saw the specimens in Spain shortly -after they arrived, speaks of “certain miters beset with precious -stones of divers colors, among which some are blue, like unto -sapphires.” Also “two helmets garnished with precious stones -of a whitish blue color: one of these is edged with bells and -plates of gold, and under every bell two knobs of gold. The -other, beside the stones wherewith it is covered, is likewise -edged with <span class="allsmcap">XXV</span> golden bells and knobs: and hath on the crest, -a green bird with the feet, bill, and eyes of gold.”<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a></p> - -<p>Las Casas describes “a helmet of plates of gold, and little -bells hanging (from it), and on it stones like emeralds.” Also -“many shields made of certain thin and very white rods, intermingled<span class="pagenum" id="Page_11">[Pg 11]</span> -with feathers and discs of gold and silver, and some -very small pearls, like misshapen pearls.”<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a></p> - -<p>These are some of the statements of early Spaniards. Let -us now consider what the Indians have said about the treasure -given by Montezuma to Cortés at that time. Our best source -of information is the great <i>Historia</i> composed by Fray Bernardino -de Sahagun, who spent many years in the valley of -Mexico gathering information at first-hand from intelligent -Indians. This was shortly after the conquest when the natives -still retained vivid recollections of the fall of their country. -Without this work the history of ancient Mexico, and of the -customs and traditions of the Indians, could not be written.</p> - -<p>We must not lose sight of the fact that Montezuma, for a -number of reasons which we need not relate here, expected the -“second coming” of the culture-hero Quetzalcoatl, the great -beneficent god of the Aztecs. This myth was one of the several -causes that led to the comparatively easy conquest of a numerous -and warlike people by the Spaniards. We have translated -several chapters of Sahagun’s <i>Historia</i> relating to the -first coming of the Christians to the coast of Mexico, which -contain a description of some of the gifts sent by Montezuma -to Cortés, while he still believed the Spanish conqueror to be -the great god Quetzalcoatl. It is really a report transmitted to -us from the Aztecs, and is a most fascinating chapter of the -history of the conquest of Mexico.<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a></p> - -<div class="blockquot"> - -<p><span class="smcap">Chapter II.</span> <i>Of the first (Spanish) ships which arrived at this land -said to have been those of Juan de Grijalva.</i></p> - -<p>The first time that ships appeared on the coast of New Spain, the -captains of Montezuma, who were called calpixques, who were near -the coast, at once went to see what it was that had come, never -having seen ships; one of whom was the calpixque of Cuextecatl, -named Pinotl: other calpixques went with him, one of whom, -named Yaotzin, lived in the town of Mictlanquauhtla, another -named Teozinzocatl resided in the town of Teociniocan, another -named Cuitlalpitoc was not a calpixque but the servant of one of -these calpixques, and principalejos, and another principalejo named<span class="pagenum" id="Page_12">[Pg 12]</span> -Tentlil. These went to see what the thing was, and carried some -things to sell under pretence, so as to see what the thing was: they -carried some rich mantles which only Montezuma, and no other -(person), wore, nor had permission to wear: they entered canoes and -went to the ships, saying amongst themselves, “We are here to guard -this coast; it is right that we should know for a certainty what this -is, in order to carry accurate news to Montezuma.” They entered -at once the canoes and commenced to paddle to the ships, and when -they arrived near the vessels and saw the Spaniards, all kissed the -prows of the ships, in sign of adoration, thinking that it was the -god Quetzalcoatl that had returned, which god, as appears in the -history, was already expected. Then the Spaniards spoke and -said: “Who are you? Whence have you come? From where are -you?” Those who came in the canoes responded, “We have come -from Mexico.” The Spaniards said, “If it is true that you are Mexicans, -tell us what is the name of the Lord of Mexico.” They replied, -“Our Lord, he is called Montezuma,” and then they presented all of -those rich mantles which they had brought to him who went as -general of those ships, who was, as is said, Grijalva, and the Spaniards -gave to the Indians some glass beads, some green and others -yellow, and the Indians when they saw them were very much -astonished and esteemed them greatly, and then they (the Spaniards) -dismissed the Indians, saying, “Now we return to Castile, -and will soon return and will (then) go to Mexico.” The Indians -returned to land and soon departed for Mexico, where they arrived -in a day and a night, to give the news of what they had seen to -Montezuma, and they brought to him the beads which had been -given them by the Spaniards, and spoke to him (Montezuma) as -follows: “Our Lord, we are deserving of death; hear what we have -seen, and what we have done. Thou hast placed us on guard at the -seashore; we have seen some gods on the sea, and went to receive -them, and give them various rich mantles; look at these beads that -they gave us, saying to us, ‘Is it true that you are Mexicans? Look at -these beads, give them to Montezuma, that he may know of us.’” -And they told him all that had happened when they were with those -(people) on the sea in the ships. Montezuma responded: “You have -come tired and worn out; go and rest. I have received this (news) -in secret, and command you not to say anything whatever about -what has happened.”</p> -<span class="pagenum" id="Page_13">[Pg 13]</span> -<p><span class="smcap">Chapter III.</span> <i>Of what Montezuma disposed after he heard the news -from those who saw the first (Spanish) ships.</i></p> - -<p>As soon as he (Montezuma) heard the news from those who had -come from the seashore, he ordered to be called at once the highest -chief of those who were called Cuextecatl, and the others who had -come with the message, and ordered them to place guards and -lookouts in all the farms along the shores of the sea, the one called -Naulitlantoztlan, and the other Mictlanquactla, so that they might -see when those ships returned, and at once give a report. The calpixques -and captains then left, and at once ordered the placing of -lookouts on the said farms, and Montezuma then summoned the -most confidential of his chieftains and communicated to them the -news which had arrived, and showed them the glass beads which the -messengers had brought, and said, “It seems to me that they are -precious stones; take great care of them in the wardrobe that none -of them be lost, and if any are lost, those who have charge of the -wardrobe will have to pay.” One year hence, in the year thirteen -rabbit, those who were on guard saw ships on the sea, and at once -came with great speed to give notice to Montezuma. As soon as he -had heard the news, Montezuma despatched men for the reception -of Quetzalcoatl, because he thought that it was him who came, because -they expected him daily, and as he had received news that -Quetzalcoatl had gone by sea toward the east, and the ships came -from the eastward, for this (reason) they thought that it was he: he -sent five of his chief lords to receive him and to present to him a great -present, which he sent. Of those who went the most prominent one -was called Yallizchan, the second in rank Tepuztecatl, the third -Tizaoa, the fourth Vevtecatl, and the fifth Veicaznecatlheca.</p> - -<p><span class="smcap">Chapter IV.</span> <i>What Montezuma ordered when he learned the -second time that the Spaniards had returned, this was D. Hernando -Cortés.</i></p> - -<p>To the above mentioned (messengers) Montezuma spoke, and -said, “Look, it has been said that our Lord Quetzalcoatl has arrived; -go and receive him and listen to what he may say to you with great -attention; see to it that you do not forget anything of what he may -say; see here these jewels which you are to present to him in my -behalf, and which are all the priestly ornaments that belong to -him.” First a mask wrought in a <i>mosaic of turquois</i>; this mask had<span class="pagenum" id="Page_14">[Pg 14]</span> -wrought in the same stones a doubled and twisted snake, the fold of -which was the beak of the nose; then the tail was parted from the -head, and the head with part of the body came over one eye so that -it formed an eyebrow, and the tail with a part of the body went over -the other eye, to form the other eyebrow. This mask was inserted -on a high and big crown full of rich feathers, long and very beautiful, -so that on placing the crown on the head, the mask was placed -over the face: it had for a (central) jewel a medallion of gold, round -and wide: it was tied with nine strings of precious stones, which, -placed around the neck, covered the shoulders and the whole breast: -they carried also a large shield bordered with precious stones with -bands of gold which went from the top to the bottom of it, and other -bands of pearls crossing over the gold bands from the top to bottom -of it, and in the spaces left by these bands, which were like the -meshes of a net, were placed zapitos (little toads) of gold. This shield -had edgings in the lower part; there was attached on the same -shield a banner which came out from the handle of the shield, made -of rich feathers: it also had a big medallion made of <i>mosaic-work</i> -which was fastened and girded around the loins: they carried also -strings of precious stones with gold bells placed in between the stones -to be tied to the ankles: they carried also a bishop’s staff all decorated -with <i>turquois mosaic-work</i>, and the crook of it was like the head -of a snake turned around or coiled. They also carried sandals (cotaras) -such as great lords were accustomed to wear. They also -carried the ornaments or finery with which Tezcatlipoca was -adorned, which was a head-piece made of rich feathers which hung -down on the back almost to the waist, and was strewn all over with -stars of gold. They carried also ear-ornaments of gold: they had -hanging from them little gold bells and strings of little white and -beautiful sea-shells. From these strings hung a piece of leather like a -plastron (peto), and it was carried tied in such a manner that it -covered the breast down to the waist: this plastron had strewn on it -and hanging from it many little shells. They carried also a corselet of -painted white cloth; the lower border of this corselet was edged with -white feathers in three strips all around the border: they also carried -a rich mantle the cloth of which was a light blue, and embroidered -all over with many designs of a very fine blue: this mantle was -worn around the waist, the (four) corners tied to the body: over this -mantle was worn a medallion of <i>turquois [work]</i> attached to the body<span class="pagenum" id="Page_15">[Pg 15]</span> -over the loins: they also carried strings of gold bells to tie around the -ankles, and also white sandals (cotaras) like those the lords are wont -to wear. They also carried the ornaments and decorations of the -god Tlalocantecutli, which were, a mask with its feather-work, and a -banner like the one above mentioned: also wide ear-ornaments of -chalchivitl with snakes of chalchivites inside: and also a corselet -painted with green designs, and strings or collar of precious stones, -and also a medallion with which they girded the loins, like the one -above described, with a rich mantle, with which they girded themselves -like the one described above, and golden bells to place on the -feet, and the staff like the one above described. Other ornaments -which they carried were also of the same Quetzalcoatl, a miter of -tiger-skin, and hanging from the miter a hood of raven’s feathers: -the miter also had a large chalchivitl rounded at the end, and also -round ear-ornaments of <i>turquois mosaic</i> with a hook of gold called -ecacozcatl, and a rich mantle with which he girded himself, and -some gold bells for the feet, and a shield which had in the center a -round plate of gold, which shield was bordered with rich feathers. -From the lower part of the shield came out a sash of rich feathers in -the shape of the one above described: it had a staff wrought in -<i>turquois mosaic</i>, and its crook was set with rich stones or conspicuous -pearls. They also had on top of it all some sandals (cotaras), such as -the lords were accustomed to wear. All these things were brought by -the messengers and presented, as they say, to D. Hernando Cortés. -Many other things they presented to him which are not written -about, such as a miter of gold made like a periwinkle with edging of -rich feathers which hung over the shoulders, and another plain -miter of gold and other jewels of gold which are not written about. -All these things were placed in hampers (petacas), and upon taking -leave from Montezuma he said to them, “Go and worship in my -name the god who comes, and say to him we have been sent here by -your servant Montezuma: these things which we bring have been -sent by him, for you have come to your dwelling, which is Mexico.” -These messengers set out on the road at once, and arrived at the seaside, -and there took canoes [<i>cañas</i>, undoubtedly <i>canoas</i> was written], -and arrived at a place called Xicalanco: from there they took other -canoes with all their clothes, and reached the ships, and then those -of the ships asked them, “Who are you, and whence have you come?” -And those of the canoes answered, “We come from Mexico.” And<span class="pagenum" id="Page_16">[Pg 16]</span> -those of the ships said to them, “Perchance you are not from Mexico, -but falsely say you are from Mexico and deceive us.” And upon -this they took and gave (bartered?), until they were satisfied on -both sides, and they tied the canoe to the ship, and a ladder was let -down, by which they climbed up to the ship and came to where D. -Hernando Cortés was.</p> - -<p><span class="smcap">Chapter V.</span> <i>Of what happened when the messengers of Montezuma -entered the ship of D. Hernando Cortés.</i></p> - -<p>They commenced to climb up to the ship on the ladders, and -brought the presents that Montezuma had commanded them to -carry. When they were in front of the captain D. Hernando Cortés, -all kissed the ground [deck] in his presence, and spoke in this wise: -“May the god whom we come to adore in the name of his servant -Montezuma, who for him rules and governs the city of Mexico, -know, and who says that the god has come after much hardship.” -And at once they took out the ornaments they had brought, and -placed them in front of the captain D. Hernando Cortés, adorning -him with them, placing first the crown and mask which has been -described above, and all the other things: they put around his neck -the collars of (precious) stones with the jewels of gold which they -had brought, and put on his left arm the shield above described, -and all the other things were placed in front of him in the order they -were accustomed to put their presents. The captain said, “Is there -something more?” And they said to him, “We have not brought -anything else than these things that are here.” The captain at once -ordered them to be tied, and ordered shots of artillery fired, and the -messengers who were tied hand and foot, when they heard the -thunder of the bombardment, fell on the floor like dead, and the -Spaniards lifted them from the floor, and gave them wine to drink, -with which they strengthened them and revived them. After this -captain D. Hernando Cortés said to them, through the interpreter: -“Listen to what I say to you. I have been told that the Mexicans -are valiant men, that they are great conquerors and great warriors, -and are very skillful at arms: they tell me that one Mexican alone is -enough to conquer from ten to twenty of his enemies. I wish to -prove whether this is true, and whether you are so strong as I have -been told.” Then he ordered swords and shields to be given them -that they might fight with as many Spaniards, so that he might see<span class="pagenum" id="Page_17">[Pg 17]</span> -who might win, and the Mexicans then said to captain Cortés, “May -it please your grace to listen to our excuse, for we are not able to do -what you command, and it is because our Lord Montezuma has -sent us to do nothing else than to salute you and give you this -present, we cannot do anything else, nor are we able to do what you -order us, for if we did we should offend our Lord Montezuma, and -he would order us killed.” And the captain responded: “You will -have to do by all means what I say. I have to see what kind of men -you are, for over yonder in our country we have been told that you -are very courageous men: arm yourselves with these arms and be -ready that we encounter one another tomorrow on the (battle) -field.</p> - -<p><span class="smcap">Chapter VI.</span> <i>Of how the messengers of Montezuma returned to Mexico -with the report of what they had seen.</i></p> - -<p>After what has been related was done, they took leave of the -captain, and entered their canoes, and commenced to go toward the -land, paddling with great speed, and saying to one another, “There -are valiant men; let us exert ourselves to paddle before anything -happens.” They arrived very quickly at the town of Xicalanco, and -there they ate and rested a little, and then they got into their canoes -again, and paddling with great speed they arrived at the town called -Tecpantlayacac, and from there began to journey by land, running -with great speed, and they reached the town called Cuetlaxtla: -there they ate and rested a little, and those of the town begged -them that they should rest at least a day, but they responded that -they could not, because they had to go with great speed to make -known to Montezuma what they had seen, very new things, and -never before seen nor heard of, of which no one else could speak -about: and so traveling with great speed by night and day, they -arrived in Mexico by night.”</p> -</div> - -<p>In the accounts of the vast treasure secured by Cortés from -Montezuma before his untimely death, there is to be found no -specific mention or description of objects decorated with stone -mosaic. Much of the treasure secured in the final sack of -Tenochtitlan (Mexico) was lost. The “empire” of the Aztecs -was completely subjugated in 1521. From that time, and up to -1525, Cortés sent to Europe at various intervals great quantities<span class="pagenum" id="Page_18">[Pg 18]</span> -of loot, gathered as tribute from the stores of the Indians, -accompanied with inventories, a number of which have been -published. From these inventories we select the following items -which clearly relate to stone mosaic objects.</p> - -<div class="blockquot"> - -<p><i>Report of the Feather-work and Jewels sent to Spain to be distributed -to the following Churches and Monasteries and Special Persons.</i> -[Without date.]</p> - -<p class="c">For the Lord Bishop of Burgos</p> - -<p>Item: something like a staff (crosier) of stone mosaic-work -of many colors, for him (the Bishop).</p> - -<p><i>Copy of the Register of the Gold, Jewels, and other Things which are -to go to Spain in the Ship Santa María de la Rábida, its Master -(being) Juan Baptista. (The year 1522.)</i></p> -</div> - -<p>This report contains a register of much treasure sent in one -of the several ships which left Mexico in June, 1522, in charge of -the treasurer Julian Alderete, and Alonso Dávila and Antonio -de Quiñones, proctors. The register contains statements of the -monetary value of certain treasure registered by various persons, -among whom we find one Juan de Rivera, who carried -treasure for himself, Cortés, and other persons named in the -inventory; but none of the articles is described. In the margin -of the report are notes stating that a considerable portion -remained in the Azores. In another inventory, from which we -shall quote later, are descriptions of certain pieces, jewels, -and feather-work that remained in the Azores in charge of the -above-named proctors. According to Peter Martyr the greater -part of this treasure was destined for the King of Spain, but it -never reached him, for the vessel, which with the others had -put into the Azores to escape French pirates, was captured -later by these corsairs and the rich spoils of the Aztecs went -to augment the treasure of Francis I.</p> - -<p>The ship <i>Santa María de la Rábida</i> seems to have arrived -in Sevilla in November, 1522, and Peter Martyr saw the -treasure that it brought and interviewed Juan de Rivera at<span class="pagenum" id="Page_19">[Pg 19]</span> -length concerning the people and country of New Spain. The -account which he wrote, based on a view of the wonderful -objects and what Rivera had told him, comprises an entire -book in the Fifth Decade of his <i>De Orbe Novo</i>, first printed in -1530. It contains a mass of valuable and generally trustworthy -information, gleaned not only at first hand from Rivera, but -also from a young native Mexican whom Rivera had brought -to Spain as a slave and servant. This account supplies certain -information describing the treasure, which is missing in the -inventory. The report is so interesting that we quote what -Peter Martyr writes about some of the objects of stone mosaic-work -which Rivera displayed.<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a></p> - -<div class="blockquot"> - -<p>We have been particularly delighted with two mirrors of exceptional -beauty: the first was bordered with a circle of gold, one palm -in circumference, and set in green wood; the other was similar. -Ribera states that there is stone found in these countries, which -makes excellent mirrors when polished; and we admit that none of -our mirrors more faithfully reflect the human face.</p> - -<p>We also admire the artistically made masks. The <i>superstructure</i> is -of wood, covered over with stones, so artistically and perfectly -joined together that it is impossible to detect their lines of junction, -with the fingernail. They seem to the naked eye to be one single -stone, of the kind used in making their mirrors. The ears of the -mask are of gold, and from one temple to another extend two green -lines of emeralds; two other saffron colored lines start from the half-opened -mouth, in which bone teeth are visible; in each jaw two -natural teeth protrude between the lips. These masks are placed -upon the faces of the gods, whenever the sovereign is ill, not to be -removed until he either recovers or dies.</p> -</div> - -<p>Peter Martyr gives us details regarding the King’s share of -the loot brought by the <i>Santa María de la Rábida</i>, writing as -follows:</p> - -<div class="blockquot"> - -<p>Without mentioning the royal fifth, that ship brings the treasure -which is composed of a part of what Cortés amassed, at the cost of -risks and dangers, and the share belonging to his principal lieutenant: -they offer it all in homage to their King. Ribera has been instructed -to present to the Emperor in his master’s [Cortés’] name the<span class="pagenum" id="Page_20">[Pg 20]</span> -gifts he sends, while the others will be presented in the name of their -colleagues by the officers who, as I have said, remained behind at the -Azores.... The treasure destined for the Emperor is on board the -vessel which has not yet arrived: but it is said that it amounts to -32,000 ducats of smelted gold in the form of bars. Were all the -rings, jewels, shields, helmets, and other ornaments now smelted, -the total would amount to 150,000 ducats. The report has spread, I -know not how, that French pirates are on the watch for these ships: -may they come safely in.</p> -</div> - -<p>As we have stated, the ships were captured and the treasure -was irretrievably lost to the Spaniards. An inventory of the -treasure, preserved in Spain, reads:</p> - -<div class="blockquot"> - -<p><i>Statement of Pieces, Jewels, and Feather-work sent from New Spain for -His Majesty, and that Remained in the Azores in the Charge of -Alonso Dávila and Antonio Quiñones.</i> [Without date.]</p> - -<p>Statement of the pieces, jewels, and feather-work that are sent to -Their Majesties in the following boxes:</p> - -<p>A shield with blue stone mosaic-work with its rim of gold.</p> - -<p>A shield of stone mosaic-work, with a rim of blue and red feathers.</p> - -<p>A shield of stone mosaic-work, the casco (crown) of feathers and -the clasps of gold, and on the rim some long green feathers.</p> - -<p>A shield of stone mosaic-work and confas (shells) with some -pendants on the rim, of large and small gold bells.</p> - -<p><i>Report of the Objects of Gold that are Packed in a Box for His Majesty -which are Sent in Care of Diego de Soto.</i> [Without date.]</p> - -<p>A face of gold with the features of stone mosaic-work.</p> - -<p>A face of tiger-skin [<i>sic</i>] with two ear-ornaments of gold and stone -mosaic-work.</p> - -<p><i>Report of the Things Carried by Diego de Soto from the Governor in -Addition to what he Carries Listed in a Notebook of Certain Sheets of -Paper for His Majesty</i>. [Without date.]</p> - -<p>A large shield with some moons of stone mosaic-work and with -much gold.</p> - -<p>Two stone mosaic-work shields.</p> -</div> - -<p>The final inventory from which we extract items relating to -stone mosaic-work objects is dated 1525. It is:</p> - -<p><span class="pagenum" id="Page_21">[Pg 21]</span></p> - -<div class="blockquot"> - -<p><i>Report of the Gold, Silver, Jewels, and Other Things that the Proctors -of New Spain Carry to His Majesty.</i> (<i>Year of 1525</i>.)</p> - -<p>A large head of a duck of blue stone mosaic-work.</p> - -<p>Two pieces of gold, such as the natives of these parts wear in their -ears with some red and blue stones, weighing altogether ten pesos.</p> - -<p>A bracelet with four greenstones set in gold like the hoof of a stag. -Not weighed.</p> - -<p>Another bracelet of gold with ten pieces like azicates, and two -claws of greenstone set in gold.</p> - -<p>An armlet of tiger-skin with four greenstones and four small bars -of gold of little weight.</p> - -<p>A shell like a venerica set in gold with a greenstone in the center.</p> - -<p>A large shell set in gold with a face of greenstone, with some blue -and yellow little stones around the neck.</p> - -<p>A butterfly of gold with the wings of venera, and the body and -head of greenstone.</p> - -<p>Two veneras, one purple and the other yellow, each one respectively -with greenstones in the center and other blue ones around -it, set in gold.</p> - -<p>Another white venera, set in gold, having some blue and red eyes, -the one inserted in the other.</p> - -<p>A monster of gold with some greenstone mosaic-work in the belly, -weighing altogether eleven pesos.</p> - -<p>A poniard (or jewel broncha) of white shell set in gold, weighing -altogether thirty-seven pesos, five tomins.</p> - -<p>A butterfly of shell, of fancy work, set in gold, weighing altogether -eleven pesos, six tomins.<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a></p> -</div> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_22">[Pg 22]</span></p> - -<h2 class="nobreak" id="c5">TRIBUTE OF MOSAIC PAID TO<br /> -THE AZTEC RULERS</h2> -</div> - - -<p><span class="smcap">Mosaic</span> objects, and especially the raw material for their -manufacture, formed a part of the annual tribute paid by some -of the coast provinces of ancient Mexico to the Aztec kings of -Tenochtitlan. We have the pictorial representation of some -of the objects of such tribute in an important native book or -codex, painted in colors on maguey fiber paper, known as the -Tribute Roll of Montezuma. This original codex was at one -time in the famous Boturini collection, and is now one of the -treasured possessions of the Museo Nacional in the City of -Mexico. It lacks, however, several leaves which were abstracted -about a century ago, and which came into possession of Joel R. -Poinsett, who had been American Minister to Mexico, and -who presented them to the American Philosophical Society of -Philadelphia in 1830, where they now are. On the pages have -been written explanations of the pictures and figures in both -Nahuatl and Spanish. “The Nahuatl words look as if made by -a pencil, style, or short brush similar to that used in delineating -the figures, and with a sepia-like preparation; while the Spanish -ones have evidently been made with an ink containing iron, and -an instrument which disturbed the gloss of the paper, as is -shown by its penetration to fibres adjacent, giving the lines a -sort of hazy margin occasionally.”<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a></p> - -<p>Some time between the years 1534 and 1550, Don Antonio -de Mendoza, the first Viceroy of Mexico, during this period, -had the Indians prepare for the Emperor Charles V, a book -on European paper, containing a pictorial account, in colors, -of some things relating to the history and life of the natives -of the Mexican plateau. It was painted in three sections, the -first being a chronological record of the Aztec kings and their -conquests, the third relating to the habits and customs of the -natives and especially of the education of Mexican youth.</p> - -<div class="figcenter" id="f3"> -<p class="captiona">PL. II</p> -<img src="images/fig3.jpg" alt="" /> -<p class="caption">STONE IDOL: THE GODDESS COATLICUE, WITH MOSAIC DECORATION</p> -<p class="captiona">NATIONAL MUSEUM, MEXICO</p> -</div> - -<div class="figcenter1" id="f4"> -<p class="captiona">PL. III</p> -<img src="images/fig4.jpg" alt="" /> -<p class="caption">STAFF AND RATTLE OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">PEABODY MUSEUM, CAMBRIDGE</p> -</div> - -<p><span class="pagenum" id="Page_23">[Pg 23]</span></p> -<p>The <i>second</i> part was a copy of the Tribute Roll above referred -to. These pictures were given to other Indians for the interpretation -of their import, which was written down in the -Nahuatl language, and another person, well versed in both the -Indian and Spanish languages, made a translation into Spanish, -which was incorporated in the book. It was then despatched -to Spain, probably about the year 1549, but the vessel was -captured by French pirates, and the book came into the hands -of the French geographer, André Thevet, in 1553. After -Thevet’s death it was purchased, about the year 1584, by -Richard Hakluyt, at that time chaplain to the English Ambassador -to France. Hakluyt bequeathed the volume to Samuel -Purchas, who published it, without colors, with an English -translation of the text, in <i>Purchas His Pilgrimes</i>, London, 1625. -The English text was translated into French and accompanied -with the plates was published by Melchisedec Thevenot in -his <i>Relations des Divers Voyages</i>, in 1663. The codex ultimately -became the property of Selden, and with some other original -Mexican codices later became a part of the Bodleian Library -at Oxford, where it is now preserved. In 1831, Lord Kingsborough -issued it for the first time in colors, together with a -new and more accurate English rendering of the Spanish text, -in his monumental work on the <i>Antiquities of Mexico</i>.</p> - -<p>The Tribute Roll was published by Archbishop Lorenzana in -Mexico in 1770, in his edition of the <i>Cartas de Cortés</i>, the drawing, -uncolored, being traced in a very inferior manner from the -original in Mexico. Finally, Dr. Antonio Peñafiel included a -beautiful colored facsimile of the Tribute Roll in his work, -<i>Monumentos del Arte Mexicano Antiguo</i>, published in Berlin in -1890, the missing leaves, in Philadelphia, being reproduced -from a very poor drawing of the codex on European paper, -probably executed for Boturini. These leaves were published -in exact facsimile in 1892, with an article entitled, The Tribute -Roll of Montezuma, edited by Dr. D. G. Brinton and Henry -Phillips, in vol. <span class="allsmcap">XVII</span> of the <i>Transactions of the American Philosophical -Society</i>.</p> - -<p><span class="pagenum" id="Page_24">[Pg 24]</span></p> - -<div class="figleft" id="f46"> -<img src="images/fig46.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 1</span></p> -</div> - - -<p>On plate <span class="allsmcap">XVIII</span> (we refer to the Peñafiel edition), in the second -section of the plate, among other objects of tribute is a small -bowl containing pieces of cut turquois (see fig. -1). In the explanation given by Purchas, this -item is described as “a little panne full of -Turkes stones,” and in the Kingsborough text -it has been translated “a little vessel of small -turquois stones.” On the plate published by -Lorenzana is the caption, “Matlauac Rosilla con q. se tiñe -azul.” The word <i>matlauac</i> is probably a corruption of the -Nahuatl word <i>matlaltic</i>, meaning ‘blue,’ but the rest of the -sentence in Spanish is confused, for <i>rosilla</i> means ‘reddish,’ and -<i>con q. se tiñe azul</i>, ‘with which they dyed blue,’ seems to indicate -that the phrase is incomplete. Accompanying the objects -depicted as tributes are the hieroglyphs of the towns which -paid them. These glyphs have been interpreted in the same -manner in all of the reproductions of the codex, but we use the -spelling adopted by Peñafiel, in preference to that given by -Purchas or by Kingsborough. They are: (1) <i>Quiyauhtecpan</i>, -“temple of rain or of its deities” <i>Tlaloc</i> or <i>Chalchiuhtlicue</i>; (2) -<i>Olinalan</i>, “place of earthquakes;” (3) <i>Cuauhtecomatlan</i>, “place -of tecomates;” (4) <i>Cualac</i>, “place of good drinkable water;” -(5) <i>Ichcatlan</i>, “cotton-plantation;” (6) <i>Xala</i>, “sandy ground.” -These places are given in the explanation as being “cities of -warm provinces.”</p> - -<div class="figright" id="f47"> -<img src="images/fig47.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 2</span></p> -</div> - -<p>In the third section of the same plate (<span class="allsmcap">XVIII</span>) are the objects -shown in figs. 2 and 3. Peñafiel writes of fig. 2 as “ten little -figures worked in turquois.” Only one object -painted blue is depicted, the number ten -being indicated by the ten dots. That masks -form this tribute is clearly evident; in Purchas -the description is “tenne halfe faces of -rich blew Turkey stones,” and in Kingsborough, -“likewise 10 middling sized masks -of rich blue stones like turquois.”</p> - - - -<div class="figcenter" id="f5"> -<p class="captiona">PL. IV</p> -<img src="images/fig5.jpg" alt="" /> -<p class="caption">HELMET OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - - - -<p><span class="pagenum" id="Page_25">[Pg 25]</span></p> - -<div class="figright" id="f48"> -<img src="images/fig48.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 3</span></p> -</div> - -<p>The second item in this section (fig. 3) is described by -Peñafiel as “a small bag of the same stones.” Kingsborough’s -statement is, “a large bag of the said blue -stones,” while in Purchas the translation -reads, “a great trusse full of the said -Turkey stones.” On the bag which is -painted blue, with two red vertical bands, -is the Aztecan hieroglyph for stone, <i>tetl</i>. -The towns whence this tribute was exacted are: (1) <i>Yoaltepec</i>, -“place consecrated to the deity of the night;” (2) <i>Ehaucalco</i>, -“in the place of tanning;” (3) <i>Tzilacapan</i>, “river of chilacayotes;” -(4) <i>Patlanalan</i>, “place where parrots abound;” (5) <i>Ixicayan</i>, -“where the water comes down;” (6) <i>Ichcaatoyac</i>, “river of cotton.” -These cities are of the warm provinces.</p> - -<div class="figleft" id="f49"> -<img src="images/fig49.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 4</span></p> -</div> - -<p>The only finished objects of mosaic-work in the Tribute Roll -are on plate <span class="allsmcap">XXXII</span>. This is one of the leaves of the original -codex in Philadelphia, -and -we have traced -fig. 4 from this -original. They -are described -by Purchas as -“two pieces -like platters -decked or garnished -with rich Turkey stones.” Kingsborough mentions -them as “two pieces like salvers ornamented or set with rich -turquoise stones.” Lorenzana has correctly printed the legend -which we find reproduced in the Philadelphia publication of -this leaf; it is “<i>Ontetl xiuhtetl</i>,” followed by the Spanish, -“turquesas o piedras finas.” <i>Ontetl</i> is Nahuatl for “two,” and -<i>xiuhtetl</i>, or <i>xiuitl tetl</i>, “turquois stone.” The mosaic character -of these two pieces is graphically represented by the ancient -artist. The towns paying the tribute illustrated on this sheet -are as follows: (1) <i>Tochpan</i>, or <i>Tuchpan</i>, “over the rabbit;”<span class="pagenum" id="Page_26">[Pg 26]</span> -(2) <i>Tlaltizapan</i>, “place situated over chalk;” (3) <i>Cihuateopan</i>, -“in the temple of Cihuacoatl;” (4) <i>Papantla</i>, “place of the -priests;” (5) <i>Ocelotepec</i>, “place of the ocelot;” (6) <i>Mihuapan</i>, -“river of the ears of corn;” (7) <i>Mictlan</i>, “place of rest.”</p> - -<p>In the <i>Crónica</i> of Tezozomoc is an account of the campaign -of the Aztecan king Ahuitzotl into southern Mexico in 1497. -The towns of Xuchtlan, Amaxtlan, Izhuatlan, Miahuatla, -Tecuantepec, and Xolotlan, in the region of the Isthmus of -Tehuantepec, had revolted against him. After the complete -rout of the rebellious Indians, it was related by Tezozomoc -that “the kind of arms carried by the coast people was very -rich, so much so that the undisciplined soldiers began to strip -the bodies of the dead of the very rich feather-work pieces -called <i>quetzalmanalli</i>, and from their military ornaments -remove a round emerald like a mirror which sparkled in its -perfection, called <i>xiuhtezcatl</i>. Others of the dead carried on the -back of their arms that which was called <i>yacazcuil</i>, outside of -fine gold, and in the nose they wore stones; others (wore) gold, -and the shield which they carried had a very rich greenstone -in the center, and around it a decoration of very fine stones set -in (mosaic-work), said shield being called <i>xiuhchimal</i>.” Those -who remained after the slaughter came to Ahuitzotl, saying: -“Our Lords, let us speak. We will give our tribute of all that -is produced and yielded on these coasts, which will be chalchihuitl -of all kinds and colors, and other small stones called -<i>teoxihuitl</i> (turquois) for setting in very rich objects [mosaic], -and feathers of the richest sort brought forth in the whole -world, very handsome birds, the feathers of which are called -<i>xiuhtototl</i>, <i>tlaquechol</i>, <i>tzinitzcan</i>, and <i>zacuan</i>; tanned skins of -the tiger (ocelot), lions (puma), and great wolves, and other -stones veined with many divers colors.”<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a></p> - -<p>In the same <i>Crónica</i> we read that Montezuma, who succeeded -Ahuitzotl after his death in 1502, received a royal tribute -from his vassals in Xaltepec, a coast town of Tehuantepec, -among which were “broad collars [<i>sic</i>] for the ankles, strewn -with gold grains and very rich stone mosaic-work.”<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a></p> - -<div class="figcenter" id="f6"> -<p class="captiona">PL. V</p> -<img src="images/fig6.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_27">[Pg 27]</span></p> - -<h2 class="nobreak" id="c6">SOURCE OF TURQUOIS</h2> -</div> - - -<p><span class="smcap">The</span> source of the considerable quantity of turquois used in -Mexico in pre-Spanish times for personal ornaments and mosaic -incrustation is still an unsolved problem. Thus far no prehistoric -workings have been found in Mexico. Only recently -turquois has been discovered at the silver mines at Bonanza, -Zacatecas, but Dr. Kunz, who has called our attention to this, -writes that he has no information regarding prehistoric workings -there.<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a> In the extensive bibliography on the geology of -Mexico by Aguilar y Santillan<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">[27]</a> we find only a single entry for -turquois, that being the study of Mexican mosaics in Rome -by Pigorini.<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">[28]</a> Pogue<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> writes that there are no important -turquois deposits that do not show signs of prehistoric exploitation, -and he is also of the opinion that it is very difficult to -trace the source of the turquois used by the Indians of ancient -Mexico and Central America. Pogue’s conclusion is that “as -no occurrence at all adequate as an important source has been -discovered south of the present Mexican boundary, it therefore -seems probable that the Aztecs and allied peoples, through -trade with tribes to the north, obtained supplies of turquois -from the Cerrillos hills [New Mexico] and perhaps other localities -of the Southwest.”</p> - -<p>Sahagun is the only early chronicler who affords information -concerning this point. He writes explicitly that “the -Toltecs had discovered the mine of precious stones in Mexico, -called <i>xiuitl</i>, which are turquoises, which mine, according to -the ancients, was in a hill called Xiuhtzone, close to the town -of Tepotzotlan [State of Hidalgo].” We will quote other statements -by Sahagun concerning turquois:</p> - -<div class="blockquot"> - -<p>The turquois occurs in mines. There are some mines whence -more or less fine stones are obtained. Some are bright, clear, and -transparent; while others are not.... <i>Teoxiuitl</i> is called turquois -of the gods. No one has a right to possess or use it, but always it<span class="pagenum" id="Page_28">[Pg 28]</span> -must be offered or devoted to a deity. It is a fine stone without any -blemish and quite brilliant. It is rare and comes from a distance. -There are some that are round and resemble a hazelnut cut in two. -These are called <i>xiuhtomolli</i>.... There is another stone, used -medicinally, called <i>xiuhtomoltetl</i>, which is green and white, and very -beautiful. Its moistened scrapings are good for feebleness and -nausea. It is brought from Guatemala and Soconusco [State of -Chiapas]. They make beads strung in necklaces for hanging around -the neck.... There are other stones, called <i>xixitl</i>; these are -low-grade turquoises, flawed and spotted, and are not hard. Some -of them are square, and others are of various shapes, and they -work with them the mosaic, making crosses, images, and other -pieces.<a id="FNanchor_30" href="#Footnote_30" class="fnanchor">[30]</a></p> -</div> - -<p>If we are to credit Sahagun, turquois was worked not only -in the immediate region of the central Mexican plateau, but -they received supplies from distant points, and specifically -from Chiapas and Guatemala. The raw material mentioned -in the Tribute Roll of Montezuma as coming from coast towns -and from the south, must also be taken into consideration. -Hence, notwithstanding the present lack of information -respecting the localities where turquois is to be found <i>in situ</i> -in central and southern Mexico, we cannot reject the opinion -that ultimately ancient workings will be found at more than -one site in Mexico. We do not believe it necessary to -assume that the source of supply of both the Toltecs and the -Aztecs, as well as of other tribes, such as the Tarasco, and the -Mixtec and Zapotec, which also made use of this material, was -the far-distant region of New Mexico. It was formerly asserted -by some students that the jadeite of Middle America must -have come by trade from China,<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">[31]</a> because no deposits have -as yet been found in the former region; but it is now known -by chemical analysis that the Middle American jadeite is -distinct from that of Asia. In fact, the writer has long held -that not alone in one, but in at least five, different localities, -jadeite will in time be discovered.<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a></p> - -<div class="figcenter" id="f7"> -<p class="captiona">PL. VI</p> -<img src="images/fig7.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_29">[Pg 29]</span></p> - -<h2 class="nobreak" id="c7">THE AZTEC LAPIDARIES AND THEIR WORKS</h2> -</div> - - -<p>The development of the art of the lapidaries and mosaic-workers, -like that of the goldsmiths, is attributed by Sahagun -to the Toltecs, under the beneficent influence of Quetzalcoatl, -the culture hero god. In treating of the pre-Aztec people called -Tultecas, or people of Tollan or Tula, by Sahagun, he states -that they were very skilful in all that pertained to the fine arts. -He writes:</p> - -<div class="blockquot"> - -<p>The Tultecas were careful and thorough artificers, like those of -Flanders at the present time, because they were skilful and neat in -whatsoever they put their hands to; everything (they did) was very -good, elaborate, and graceful, as for example, the houses that they -erected, which were very beautiful, and richly ornamented inside with -certain kinds of precious stones of a green color as a coating (to the -walls), and the others which were not so adorned were very smooth, -and worth seeing, and the stone of which they were fashioned appeared -like a thing of mosaic.... They also knew and worked -pearls, amber, and amethyst, and all manner of precious stones, -which they made into jewelry.<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">[33]</a></p> -</div> - -<p>We find another statement to the effect that—</p> - -<div class="blockquot"> - -<p>The lapidary is very well taught, and painstaking in his craft, a -judge of good stones, which, for working, they take off the rough part -and bring together or cement with others very delicately with bitumen -or wax, in order to make mosaic-work.<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">[34]</a></p> -</div> - -<p>In the pictorial section of the Florentine manuscript of -Sahagun,<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">[35]</a> in the Codex Mendoza,<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">[36]</a> and in the Mappe Tlotzin,<a id="FNanchor_37" href="#Footnote_37" class="fnanchor">[37]</a> -are pictures delineating artisans engaged in various crafts, -such as weavers, painters, carpenters (wood-carvers), stone -carvers, lapidaries, goldsmiths, and feather-mosaic workers, -yet we find no actual representation of turquois-mosaic workers. -In the third section of the Codex Mendoza appears a picture -of a father teaching his son the secrets of the lapidary’s art. -The interpreter of the codex writes:</p> - -<p><span class="pagenum" id="Page_30">[Pg 30]</span></p> - -<div class="blockquot"> - -<p>The trades of a carpenter, jeweler (lapidary), painter, goldsmith, -and embroiderer of feathers, accordingly as they are represented and -declared, signify that the masters of such arts taught these trades -to their sons from their earliest boyhood, in order that, when grown -up to be men, they might attend to their trades and spend their -time virtuously, counseling them that idleness is the root and -mother of vices, as well as of evil-speaking and tale-bearing, whence -followed drunkenness and robberies, and other dangerous vices, and -setting before their imaginations many other grounds of alarm, that -hence they might submit to be diligent in everything.</p> -</div> - -<p>The elaborate series of pictures of the various crafts in the -Florentine manuscript of Sahagun (laminas liv to lxiv) includes -those that show in detail the work of the goldsmiths -and the feather-workers; but the illustrations devoted to the -lapidaries we are unable to correlate, in the absence of the -text, with the Nahuatl text of the Sahagun manuscript in the -Real Academia de la Historia in Madrid, which we will give -later from the study by Dr. Seler containing a translation of -the native text into French. This description of the work of the -lapidaries informs us only concerning the working and polishing -of the stones. Unlike the other accounts by Sahagun regarding -the goldsmiths and the feather-workers, which enlighten us -with respect to the details of these two fine arts, he does not -here enter into any description concerning the delicate work -of the artists who fashioned the beautiful pieces of stone -mosaic. Although such work was turned out by the Aztecan -workmen, as we have already demonstrated, it seems highly -probable that in times immediately preceding the Spanish -conquest, the Aztecan kings Ahuitzotl and Montezuma obtained -a considerable number of such objects through tribute -and by barter with the tribes living in what are now the states -of Vera Cruz, Oaxaca, and western Chiapas. As our knowledge -of Mexican archeology, now all too meager, is extended, it is -very probable that we will find vestiges of this art in the -Pacific state of Guerrero, where great numbers of jadeite and -other greenstone objects have been discovered, with a respectable<span class="pagenum" id="Page_31">[Pg 31]</span> -number of specimens indicating the high artistic skill -of the indigenes of that section. We may also hope to find relics -of this art in the area of Matlaltzincan culture to the north of -the valley of Mexico, and also in the field of Tarascan culture -in the states of Michoacan and Jalisco, for, as will be related, -mosaic specimens have been recovered from ancient ruins as -far north as the State of Zacatecas.</p> - -<div class="figcenter" id="f8"> -<p class="captiona">PL. VII</p> -<img src="images/fig8.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">PREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME</p> -</div> - - -<p>Sahagun’s account (chap. <span class="allsmcap">II</span>) of the work of the lapidaries -we herewith append, with the Nahuatl text and a translation -of the French rendering by Seler.<a id="FNanchor_38" href="#Footnote_38" class="fnanchor">[38]</a></p> - -<div class="blockquot"> - -<p>1. <i>In tlateque tulteca ynic quitequi yn yztac tehuilotl yoan tlapaltehuilotl -yoan chalchiuitl yoan quetzalitztli ynica teoxalli yoan tlaquauac -tepuztli.</i></p> - -<p>1. The lapidary artisans cut rock-crystal, amethyst, emerald, -both common and precious, by means of emery and with an instrument -of tempered copper:</p> - -<p>2. <i>Auh ynic quichiqui tecpatl tlatetzotzontli.</i></p> - -<p>2. And they scraped it by means of cutting flint.</p> - -<p>3. <i>Auh ynic quicoyonia ynic quimamali teputztlacopintli.</i></p> - -<p>3. And they dug it out (hollowed) and drilled it by means of a -little tube of copper.</p> - -<p>4. <i>Niman yhuian quixteca quipetlaua quitemetzhuia, auh yn yc -quicencaua.</i></p> - -<p>4. And then they faceted it very carefully; they burnished -(polished) it and gave it the final luster.</p> - -<p>5. <i>Ytech quahuitl yn quipetlaua ynic pepetlaca, ynic motonameyotia -ynic tlanextia.</i></p> - -<p>5. They polished it set in wood, so that it comes to be very -brilliant, shining, glossy.</p> - -<p>6. <i>Anoço quetzalotlatl ynitech quilau ynic quicencaua ynic quiyecchiua -yn intultecayo tlatecque.</i></p> - -<p>6. Or they polish it mounted in bamboo, and the lapidaries -finish it thus, and conclude their work.</p> - -<p>7. <i>Auh çannoiuhqui yn tlapaltehuilotl ynic mochiua ynic mocencaua.</i></p> - -<p>7. And in the same manner they work and smooth amethyst.</p> - -<p>8. <i>Achtopa quimoleua quihuipeua teputztica yn tlatecque yn -tulteca ynic yyoca quitlatlalia yn qualli motquitica tlapaltic yn itaqui.</i></p> - -<p><span class="pagenum" id="Page_32">[Pg 32]</span></p> - -<p>8. In the first place the lapidary artisans break into pieces the -amethyst and crush it with an instrument of copper, for they work -only the beautiful pieces which are entirely reddish.</p> - -<p>9. <i>Çan niman yuhqui tlatlalia yn campa monequiz quimoleua -tepuztica.</i></p> - -<p>9. They do not set up the precious stones named in this manner, -except in the parts where it is necessary, when they break them with -the copper instrument.</p> - -<p>10. <i>Auh niman quichiqui quixteca yoan quitemetzhuia yoan quipetlaua -ytech quahuitl yn tlapetlaualoni ynic quiyectilia ynic quicencaua.</i></p> - -<p>10. Then they scrape it, and they facet it, and they smooth it, -and they polish it, mounted in wood, set on the instrument called -polisher or burnisher, and they manufacture and finish it.</p> - -<p>11. <i>Auh yn yehoatl yn moteneua eztecpatl ca cenca tlaquauac -chicauac camo ma vel motequi ynica teoxalli.</i></p> - -<p>11. The stone called blood silex (heliotrope) is very hard and very -strong, and they do not cut it well with emery.</p> - -<p>12. <i>Çaçan motlatlapana motehuia.</i></p> - -<p>12. They break it and they cut it up in any kind of way.</p> - -<p>13. <i>Yoan motepehuilia yn itepetlayo yn amo qualli, yn amo uel -no mopetlaua.</i></p> - -<p>13. And they throw away the vein-stone, the useless stone, that -which does not lend itself readily to polishing.</p> - -<p>14. <i>Çan yehoatl mocui motemolia yn qualli, yn vel mopetlaua yn -eztic, yn uel cuicuiltic.</i></p> - -<p>14. They do not take or seek except the beautiful pieces that -lend themselves to good polishing, the red-banded, that permit -themselves to be well cut.</p> - -<p>15. <i>Michiqui atica yoan ytech tetl cenca tlaquauac vnpa uallauh -yn matlatzinco.</i></p> - -<p>15. They rub them with water and mounted in a very hard stone -that comes from the country of Matlatzinca [district of Toluca].</p> - -<p>16. <i>Ypampa ca uel monoma namiqui, yniuh chicauac tecpatl -noyuh chicauac yn tetl, ynic monepanmictia.</i></p> - -<p>16. And because these two stones are companions, the one to the -other, as the silex is very hard, so the stone is hard, they kill one -another (the one kills the other).</p> - -<p>17. <i>Çatepan mixteca yca teoxalli yoan motemetzhuia yca ezmellil.</i></p> - -<p>17. Then they facet and polish them by means of emery.</p> - -<p><span class="pagenum" id="Page_33">[Pg 33]</span></p> - -<p>18. <i>Auh çatepan yc mocencaua yc mopetlaua, yn quetzalotlatl.</i></p> - -<p>18. And they finish and polish them with bamboo.</p> - -<p>19. <i>Ynic quicuecueyotza quitonameyomaca.</i></p> - -<p>19. In this way they make them scintillate and give to them a -luster like the rays of the sun.</p> - -<p>20. <i>Auh yn yehoatl motocayotia vitzitziltecpatl niman yuh yolli -tlacati.</i></p> - -<p>20. And that which they call hummingbird silex (stone of a -thousand colors) is (in color like) an animal of that nature.</p> - -<p>21. <i>Miyec tlamantli ynic mocuicuiloua, iztac yoan xoxoctic yoan -yuhquin tletl, anoço yuhqui citlali yoan yuhquin ayauhcoçamalotl.</i></p> - -<p>21. It is tinted (painted) in a thousand colors, white, blue, clear -brilliant red, black with white spots, and the color of the rainbow.</p> - -<p>22. <i>Çan tepiton xalli ynic michiqui ynic mopetlaua.</i></p> - -<p>22. They scrape it and simply polish it with fine sand.</p> - -<p>23. <i>Auh yn yehoatl motocayotia xiuhtomolli camo tlaquauac camo -ezmellil ytech monequi ynic michiqui ynic mixteca yoan ynic motemetzhuia -yoan ynic mopetlaua ynic moquetzalotlahuiaya ynic motonameyotia -motlanexyotia.</i></p> - -<p>23. The stone that they call round turquois is not very hard, -so they have no need of emery to scrape, facet, smooth, or polish, for -they apply to it the bamboo, then it receives its radiant luster and -brilliancy.</p> - -<p>24. <i>Auh yn yehoatl teoxihuitl ca amo cenca tlaquauac.</i></p> - -<p>24. The fine turquois is not very hard either.</p> - -<p>25. <i>Çanno tepiton xalli ynic mopetlaua ynic moyectilia auh yn uel -no yc motlanextilmaca motonameyomaca occentlamantli ytoca xiuhpetlaualoni.</i></p> - -<p>25. They polish it likewise with fine sand and they give to it a -very brilliant luster and radiance by the method of another polisher, -called the polisher of turquois.</p> -</div> - -<div class="figcenter" id="f9"> -<p class="captiona">PL. VIII</p> -<img src="images/fig9.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">PREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME</p> -</div> - - -<p>Regarding the patron deities of the lapidaries, Sahagun has -given us a detailed account which is so interesting that we -translate <i>in extenso</i>.</p> - -<div class="blockquot"> - -<p>The lapidaries who worked precious stones in the time of their -pagandom adored four gods, or better said devils: the first was -called <i>Chicunavitzcuintli</i>, the second <i>Naoalpilli</i>, the third <i>Macuilcalli</i>, -and the fourth <i>Cintcutl</i>: to all these last three gods they made a<span class="pagenum" id="Page_34">[Pg 34]</span> -festival when there reigned the sign or character called <i>Chicunavitzcuintli</i>, -which is a woman, and for this (reason) they painted it so: to -this (one) they attributed the cosmetics of the women, and in order -to signify this they painted it with a crosier in the right hand, and -in the left they put a shield, in the which (shield) there was represented -a foot. They also put ear-ornaments of gold on it, and from -the cartilage of the nose hung a butterfly of the same metal, and -they dressed it (the idol) with a <i>uipil</i> and woman’s shirt that was -woven white and red, and also the skirts: they put on some sandals, -also colored, having some paintings that appeared like almonds. To -all these four (gods) they gave their images or their titles, so that -they might die in their service on the day of their festival. That one -called <i>Naoalpilli</i> they decked out, and they cut the strands of hair -in unequal lengths, very badly cut, disheveled or standing on ends, -and divided in two parts. They put on the forehead a delicate plate -of gold (thin) like paper, some earrings of gold in the ears, and in the -hand a crosier decorated with rich feathers, and in the other (hand) a -shield made like a net, and in four parts it had rich feathers badly -placed. They also dressed it with a jacket woven white and red, -with edging in the lower end: they also put on it some colored sandals. -And the other god, called <i>Macuilcalli</i>, they also composed like -a man, the hair cut in the middle of the head like a ridge, that is -called <i>quachichiquille</i>, and this ridge was not of hair but made -of the richest feathers. They placed in the temples some plates of -delicate gold, and a jewel hung from the neck also, made of a round -and wide marine shell. In the hand a crosier made of rich feathers -was placed, and in the other hand was a shield with some circles of -red, some inside the others; they had the body painted vermilion -color, and they also put on it some sandals of the same color. The -other god, called <i>Cinteutl</i>, was fashioned in the likeness of a man, -with a mask wrought like mosaic-work, with some rays of the same -(mosaic-work), coming out of the same mask. They put on it a -jacket of cloth dyed light-blue; a jewel of gold hung from the neck. -They place it (the idol) on a high platform from which it looked out, -which platform, called <i>cincalli</i>, was composed of cornstalks after -the manner of a <i>xacal</i>. They adorned it with some white sandals, -the fastenings of which were made of loose cotton; they say that to -these gods they attribute the artifice of working precious stones, of -the making of barbotes (the tops of helmets), and ear-ornaments of -<span class="pagenum" id="Page_35">[Pg 35]</span>black stone, of crystal, and of amber, and of other white (stones). -They also attribute to these gods the working of beads, anklets, -strings of pearls which they carried on their wrists, and all kinds of -work in stones and chalchihuites, and the hollowing-out and polishing -of all the stones; they said that these gods had invented it, and -for this reason they were honored as gods, and to them the elder artisans -of this craft and all the other lapidaries made a festival. By -night they intoned their hymns and set the captives who were to die, -on watch in their honor, and they did not work during the festival. -This (festival) was celebrated in Xochimilco, because they said that -the forefathers and ancestors of the lapidaries had come from that -town, and there was the place of origin of these artisans.<a id="FNanchor_39" href="#Footnote_39" class="fnanchor">[39]</a></p> -</div> - -<div class="figcenter" id="f10"> -<p class="captiona">PL. IX</p> -<a id="fig10" href="images/fig10big.jpg"> -<img src="images/fig10.jpg" alt="" /> -</a> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION. NEW YORK</p> -</div> - - -<p>The ruler of the eighteenth week of the astrological calendar, -or <i>tonalamatl</i>, was a goddess named <i>Chantico</i> or <i>Quaxolotl</i>, -also nicknamed <i>Chiconaui-itzcuintli</i>,<a id="FNanchor_40" href="#Footnote_40" class="fnanchor">[40]</a> from the ninth day of -the thirteen-day period or week. Seler writes:</p> - -<div class="blockquot"> - -<p>She was the goddess of Xochimilco, and consequently also the -chief deity of the guild of the tlatecque, of the stone cutters, the -stone polishers, the jewelers, who were also supposed to come from -Xochimilco. (Duran calls her wrongly Ciuacoatl and identifies her -with the goddess of Colhuacan, which place stood opposite the city -of Xochimilco).... Besides <i>Chiconaui-itzcuintli</i> the stone-cutters -had still a few other titles for the goddess. Such were Papaloxaual -and Tlappepalo, i.e., “she of the red butterfly painting,” and “she -with the red butterfly,” and these have reference to fire.... The -stone-cutters also gave their goddess a butterfly as her nasal ornament, -which, red and white, are the colors of her robe.<a id="FNanchor_41" href="#Footnote_41" class="fnanchor">[41]</a></p> -</div> - -<p>In some of the different versions or paintings of the <i>tonalamatl</i> -contained in old Mexican codices, opposite the delineation -of the goddess Chantico there is placed a fasting man in an -enclosure. In both Codex Borbonicus<a id="FNanchor_42" href="#Footnote_42" class="fnanchor">[42]</a> and Codex Telleriano -Remensis,<a id="FNanchor_43" href="#Footnote_43" class="fnanchor">[43]</a> this figure is found. Seler describes it as—</p> - -<div class="blockquot"> - -<p>an enclosure inlaid with gold discs or rings. The interpreter designates -it as “house of gold.” Beyond doubt this name has reference to -one of the four little fasting houses (<i>necaualcalli</i>) which the hero of -Tollan, Quetzalcoatl, built for himself, and naturally corresponded<span class="pagenum" id="Page_36">[Pg 36]</span> -to the four quarters of the heavens, the first of which was said to -be made of gold or embellished with gold (<i>coztic teocuitlacalli</i>), the -second decorated with red musselshells (<i>tapachcalli</i>), the third with -turquoises (<i>xiuihcalli</i>), the fourth with white musselshells (<i>teccizcalli</i>).<a id="FNanchor_44" href="#Footnote_44" class="fnanchor">[44]</a></p> -</div> - -<p>Seler draws this inference from the legend given by Sahagun, -which we have translated in full below.</p> - -<p>As often is the case, there is some confusion in the description -of Chantico in the early writings. This deity is also -asserted to be a male. In the explanation of the Codex Telleriano -Remensis the attributes of Chantico or Cuaxolotle are -recited. It is said that—</p> - -<div class="blockquot"> - -<p>Chantico presided over these thirteen signs (a division of the tonalamatl, -or divinatory calendar), and was the lord of chile or of the -yellow woman. He was the first who offered sacrifice after having -eaten fried fish; the smoke of which (sacrifice) ascended to heaven; -at which Tonacotli (Tonacatecutli, the father of all the gods) became -incensed, and pronounced a curse against him that he should be -changed into a dog, which accordingly happened, and he named -him Chantico on this account, which is another name for Miquitlatecotle. -From this transgression the destruction of the world ensued. -He was called Nine Dogs, from the sign on which he was born. -Chantico or Cuaxolotle is the symbol which the country people of -Xolotle wear on their heads.<a id="FNanchor_45" href="#Footnote_45" class="fnanchor">[45]</a> (The symbol of the city of Xolotlan -in the Codex Mendoza is the head of a Dog.)</p> -</div> - -<p>In the Sahagun manuscript of the Real Palacio in Madrid<a id="FNanchor_46" href="#Footnote_46" class="fnanchor">[46]</a> -the deity is painted with the shirt and skirt of a woman, and -also in the Codex Borbonicus<a id="FNanchor_47" href="#Footnote_47" class="fnanchor">[47]</a> and the Tonalamatl Aubin.<a id="FNanchor_48" href="#Footnote_48" class="fnanchor">[48]</a> -In his explanation of the last codex Seler has treated exhaustively -of the various representations and attributes of -this goddess.<a id="FNanchor_49" href="#Footnote_49" class="fnanchor">[49]</a></p> - -<p>Among the laws of the Mexicans was the following:</p> - -<div class="blockquot"> - -<p>They hung and very severely punished those sons who squandered -the property left them by their fathers, or destroyed the arms, jewels, -or remarkable things that their fathers had left.<a id="FNanchor_50" href="#Footnote_50" class="fnanchor">[50]</a></p> -</div> - -<div class="figcenter" id="f11"> -<p class="captiona">PL. X</p> -<img src="images/fig11.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p><span class="pagenum" id="Page_37">[Pg 37]</span></p> - -<p>In another study<a id="FNanchor_51" href="#Footnote_51" class="fnanchor">[51]</a> we have called attention, as follows, to the -daily traffic of gold and precious stones in the great market -of Tenochtitlan.</p> - -<div class="blockquot"> - -<p>Cortés describes the great market of Tenochtitlan, and the great -quantity of things daily exposed for sale included jewels of gold, -silver, and stones. The Anonymous Conqueror, in describing the -great market, states that “on one side of the plaza are those who sell -gold, and adjoining are those who sell precious stones of various -classes set in gold, in the shapes of various birds and animals.”<a id="FNanchor_52" href="#Footnote_52" class="fnanchor">[52]</a> This -refers to mosaic jewels with stone and gold inlays. Cortés further -informs us that Montezuma had in his house representations in gold, -silver, stones, or feathers, of every object of his domain, beautifully -executed; and there is also a statement (by Ixtlilxochitl) that in the -collection of Nezahualcoyotl, king of Texcoco, were the representations -in stone mosaic-work and gold of every bird, fish, or animal -which could not be obtained alive.<a id="FNanchor_53" href="#Footnote_53" class="fnanchor">[53]</a></p> -</div> - -<p>A most interesting description is given by Sahagun of one -of the edifices erected by the Toltecs in Tula. If true, it -clearly shows that in pre-Aztec times much more elaborately -decorated buildings were erected than in the more recent period, -for there are no accounts in the writings of the Spaniards of -such lavishly ornamented buildings existing in the numerous -cities conquered by them during the beginning of the sixteenth -century. This is corroborated by the excavations now being -conducted in the ruins of Teotihuacan, the greatest city known -to us from Toltec times, where some marvelous structures have -been unearthed.<a id="FNanchor_54" href="#Footnote_54" class="fnanchor">[54]</a> The temple in question is said by Sahagun -to have been built in honor of Quetzalcoatl, and included in -its embellishment some of the most precious work of which -they were capable.</p> - -<div class="blockquot"> - -<p>It had four halls. The eastern one (had the walls) covered with -plates of gold, and it was called the golden hall or house. The -western hall was called the hall of emeralds, or turquoises, because -inside they had (the walls) covered with fine stonework, with all -manner of stones, all placed and joined (together) as a coating or -covering, like work of mosaic. The southern hall had the walls of -divers marine shells, and in place of any other covering, they had<span class="pagenum" id="Page_38">[Pg 38]</span> -silver, which was put together so nicely with the shells that the -joints were not visible. The fourth hall, the northern one, had the -walls made of colored jasper and shell, put on in a very ornamental -manner.<a id="FNanchor_55" href="#Footnote_55" class="fnanchor">[55]</a></p> -</div> - -<p>The fame of this temple or palace seems to have been firmly -established, as Sahagun recurs to it in another part of his -history, but in less detail. Sahagun follows the fortunes of the -culture hero while he was in the ascendency in Tula, and -states that later, owing to circumstances which it is needless -to relate in this place, Quetzalcoatl determining to abandon -Tula, ordered the burning of “all the houses that he had made -of silver and shell, and furthermore commanded that other -precious things should be buried in the neighboring hills and -ravines.”<a id="FNanchor_56" href="#Footnote_56" class="fnanchor">[56]</a> This indicates that the mosaic-decorated building -was laid in ruins, and part of the treasure, at least, was buried -before the inhabitants left the region and commenced the -migration southward.</p> - -<p>In presenting the tradition of this migration of Quetzalcoatl, -Sahagun states that he (Quetzalcoatl) is reputed to have -made and erected some houses underground which are called -<i>Mientlancalco</i>. This of course refers to the famous ruins of -Mitla, and seems to be an authentic tradition of the Nahuan -origin of this important city of southern Mexico. It is doubly -significant, when considered in connection with the description -of the mosaic-decorated buildings in Tula, for, as is well known, -the dominant architectural feature of the Mitla group of -structures is the mosaic treatment of many of their outer and -inner walls.</p> - -<div class="figcenter" id="f12"> -<p class="captiona">PL. XI</p> -<img src="images/fig12.jpg" alt="" /> -<p class="caption">MASK OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>It is not necessary to give more than brief attention to this -application of mosaic-work in architecture. The traditional -mosaic-decorated buildings of Tula have disappeared, but the -structures of Mitla are still standing in an excellent state of -preservation, and moreover are easily accessible to travelers -by rail and automobile; therefore they have been visited and -admired by more people than perhaps any ruins in ancient -America. In the embellishment of the walls a true mosaic<span class="pagenum" id="Page_39">[Pg 39]</span> -decoration was employed, differing in kind only from the -turquois mosaic on small objects. Geometric patterns were -produced by fitting together small stones of different shapes -and sizes, some of which were more deeply imbedded than -others, so that the designs were traced out by the stones which -projected more than others; in single panels, several planes -were necessary to bring out the desired patterns. In many -cases the stones are so neatly fitted that the joints can hardly -be traced. We have written elsewhere that—</p> - -<div class="blockquot"> - -<p>the massiveness of the construction and simple and chaste ornamentation -place the Mitla structures in a class unapproached by any -other existing ruined edifices in ancient America. The workmanship -revealed in the stonework, the elegant precision with which the -stones are laid and carved, is not equaled in any of the Mayan ruins. -However, as noted by Holmes, the geometric fretwork mosaics differ -from the great façades of the Mayan buildings “in subject matter -rather than in kind, for the decorated surfaces there, though depicting -animal forms, are mosaics in the sense that they are made up -of separate hewn or carved stones set in mortar to form ornamental -designs.”<a id="FNanchor_57" href="#Footnote_57" class="fnanchor">[57]</a></p> -</div> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_40">[Pg 40]</span></p> - -<h2 class="nobreak" id="c8">OBJECTS DECORATED WITH MOSAIC</h2> -</div> - - -<p><span class="smcap">In the</span> ancient chronicles are found many descriptions of the -employment of mosaic-work decoration in the central Mexican -region. From the writings of Sahagun and others it is clearly -evident that many such decorated objects were made for and -were used as parts of the paraphernalia with which great idols -of wood or of stone representing various deities were adorned -for the frequent religious festivals which occurred at stated intervals. -The rulers and the priests and members of the so-called -nobility used such objects on these occasions. The -major employment of the mosaic art seems to have been for the -adornment of objects or ornaments used ceremonially, such as -crowns or head-bands, helmets, masks, shields, scepters, ear-ornaments, -nose-ornaments, breast-plates, bracelets, and anklets. -The material on which the mosaic incrustation was -placed was chiefly wood, but gold, shell, bone, and stone were -also used. Small figures of the gods, either in human or in animal -form, as well as musical instruments, were thus adorned. -There are also indications that pottery vessels were sometimes -decorated by embedding turquois in the clay.</p> - -<p>Unfortunately we still possess only scant knowledge of the -various objects ornamented in this manner. In the data obtained -from the early chronicles there is abundant evidence -that, in the central plateau of Mexico during the period immediately -preceding the Spanish conquest, the art was highly -developed. Visual evidence is at hand in the few beautiful examples -now in European museums, specimens which were sent -across the water by Cortés during the earliest period of the -conquest, between the years 1518 and 1525.</p> - -<p>A few references from some of the early writers regarding the -use of turquois mosaic by the Aztecs will be presented.</p> - -<div class="figcenter" id="f13"> -<p class="captiona">PL. XII</p> -<img src="images/fig13.jpg" alt="" /> -<p class="caption">MASK OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>Stone idols were often decorated with mosaic incrustations. -Andrés de Tapia describes an idol probably representing -<span class="pagenum" id="Page_41">[Pg 41]</span>Huitzilopochtli, showing this type of embellishment, in the -great temple at Tenochtitlan. Tapia’s account is worthy of -attention, for he was one of the captains of Cortés, and took a -prominent part in the capture of the capital of Montezuma. -He writes:</p> - -<div class="blockquot"> - -<p>There were two idols on two pedestals, each one of the bulk of an -ox; the pedestals measured a yard in height, and above these (were) -two idols, each one almost three yards in height, of polished grain: -and the stone was covered over with nacre, which is the shell in -which pearls are created, and over this (mother-of-pearl), fastened -with bitumen after the manner of paste, were (set in) many jewels of -gold, and men, snakes, birds, and histories (hieroglyphs), made of -small and large turquoises, of emeralds and amethysts, so that all -the mother-of-pearl was covered, except in some places where they -left it (uncovered) so as to make work with the stones. These idols -had plump snakes of gold (as) girdles, and for collars each (one had) -ten or twelve hearts made of gold, and for the face a mask of -gold and eyes of mirror (obsidian or iron pyrites), and they had -another face in the back of the head like the head of a man without -flesh.<a id="FNanchor_58" href="#Footnote_58" class="fnanchor">[58]</a></p> -</div> - -<p>Pomar describes the idol of Huitzilopochtli as of wood, -“having on the breast a jewel of turquoises set in gold, with -some gold bells (hanging), and on the face (were) two stripes -of gold and two of turquoises, very beautifully wrought and -placed.”<a id="FNanchor_59" href="#Footnote_59" class="fnanchor">[59]</a></p> - -<p>In describing this idol, Bernal Díaz writes that “the whole -body was covered with precious stones, and gold and pearls, -and with seed pearls stuck on with a paste that they make in -this country out of a sort of root, and all the body and head -was covered with it, and the body was girdled by great snakes -made of gold and precious stones.” He goes on to mention -another idol close to it, which held “a short lance and a shield -richly decorated with gold and stones.”<a id="FNanchor_60" href="#Footnote_60" class="fnanchor">[60]</a></p> - -<p>Concerning the ancestral treasure of the Aztecan kings which -Montezuma inherited from his father Axayacatl, finally exacted -by Cortés from the unfortunate ruler, Bernal Díaz describes<span class="pagenum" id="Page_42">[Pg 42]</span> -“three blowguns with their pellet molds and their -coverings of jewels and pearls, and pictures in feathers of little -birds covered with pearl shell, and other birds, all of great -value.<a id="FNanchor_61" href="#Footnote_61" class="fnanchor">[61]</a></p> - -<p>Tezozomoc, in describing the great sacrifices offered to the -god Huitzilopochtli in honor of the coronation of Montezuma, -and the presents brought by neighboring chiefs and lords as -tributes from the various towns under their jurisdiction, -writes:</p> - -<div class="blockquot"> - -<p>In the center of the great square there was a building (<i>xacal</i>) where -was the <i>teponaztli</i>, and the great <i>tlapanhuehuetl</i> with which they made -music. On the <i>xacal</i> was the device of the Mexican arms with a -small <i>peñula</i> (rock?) of painted paper, like a natural rock, with a -great cactus (<i>tuna</i>) on it, and on the cactus a royal eagle having in -its claws a great mangled snake, and the eagle had a crown of -doubled or twisted paper very well (made) and gilded, and (with) -very rich stone mosaic-work round about it, in the Mexican custom -called <i>teocuitla amayxcuatzolli</i>.<a id="FNanchor_62" href="#Footnote_62" class="fnanchor">[62]</a></p> -</div> - -<p>At this festival Montezuma had the king of Aculhuacan attired -in special raiment, which Tezozomoc describes as “a -netted mantle with much rich stonework in the knots of the -mantle, and with little gold bells hanging from the fringe.<a id="FNanchor_63" href="#Footnote_63" class="fnanchor">[63]</a></p> - -<p>According to Sahagun, Xiuhtecutli, god of fire, wore “earrings -in the holes of the ears worked with mosaics of turquois.... -In his left hand he carried a shield with five greenstones -called <i>chalchihuite</i>, placed like a cross on a round gold plate, -which nearly covered the whole of the shield.”<a id="FNanchor_64" href="#Footnote_64" class="fnanchor">[64]</a></p> - -<div class="figcenter" id="f14"> -<p class="captiona">PL. XIII</p> -<img src="images/fig14.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>Chalchihuitlicue, goddess of water, fountains, and rivers, -wore earrings of turquois fashioned in mosaic-work. In describing -the idol of Quetzalcoatl, Sahagun says that, for ceremonial -occasions, ear-ornaments of turquois mosaic were placed -on it, and “in the right hand was placed a scepter like a bishop’s -crosier or staff, the upper part crooked like a bishop’s staff, and -wrought with stone mosaic-work.” In treating of the presents -sent to Cortés by Montezuma we have already given the description -of the paraphernalia pertaining to this deity. This -<span class="pagenum" id="Page_43">[Pg 43]</span>scepter is there described as having “the crook like the head -of a snake turned around or coiled.” In the codices the god -or his priest is represented with this staff -with a crook, but the serpent-headed -scepter is shown by Sahagun (manuscript -of the Real Palacio, Madrid, estampa <span class="allsmcap">VII</span>, -fig. 1) as part of the ceremonial outfit of -Huitzilopochtli (fig. 5). The body of the -serpent is painted blue, representing the -scales done in turquois mosaic.</p> - -<div class="figright" id="f50"> -<img src="images/fig50.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 5</span></p> -</div> - -<p>In describing the god Tezcatlipoca, -Pomar states that he was represented with “a mask with three -stripes (<i>vetas</i>) of <i>espejuelo</i> (either transparent lamellated gypsum -[selenite], or more probably obsidian), and two of gold, -which crossed over the face.”<a id="FNanchor_65" href="#Footnote_65" class="fnanchor">[65]</a> The idol was fashioned from -wood in the figure of a man. <i>Espejuelo</i>, he states, was a kind -of shining metal called <i>tezcapoctli</i>.</p> - -<p>In the invocation to the god Paynal, which has been preserved -to us in the original Mexican tongue by Sahagun, is the -strophe, “<i>yxiuh chimal, xiuhtica tlatzaqualli chimalli imax mani</i>,” -which has been translated by Seler, “the blue shield, covered -with the turquois mosaic, hangs from his arm ... he carries -the (blue mosaic) shield.”<a id="FNanchor_66" href="#Footnote_66" class="fnanchor">[66]</a> This chapter was copied by Seler -from the manuscript in the Real Palacio, Madrid. In the -reproduction of the pictorial part of the manuscript published -in colors by Troncoso, we find the representation of this deity, -in which the mosaic shield is graphically drawn and painted blue -(see our fig. 70, p. 17). Sahagun (book 1, chap. 2) briefly describes -“this god called Paynal, who was a kind of under-captain of -Huitzilopochtli.” He is said to have been a man adored as a -god.</p> - -<p>The Anonymous Conqueror affords valuable information regarding -the use of shields. He says:</p> - -<div class="blockquot"> - -<p>They use shields of various kinds, made of thick reeds which grow -in that country, interwoven with cotton of double thickness, and -they cover them with precious stones (turquois mosaic-work) and<span class="pagenum" id="Page_44">[Pg 44]</span> -round plates of gold, which make them so strong that nothing can -go through them, unless from a good crossbow. Some arrows, it is -true, pierced them, but could do no harm. And because some of -these shields have been seen in Spain, I say that they are not of the -kind borne in war, but only those used in the festivals and dances -which they are accustomed to have.<a id="FNanchor_67" href="#Footnote_67" class="fnanchor">[67]</a></p> -</div> - -<p>In his chapter devoted to a consideration of “the finery that -the lords used in their dances,” Sahagun mentions “bracelets of -mosaic-work made of turquoises,” and also “masks worked in -mosaic, and (having) false hair such as they now use, and some -plumes of gold which came out of the masks.” He further describes -the costumes, as follows:</p> - -<div class="blockquot"> - -<p>They also wear attached to the wrists thick bands of black leather -made soft with balsam, and decorated with a large bead of chalchihuitl -or other precious stone. They also wore labrets of chalchihuitl -set in gold, placed through the flesh, although they do not have this -custom now. They also have these ornaments made of large rock-crystals, -with blue feathers set in them, which give them the appearance -of sapphires. They wear also many other precious stones -protruding through openings made in the lower lip. The noses of the -great lords are also pierced, and they wear in the openings fine turquoises -and other precious stones, one on each side. They wear also -some strings of precious stones around the neck; they wear a disc of -gold hanging from a collar, and in the middle of it a plain precious -stone, and around the circumference some pendants of pearls. They -use bracelets of mosaic-work made of turquois, with some rich -feathers which come out from them higher than the head, and bordered -with rich plumes and gold, and some bands of gold which rise -with the feathers.<a id="FNanchor_68" href="#Footnote_68" class="fnanchor">[68]</a></p> -</div> - -<div class="figcenter" id="f15"> -<p class="captiona">PL. XIV</p> -<img src="images/fig15.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION. NEW YORK</p> -</div> - - -<p>The distinctive head-band or crown worn by the Mexican -rulers is mentioned by numerous early writers and illustrated -in many codices. It was known as the <i>xiuhtzolli</i> or <i>xiuhuitzontli</i>, -and was called also <i>copilli</i>. We have selected for illustration -(fig. 6) two examples from the codices. The first (<i>a</i>) is -taken from the Sahagun manuscript of the Real Academia de la -Historia, Madrid (estampa <span class="allsmcap">XVII</span>). This page contains pictures -of a number of Aztecan rulers, all represented with the turquois-mosaic -<span class="pagenum" id="Page_45">[Pg 45]</span>crown painted blue. Moreover, the hieroglyphic name -of Montezuma, here placed above his head, is a mosaic crown. -The crown itself -was of gold, on -which the turquois -mosaic was -placed. The other -example (<i>b</i>) is -from the Tribute -Roll of Montezuma -(Peñafiel -edition, pl. <span class="allsmcap">XIX</span>). -It is part of the -hieroglyph for the place-name Tecmilco, signifying “the lands -of the royal crown,” the combination being the crown painted -blue resting on the sign for cultivated land. Our figure shows -a plain gold crown, but it is painted blue in the codex.</p> - -<div class="figright" id="f51"> -<img src="images/fig51.jpg" alt="" /> -<p class="captionb"><i>a</i> <span class="pad4"><span class="smcap">Fig. 6</span></span> <i>b</i></p> -</div> - -<p>A copper crown from Tenango, State of Mexico, has been -figured by Peñafiel. It is properly a head-band with a triangular -projection with rounded top which rose from the forehead, -and was probably worn by a warrior or sub-chief.<a id="FNanchor_69" href="#Footnote_69" class="fnanchor">[69]</a> In this work -Peñafiel illustrates the mask in Rome (see our pl. <span class="allsmcap">VII</span>), and -states that the upper part is a <i>xiuhhuitzolli</i>, or turquois-mosaic -crown. We will discuss this point later. Many years ago, in -Mexico, the writer heard of a gold <i>copilli</i> as having been found -in the Matlaltzincan region near Toluca, but was never able to -verify the story. A few extracts from the chroniclers, relating -to these golden crowns with turquois mosaic, follow.</p> - -<p>In the Codex Cozcatzin the Aztec king Axayacatl is represented -with the <i>xiuhuitzontli</i>, the turquois mosaic-work head-band.<a id="FNanchor_70" href="#Footnote_70" class="fnanchor">[70]</a></p> - -<p>In the selection of Ahuitzotl as king, Tezozomoc writes:</p> - -<div class="blockquot"> - -<p>They put on him the crown which was blue, of rich stone mosaic-work, -(in shape) like a half miter called <i>xiuhtzolli</i> (or <i>xihuitzolli</i>), -and also placed on him, among other things, a netted mantle strewn -with small stonework. This formed part of his costume when he<span class="pagenum" id="Page_46">[Pg 46]</span> -went to the temple of Huitzilopochtli to worship. When adored by -neighboring subjugated tribes he wore a crown of gold (adorned) -with much stone mosaic-work of a half miter shape, and on the -left shoulder was put a sash called <i>matemacatl</i> which was all gilded -and enameled with fine stone mosaic-work, which was also called -<i>teocuitla cozehuatl</i>, as we now speak of a shoe-ribbon, and on the foot -was placed something like an anklet of <i>acero</i> [<i>sic</i>] strewn with emerald -stones, all gilded.<a id="FNanchor_71" href="#Footnote_71" class="fnanchor">[71]</a></p> -</div> - -<p>Duran states that among the offerings buried with the Aztec -king Ahuitzotl were “crowns of the fashion that they used, of -gold and of stone mosaic-work.”<a id="FNanchor_72" href="#Footnote_72" class="fnanchor">[72]</a></p> - -<p>It is related by Tezozomoc that after the death of Netzahualpilli, -king of Texcoco, Montezuma assembled the senate -of Aculhuacan in order to select a new king. The choice fell on -the fifth son, Quetzalacxoyatl. In the ceremony of investiture -they placed on him “the blue crown or forehead-band decorated -with stone mosaic-work.”<a id="FNanchor_73" href="#Footnote_73" class="fnanchor">[73]</a></p> - -<p>The Anonymous Conqueror writes:</p> - -<div class="blockquot"> - -<p>To guard the head, they carry things like the heads of serpents, -tigers, lions, or wolves with open jaws, and the head of the man is -inside the head of the creature as if it was being devoured. They are -of wood covered over with feathers and with jewels of gold and -precious stones, which is a wonderful sight.<a id="FNanchor_74" href="#Footnote_74" class="fnanchor">[74]</a></p> -</div> - -<p>From Alonso de Molina’s <i>Vocabulario Mexicano</i> (Mexico, -1555, reprinted 1571) we are able to interpret the Nahuan -words which occur in the chronicles in connection with the use -of turquois in the decoration of various objects. The following -are some of the more common: <i>nacochtli</i>, ear-plugs; <i>tentetl</i>, labret; -<i>yacaxuitl</i>, nose-ornament; <i>copilli</i>, crown; <i>xiuhxayacatl</i>, mask of -turquois mosaic; <i>xayacatl</i>, mask; <i>cactli</i>, sandal; <i>tilmatl</i>, mantle; -<i>amaneahapantli</i>, mantle for lords richly wrought; <i>teopixcatla-quemitl</i>, -vestment of priests; <i>ecaceuaztli</i>, fan; <i>chimalli</i>, shield; -<i>teteotl</i>, stone idol; <i>tequacuilli</i>, large stone idol or statue; <i>xiuitl</i>, -turquois; <i>tlaquauac xiuitl</i>, hard turquois; <i>xiuhtomolli</i>, turquois; -<i>omichicauaztli</i>, bone musical instrument; <i>ayacachtli</i>, rattle.</p> - -<div class="figcenter" id="f16"> -<p class="captiona">PL. XV</p> -<img src="images/fig16.jpg" alt="" /> -<p class="caption">MASK OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_47">[Pg 47]</span></p> -<h2 class="nobreak" id="c9">EXISTING SPECIMENS OF MOSAIC</h2> -</div> - - -<p><span class="smcap">We will</span> now consider the existing specimens of mosaic-work. -It has been demonstrated, by the extended quotations from the -old chronicles and codices, that this art was considerably employed -in adorning objects of a special nature in connection with -the dress of kings, nobles, warriors, and priests, and the paraphernalia -of the gods. We have at present no actual examples -of many of the objects which we have learned were thus ornamented, -consequently whatever conception we may gain by a -study of existing specimens will give us an inadequate idea of -the art. It is evident that the most elaborate works in stone -mosaic sent to Europe, as noted in the inventories, have not -been preserved, a fact borne out by the descriptions in the early -accounts of the discovery and “things” of Mexico. Moreover, -many of the pieces now in European museums are either in a -poor state of preservation or are incomplete.</p> - -<p>Until recently only twenty-four major examples of mosaic-work -had come to light and been placed on record by printed -description and illustration. Of these twenty-three are in -Europe. The other specimen was found a few years ago in a -cave in Honduras, and for some time was exhibited in the -National Museum at Washington, but later came into the possession -of the Museum of the American Indian, Heye Foundation. -The twenty-three known specimens in Europe were probably -all sent to the Old World by Cortés or his companions.</p> - -<p>Some years ago an Indian found a deposit of ceremonial -objects of wood, incrusted with mosaic-work, in a cave in the -mountains of the Mixteca region of the State of Puebla. -These specimens, seventeen in number, are now exhibited in -the Museum of the American Indian, Heye Foundation. The -chief object of this monograph is to describe and illustrate this -unique collection.</p> - -<p>We are also now enabled to record and illustrate, through the<span class="pagenum" id="Page_48">[Pg 48]</span> -courtesy of the officials of the Peabody Museum, Harvard -University, four other objects decorated with mosaic-work. -These were found in the sacred <i>cenote</i> at the ruins of Chichen -Itza, Yucatan, and are now exhibited in the Central American -hall of the Museum mentioned. This brings the number of -known specimens to forty-five, of which twenty-two are in the -United States, and twenty-three in Europe. These specimens -are now preserved in the following museums:</p> - -<div class="blockquot"> - -<p> -British Museum, London, nine specimens.<br /> - -Prehistoric and Ethnographic Museum, Rome, five specimens.<br /> - -Ethnographical Museum, Berlin, three specimens.<br /> - -State Natural History Museum, Vienna, three specimens.<br /> - -National Museum, Copenhagen, two specimens.<br /> - -Museum, Gotha, one specimen.<br /> - -Museum of the American Indian, Heye Foundation, New York, -eighteen specimens.<br /> - -Peabody Museum, Cambridge, four specimens.</p> -</div> - -<p>In this census are not included the minor objects with mosaic -decoration, which we will also describe. Of the forty-five pieces -enumerated, all but three are of wood; two are human skulls, -and one a human femur. As the European specimens have -hitherto been described, and in some instances their history -traced to the middle of the sixteenth century, it will be necessary -only to refer the student to these studies, note of which will -be found in the bibliography at the close of this volume. In the -present study we have assembled photographs or drawings of all -of these major specimens, as well as of nearly all the minor -pieces, and drawings of some of the mosaic objects represented -in color in the codices. Our pictorial record is therefore practically -complete.</p> - - -<p class="c large" id="c10"><span class="smcap">Minor Examples</span></p> - -<p>The use of mosaic incrustation in the decoration of stone idols -is illustrated in pl. <span class="allsmcap">II</span>. This stone figure, 3 feet 10 inches high, -came from Cozcatlan, district of Tehuacan, Puebla, and is now -preserved in the National Museum of Mexico. It represents -<span class="pagenum" id="Page_49">[Pg 49]</span>the goddess Coatlicue, mother of Huitzilopochtli, the Aztecan -war god. The Sahagun manuscript in the Real Palacio, Madrid, -represents this deity with a rattlesnake girdle around the -waist; held in the right hand is a staff in the form of a rattlesnake -with the head downward, and having depending feathers -projecting from the rattles, which are opposite the face -of the figure. Above the deity is the caption “<i>Yztac ciuatl coatlicue</i>.” -This statue, together with another, of colossal size, also -in the Museo Nacional of Mexico, has often been denominated -<i>Teoyamiqui</i>, and again at times it has been called <i>Mictecacihuatl</i>. -The turquois decoration is still preserved in the statue -illustrated, in the incrustation of the circular ear-ornaments and -in the discs of mosaic in each cheek. The teeth are made of -white shell; the inner part of the mouth is of red shell; the nose -is inlaid with white shell. There are traces of incrustation -around the eyes, but this mosaic feature is practically destroyed. -In the breast is set a circular mirror of iron pyrites. -Around the upper part of the forehead are small holes which -probably at one time contained stone or shell inlays. A poorly -colored representation of this idol has been published by Brocklehurst, -with the title “Teoyamiqui, goddess of death.”<a id="FNanchor_75" href="#Footnote_75" class="fnanchor">[75]</a></p> - -<div class="figcenter" id="f17"> -<p class="captiona">PL. XVI</p> -<img src="images/fig17.jpg" alt="" /> -<p class="caption">MASK OF WOOD, MOSAIC DECORATION MISSING</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>One of the most interesting uses of turquois-mosaic decoration -was in the embellishment of wooden covers for the ancient -books or codices. We are fortunate in still having preserved -even a single example bearing traces of this art. In 1896 the -Due de Loubat had reproduced the first of his series of Mexican -codices, being the first to appear in exact facsimile, even to the -ancient binding. This work was Codex Vaticanus No. 3773, a -pre-Columbian Nahua picture-writing preserved in the Vatican -Library. In a pamphlet by Francisco del Paso y Troncoso which -accompanies the reproduction is an interesting description of -the book, from which we quote with respect to the covers:</p> - -<div class="blockquot"> - -<p>It is of fine and thin wood. Each cover measures six by five inches.... -The wood of the covers is whitish, and traces of the brilliant -lacquer which covered it may still be seen.... (One) cover bears a -character which shows us that this is the point at which to begin the<span class="pagenum" id="Page_50">[Pg 50]</span> -reading of the book. As in modern binding the first cover bears a -lettering or coat-of-arms; so too, as a rule, the Indians indicated the -beginning of their books, and placed on the first cover the decorative -incrustations which indicate that here is the first page.... On the -center of the cover, placed two in a line, are four reliefs. At first -these appeared to have been made by impression on the lacquer, but -Monseigneur Francisco Plancarte, who examined them with a -microscope, has discovered that they are composed of a paste with -which the Indians fasten precious stones in their settings, and in -these incrustations we have the impress left by the inequalities of -the materials once fixed on the surface. One round greenstone is -left, of the kind used by the Mexicans in their mosaics; it is on the -upper right-hand corner of the volume, when held ready to be -opened. Below it, in the lower right-hand corner may be observed a -corresponding conical shaped depression, and the remains of the -lacquer in which a stone was fixed. In the other angles there is no -trace of anything, proving that nothing existed there of the same -kind as that which remains.</p> -</div> - -<p>In the Loubat reproduction all these features are faithfully -represented, even to the single greenstone remaining in place.</p> - -<p>The existence of mosaic objects in the Zapotecan region of -Oaxaca was one of the important discoveries made by the Loubat -Expedition of the American Museum of Natural History, -under the direction of the writer, during the winters of 1898 and -1902. In mounds locally called <i>mogotes</i> were discovered stone -burial chambers in which skeletons interred with numerous -offerings were uncovered.</p> - -<p>In the burial vaults at Xoxo, excavated in 1898, practically -no personal ornaments were found, but fragments of mosaic objects -were discovered in the form of bits of shell, obsidian, jadeite, -turquois, and hematite, on fragmentary stucco matrices.<a id="FNanchor_76" href="#Footnote_76" class="fnanchor">[76]</a></p> - - -<div class="figcenter" id="f18"> -<p class="captiona">PL. XVII</p> -<img src="images/fig18.jpg" alt="" /> -<p class="caption">MASK OF WOOD WITH MOSAIC DECORATION FROM HONDURAS</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>In the graves and tombs at Cuilapa were discovered many -personal ornaments made of jadeite, amazon stone, and turquois. -In an excavation made during January, 1902, in the great -temple mound, or teocalli, dominating the group of mogotes at -Cuilapa, a grave was discovered on the summit at a depth of -six feet from the surface. It contained the skeleton of a child,<span class="pagenum" id="Page_51">[Pg 51]</span> -whose bones, together with the accompanying artifacts, were -stained bright-red by hematite paint which had been thrown -into the grave. Surrounding the skeleton were seventeen greenstone -idols in the form of human figures; more than four -hundred beads of greenstone and jadeite of varying sizes; -thirty-five shells of various kinds, perforated for suspension; bits -of mother-of-pearl, obsidian, and hematite, which evidently -were fragments of disintegrated mosaic objects; but the most -interesting objects recovered were a pair of small discs of pottery, -upon the flat upper surfaces of which were cemented -small pieces of very thin, highly-polished hematite, placed in -mosaic. These last were undoubtedly mirrors, although from -the small perforation in the center of each we are inclined to -regard the pair as having been used also as ear-ornaments. One -of these specimens should be in the Museo Nacional of Mexico, -where it belongs; the other is in the American Museum of -Natural History. The latter, now illustrated for the first time -(fig. 7), is an inch and three-quarters -in diameter, and an -eighth of an inch in thickness. -Our reproduction of this interesting -object has been made possible -by the courtesy of Dr. Clark -Wissler, Curator of Anthropology.</p> - -<div class="figright" id="f52"> -<img src="images/fig52.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 7</span></p> -</div> - -<p>An interesting specimen of -the combination of gold with turquois -mosaic in jewelry has been -recently figured in colors, and -described by the writer (see fig. -8).<a id="FNanchor_77" href="#Footnote_77" class="fnanchor">[77]</a> It is in the form of a shield, with four arrows or darts and -pendent bells, and has an extreme length of three and one-eighth -inches from the top of the shield to the bottom of the -central bells. We have described in detail the meaning of the -hieroglyph formed by the mosaic-work, and shown that the -brooch-like jewel was the insignia of one of the four principal<span class="pagenum" id="Page_52">[Pg 52]</span> -chiefs of the Aztecan army, who governed one of the four -wards, or <i>calpullis</i>, into which Tenochtitlan, the capital of -Montezuma, was divided. As a matter of fact, the jewel was -found in a grave in Yanhuitlan, in the Mixteca region of Oaxaca. -It is the only known specimen that shows turquois set on -gold, a combination to which we have called attention, in quoting -from Sahagun and others, regarding turquois mosaic on -crowns, bracelets, and other gold objects for personal adornment.</p> - -<div class="figcenter" id="f53"> -<img src="images/fig53.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 8</span></p> -</div> - -<p>In the collections of the Museum of the American Indian, -Heye Foundation, are three mirrors faced with highly-polished -marcasite on their original matrices, apparently slate—the -only specimens of this character that we have seen. Two of -these mirrors, which were collected by William Niven from -ancient graves near Iguala, Guerrero, are perforated for suspension, -and all three average five inches in diameter and a -quarter of an inch in thickness. With these mirrors were found -<span class="pagenum" id="Page_53">[Pg 53]</span>numerous little unpolished cubes of iron pyrites, which may -have been intended for use in mosaic-work. There are, however, -a number of rather thin, flat, irregularly shaped pieces, -with very thin matrix of stone, and with beveled edges, which -unquestionably have been parts of mirrors made in mosaic -fashion similar to those found in the Cuilapa grave, the only -difference being that the inlays from Iguala are larger and -thicker than those on the Cuilapa specimens, which are simply -thin sheets of hematite. The region where the Iguala specimens -were discovered was probably the seat of a people of -Nahuan culture.</p> - -<div class="figcenter" id="f19"> -<p class="captiona">PL. XVIII</p> -<img src="images/fig19.jpg" alt="" /> -<p class="caption">MASK OF HUMAN SKULL WITH MOSAIC DECORATION</p> -<p class="captiona">ETHNOGRAPHICAL MUSEUM, BERLIN</p> -</div> - - -<p>In 1908 Dr. Manuel Gamio conducted an important excavation -of an ancient building at the site known as the monuments -of Alta Vista, near Chalchihuites, Zacatecas, in northern Mexico. -In a large chamber called the Hall of the Columns, Gamio -found two mosaics in a small circular compartment in the concrete -floor. One of these was a disc of yellow pottery encircled -by a ring of wood, the entire object being about two and three-quarters -inches in diameter and three-eighths of an inch thick. -The wooden ring bore traces of a coating of resin, and many tiny -bits which formed the mosaic incrustation were found with it, -although not in place. The bits that had formed the mosaic -were thin plates of worked turquois, beryl, and steatite. From -the fact that the disc contained perforations, evidently for -suspension, Gamio described it as a breast ornament.</p> - -<p>The other mosaic piece Gamio believes to have been a labret. -He writes that “at first glance its shape may be described as -resembling the bridge of a violin.... Its nucleus is wood, -carved to represent two symmetrical figures of an alligator -(<i>caiman</i>), united at the belly. Crowning the head are two head -plumes, each having two branches. Above the point of union -of the two reptiles there is a square projection with a perforation.”<a id="FNanchor_78" href="#Footnote_78" class="fnanchor">[78]</a> -The surface of the ornament had been covered with -small spherical plates of turquois, beryl, and steatite.</p> - -<p>Near these two mosaic ornaments were found numerous small -pieces of turquois and beryl of different shapes.</p> - -<p><span class="pagenum" id="Page_54">[Pg 54]</span></p> - -<p>In October, 1921, the Spanish newspaper <i>La Prensa</i>, New -York, published a short account, received by letter from the -City of Mexico, describing what purported to be an extraordinary -discovery made early in the autumn. It related to the -finding of a stone mask decorated in mosaic, discovered by one -of the assistants of the Museo Nacional in a sepulchral chamber -in Guerrero. This mask was described as being about eight -inches high, the human face being partly covered with an incrustation -of small pieces of turquois, with small bits of coral shell -above the eyebrows and below the nose. Each eye was formed -by an oval piece of pearl shell, with pupils of hematite. The -mosaic covering was missing from the upper part of the forehead -and the chin.</p> - -<p>The newspaper <i>Excelsior</i> of Mexico City, under date of October -20, 1921, published a photograph of the specimen and a -detailed study of the object in a statement signed by José María -Arreola, a member of the staff of the Department of Anthropology -in the City of Mexico. In this statement Arreola casts -doubt on the authenticity of the specimen, pointing out that -none of the known pieces of mosaic-work in European collections -are of stone; that the surface of the mask is polished, which -would make it difficult for the incrustation to have adhered -during centuries of burial; that there are no traces of dirt in the -cracks between the pieces of turquois, and finally he calls attention -to a strong odor of glue which pervades the object. -These arguments seemed sufficient to cast serious doubt as to -the genuineness of the mosaic decoration of the mask. No such -question was raised in regard to the mask itself. In a brief article -entitled “Una Mascara de Mosaico Falsificada,” published in -<i>Ethnos</i> (nos. 8-12, dated Mexico, Nov. 1920-Mar. 1921), the -same writer categorically asserts that the specimen is fraudulent, -and calls on the reputed finder, Sr. Don Porfirio Aguirre, to -present the evidence regarding the exact place where the -specimen was discovered in order that further excavation may -be made with a view of establishing beyond question the history -of such an important and unique discovery.<a id="FNanchor_79" href="#Footnote_79" class="fnanchor">[79]</a></p> - -<div class="figcenter" id="f20"> -<p class="captiona">PL. XIX</p> -<img src="images/fig20.jpg" alt="" /> -<p class="caption">MASK OF HUMAN SKULL WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - - -<p><span class="pagenum" id="Page_55">[Pg 55]</span></p> - -<p>Precious and semi-precious stones were occasionally inserted -singly for decorative purposes. In this respect we may simply -refer, in passing, to the custom in ancient Mexico and Central -America of decorating the teeth by inserting inlays in the upper -incisors, turquois, jadeite, hematite, obsidian, and rock-crystal -having been used in such manner. Rarely two, and in one -instance three, insets have been found in a single tooth; but -this form of decoration can in no sense be considered as mosaic.<a id="FNanchor_80" href="#Footnote_80" class="fnanchor">[80]</a></p> - -<p>Another example of the use of turquois as an inlay is supposed -to be unique. Many years ago we obtained from Don -Francisco Belmar a beautiful tripod vessel supporting against -the side a polychrome human figure in the round, representing -the god Macuilxochitl, god of dance and sport—the deity -represented with the painted design around the mouth. It is -not necessary here to discuss the question raised by Seler regarding -the attributes and representations of the two analogous -gods Macuilxochitl and Xochipilli. The vessel here seems -clearly to be Macuilxochitl, corresponding with that given by -Sahagun in the manuscript of the Real Palacio, Madrid. What -is of interest is the disc of turquois inserted in the clay on the -upper left-hand part of the chest, unquestionably there placed -to denote some attribute of the deity.</p> - - -<p class="c large" id="c11"><span class="smcap">Chichen Itza Specimens</span></p> - -<p>We will now consider some interesting examples from the -Mayan ruins of Chichen Itza, Yucatan, which were found in -the sacred well, or <i>cenote</i>, at that site. This sacred well is described -by Casares in 1905<a id="FNanchor_81" href="#Footnote_81" class="fnanchor">[81]</a> as arousing the admiration and -awe of the Indians even to this day. It is about 450 feet north -of the great pyramid known as the Castillo, and a paved way, -several inches high, leads to it. At the brink is a small temple. -The cenote is about 150 feet in diameter; the level of the water -is 70 feet below the surface, and it is 40 feet deep, with a deposit -of mud estimated to be about 30 feet in thickness. Landa -writes: “They [the Maya] held Cozumel and the well of Chichen<span class="pagenum" id="Page_56">[Pg 56]</span> -Itza in the same veneration as do pilgrims now Jerusalem and -Rome, and so they used to visit them, carrying their offerings -chiefly to Cozumel, as holy places, and when they could not go, -they sent them.” In another place this author states that “they -had the habit then of throwing into this well living men as -sacrifices to their gods in time of drought, and they thought -that these would not die, though they never saw them again. -They used also to throw precious stones and the things they -most prized. Just on the brink of the well is a small building -where I found all kinds of idols in honor of all the gods of the -land.”<a id="FNanchor_82" href="#Footnote_82" class="fnanchor">[82]</a> Casares adds: “What Landa, Cogolludo, and all other -writers had narrated from mere hearsay, one of the distinguished -members of the [American Antiquarian] Society, Mr. -E. H. Thompson, has had the satisfaction to realize, bringing -to light the truth of these statements, by diligent and intelligent -work, the results of which I will not mention, as that grateful -and honorable task belongs exclusively to him.”<a id="FNanchor_83" href="#Footnote_83" class="fnanchor">[83]</a></p> - -<p>Holmes wrote in 1895 of the sacred cenote as follows:</p> - -<div class="blockquot"> - -<p>The Sacred Cenote is larger, and more symmetrical than the -other, and, occurring in the midst of the somber forest, is a most impressive -and awe-inspiring spectacle. Its charm is enhanced by the -weird stories of human sacrifice associated correctly or incorrectly -with its history. The walls are nearly circular and approach the -perpendicular closely all around. They are diversified only by the -encircling ribs and pitted grooves produced by the uneven weathering -of the massive, horizontally-bedded limestones. The water has -a light coffee color and looks very impure. It is shallow on one side -and of unknown depth on the other. A small tomb-like ruin is -perched upon the brink. It is conjectured that this structure had -something to do with the ceremonies attending the casting of victims -and treasure into the terrible pool. There has been some talk -of exploring the accumulations from the bottom of this cenote with -the expectation of securing works of art or other treasures, but the -task is a most formidable one and will require the erection of strong -windlasses and efficient dredging apparatus. It is doubtful if promised -results warrant the outlay necessary for carrying out the work -in a thorough manner.<a id="FNanchor_84" href="#Footnote_84" class="fnanchor">[84]</a></p> -</div> - -<div class="figcenter" id="f21"> -<p class="captiona">PL. XX</p> -<img src="images/fig21.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - - -<p><span class="pagenum" id="Page_57">[Pg 57]</span></p> - -<p>Nevertheless, a few years later, as hinted by Casares, Mr. -Edward H. Thompson secured the complete confirmation of -the traditions concerning the character of the cenote. He -brought out of the mud a most amazing archeological treasure. -Through the kindness of Prof. A. M. Tozzer we are enabled to -include here drawings of four pieces of mosaic-work which were -among the many interesting things discovered. As Professor -Tozzer and Dr. Spinden are engaged in an exhaustive study of -the cenote material for publication, we will not further anticipate -the results of their investigations.</p> - -<div class="figright" id="f54"> -<img src="images/fig54.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 9</span> <span class="pad2"><span class="smcap">Fig. 10</span></span></p> -</div> - - -<p>In figs. 9 and 10 are illustrated -two small fragments of wooden -objects from the cenote which still -retain portions of turquois-mosaic -decoration. In fig. 9 the irregularly -shaped piece in the center is a -thin plate of gold. Both fragments -are evidently from objects of considerable -size. Several wooden teeth -covered with the same kind of mosaic -incrustation were probably -from a jaguar mask or head.</p> - -<p>Pl. <span class="allsmcap">III</span> represents two fairly complete -specimens from the cenote. Of these, <i>a</i> is a small staff or -scepter, the face of which is covered with turquois mosaic, and -it is possible that the headdress was once similarly incrusted. -In <i>b</i> is shown a rattle of wood, within which is a copper bell. -Only two bits of turquois of the mosaic decoration remain.</p> - -<div class="figleft" id="f55"> -<img src="images/fig55.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 11</span></p> -</div> - -<p>In this object we find in the Mexican pictures an instrument -analogous to the one last mentioned. In both of the Sahagun -manuscripts, that of the Real Palacio in Madrid and the one -in Florence, are representations of the deity Xipe Totec. In -the former manuscript is found the name of the god written -above the figure, <i>Xippe anavatlitec</i>, translated by Seler as -“Xipe, lord of the coastland.” He is an earth deity, “our lord -the flayed,” for he is represented wearing loosely about him a<span class="pagenum" id="Page_58">[Pg 58]</span> -human skin. He was the patron deity of the goldsmiths of -the valley of Mexico, and is said to have been paid special -homage by the people of the Teotitlan district, the -beginning of the highway to Tabasco. In the pictures -given by Sahagun, and in other codices, this -god carried a long staff which terminates in a kind of -rattle (fig. 11), similar in shape to that found in the -cenote of Chichen Itza. It was called <i>chicauaztli</i> by -the Nahua, and Seler asserts that the rattlestick of -the god Xipe was carried, besides him, only by the -goddesses of the earth.<a id="FNanchor_85" href="#Footnote_85" class="fnanchor">[85]</a> Sahagun describes it as a -scepter made after the manner of the calyx of the -poppy where the seed is, with something like the -point of a dart fastened in and rising from the upper -part.<a id="FNanchor_86" href="#Footnote_86" class="fnanchor">[86]</a> The resemblance of the cenote specimen to -the one shown in the Sahagun manuscript suggests that it was -brought from the Nahuan region.</p> - -<div class="figcenter" id="f56"> -<img src="images/fig56.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 12</span></p> -</div> - -<p>In the sculptured wall of the Temple of the Jaguars at Chichen -Itza are represented a considerable number of warriors -and priests dressed in elaborate costumes and paraphernalia. -Several of these persons wear the typical triangular head-band -or crown of the Nahuas, on which may be distinguished turquois-mosaic -decoration (fig. 12). Two of these priests or -warriors have their faces covered with unmistakable turquois-mosaic -masks (figs. 13, 14).<a id="FNanchor_87" href="#Footnote_87" class="fnanchor">[87]</a> This points to Nahuan influence, -and we have other instances of this influence both at Chichen -<span class="pagenum" id="Page_59">[Pg 59]</span>Itza and at Uxmal. We are thus led to the belief that the -mosaics recovered from the cenote were brought to Chichen -Itza from Nahuan -territory.</p> - -<div class="figcenter" id="f22"> -<p class="captiona">PL. XXI</p> -<img src="images/fig22.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">STATE MUSEUM OF NATURAL HISTORY, VIENNA</p> -</div> - -<div class="figright" id="f57"> -<img src="images/fig57.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 13</span> <span class="pad3"><span class="smcap">Fig. 14</span></span></p> -</div> - - -<p>Another example -of a turquois -mosaic mask in -stone sculpture -is found at the -back of the profile -face, in front of the ear, of the human figure carved on the -front of stela 11 at Seibal, in the region of the upper Usumacinta, -Department of Peten, Guatemala. It was photographed -by Maler in 1895, and illustrated and described by him in his -monograph, Explorations of the Upper Usumatsintla and Adjacent -Region (<i>Memoirs of the Peabody Museum, Harvard University</i>, -vol. <span class="allsmcap">IV</span>, no. 1, Cambridge, 1908). Morley has deciphered the -date on this stela as 10.1.0.0.0, corresponding approximately, -according to his method of correlation, to 590 A.D. It appears -to have been a hotun-marker, or stone erected every five years, -and is placed in the Great Period of Mayan civilization.</p> - -<p class="c large" id="c12"><span class="smcap">Major Examples</span></p> - -<p>The more important major specimens now remain to be considered. -As all these objects are of wood, with the exception of -numbers 3 and 9, we will not repeat this in our descriptions. -They are:</p> - -<ul> -<li>1. Helmet or head-piece</li> - -<li>2. Wooden masks</li> - -<li>3. Skull masks</li> - -<li>4. Shields</li> - -<li>5. Ear-plug</li> - -<li>6. Animal figures</li> - -<li>7. God figure</li> - -<li>8. Knife handles</li> - -<li>9. Human femur musical instrument.</li> -</ul> - -<p><span class="pagenum" id="Page_60">[Pg 60]</span></p> - - -<p class="c" id="c13"><i>Helmet</i></p> - -<p>The helmet or head-piece on pl. <span class="allsmcap">IV</span> is in the British Museum, -and was first described and illustrated in colors in 1895 by Sir -Charles Hercules Read. From his study we take the following -notes:<a id="FNanchor_88" href="#Footnote_88" class="fnanchor">[88]</a> The helmet is hollowed out inside to fit the head -and is painted green; the exterior is carved with two projections, -perhaps intended to represent the upper mandibles of -eagles. The space between the inner upper part of the two -beaks and the two outer faces of the beaks bears traces of -red paint. With this exception, the outer surface has been -covered with a mosaic of turquois, malachite, pearl shell, and -pink shell, inlaid or incrusted on a bed of dark-brown gum. A -great number of the pieces of mosaic have fallen out. It contains, -fashioned in dark-green malachite pieces, two involved -animal figures, which Read conjectures are rattlesnakes with -crested heads. Judging from the plate accompanying Read’s -study (no measurements are given), the specimen has an extreme -height of 7½ inches and a diameter of 7¼ inches. The -illustration which we reproduce, as well as of the other specimens -in London, we owe to the kindness of T. A. Joyce, Esq., -of the British Museum.</p> - - -<p class="c" id="c14"><i>Masks</i></p> - -<p>The mask on pl. <span class="allsmcap">V</span> is in the British Museum, and is one of -the best preserved specimens of mosaic-work from Mexico. -It is of cedar, the outer surface being covered with a mosaic of -minute pieces of turquois, of a brilliant color beneath the eyes -and on the forehead, while on the other parts the color is a poor -grayish-green. The face is studded with irregularly shaped -cabochon turquoises. The eyes, nostrils, and mouth are all -pierced; the first are filled with oval pieces of pearl shell, each -with a circular hole for the pupil. The gum surrounding the -shell and keeping it in position is gilded. In the half-open -mouth is a row of seven teeth of white shell set in the upper -jaw. On each temple is set a pierced square of pearl shell. -<span class="pagenum" id="Page_61">[Pg 61]</span>The inside of the mask is painted red. Its height is 6½ inches, -the width 6 inches.</p> - -<div class="figcenter" id="f23"> -<p class="captiona">PL. XXII</p> -<img src="images/fig23.jpg" alt="" /> -<p class="caption">BACK OF SHIELD SHOWN ON PLATE I</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>On pl. <span class="allsmcap">VI</span> is shown another mosaic mask in the British Museum. -We follow Read’s description. It is of cedar, and the -lower left-hand part of the face is missing. Over the face are -represented two entwined serpents curving around the eyes and -mouth, and the rattle-tipped tails rest over the right and left -of the forehead. The whole of the surface of the mask is covered -with a mosaic of turquois, bright-blue and dull-green in color, -arranged in such manner that the two snakes are distinct in -color. The rattle of each snake upon the temples are modeled -of the same gum as that in which the stones are embedded, and -it seems possible that they were formerly gilded. The mouth of -the mask is slightly open and contains teeth of white shell in -the upper jaw. There is a slit over each eye and a hole in each -temple. The inside of the mask is painted red. Height 6.9 -inches, width 6.6 inches. Read believes that the heads of the -two snakes were on the lower checks, which are incomplete. -Maudslay identifies this mask with that described by Sahagun -in the chapter which we have translated (see p. 14), relating -to the objects pertaining to the god Quetzalcoatl which were -presented by Montezuma to Cortés.<a id="FNanchor_89" href="#Footnote_89" class="fnanchor">[89]</a> In this description only -one serpent is mentioned, and Sahagun states that “the head -with part of the body came over one eye so that it formed an -eyebrow, and the tail with a part of the body went over the -other eye to form the other eyebrow.” In the plate the two -rattles are clearly seen, and Holmes has published a diagrammatic -drawing differentiating the bodies of the serpents. If -Sahagun’s description is accurate, this specimen cannot be the -one mentioned by him. It is, however, one of the most interesting -pieces of mosaic that has survived.</p> - -<p>The very interesting mask of wood shown on pl. <span class="allsmcap">VII</span> is in -the Prehistoric and Ethnographic Museum in Rome. It is one -of the best preserved pieces in Europe, and its history is known -as far back as 1553. It was purchased for the Museum by -Giglioli from Cosimo de Medici for two and a half francs. It<span class="pagenum" id="Page_62">[Pg 62]</span> -was first illustrated in colors by Pigorini,<a id="FNanchor_90" href="#Footnote_90" class="fnanchor">[90]</a> and our illustration -is from a photograph just received from Rome through the -kindness of Dr. S. K. Lothrop. The specimen is 11 inches high -and 5⅜ inches broad, being the tallest mosaic mask that has -thus far come to light. It represents a human face placed in -what appears to be the flat open jaws of a snake or an animal, -a common motive in Middle American art. The back of the -mask is flat, and there are ovate openings for the eyes. From -the nose hangs an ornament of a type familiar in central -Mexico. Over the forehead appear what seem to be raised -twined bodies of serpents, and from the left of the upper part -of the face projects the plumed head of a serpent. We are -unable to say if the head of the other snake once projected from -the opposite side of the mask, but it seems impossible that the -artist would have made this elaborate piece so symmetrical. -From Dr. Lothrop’s notes it appears that the turquois around -the sides is of a slightly faded color, but the major portion is -brilliant and glistening. The materials used are turquois, pink -shell, white shell, mother-of-pearl, jadeite (for the facial lumps), -and a dull-black stone. This remarkable piece is a veritable -work of art, and from the serpent motive we would class it -as a Quetzalcoatl mask.</p> - -<div class="figcenter" id="f24"> -<p class="captiona">PL. XXIII</p> -<img src="images/fig24.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>The other mask in Rome (pl. <span class="allsmcap">VIII</span>) was illustrated as early as -1648. This illustration, and the one published by Pigorini -(fig. 15), are front views. Our plate, from a photograph taken for -Dr. Lothrop, is a sideview presenting interesting features -which are not revealed in the illustrations hitherto published. -The materials employed are turquois, malachite, pink shell, -white shell, mother-of-pearl, an unidentifiable black stone, and -garnet. The edges of the orbits and the protruding tongue -are painted red, while the fangs are painted white. On the -side of the face, below the right eye, is the head of an alligator, -in the neck of which is set a garnet. Attention is called -also to the peculiar nose and the curling tongue. A considerable -portion of the mosaic is lost. This mask is larger than the masks -in London and New York, being 8⅝ inches high, with an -<span class="pagenum" id="Page_63">[Pg 63]</span>extreme length, including the protruding tongue, of 11 inches. -Dr. Lothrop writes that in his description Pigorini has done -scant justice to this -remarkable piece.</p> - -<p>On pls. <span class="allsmcap">IX</span> to <span class="allsmcap">XVI</span> -are illustrated the -series of masks -from the cave recently -discovered -in Mexico, which -are in the Museum -of the American -Indian, Heye -Foundation. They -fall into two -classes, those on -pls. <span class="allsmcap">IX</span> to <span class="allsmcap">XII</span> being -ornamented with -turquois mosaic, -and so nearly -alike in workmanship -that they -might well be the -product of one -artist, while the -masks on pls. <span class="allsmcap">XIII</span> -to <span class="allsmcap">XV</span> are different -in character, the mosaic pieces being larger and coarser, -and considerable stone other than turquois was employed in -the decoration. They are all in a damaged condition and lack -the chin. All the mosaic incrustations are set in a bed of gum.</p> - -<div class="figright" id="f58"> -<img src="images/fig58.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 15</span></p> -</div> - -<p>The best-preserved specimen is illustrated in colors on pl. -<span class="allsmcap">IX</span>; it is 7½ inches high, and 6¾ inches wide. Bands of light -and dark turquois will be observed on the forehead and temples. -Around the lower margin of the face is a band of blackish -to dark-brown stones. On the sides of the mask are two large<span class="pagenum" id="Page_64">[Pg 64]</span> -black discs made of a composition resembling charcoal and -sticky clay. This substance is present in a number of the -other masks, and we venture the conjecture that it may be the -material used by the goldsmiths in modeling figures to be cast -in gold. Sahagun describes it as follows:</p> - -<div class="blockquot"> - -<p>The master gives them the charcoal, which they grind very fine. -And when it is ground they add a little clay, the glutinous earth -which they use in their pottery. They mix the charcoal with the -clay and stir it, and knead it in such manner that the two substances -constitute one solid mass. And when they have the mass prepared, -they shape it into thin discs which they expose to the sun.... -For two days these objects dry, and become very hard. When the -charcoal is well dried and very hard, it is cut, then carved by means -of a little scraper of copper.<a id="FNanchor_91" href="#Footnote_91" class="fnanchor">[91]</a></p> -</div> - -<p>The tip of the nose, as well as the chin, is gone. There are -traces of red paint over the mouth and in the circular spaces on -each side of the nose. When the specimen was received, the -missing section of the lower part of the face was covered with -a band of tin, as in the mask (pl. <span class="allsmcap">XVI</span>) from which the mosaic -has disappeared. From this circumstance we believe that the -objects in this cave deposit were used by the Indians after the -Spanish conquest, possibly until comparatively recent times. -Our reasons for this belief will be found in the chapter translated -from Motolinia in our conclusion. If we assume that at -certain intervals during centuries the Indians resorted to the -cave to worship in secret their ancient gods, we can explain the -worn condition of nearly all of these specimens. Undoubtedly -they were preserved and treasured for many generations, revered -as precious relics of a lost but not entirely forgotten civilization. -There is not the slightest reason for doubting their -origin in pre-Spanish times.</p> - -<div class="figcenter" id="f25"> -<p class="captiona">PL. XXIV</p> -<img src="images/fig25.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>The mask on pl. <span class="allsmcap">X</span> is 6½ inches high and 6¼ inches wide. -It is quite similar to the one last described, but lacks the encircling -lower marginal band. The outer zone is of light turquois, -with zones of a darker shade toward the center. There -are traces of red paint above the mouth and in the spaces on -<span class="pagenum" id="Page_65">[Pg 65]</span>each side of the nose. On the left temple are the remains of a -black disc of the same material as on the other mask.</p> - -<p>The right section of the mask on pl. <span class="allsmcap">XI</span> is 7¼ inches in height. -The turquois incrustation is light-blue in color. There are -traces of red paint above the mouth. The black composition -inlay on the temple is square, and contains a biconical depression -which does not pass through the wood. Around the eye -is a raised design, possibly a serpent’s body. The entire lower -zone is at present without decoration, and possibly was never -covered with mosaic.</p> - -<p>The mask fragment on pl. <span class="allsmcap">XII</span> is 7⅜ inches high. The small -section of mosaic remaining on the forehead is dark-blue, while -that on the rest of the face is light-blue. There is a black composition -disc on the temple, and traces of red paint above the -mouth. The marking on the plain surface on the forehead appears -to be ancient.</p> - -<p>We now come to the other group. On pl. <span class="allsmcap">XIII</span> is a mask 6⅜ -inches high and 5¾ inches wide. A portion of the chin still -remains, with mosaic decoration, indicating that the missing -chins in the other masks were probably thus embellished. In -general appearance this specimen differs widely from those -just described. The pieces used in the mosaic are rougher in -shape and larger. A few bits of bright-green turquois are found -on the forehead, but the rest of the incrustation is a stone of -a brownish- or grayish-green color. The distinctive feature is -the band which encircles the forehead, running downward and -ending at the sides of the nose. It is of black composition, but -is highly polished, and there are pieces of light-brown color. -Traces of red paint appear above the mouth.</p> - -<p>The mask on pl. <span class="allsmcap">XIV</span> is 6¾ inches high and 5¼ inches wide. -It lacks the chin, but still retains a goodly part of the mosaic. -This specimen is somewhat different in treatment from the -others, closely resembling in technique the mask fragment -which follows on pl. <span class="allsmcap">XV</span>. The mass of incrustation is outlined -by a band of single light brownish-gray stones. The forehead -has a mosaic of blackish and dark-green stones, the same effect<span class="pagenum" id="Page_66">[Pg 66]</span> -being seen on each side of the plain space at the sides of the -nose, merging into lighter zones on the cheeks. Red paint is -above the mouth and on the spaces at the side of and below the -nose. This mask had a tin band or plate over the missing chin. -The space above the eyes is coated black, the material being -probably obtained by thinning the black composition into a -coarse paint by the addition of melted gum or wax. Two black -composition discs are on the temples.</p> - -<p>The fragment of mask on pl. <span class="allsmcap">XV</span> is 5⅝ inches high. As before -stated, it resembles the mask just described. The mosaic, of -large bits of stone, is outlined by a line of single lighter stones. -The forehead contains a mosaic of greenish stones, and the -space above the ridge of the nose has a patch of light-red shell -bits. The space on each side of the nose and in the mouth is -painted red, while that above the eyes is painted jet black. A -black composition disc is on the temple.</p> - -<p>The mask without mosaic on pl. <span class="allsmcap">XVI</span> is 6⅞ inches high and -5¼ inches wide. The wood is of a light color, and rather soft. -We have left on this specimen the tin plate which replaces the -missing chin. That this mask was once covered with mosaic -decoration may be seen in the fragment remaining at the right -side of the mouth. The eyes in this specimen are semi-lenticular -in shape, differing from the others which are either ovate or -lenticular in outline.</p> - -<p>This closes our description of the specimens found in the -deposit in the cave in the Mixteca. With them were found -some fragments of native paper made of <i>amate</i> fiber, two of -which enclosed regularly shaped small masses of gum incense. -In one of these several pieces of the gum were held together by -an interlaced string of flexible bark. They provide further -proof that the cave was resorted to for religious ceremonies or -sacrifices.</p> - -<div class="figcenter" id="f26"> -<p class="captiona">PL. XXV</p> -<img src="images/fig26.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>The next mask to be considered, on pl. <span class="allsmcap">XVII</span>, is the only specimen -known from Central America, and with the pieces found -recently in the Mexican cave are the only major specimens -found under archeological conditions. This mask is 8½ inches -<span class="pagenum" id="Page_67">[Pg 67]</span>high, and the three facial projections extend 4 inches from the -face. It is in the Museum of the American Indian, Heye Foundation. -This interesting object was found some years ago in a -cave in the mountainous region of Honduras, in an arroyo on -the headwaters of a small stream flowing into the Rio Chamelecon, -about 25 miles from the ruins of the ancient city of Naco. -Hundreds of copper bells of varying sizes and shapes were -found at the same time. The mask has been figured and described -by A. H. Blackiston, whose description follows:</p> - -<div class="blockquot"> - -<p>First in interest in the writer’s collection is a large life-sized mask -of white cedar which was covered with mosaics of turquois and other -stones set in a thick gum or pitch with which it was coated. Three -greatly elongated straight projections answer for the nose and the -two lips. Holes were cut for the eyes and two small ones on the sides -for the thongs which bound it to the head. A large cavity in the -forehead was evidently the setting of the crowning stone of the collection, -though of what nature this was we unfortunately are unable -to surmise, as it evidently became loosened and dropped out years -before its discovery. Along the sides of the face are depressions in -the coating of gum for regularly shaped stones about half an inch -long by three-eighths of an inch in width, arranged in parallel rows—none -of which remain at present. The rest of the surface, as -noted, was covered with small turquois mosaics, a number of which -are in place today.<a id="FNanchor_92" href="#Footnote_92" class="fnanchor">[92]</a></p> -</div> - - -<p class="c" id="c15"><i>Skull Masks</i></p> - -<p>The two final masks to be described are the skull masks in the -Ethnographical Museum in Berlin, and in the British Museum, -London. On pl. <span class="allsmcap">XVIII</span> is represented the Berlin example, which -has been described by Uhle and illustrated in colors, three-fourths -natural size.<a id="FNanchor_93" href="#Footnote_93" class="fnanchor">[93]</a> Only the front of the skull has been used, -and it was incrusted with sky-blue to pale slabs of turquois. -The mask is 6⅝ inches in height. Our illustration is a photograph -of the lithograph published by Uhle.</p> - -<p>The skull mask in the British Museum (pl. <span class="allsmcap">XIX</span>) has been illustrated -many times, and is one of the best-known pieces of<span class="pagenum" id="Page_68">[Pg 68]</span> -Mexican mosaic. It has also been repeatedly described, so that -it is not necessary to present a detailed description at this time. -Suffice it to say that the back of the skull has been cut away, -and the front covered with five broad transverse mosaic bands, -alternating from the top downward, of lignite (not obsidian, as -all writers have described it, we are informed by Joyce) and -turquois. The inside is lined with leather, on which traces of -red paint still remain.</p> - - -<p class="c" id="c16"><i>Shields</i></p> - -<p>Richly decorated shields or chimallis played a prominent -part in certain phases of the life of the ancient Mexicans. Mrs. -Nuttall, in her interesting and instructive study, “On Old -Mexican Shields,”<a id="FNanchor_94" href="#Footnote_94" class="fnanchor">[94]</a> has pointed out that “all authorities agree -that the shields were of two kinds. The first consisted of the -military shields used for protection in warfare by all grades of -warriors; the second comprised the shields carried, for display -only, in religious dances and festivals.” In this study Mrs. -Nuttall has made the following classification of shields, based -on an extended examination of the chronicles of early writers:</p> - -<div class="blockquot"> - -<p>1. Plain, unadorned war-shields (<i>yaochimalli</i>) of several kinds, -used by the common soldiers.</p> - -<p>2. Gala shields (<i>totopchimalli</i>), indicating the military rank and -achievement of chiefs. These seem to have been indiscriminately -used in warfare or feasts and dances. Their general structure seems -to have been alike in either case, though it is obvious that they may -have been more or less light and strong. Shields of this category -sometimes reproduced one or more features of the military costume, -body-painting and adornments pertaining to each grade. The -shield in Museo Nacional is an example of this kind. Others exhibited -the emblematic device of a militant god, Huitzilopochtli, -Xipe, Yiacatecuhtli, etc., marking an order of chivalry—and to this -division the Stuttgart specimens belong.</p> - -<p>3. Shields, presumably of the supreme war-chief, exhibiting in -picture-writing the name of his people or his personal appellation. -Nothing certain is known about this group, but its existence seems -vouched for by a series of indications.</p> - -<span class="pagenum" id="Page_69">[Pg 69]</span> - -<p>4. Shields pictured in the codices with deities only exhibiting -their emblematic devices or reproducing features of their symbolic -attire. Such shields seem to have been carried, in religious dances -and festivals, by the living images of the deities in whose honor -they were held.</p> - -<p>5. Shields of most precious materials, with strange and elaborate -designs, described in the Inventories. As they are not mentioned -elsewhere, it is not possible to state anything definite about them, -but it is obvious that they were intended for the use of individuals -of supreme rank. The beautiful shield at Castle Ambras belongs -to this group. It is, consequently, the sole forthcoming specimen -with a valid, though shadowy, right to the title of “Montezuma’s -shield.”</p> -</div> - -<div class="figcenter" id="f27"> -<p class="captiona">PL. XXVI</p> -<img src="images/fig27.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>In the inventories of the Cortés loot, 150 shields are enumerated, -mostly decorated with feathers, but 25 are specified -as being ornamented with turquois mosaic, while others were -garnished with gold. Of the feather-mosaic shields, one example -is in Vienna (the shield formerly in Castle Ambras), two are -in Stuttgart, and one is in the Museo Nacional, Mexico. Of the -turquois mosaic shields, one is in London, and one in Vienna; -none exists in Mexico. To this number we are now able to add -eight specimens in New York, namely, one perfect shield, two -nearly complete ones, and five fragments, all from the cave in -the Mixteca.</p> - -<p>We have already given numerous extracts from the early -writers concerning the use of mosaic shields as part of the -paraphernalia of the deities. In figs. 16-17 are two representations -of the god Paynal, holding in his right hand a mosaic -shield. Fig. 16 is from the Florentine manuscript of Sahagun -(lamina 8), while fig. 17 is from the Real Palacio manuscript -of the same author. In the original the shield is painted blue. -These are the only examples we have been able to find in the -Mexican codices where the mosaic character of the shield is -unquestionably delineated.</p> - -<div class="figcenter" id="f59"> -<img src="images/fig59.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 16</span> <span class="pad5"><span class="smcap">Fig. 17</span></span></p> -</div> - - -<p>We will now consider the two mosaic shields in Europe. On -pl. <span class="allsmcap">XX</span> is the shield in the British Museum. Its early history is -<span class="pagenum" id="Page_70">[Pg 70]</span>unknown, other than that it was purchased in 1866 from a -dealer who stated that it came from Turin. Quite a little of -the mosaic is missing, but not enough to destroy the intricate -and interesting designs. It has been described by Read, -accompanied with a drawing of the figures.<a id="FNanchor_95" href="#Footnote_95" class="fnanchor">[95]</a> The shield is of -cedar, with a diameter of 12¼ inches. The material used for -the mosaic is turquois and shell. The center of the design -consists of a circle in relief, the edge of which is divided into four -equal parts by angular points in pink shell, and each quarter -of the circumference has three large but irregular pieces of shell -at intervals. It is a <i>tonatiuh</i>, or sun disc, and a figure of a serpent -is disposed meander-fashion vertically over the entire -central portion. One edge of the snake is bordered with imitation -studs formed of brown gum, of which a few still preserve a -covering of very thin gold-leaf. The head is placed at the upper -left side, the tail ending in three feathers at the lower right edge -<span class="pagenum" id="Page_71">[Pg 71]</span>of the circle. On each side are two human figures, and at the -center, near the top, projecting from the body of the snake, is a -bifurcated design, probably a tree, upon which rests, in a pear-shaped -enclosure, a human figure on its back. Through the -shield are many irregular perforations, and twenty-five small -holes are regularly disposed around the edge, possibly for the -suspension of feathers, or bits of stone, gold, or gold-leaf, over -gum, may have been inserted. Two larger holes are near the -upper margin.</p> - -<div class="figcenter" id="f28"> -<p class="captiona">PL. XXVII</p> -<img src="images/fig28.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>On pl. <span class="allsmcap">XXI</span> we reproduce the Vienna shield.<a id="FNanchor_96" href="#Footnote_96" class="fnanchor">[96]</a> It is larger than -the London specimen, being 16½ inches in diameter, and the -designs are not so involved as in the London shield. Unfortunately -the greater part of the mosaic has fallen out, but the -figures in most cases may be traced by the impressions in the -gum matrix. The designs consist of two <i>tonatiuh</i>, or sun discs, -placed one above the other. In the upper <i>tonatiuh</i> is a human -figure. There are many examples of this motive in Mexican -sculptures and codices. Across the center of the shield, between -the two sun discs, is a procession of human figures, four each on -the right and the left, all facing the center. Between them is a -human figure, head-downward, in the act of falling or plunging -from the upper sun disc. Above this line of figures are four -others, two on each side of the sun disc, which they face. Below, -facing the lower disc, are three other figures on each side, -and lower still are two more on each side. The total number -of human figures, so far as we are able to determine, is twenty-four. -This shield was formerly in the Castle Ambras, near Innsbruck, -and its history is traceable to 1596, it being mentioned -in an inventory of that date.</p> - -<p>We cannot identify these two shields with those described in -the Cortés inventories, but there is no reason to doubt that -they formed part of that treasure. As examples of mosaic art, -they are priceless, even in their damaged condition.</p> - -<p>The circumstances attending the discovery of the shields now -in New York have already been alluded to. Pl. <span class="allsmcap">I</span> is an exact -reproduction in colors of one of these, the most important example<span class="pagenum" id="Page_72">[Pg 72]</span> -of aboriginal American mosaic art known. It is in an -almost perfect state of preservation, and is practically of the -same size as the London specimen, being 12¾ inches in diameter, -with an average thickness of three-eighths of an inch. The -wood is probably cedar. In a highly esthetic manner the mosaic -incrustation has been set in a bed of gum, with alternating -massing of light and dark turquoises to produce bands or zones -of shading in light or dark bluish-green. It is estimated that -nearly 14,000 individual pieces enter into the composition of -this mosaic, the greater number being tiny circular bits. The -design represents a sun disc, with eight pointers in the outer -rim. Inside of the innermost of the two raised narrow encircling -bands is a picture of ceremonial or mythological character. We -hesitate at an interpretation, but the main features may quite -certainly be recognized. We are of the opinion that the scene -portrayed perhaps relates to the worship of the planet Venus. -It is in the region where this shield was found that Seler, after -making exhaustive comparative studies of several pre-Columbian -codices, concludes:</p> - -<div class="blockquot"> - -<p>We have to look for the home of the Codex Borgia group of manuscripts.... -It was a land inhabited by Aztec-speaking peoples; it -was conterminous with the Zapotec territory, and it lay on the -trade-route which led to the coast, and to the Maya-peopled district -of Tabasco.... Indeed we also know that in this very region astronomic -observation was highly developed, and the Morning Star -(Venus) held in special veneration.<a id="FNanchor_97" href="#Footnote_97" class="fnanchor">[97]</a></p> -</div> - -<p>The upper horizontal band of the shield represents the -celestial region. It recalls, with its feather fringe at the top and -dots hanging from the lower section, the design around the so-called -calendar stone collected by Humboldt, now in the Berlin -Museum, and the upper encircling rim above the procession of -figures of the so-called stone of Tizoc, as well as some of the -upper bands in the murals of Mitla. If this is the celestial band, -as we believe, it is quite appropriate to find on it the <i>tonatiuh</i>, -or sun, represented in the rosette in the center. We find here -two sets of four pointers each, radiating from the central disc of -<span class="pagenum" id="Page_73">[Pg 73]</span>feathers, which surrounds a lozenge-shaped piece on which is a -tiny pit below two horizontal lines. In the Real Palacio manuscript -of Sahagun (estampa <span class="allsmcap">XII</span>) are pictures of various symbols -for heavenly bodies, one being a small disc with tiny dots, explained -by Sahagun as being the sign for Venus. We have endeavored -to identify this glyph with that of the symbol for -turquois or jewel, or the sign for chalchihuitl. There is a slight -resemblance, but we hold the opinion, as before stated, that it -is the sign for the sun. We have been unable to find the exact -counterpart of this combination either in the codices or in -sculptures.</p> - -<div class="figcenter" id="f29"> -<p class="captiona">PL. XXVIII</p> -<img src="images/fig29.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>We now come to a feature which is also found in the Vienna -shield, namely, a person falling or descending from the sun or -celestial regions. The injured condition of the Vienna specimen -renders it impossible to distinguish the sex of the figure, but in -the New York specimen a woman is represented, probably a -goddess. On several pages of the Codex Nuttall Zouche<a id="FNanchor_98" href="#Footnote_98" class="fnanchor">[98]</a> (pp. -4, 19, 21) are representations of human figures hanging from or -plunging from the heavenly band. Seler has connected these -scenes with the Venus period of the Mexican calendar. Attached -to the band on our shield are five dots. Taken in connection -with the eight dots below, respectively four on each -side of the hieroglyph at the bottom, one recalls the suggestive -fact that the Mexicans were acquainted with the correspondence -of eight solar years to five Venus periods, and reckonings -connected with the correction of these two periods have been -established by both Seler and Bowditch.<a id="FNanchor_99" href="#Footnote_99" class="fnanchor">[99]</a> In the Codex Selden -is found an analogous picture, the band of the sky, with a -central <i>tonatiuh</i>, and a descending human figure attached, below -which are two figures. This scene has been interpreted by -Beyer<a id="FNanchor_100" href="#Footnote_100" class="fnanchor">[100]</a> as representing the solar god accepting human sacrifice. -In our shield, the feature which follows in Codex Selden, -depicting this sacrifice, is absent.</p> - -<p>In our shield, facing the plunging figure, are two human -figures, one on each side, holding something like a staff in each -hand, similar to those held in the hands of the goddess. From<span class="pagenum" id="Page_74">[Pg 74]</span> -the mouth of each of these figures protrudes an unknown object, -perhaps a conch-shell trumpet, but it is not supported by -the hands.</p> - -<div class="figcenter" id="f60"> -<img src="images/fig60.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 18</span></p> -</div> - -<p>Above a horizontal band just over the bottom of the inner -encircling rim is a hieroglyph. It is the well-known glyph for -Culhuacan, or Colhuacan, the name of an important town in -the valley of Mexico in ancient times. The form of the glyph, -a mountain with a curved peak, is derived from the tradition -that the Nahuan people originated where there was a mountain -with a curved peak, called in the Nahuan language <i>Culhuacan</i>. -The sign is interwoven with the legendary history of the ancient -tribes in central Mexico, Teuculhuacan being the province far -to the north where were situated the Seven Caves of Chicomostoc, -the primeval home whence sallied the Seven Tribes. In -the Codex Boturini I, this legend is pictured. In fig. 18 are -two forms of the glyph taken from the Codex Telleriano Remensis. -On each side of this glyph on the shield are four dots, -not to be confounded with the representations of shells attached -to the glyph. These eight dots should have a calendric meaning, -and we might stretch our imagination and consider the -glyph to be <i>Calli</i>, a day-sign and also year-bearer, represented -by the conventional figure of a house, which would give us the -date 8 <i>Calli</i>, capable of being coordinated with either the year -1461 or 1513. The general character of the glyph, however, -seems to be too well established as Culhuacan to admit of such -hypothesis.</p> - -<div class="figcenter" id="f30"> -<p class="captiona">PL. XXIX</p> -<img src="images/fig30.jpg" alt="" /> -<p class="caption">SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p><span class="pagenum" id="Page_75">[Pg 75]</span></p> - -<p>In a letter to the writer Dr. H. J. Spinden advances an explanation -of the combination of the figures in this sun-disc -shield. With his permission we quote him verbatim:</p> - -<div class="blockquot"> - -<p>I am inclined to believe that the design as a whole represents a -sun shield, the eight radiating bars being the rays, while the celestial -band, the three human figures, and the Colhuacan glyph replace -the parts of the sun’s face, namely, the head-band, the two eyes and -nose (the plunging figure in lieu of the nose), and the mouth. This -may seem pretty far-fetched at first glance, but it is quite in the -spirit of Aztec art. On the Calendar Stone, around the face of the -sun god and the <i>ollin</i> symbol with the enclosed glyphs of the four -ages, is, first, a circle of the day signs, second, a circle of quincunx -figures, supposed to be the classical hieroglyphs or rather symbols of -turquoises, third, a frieze of eagles’ feathers. Multiple rays of -different sizes complete the picture. In the actual shield before us -we have the turquois mosaic, and the holes around the rim suggest -that eagles’ feathers may once have been attached. Compare the -sun shield or sun basket of the Pueblo Indians, and the various sun -shields on Mayan monuments. Now, the sun and turquois seem to -be pretty closely connected symbolically—both mean divine. The -hieroglyph of the sun is used for the <i>teo</i>, god, in place names, while -the prefix <i>xiuh</i> means divine in connection with various objects. -Jade, on the other hand, means precious. The sun in Aztec ritual -is pretty closely connected with riches and jewels, and the sun disc -may easily have been conceived of as a gem-studded object. I -think it quite possible, therefore, that the design on this shield was -intended to symbolize the face of the sun, and the fact that complete -figures engaged in some ritualistic function replaces the parts of a -realistic face does not detract from the theory.</p> -</div> - -<p>The back of the shield is shown in pl. <span class="allsmcap">XXII</span>. Through the two -vertical ridges are pairs of holes, evidently for the leather -thongs for holding the shield. The twenty-eight small holes -around the edge of the shield were probably for the insertion of -feathers or other ornaments, as in the British Museum shield.</p> - -<p>In technique our shield is similar in all respects to the two -mosaic shields in Europe. In all three the incrustation is in a -bed of gum that has been spread over the wood.</p> - -<p><span class="pagenum" id="Page_76">[Pg 76]</span></p> - -<p>We now come to the series of seven mosaic shields in New -York, shown in pls. <span class="allsmcap">XXIII</span>-<span class="allsmcap">XXIX</span>. In these we are dealing with -a different technique, and one which is new to us. For the -matrix a kind of cement like fine gritty brown sand was -used in place of gum. They are unfortunately in a considerably -damaged state, but two are more or less complete. In -these examples the wood has been roughly shaped, and in all -of them the marks of the copper or stone adzes are clearly visible, -for there was no final smoothing of the wood as in the -three specimens before described. The probable reason for this -is seen in the shield on pl. <span class="allsmcap">XXIII</span>. On the face of this specimen, on -portions of the lower edge, especially at the left, are traces of a -coarse native paper made from the <i>amate</i> tree, which occurs as -a band that had been glued to the wood. Traces of paper also -are found in the same place on the shield fragment illustrated -on pl. <span class="allsmcap">XXIV</span>. It is impossible to state definitely if this paper -once extended from the edge to the raised body of the mosaic -decoration. On the fragmentary shield just referred to may -be seen a faint black line, made with some substance like -graphite, running partly around the circumference 1 to 1⅞ -inches from the edge. It is probably the artist’s line in arranging -for some class of decoration, perhaps delimiting the -section to be covered with paper. On the first shield no such -line is found, but it seems certain that the rough wood between -the narrow band of paper and the mosaic must have been covered -either with paper or with some other material. There is no -trace of cement, and we are led to believe that the paper once -extended over the entire plain surface of the wood. Parchment -or soft leather may also have been stretched tightly over the -outer zones of shields which show no traces of paper. On this -surface some type of decoration was undoubtedly placed. We -recall the quotation given above concerning the use of turquois -mosaic decoration on paper, in connection with the worship of -the god Huitzilopochtli. Feather-mosaics, so far as we know, -were generally made either on parchment or on paper. The -codices were made either of leather, parchment, or paper, often -<span class="pagenum" id="Page_77">[Pg 77]</span>sized with stucco. In rare cases the painting was applied directly -on the paper. It is undoubtedly true that one or the -other of these processes of decoration completed the ensemble -of the shields we are now considering.</p> - -<div class="figcenter" id="f31"> -<p class="captiona">PL. XXX</p> -<img src="images/fig31.jpg" alt="" /> -<p class="caption">EAR PLUG OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK</p> -</div> - - -<p>Another point of difference in this series of shields is the -material spread over the wood to receive the incrusted stones. -It must have solidified slowly to have allowed for the careful -and laborious work of fixing the pieces in the plastic matrix. In -the case of the matrix of gum, material could have been applied -and would have hardened immediately, for by tests, even after -the lapse of centuries, we have found it possible to loosen the -bits by the application of heat to the stone; but in the case of -the cement matrix this is not possible. We do not know what -liquid was used to harden the cement, which is now quite -friable.</p> - -<p>Relatively speaking, comparatively little turquois was used -in this class of mosaics. Different shades of a soft light-gray -stone was employed in the outer zones, while darker stones -interspersed with turquois of varying shades, some almost -white, and bits of lignite and obsidian, are found.</p> - -<p>A final unique feature may be noted in the shields on pls. -<span class="allsmcap">XXVII</span> and <span class="allsmcap">XXVIII</span>. In the outer band will be observed the irregular -inner edges of the two lines of stones which form the -border. In pl. <span class="allsmcap">XXVII</span> the space is filled in with a sprinkling of -gritty, almost sand-like, bits of faded whitish-blue bastard -turquois. It appears to have been spattered or sprinkled on -while the matrix was very soft. In the case of the shield on pl. -<span class="allsmcap">XXVIII</span>, the material is somewhat coarser, and consists of rough -bits of the same stone used in the broad light band within the -outer border.</p> - -<p>These shields, so far as we are able to judge from the fragmentary -sections, contained no pictures or figures as in the -other type. In general execution they are inferior in workmanship, -and less refined and finished in appearance. In fact, they -constitute a quite distinct and, up to the present, unknown type -of stone mosaic from Mexico.</p> - -<p><span class="pagenum" id="Page_78">[Pg 78]</span></p> - -<p>The first shield of this series (pl. <span class="allsmcap">XXIII</span>) is in two fragments, a -portion of one edge being missing. It has an average diameter -of 15 inches, and a thickness of one-half to three-quarters of an -inch, the mosaic disc rising one-eighth of an inch above the -wood. The mosaic portion has a diameter of 10¼ inches. -It appears to be a sun shield, judging by the eight pointers -which radiate from the band surrounding the circular design -in the center, which suggest a conventional representation of -the sun. In the center the darker bits are obsidian. A portion -of the matrix and of the mosaic incrustation has fallen off, -and on the matrix near the upper left is a greasy patch which -may be candle grease.</p> - -<p>The shield on pl. <span class="allsmcap">XXIV</span> is the same size as the preceding one, -15 inches in diameter. It is also in two sections, and a larger -section of the side is missing. This likewise is probably a sun -shield, but it has no pointers. Where the outer band has fallen -off toward the lower part can be seen a faint incised line which -the artist placed there as a guide-line in following out the -circular mosaic decoration. In the center the black bits are -lignite.</p> - -<p>The next shield shown (pl. <span class="allsmcap">XXV</span>) consists of a half section -only. It was slightly larger than any other shield in the collection, -having a diameter of 15¼ inches and a thickness of 1 -inch. It was a sun shield, and had four pointers identical with -those on the famous calendar stone of the Aztecs. There are -traces of a paper band glued around the outer edge; the black -line has already been referred to. The central disc, with the -white lines made of very tiny bits, is similar to the central part -of the shield on pl. <span class="allsmcap">XXIII</span>.</p> - -<div class="figcenter" id="f32"> -<p class="captiona">PL. XXXI</p> -<img src="images/fig32.jpg" alt="" /> -<p class="caption">HEAD WITH HEAD-PIECE OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">NATIONAL MUSEUM, COPENHAGEN</p> -</div> - -<div class="figcenter1" id="f33"> -<p class="captiona">PL. XXXII</p> -<img src="images/fig33.jpg" alt="" /> -<p class="caption">JAGUAR HEAD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">ETHNOGRAPHICAL MUSEUM, BERLIN</p> -</div> - -<div class="figcenter1" id="f34"> -<p class="captiona">PL. XXXII</p> -<img src="images/fig34.jpg" alt="" /> -<p class="caption">ANIMAL HEAD OF WOOD WITH HUMAN FACE IN OPEN JAW<br /> - WITH MOSAIC DECORATION</p> -<p class="captiona">NATIONAL MUSEUM, COPENHAGEN</p> -</div> - -<div class="figcenter1" id="f35"> -<p class="captiona">PL. XXXIII</p> -<img src="images/fig35.jpg" alt="" /> -<p class="caption">ANIMAL HEAD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">STATE NATURAL HISTORY MUSEUM, VIENNA</p> -</div> - -<div class="figcenter1" id="f36"> -<p class="captiona">PL. XXXIII</p> -<img src="images/fig36.jpg" alt="" /> -<p class="caption">MONKEY HEAD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - -<div class="figcenter1" id="f37"> -<p class="captiona">PL. XXXIV</p> -<img src="images/fig37.jpg" alt="" /> -<p class="caption">TWO-HEADED JAGUAR FIGURE OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">ETHNOGRAPHICAL MUSEUM, BERLIN</p> -</div> - -<div class="figcenter1" id="f38"> -<p class="captiona">PL. XXXIV</p> -<img src="images/fig38.jpg" alt="" /> -<p class="caption">BIRD HEAD OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">MUSEUM, GOTHA</p> -</div> - -<div class="figcenter1" id="f39"> -<p class="captiona">PL. XXXV</p> -<img src="images/fig39.jpg" alt="" /> -<p class="caption">ANIMAL FIGURE OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - - - -<p>One of the most interesting specimens is reproduced in pl. -<span class="allsmcap">XXVI</span>, which is 14⅞ inches in diameter. This is the only shield -of the series bearing a figure. It had four pointers, which suggest -a sun disc, but the symbol seems clearly to be a conventional -cross-section of a conch-shell, the well-known and often -delineated symbol of Ehecatl, god of the air, one of the various -attributes of the god Quetzalcoatl. In this example the light -<span class="pagenum" id="Page_79">[Pg 79]</span>pieces of stone are larger than in any other piece, but they are -cut exceedingly thin. Around the outer edge of the mosaic is a -faint incised line, and three lines may be seen projecting from -the pointers, showing that the artist carried his guide-lines -beyond the zone finally used. The circular line is so regular that -there is no doubt that the workman used our methods, tying a -piece of cord to an awl and working from the exact center of -the shield.</p> - -<p>The two fragments on pl. <span class="allsmcap">XXVII</span> and <span class="allsmcap">XXVIII</span> are the same size—15 -inches in diameter. They are similar in workmanship; -the special feature, the sprinkled outer band, has already been -alluded to. In the first specimen an irregular cavity on the -upper face was apparently filled in with cement, traces of which -remain. The two holes in each shield are modern, but the two -specimens came to us joined with leather strings. They are, -however, sections of separate shields.</p> - -<p>The last shield of the series (pl. <span class="allsmcap">XXIX</span>) has a height of 14⅝ -inches. It comprises little more than a third of the original -object, hence the diameter must have been fully 15 inches or -more. As in the others, we find the encircling bands, but as no -part of the center remains, we do not know if it had a figure or -was like the others of the series.</p> - - -<p class="c" id="c17"><i>Ear-plug</i></p> - -<p>With the deposit of masks and shields in the cave in the -Mixteca, now in the Museum of the American Indian, Heye -Foundation, was the unique wooden object shown on pl. -<span class="allsmcap">XXX</span>. It is spool-shaped, the bottom flat, the upper part concave -and covered with a mosaic of dark-green turquois, with a -central disc of dark rose-colored shell. It is 1½ inch high, -with a diameter of 1¾ inch at the upper and lower rims. -There is no doubt that this specimen was an ear-plug. The sides -of the spool show the small gouges of the cutting instrument -with which it was fashioned, and the entire surface not covered -with mosaic was painted rose-red.</p> - -<p><span class="pagenum" id="Page_80">[Pg 80]</span></p> - - -<p class="c" id="c18"><i>Animal Figures</i></p> - -<p>The specimen in the National Museum in Copenhagen, -shown on pl. <span class="allsmcap">XXXI</span>, has been described in detail by Lehmann,<a id="FNanchor_101" href="#Footnote_101" class="fnanchor">[101]</a> -and our illustration is taken from his photograph. It is considerably -damaged, much of the mosaic incrustation having -disappeared. The materials are turquois, malachite, shell, and -mother-of-pearl. In its original state it was one of the imposing -pieces of this art. The upper projecting part rising from the top -of the head probably simulated a plumed head-dress. Its extreme -height is about 10½ inches, and the diameter only 3¾ -inches.</p> - -<p>On pl. <span class="allsmcap">XXXII</span> are illustrated two animal heads. The first (<i>a</i>), a -jaguar head, in the Ethnographical Museum in Berlin, has -been described in detail by Lehmann in his paper published in -the <i>Proceedings of the Fifteenth Congress of Americanists</i>, held -at Quebec in 1906. It is 5¾ inches high, and the mosaic is -composed of turquois, malachite, and shell. The other specimen -(<i>b</i>) is in the National Museum at Copenhagen.<a id="FNanchor_102" href="#Footnote_102" class="fnanchor">[102]</a> It seems to -represent a serpent’s head with a human face in the open jaws. -The mosaic is turquois, malachite, and reddish shell. It has an -extreme length of 13½ inches and is 8¼ inches high. Much of -the incrustation has fallen off.</p> - -<p>The animal head shown on pl. <span class="allsmcap">XXXIII</span>, <i>a</i>, is in the Vienna -Museum, and has been illustrated by Heger in three views.<a id="FNanchor_103" href="#Footnote_103" class="fnanchor">[103]</a> -Our drawing is the side-view, after Heger. This object is 4⅝ -inches long from front to back. Much of the mosaic has fallen -away, and the pieces of jadeite, obsidian, and shell are larger -and the work is generally coarser than in any of the other examples -in Europe. Heger’s photographs depict a leather -thong issuing from a hole at the back of the head.</p> - -<div class="figcenter" id="f40"> -<p class="captiona">PL. XXXVI</p> -<a id="fig40" href="images/fig40big.jpg"> -<img src="images/fig40.jpg" alt="" /> -</a> -<p class="caption">DOUBLE-HEADED SERPENT OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - -<div class="figcenter1" id="f41"> -<p class="captiona">PL. XXXVII</p> -<img src="images/fig41.jpg" alt="" /> -<p class="caption">FIGURE OF WOOD WITH MOSAIC DECORATION, GOD XOLOTL</p> -<p class="captiona">STATE MUSEUM OF NATURAL HISTORY, VIENNA</p> -</div> - - -<p>The other mosaic on this plate (<i>b</i>) is in the British Museum. -It represents a monkey-like head of white wood, with open -mouth. The mosaic coating is of turquois, malachite, and -other stones. The back has a hemispherical depression coated -round the sides with a thick layer of brown gum, smoothly finished, -containing some woolen threads. The turquoises are -<span class="pagenum" id="Page_81">[Pg 81]</span>chiefly of the pale-greenish variety, but above the sides of the -mouth are two patches of bright-blue stones. Each eye is set -in the lower edge of a protuberance coated with malachite, the -eyes themselves being convex discs of highly polished iron -pyrites set in a ring of shell. Height 4 inches, width 2.7 inches.</p> - -<p>An interesting piece is the two-headed jaguar figure in the -Ethnographical Museum in Berlin (pl. <span class="allsmcap">XXXIV</span>, <i>a</i>).<a id="FNanchor_104" href="#Footnote_104" class="fnanchor">[104]</a> It is covered -with bits of turquois and malachite, together with some obsidian, -shell, and mother-of-pearl. The eyes are of malachite. -This specimen measures 12⅝ inches in length, and the workmanship -seems to be very artistic.</p> - -<p>An important and unique example of mosaic art is shown on -pl. <span class="allsmcap">XXXIV</span>, <i>b</i>, which represents a bird’s head embellished with an -incrustation of turquois, malachite, obsidian, mother-of-pearl, -red coral, and white shell, but much of the mosaic has fallen out. -This specimen is in the Museum in Gotha.<a id="FNanchor_105" href="#Footnote_105" class="fnanchor">[105]</a></p> - -<p>A much injured specimen in the British Museum is illustrated -on pl. <span class="allsmcap">XXXV</span>, which represents an animal on his haunches, -with open mouth and protruding tongue. On its back is a circular, -cup-like receptacle. It is cut from a hard, pale-brown -wood. Almost the entire surface was originally covered with -mosaic laid in a bed of black gum, the component pieces being -turquois, malachite, pink shell, pearl shell, and fragments of -iron pyrites. The cup-shaped receptacle on the back of the -animal is now covered with a transparent varnish, except in one -place where the black gum and bits of mosaic are still in place. -The varnish shows here and there fragments of gold-leaf, perhaps -indicating that the cup was once entirely gilded. The -height is 6.8 inches.<a id="FNanchor_106" href="#Footnote_106" class="fnanchor">[106]</a></p> - -<p>The gracefully modeled breast-ornament representing a two-headed -serpent (pl. <span class="allsmcap">XXXVI</span>) is in the British Museum. The base -is of light-colored wood, hollowed at the back and painted red. -The front of the snake is covered with turquois mosaic; the -teeth and fangs in each open jaw of the snake are made of -white shell, while the edges of the gums are indicated with -pink shell. Across each nose is a raised band of turquois and<span class="pagenum" id="Page_82">[Pg 82]</span> -red shell. The heads have mosaic-work on both sides, and it is -probable that the eye-sockets formerly contained discs of iron -pyrites. On the upper edges of the two loops of the bodies are -holes for suspension. Length 17⅛ inches, height 8 inches.</p> - - -<p class="c" id="c19"><i>God Figure</i></p> - -<p>The figure of the deity shown in pl. <span class="allsmcap">XXXVII</span> is in the Vienna -Museum. It has been described by Dr. Heger, who has kindly -sent me a number of photographs of the object, and some details -regarding it. This has been identified by Dr. Seler as representing -the god Xolotl, one of the deities or guardians of the -Tonalamatl.<a id="FNanchor_107" href="#Footnote_107" class="fnanchor">[107]</a> The specimen does not contain much mosaic -decoration, being of highly polished wood. It is 3½ inches high -and 2¾ inches broad. Dr. Heger has courteously sent me the -following notes concerning the specimen:</p> - -<div class="blockquot"> - -<p>The posterior circular cavity (see side view) is partly filled with a -resin-like mass, by means of which the piece must have been fastened -to some other object. Vestiges of this resin-like substance are -found in all the hollowed places where today some of the inlay is -missing, as in each of the three rounded oval incurvations, of both -lateral walls, in which probably small heads [of mosaic?] were also -incrusted.</p> - -<p>The eyes and the six small teeth consist of milk-white shells; the -two hook-like canines consist of white mother-of-pearl-like shells. -The two large ear-lobes, as well as the inferior part of the nasal -septum, are perforated transversely. The pretty little human head -at the navel of the figure probably consists of pitch-black obsidian. -The ear-pendants are missing on the left side. The pupils of the -eye (right one missing) are enclosed in small rings of mother-of-pearl. -Projecting from the opened mouth, there is above the red -tongue another small white shell-plate with three sharp downward -points (teeth). The little head shows injury in several places.</p> -</div> - -<div class="figcenter" id="f42"> -<p class="captiona">PL. XXXVIII</p> -<img src="images/fig42.jpg" alt="" /> -<p class="caption">STONE KNIFE WITH HANDLE OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">BRITISH MUSEUM, LONDON</p> -</div> - -<div class="figcenter1" id="f43"> -<p class="captiona">PL. XXXIX</p> -<img src="images/fig43.jpg" alt="" /> -<p class="caption">KNIFE HANDLES OF WOOD WITH MOSAIC DECORATION</p> -<p class="captiona">PREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME</p> -</div> - - -<p class="c" id="c20"><i>Knife Handles</i></p> - -<p>The next group of objects to be noted consists of knife handles. -The beautiful specimen on pl. <span class="allsmcap">XXXVIII</span> is in the British -<span class="pagenum" id="Page_83">[Pg 83]</span>Museum. It is a chipped leaf-shape bladed knife of honey-colored -chalcedony. The handle is of a soft, light-colored wood, -carved in the form of a crouching human figure. The actual -socket in which the blade is fixed proceeds from the chest of -the figure, which grasps it with a hand on each side, and rests -his chin on the top. The socket is firmly bound with cord. The -figure and the socket up to the binding have been covered with -a mosaic, chiefly of turquois, varied with malachite and white, -pink, purple, and orange shell, as well as a few pieces of pearl -shell. Much of the mosaic has disappeared. The figure wears -an eagle mask, the face appearing in the open jaws. This knife, -which measures 12½ inches in length, is one of the most artistic -of mosaic specimens.</p> - -<div class="figcenter" id="f61"> -<img src="images/fig61.jpg" alt="" /> -<p class="captionb"><span class="smcap">Fig. 19</span></p> -</div> - -<p>Belonging to this class are the two handles on pl. <span class="allsmcap">XXXIX</span>, -which are in the Museum in Rome. They have been illustrated -in colors by Pigorini. Through the interest of Dr. -Lothrop we are enabled to present photographs of these two -very interesting objects, together with some additional observations -concerning them. The first piece (pl. <span class="allsmcap">XXXIX</span>, <i>a</i>, and -fig. 19 after Pigorini), is in the form of a crouching figure with<span class="pagenum" id="Page_84">[Pg 84]</span> -an animal head and wide-open mouth. It has been described -as a knife handle, like the other specimen (<i>b</i>), which is unquestionably -of that character, but Dr. Lothrop writes that the -front of this piece (<i>a</i>), where the knife blade should be inserted, -is smoothly covered with a kind of cement, while in the belly of -the figure is a large hole. From Dr. Lothrop’s examination of -the specimen he was unable to satisfy himself whether it was a -knife handle or was intended to be placed on the head of a -staff. The materials used for the incrustation are turquois, -reddish shell, dull white shell, mother-of-pearl, and small flakes -of gold. In the Pigorini illustration, which represents the side -opposite that shown here, two flakes of gold are shown, one -in the eye, the other on the arm between elbow and shoulder.</p> - -<p>The other piece (pl. <span class="allsmcap">XXXIX</span>, <i>b</i>), unquestionably a knife handle, -as stated, of the same technique as the specimens in the -British Museum, represents a crouching human figure. The -materials are turquois, dark-green malachite, white shell, -mother-of-pearl, and red shell. Lothrop calls our attention to -the tiny pieces of turquois set in shell on the shoulder and in -other places. He also states that a portion of a broken chert (?) -blade is still imbedded in the socket in front of the figure.</p> - - -<p class="c" id="c21"><i>Human Femur Musical Instrument</i></p> - -<p>The last of the specimens of mosaic to be described is the -musical instrument (<i>omichicauaztli</i>) made from a left human -femur, illustrated on pl. <span class="allsmcap">XL</span>. This unique example, which is in -the Museum in Rome, has been reproduced in colors by Pigorini. -The mosaic seems to have been confined to the head and -neck, although the trochanter major may also have been covered -at one time. The incrustation at present consists of gum -in which are pinkish-orange bits of colored shell. A modern -copper chain is attached to the bone, from which hangs an oliva -shell, undoubtedly ancient.</p> - -<div class="figcenter" id="f44"> -<p class="captiona">PL. XL</p> -<img src="images/fig44.jpg" alt="" /> -<p class="caption">HUMAN FEMUR MUSICAL INSTRUMENT WITH MOSAIC DECORATION</p> -<p class="captiona">PREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME</p> -</div> - - -<p>According to Dr. Lothrop, the oliva shell shows signs of -wear, and was probably the instrument used for rasping the -<span class="pagenum" id="Page_85">[Pg 85]</span>bone, as the bone is sound and produces a rather musical tone -when scraped with the shell, as if the bone were of china.</p> - -<p>Notched human bones are not uncommon in ancient Mexico, -and some have been found elaborately engraved. In the course -of excavations made in 1900 in the street back of the Cathedral -in the City of Mexico, were uncovered many small pottery -models of musical instruments which had been placed there undoubtedly -when the foundations of the great Aztecan <i>teocalli</i> -were laid. The writer secured for the American Museum of -Natural History examples of these interesting models. Among -them was a notched bone having attached to it a model of the -handled instrument with which it was rubbed or rasped.<a id="FNanchor_108" href="#Footnote_108" class="fnanchor">[108]</a></p> - -<p class="gtb">*****</p> - -<p>Finally, attention is called to three objects of wood, of -Mexican origin, in the Museo Borgiano, Rome. They have -been described by Colini, and two of the pieces illustrated, in -the <i>Bollettino della Società Geografica Italiana</i>.<a id="FNanchor_109" href="#Footnote_109" class="fnanchor">[109]</a> The first is -an idol representing a human figure, 17¾ inches in height; the -other two specimens, those figured by Colini, are masks, and -it is highly probable that all of these pieces were once decorated, -at least in part, with mosaic. One of the masks is 6⅞ -inches, and the other 7⅛ inches, in height.</p> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_86">[Pg 86]</span></p> - -<h2 class="nobreak" id="c22">CONCLUSION</h2> -</div> - - -<p>In view of the considerable number of objects of stone mosaic -that were sent to Europe during the first years of the Spanish -conquest of Mexico, part of the loot obtained by Hernán Cortés, -it is quite possible that other examples are still hidden -away either in Spain or in Italy, which some day will be brought -to light. Only twenty years ago two wonderfully preserved -carved ceremonial spear-throwers, or atlatls, of wood, covered -with delicate gold-leaf, were found in an old leather-covered -case in a house in Florence, and are now exhibited in the Ethnological -Museum of that city. It is not to be doubted that -they were sent from Mexico by Cortés himself, and remained -stored away, unknown to the world, until recent times. Bushnell, -who figured and described these atlatls, believes that they -were formerly in the famous collection of the Medicis, and that -other objects of Mexican origin may be hidden away in Italy, -to be revealed from time to time.<a id="FNanchor_110" href="#Footnote_110" class="fnanchor">[110]</a> Again, in 1891, Mrs. Zelia -Nuttall was the first to bring to our notice the important mosaic -shield, and the still more interesting feather-mosaic shield in -the Castle Ambras near Innsbruck, which were shortly afterward -transferred to the ethnographical section of the State -Natural History Museum in Vienna.<a id="FNanchor_111" href="#Footnote_111" class="fnanchor">[111]</a></p> - -<p>We should call attention here to the possibilities of finding -mosaics in Mexico, emphasizing the fact that the collection in -the Museum of the American Indian, Heye Foundation, was -found under archeological conditions. Until now we have been -somewhat sceptical in regard to the possibility of wooden objects -of such a fragile and perishable nature being discovered -either in tombs or in ruined buildings in Middle America. As -we have already written, the few traces of this mosaic art found -heretofore in excavations have been of a fragmentary character. -No specimens of wood covered with mosaic have been -found previously in Mexico, with the exception of the<span class="pagenum" id="Page_87">[Pg 87]</span> -small rim of wood excavated by Gamio in Zacatecas, and the -four pieces from Chichen Itza. In the tropical and temperate -zones, where the most important ancient sites are situated, -artifacts of wood of any sort have rarely been unearthed. It is -true that in some of the remote villages carved wooden drums -(<i>teponaztli</i>) have been religiously guarded from the time of the -conquest, and are brought out and played at certain festivals -during the year. But these drums are kept in the cabildos, -and are preserved with zealous care.</p> - -<p>We would again call attention to the statement of Sahagun -regarding the tradition of the abandonment of Tula, that -Quetzalcoatl ordered certain precious things to be buried in the -neighboring hills and ravines. This, of course, refers to times -long anterior to the coming of white men. After this unfortunate -event, fatal indeed to the Indian, the natives undoubtedly -secreted a vast amount of material. The circumstances -concerning this have been told by Father Motolinia. As -this account is but little known, we have translated literally the -entire chapter, for it reveals to us the miserable state into which -the aborigines had fallen within twenty years after their subjugation.</p> - -<div class="blockquot"> - -<p><i>Of how there was an end of idols and of the feasts which the Indians -were wont to prepare, and of the vanity and the endeavor which the -Spaniards displayed in (their) search for idols.</i></p> - -<p>The feasts which the Indians made, as is told in the first part (of -this book), with their ceremonies and pomp, all ended from the -beginning (of the time) that the Spaniards were making war (on -them), because the Indians had so much to think about in their -tribulations that they did not think of their gods, not even of themselves, -because they had so much sorrow that in order to remedy -that, all the principal (things in their lives) were stopped.</p> - -<p>In every town they had an idol or demon whom they considered -chiefly as their mediator, and called him such, and they honored and -adorned him with jewels and garments, and the best they could find -they offered him, each town as it was (able to), and more so in the -capitals of provinces. These principal idols I mention, as soon as the -city of Mexico was taken by the Spaniards, with their jewels and<span class="pagenum" id="Page_88">[Pg 88]</span> -wealth the Indians hid in the most secret place they could find; a -large part of the gold that was on (or with) the idols and in the -temples they gave as tribute to the Spaniards under whose patronage -they belonged; for they could not do otherwise because in the beginning -the tributes were so excessive that all the Indians could scrape -together or search for, nor what the lords and chiefs had, would suffice; -besides, they were forced (to pay tributes) with such iniquity -that they also gave the gold they had in the temples of the demons -(idols), and even when this was exhausted they paid tribute in -slaves, and many times not having slaves in order to comply (with -the taxes), they gave free (Indians) as slaves.</p> - -<p>These principal idols, with the insignia and ornaments or garments -belonging to the demons, the Indians hid, some in the earth, others -in caves, and still others in the woods. Later, when the Indians -became converted and were baptized, they unearthed many (of -them), and they brought them to the courtyards of the churches to -burn them publicly. Others rotted in the earth, because after the -Indians had received (or accepted) the Faith, they were ashamed to -take out those they had hidden, and would rather let them rot than -that anyone should know that they hid them. And when they -were importuned to tell (talk) about their principal idols and their -vestments, they took them out, all decayed, of which I am a witness, -for I have seen it (done) many times. The excuse they gave -was good, for they said, “When we hid it, we did not know God, and -we thought the Spaniards would soon return to their (own) country, -and after we came to understand (about) God, we left it to rot, because -we were afraid and ashamed to take it out.” In other towns -these principal idols with their vestments were in the care of the lords -or of the principal priests of the demons, and those kept them so secretly -that hardly anyone knew about them except two or three -people who guarded them, and of these (idols) they also brought a -very large number to the monasteries to burn them. In many -other remote villages, far away from Mexico, when the monks went -there to preach, they told them in their sermons and before christening -them that the first thing they had to do was to bring all the idols -they had and all the insignias of the demons to burn (them): and in -this manner they also gave and brought a large quantity which was -publicly done in many parts (of the country): because wherever the -doctrine and the word of God has reached, not a thing has remained<span class="pagenum" id="Page_89">[Pg 89]</span> -that they knew or could tell about, for if from now on for a hundred -years they should dig in the courts of the temples of the ancient idols, -they would always find idols, because there were so many that they -had made: for it happened that when a child was born they made an -idol, and the following year (they made) one a little larger, and after -four years they made another one, and as the child grew up they -went on making idols, and of these (idols) the foundations and walls -are filled, and in the courts there are many of them. In the year -(15)39 and in the year (15)40 several Spaniards, some with authority -and some without it, to show their zeal of the Faith, and thinking -that they were accomplishing something (worth while), began to dig -and to unearth the dead and to urge the Indians that they should -give them idols: and in some parts (of the country) this reached such -a stage that the Indians went to look for the idols that were decayed -and forgotten in the earth, and some of the Indians were even so -sorely tormented that, to tell the truth, they made new idols and gave -them (to the Spaniards) that they should cease maltreating them.</p> - -<p>Mixed with the great zeal they (the Spaniards) showed in searching -for idols, (there was) not a little covetousness, and it was because -the Spaniards (would say), in such a village, or in such a parish, -there are (were) idols of gold, or of chalchihuitl which is a stone of -great value, and they imagined that there was an idol weighing ten -or fifteen arrobas: but in truth they came (too) late, because all the -gold and precious stones were spent and cashed in and safely in the -power (hands) of the Spaniards who first held those Indians under -their jurisdiction. They also thought of finding an idol of stone -which would be worth as much as a city, and certainly, although I -have seen many idols which were adored and held highly by the Indians -and (were) very (greatly) revered as chief gods, and some were -of chalchihuitl, the one which seemed to me to be worth most, I do -not think that in Spain they would give ten pesos of gold for it: -for this they upset and stir and scandalize the towns with their truly -indiscrete zeal, because if there really is still an idol in some village, -it is either rotten or so (completely) forgotten or (held or kept) so -secretly that in a town of ten thousand inhabitants there are not -even five who know it, and they hold them for what they are, either -for stones or for wood. Those who thus upset these Indians who -go their straight way, are like Laban who went to meet Jacob to -look for his property, and to upset his house in search of his idols,<span class="pagenum" id="Page_90">[Pg 90]</span> -because of this that I am telling here I have great experience and I -(can) see the deceit in which they go about and the way they have to -disturb and disfavor (hurt) these poor Indians who have forgotten -so absolutely their idols, as if it were a hundred years ago (that they -had had them).<a id="FNanchor_112" href="#Footnote_112" class="fnanchor">[112]</a></p> -</div> - -<p>Hernándo Ruiz de Alarcon, in his treatise on the superstitions -of the natives of New Spain, relates that when they went -to the hills or other remote places where their idols were hidden -away, or to certain piles of stones where they often made offerings -and sacrifices, they carried there offerings which were -sometimes copal incense wrapped in <i>quauhamatl</i>, a kind of -white paper made from the bark of a soft tree. This work, -written in 1620, is entitled, <i>Tratado de las Supersticiones y -Costumbres Gentilicas que oy viuen entre los Indios Naturales -desta Nueva España</i>, and was published for the first time in 1892 -by the Museo Nacional of Mexico. The present writer has -noted such stone piles, particularly in Yucatan.</p> - -<p>It is probable that we have here an explanation of the existence -of our deposit of mosaic-incrusted wooden shields and -masks, which leads us to hope that still further discoveries of -this character may be made. The climatic conditions in certain -parts of the highlands of Middle America, where this deposit -was found in a cave, favor this assumption. There are great -sections of comparatively dry, wind-swept, almost desert -plains, treeless hill-slopes, and ravines, where the chief vegetation -is cacti in the lower altitudes, while higher up pines and -oaks abound. Here wooden objects should be indefinitely preserved -in ancient tombs or in caves, protected by a covering of -loose, dry earth, the condition under which our collection was -found.</p> - -<p>The discovery of this remarkable collection of mosaics emphasizes -the fact that the investigation of the archeology of -Mexico is hardly commenced, in view of the vast amount of -material hidden under the ruins of thousands of ancient settlements -and burial places, and probably in countless caves, -which still remain untouched by the archeologist.</p> - -<p><span class="pagenum" id="Page_91">[Pg 91]</span></p> - -<p>As revealed by the surprising results of Thompson’s dredging -in the sacred cenote in Yucatan, a wealth of archeological material -also lies buried in the mud under the waters of sacred -wells and lakes. This is notably so in the case of Lake Chapala, -on the borders of Michoacan and Jalisco in Mexico,<a id="FNanchor_113" href="#Footnote_113" class="fnanchor">[113]</a> and of -Lake Amatitlan in Guatemala, where thousands of pottery vessels -and other objects have been recovered from the bottoms of -the lakes by divers, and from the mud when the waters have -receded from the shores during times of extreme drought. -These objects had been thrown into the waters as offerings to -the gods.</p> - -<p>The recent results of the systematic exploration of the great -mounds at Teotihuacan have been quite surprising, and have -shed new light on the archeology of the central plateau of Mexico. -Even more important is the discovery of culture sequences -in stratified deposits in the valley of Mexico, the investigations -showing three distinct culture layers distinguished by the -character of the pottery. Of great significance are the discoveries -recently made under the great lava flow called the Pedregal, -at the very edge of the City of Mexico, where the artifacts -correspond <i>in toto</i> with those found in the bottom layer of -the stratified deposits.<a id="FNanchor_114" href="#Footnote_114" class="fnanchor">[114]</a> These discoveries mark a great advance -in our knowledge of the history of ancient Mexico, but, -as we have before stated, they are only a beginning. Buried -underground are the “books” the student must study, if ever -the tangled history of Middle America is to become known and -the story of the development of this exceedingly interesting division -of the human race is to be recorded.</p> -<hr class="full x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_92">[Pg 92]</span></p> - -<h2 class="nobreak" id="c23">NOTES</h2> -</div> - -<div class="footnotes"> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> See Saville, The Goldsmith’s Art in Ancient Mexico, <i>Museum of the American -Indian, Heye Foundation, Indian Notes and Monographs</i>, 1920.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> Gonzalo Fernández de Oviedo y Valdés, Historia General y Natural de -las Indias, edition of the Real Academia de la Historia, tomo <span class="allsmcap">I</span>, primera -parte, lib. <span class="allsmcap">XVII</span>, caps, <span class="allsmcap">VIII</span>-<span class="allsmcap">XVIII</span>, pp. 502-537, Madrid, 1851.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> The Itinerary of Grijalva, written by chaplain Juan Díaz, was undoubtedly -recorded in Spanish, but we know it only from the Italian translation of -1520. It was translated into Spanish by Joaquin Garcia Icazbalceta and -published by him in his <i>Documentos para la Historia de México</i>, tomo -<span class="allsmcap">I</span>, Mexico, 1858. A translation into English, with translations of other -accounts, relating to this voyage, will appear in the <i>Publications of the -Cortes Society</i> under the title, The Voyage of Juan de Grijalva to Yucatan -and the Mexican Coast in 1518.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> We quote here from the edition of Bernal Díaz published by the Hakluyt -Society, bearing the title, The True Conquest of New Spain, translated into -English by Alfred Percival Maudslay. The citation is from vol. <span class="allsmcap">I</span>, pp. -48-49, London, 1908.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> Bernal Díaz, op. cit., vol. <span class="allsmcap">I</span>, p. 53. In the work of Torquemada, Monarchia -Indiana, is an important statement bearing on this matter, of which we -give the following translation <i>in extenso</i>:</p> - -<p>“And this present it was that Gomara and Antonio de Herrera make -confused mention as having been brought to Ferdinand Cortés by the -governors of Montezuma on his first landing, which they notice in the -following words: ‘Which present it is said was sent for Juan de Grijalva, -when he touched on those shores; but that, notwithstanding the haste of -those who carried it, they found that he was gone.’ The fact was as they -state; but I do not understand how those who drew up the account of -which Herrera availed himself, could have omitted that which I say in this -chapter, and many other particulars which shall be observed in the sequel; -since the circumstances which they mention, and those which I relate, are -intimately connected with each other, and those who could have given an -account of the former, could likewise have done so of the latter; although -I think that the error lay in their seeking information only from the Spaniards, -who at that period returned from the Indies, without verifying facts -by applying to the Indians, who were mainly concerned in most of them, -or I may say in all, since they were the mark which all who have written on -the affairs of the conquest strove to hit, and were those who were very well -acquainted with them, and in the beginning recorded them by means of -figures and characters, and afterward, when some of the most curious<span class="pagenum" id="Page_93">[Pg 93]</span> -amongst them had learned how to write, wrote them down; which histories -are in my possession: and so high is the estimation in which I hold -them, on account of their language and the style of their composition, that -I should be glad to feel myself competent to the task of translating them -into Spanish with the same elegance and grace as the Mexicans penned -them in their own language; and since these histories are true and authentic, -I follow them to the letter; but lest the accounts which they contain -should appear strange to those who read them, I affirm that they are -merely a true relation of what actually happened, but that other authors -have not noticed them before me, because the few that have written on -the affairs of the Indies were ignorant of the events which then occurred, -nor had they any one to give them the requisite information; neither -should I have mentioned these facts had I not found that they were verified -by Father Bernardino de Sahagun, a grave and pious ecclesiastic, who was -of the second number of those who undertook the conversion of the natives -of New Spain, but was the first of the investigators of the most secret -things of this land, of which he knew all the secrets, and employed himself -for more than sixty years in composing works in the Mexican language -and in incorporating into it all the information which he was able to -acquire.” Lib. <span class="allsmcap">IV</span>, cap. <span class="allsmcap">XIII</span>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> This important work will be reprinted in facsimile, with a translation into -English, in the author’s proposed work on the voyage of Grijalva, as mentioned -in Note 3.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> This account will also be reprinted in facsimile, with a translation into -English, in the author’s account of the voyage of Grijalva. The title is, -Provinciæ Sive Regiones in India Occidentali Noviter Repertæ in Vltima -Navigatione. The known copies are in the John Carter Brown Library, -Providence, and the New York Public Library.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> I quote here from the translation made and edited by Francis A. MacNutt, -De Orbe Novo, vol. <span class="allsmcap">II</span>, pp. 19-20, New York, 1912.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> The chapters relating to the voyage of Grijalva have been translated into -English by the writer and will appear in the proposed work mentioned in -Note 3.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> Francisco López de Gomara, edition of Don Enrique de Vedia, Historiadores -Primitivos de Indias, in <i>Biblioteca de Autores Españoles</i>, tomo <span class="allsmcap">I</span>, -Madrid, 1877.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> Eduard Seler, Ein Kapitel aus dem Geschichtswerk des P. Sahagun, p. -124, Berlin, 1890.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> Lehmann, in his Methods and Results in Mexican Research, Paris, 1909, -writes: “Hardly less remarkable are the mosaics made of more or less precious -stones, shells, etc. No less than twenty-three pieces are known in various -museums, the finest being in London, Rome, and Berlin. The stones when -cut to shape are embedded in a peculiar substance (<i>tzinacanquauhcuitlatl</i>) -covering the whole surface of the object to be decorated; the latter were<span class="pagenum" id="Page_94">[Pg 94]</span> -chiefly of wood, rarely of bone or stone. Two masks are skilfully prepared -human skulls. The usual shapes are shields, helmets, knife handles and -trinkets. The small cup-shaped heads and the double-jaguar in the Berlin -Museum are of doubtful meaning. Most of these objects apparently come -from the Eastern provinces, i. e., Tabasco. We know from other sources -that it was only under king Ahuizotl, with the conquest of the Tzapotec -district, that the Mexicans became acquainted with turkois-mosaics, -shields, earrings, etc.” This is a translation of his Ergebnisse und Aufgaben -der mexikanistischen Forschung, published in <i>Archiv für Anthropologie</i>, -Neue Folge, band <span class="allsmcap">VI</span>, heft 2 u 3, Braunschweig, 1907.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> See Lehmann in our List of Works Describing Mexican Mosaics, under -1906.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> Juan de Torquemada, Monarchia Indiana, Barcia edition, Madrid, 1732, -lib. <span class="allsmcap">II</span>, cap. <span class="allsmcap">LXXIX</span>, p. 215.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> See Antonio Peñafiel, Nomenclatura Geográfica y Etimológica de México, -Mexico, 1897.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_16" href="#FNanchor_16" class="label">[16]</a> Clavigero, The History of Mexico, Cullen transl., vol. <span class="allsmcap">II</span>, p. 232, London, -1787.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_17" href="#FNanchor_17" class="label">[17]</a> Saville, The Goldsmith’s Art in Ancient Mexico, op. cit.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_18" href="#FNanchor_18" class="label">[18]</a> Peter Martyr, op. cit., vol. <span class="allsmcap">II</span>, p. 46.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_19" href="#FNanchor_19" class="label">[19]</a> Las Casas, Historia de las Indias, tomo <span class="allsmcap">IV</span>, cap. <span class="allsmcap">CXXI</span>, pp. 284-286, Madrid -ed., 1876.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_20" href="#FNanchor_20" class="label">[20]</a> Fr. Bernardino de Sahagun, Historia General de las Cosas de Nueva -España, Bustamante ed., lib. 12, caps, <span class="allsmcap">II-VI</span>, pp. 5-12, Mexico, 1829.</p> - -<p>Notes to Chapter <span class="allsmcap">III</span>. The two places mentioned here, Naulitlantoztlan -and Mictlanquactle, are given by Torquemada (op. cit., lib. <span class="allsmcap">IV</span>, cap. <span class="allsmcap">XIII</span>, p. -379) as four different towns. Nauhtla and Toztla, the first two, are recognizable -as being combined into one place-name by Sahagun. This is also -the case with Mictla and Quauhtla, the third and fourth towns of Torquemada, -the Mictlanquactle of Sahagun. Brasseur de Bourbourg transforms -them to Nauhtlan, Tochtlan, and Mictlan-Quauhtla, in which he is followed -by Orozco y Berra.</p> - -<p>Vigil, the editor of Tezozomoc, states that the town of Mictlancuauhtla -has disappeared, but in a map or plan of Vera Cruz in the collection of -Icazbalceta, sent in 1580 to Philip II by the alcalde Alvaro Patiño, the -place is still mentioned, under a corrupted form of the name, as Metlangutla.</p> - -<p>The name of the five lords sent by Montezuma to receive Cortés, conceived -to be Quetzalcoatl, are spelled differently by Torquemada (op. cit., -P-379), and they more closely approach the orthography of Molina’s -dictionary. They are, Yohualychan, Tepuztecatl, Tizahua, Huehuetecatl, -and Hueycamecateca.</p> - -<p>Notes to Chapter <span class="allsmcap">VI</span>. This Xicalanco is not to be confused with the -Mexican colonial town of the same name near the Laguna de Términos,<span class="pagenum" id="Page_95">[Pg 95]</span> -Tabasco. A branch of the Nahuan Mexican people called Xicalancas from -the name of their first ruler, Xicalancatl, settled on the coast of Vera Cruz -in the region between the present city of Vera Cruz and the Isthmus of -Tehuantepec.</p> - -<p>Torquemada relates that the messengers, on leaving the ship of Cortés, -“paddled rapidly away, and came to a little island called Xicalanco, where -they ate, and rested a little, and they left there and came to a town on the -seashore called Tecpantlayacac; from there they went to Cuetlaxtla, which -is some leagues in the interior, where they spent the night; the lords and -chief of the town begged them to remain there that day and rest, but they -replied that the need for speed for their journey was great.”—Op. cit., -lib. <span class="allsmcap">IV</span>, cap. <span class="allsmcap">XIV</span>, p. 384.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_21" href="#FNanchor_21" class="label">[21]</a> Peter Martyr, op. cit., vol. <span class="allsmcap">II</span>, pp. 196-197.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_22" href="#FNanchor_22" class="label">[22]</a> Saville, Goldsmith’s Art in Ancient Mexico. The inventories of the loot -obtained by Cortés are given in English translation on pp. 56-102.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_23" href="#FNanchor_23" class="label">[23]</a> This is quoted from the study of Dr. J. Cheston Morris on the “Physical -and Technographical Characteristics” of the leaves, in the article, “The -Tribute Roll of Montezuma,” edited by Dr. Daniel G. Brinton, Henry -Phillips, Jr., and Dr. J. Cheston Morris, published in <i>Transactions of the -American Philosophical Society</i>, vol. <span class="allsmcap">XVII</span>, <span class="allsmcap">N. S.</span>, pt. <span class="allsmcap">II</span>, art. <span class="allsmcap">IV</span>, p. 61, Philadelphia, -1892.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_24" href="#FNanchor_24" class="label">[24]</a> The very important Crónica Mexicana, written by Hernando Alvarado -Tezozomoc, was published by José M. Vigil in his <i>Biblioteca Mexicana, -Colección Metódica de Obras y Documentos Relativos a la Historia, Geografía, -Literatura, Estadística y Legislación de México</i>, 1881. The quotation is -from cap. <span class="allsmcap">LXXVI</span>, pp. 543-544.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_25" href="#FNanchor_25" class="label">[25]</a> Tezozomoc, op. cit., cap. <span class="allsmcap">LXXXIX</span>, p. 600.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_26" href="#FNanchor_26" class="label">[26]</a> Dr. George F. Kunz has kindly placed in our hands his publications relating -to precious stones. In this connection consult his Gems and Precious -Stones, New York, 1892; his important paper, New Observations on the -Occurrences of Precious Stones of Archæological Interest in America (extrait -des <i>Mémoires et Déliberations du XVᵉ Congrès des Américanistes tenue -à Québec du 10 au 15 Septembre 1906</i>, Quebec, 1907); and Gems and Precious -Stones of Mexico, Mexico, 1907.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_27" href="#FNanchor_27" class="label">[27]</a> The work of Rafael Aguilar y Santillan is entitled Bibliografía Geológica -y Minera de la República Mexicana completada hasta el año de 1904, -<i>Boletín del Instituto Geológico de México</i>, núm. 17, Mexico, 1908.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_28" href="#FNanchor_28" class="label">[28]</a> The interesting study of Luigi Pigorini describing the Mexican mosaics in -Rome is entitled Gli Antichi Oggetti Messicani Incrostati di Mosaico esistenti -nel Museo Preistorico ed Etnografico di Roma, <i>Reale Accademia dei -Lincei</i>, Rome, Anno CCLXXXII, 1884-85, 3ª serie, vol. <span class="allsmcap">XII</span>, pp. 1-9, I pl. -with 5 colored illustrations.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_29" href="#FNanchor_29" class="label">[29]</a> The important study by Joseph E. Pogue, The Turquois. A Study of its -History, Mineralogy, Geology, Ethnology, Archæology, Mythology, Folklore, -<span class="pagenum" id="Page_96">[Pg 96]</span>and Technology, appears as the third memoir of Vol. <span class="allsmcap">XII</span>, <i>Memoirs of -the National Academy of Sciences</i>, Washington, 1915.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_30" href="#FNanchor_30" class="label">[30]</a> Fray Bernardino de Sahagun, Historia General de las Cosas de Nueva -España que en Doce Libros y Dos Volúmenes Escribió el R. P. Fr. Bernardino -de Sahagun, published by Carlos María de Bustamante, 4 vols., -Mexico, 1829. Also published by Lord Kingsborough. The quotations -are from the Bustamante edition, tomo <span class="allsmcap">III</span>, lib. <span class="allsmcap">II</span>, cap. <span class="allsmcap">VII</span>, p. 284, and cap. -<span class="allsmcap">VIII</span>, pp. 296-297.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_31" href="#FNanchor_31" class="label">[31]</a> On this subject consult the paper by Dr. A. B. Meyer, Die Nephritfrage, -ein ethnologisches Problem, Berlin, 1883, of which an abstract (“The -Nephrite Question”) was published in <i>American Anthropologist</i>, <span class="allsmcap">O. S.</span>, vol. <span class="allsmcap">I</span>, -no. 3, Washington, July, 1888.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_32" href="#FNanchor_32" class="label">[32]</a> Saville, A Votive Adze of Jadeite from Mexico, <i>Monumental Records</i>, -New York, May, 1900.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_33" href="#FNanchor_33" class="label">[33]</a> Sahagun, op. cit., tomo <span class="allsmcap">III</span>, lib. 10, cap. <span class="allsmcap">XXIX</span>, p. 107.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_34" href="#FNanchor_34" class="label">[34]</a> Ibid., cap. vii, p. 19.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_35" href="#FNanchor_35" class="label">[35]</a> The pictorial part of the section of the great work of Sahagun in Florence -was reproduced in facsimile by the late Mexican scholar, Sr. D. Francisco -del Paso y Troncoso, for the Mexican government. Only recently has the -work been received in Mexico, and we are under the greatest obligations -to Sr. D. Luis Castillo Ledon, Director of the Museo Nacional, Mexico, -for a copy which we have recently received, and which has been of such -great assistance in the preparation of this study of Mexican mosaics. It -is an Atlas, denominated Vol. <span class="allsmcap">V</span>, of 158 estampas (plates). The plates -relating to arts and crafts are to illustrate Libro <span class="allsmcap">IX</span>, and include pl. lv -to lxxvi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_36" href="#FNanchor_36" class="label">[36]</a> We refer the student to the edition of Lord Kingsborough, vol. <span class="allsmcap">I</span>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_37" href="#FNanchor_37" class="label">[37]</a> The Mappe Tlotzin once formed a part of the Boturini collection; it was -afterward acquired by Aubin, later by Goupil, and is now in the National -Library in Paris. It has been published in colors (pl. i-iii) in Mémoires -sur la Peinture Didactique et l’Écriture Figurative des Anciens Méxicains, -par J. M. A. Aubin, with an introduction by E. T. Hamy, Paris, 1885. -The pictures referred to are on pl. ii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_38" href="#FNanchor_38" class="label">[38]</a> Eduard Seler, L’Orfèverie des Anciens Mexicains et leur Art de Travailler -la Pierre et de Faire des Ornements en Plumes, <i>Compte rendu de la VIIIᵉᵐᵉ -Session du Congrès International des Américanistes</i>, Paris, pp. 401-452. -The chapter on the art of the lapidaries is on pp. 418-425. The article, -with slight changes in the French translation of the Nahuatl text, and -some revision, is included in Seler’s Gesammelte Abhandlungen zur -Amerikanischen Sprach- und Alterthumskunde, Zweiter Band, pp. 620-663, -Berlin, 1904. The section on the lapidaries’ art is on pp. 635-640.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_39" href="#FNanchor_39" class="label">[39]</a> Sahagun, op. cit., tomo <span class="allsmcap">II</span>, lib. 9, cap. <span class="allsmcap">XVII</span>, pp. 389-391.</p> - -</div> -<p><span class="pagenum" id="Page_97">[Pg 97]</span></p> -<div class="footnote"> - -<p><a id="Footnote_40" href="#FNanchor_40" class="label">[40]</a> The goddess is figured in the numerous examples of the tonalamatl in the -various codices, of which facsimiles are to be found in all important libraries.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_41" href="#FNanchor_41" class="label">[41]</a> The Tonalamatl of the Aubin Collection. An Old Mexican Picture Manuscript -in the Paris National Library. Published at the Expense of his -Excellency the Duke of Loubat. With Introduction and Explanatory -Text by Dr. Eduard Seler. Berlin and London, 1900-1901, p. 115.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_42" href="#FNanchor_42" class="label">[42]</a> The Codex Borbonicus is in the National Library, Paris. It was published -in exact facsimile, with an introduction by Dr. E. T. Hamy, Paris, 1899. -The scene referred to is on p. 18 of the Paris reproduction.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_43" href="#FNanchor_43" class="label">[43]</a> The important Codex Telleriano Remensis was published in facsimile, -with an introduction by E. T. Hamy, by the Duke of Loubat, Paris, 1899. -The illustration referred to is on p. 22 verso, of the plates.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_44" href="#FNanchor_44" class="label">[44]</a> Seler, op. cit. (Note 41), p. 118.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_45" href="#FNanchor_45" class="label">[45]</a> Kingsborough, vol. <span class="allsmcap">VI</span>, p. 129.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_46" href="#FNanchor_46" class="label">[46]</a> Sahagun, see reproduction of Troncoso, estampa x, fig. 34.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_47" href="#FNanchor_47" class="label">[47]</a> Codex Borbonicus, p. 18.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_48" href="#FNanchor_48" class="label">[48]</a> Tonalamatl Aubin, op. cit., pl. 18.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_49" href="#FNanchor_49" class="label">[49]</a> Seler, op. cit., pp. 114-118.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_50" href="#FNanchor_50" class="label">[50]</a> This quotation is from the Libro de Oro y Tesoro Indico, a precious manuscript -in the library of the late Joaquín García Icazbalceta. Icazbalceta -writes as follows about the author: “We do not know who was Fr. Andrés -de Alcobiz, who in the year 1543 collected in Spain these laws of the Mexicans. -It is published in <i>Nueva Colección de Documentos para la Historia de -México</i>, tomo <span class="allsmcap">III</span>, p. 313, Mexico, 1891.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_51" href="#FNanchor_51" class="label">[51]</a> Saville, Goldsmith’s Art in Ancient Mexico, p. 119.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_52" href="#FNanchor_52" class="label">[52]</a> Anonymous Conqueror, translated by Marshall H. Saville, publication of -the Cortes Society, no. I, pp. 65-67, New York, 1917.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_53" href="#FNanchor_53" class="label">[53]</a> Obras Históricas de Don Fernando de Alva Ixtlilxochitl, tomo <span class="allsmcap">I</span>, Historia -Chichimeca, cap. <span class="allsmcap">XXXVI</span>, p. 180, published in Mexico in 1892 under the -editorship of Dr. Alfredo Chavero.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_54" href="#FNanchor_54" class="label">[54]</a> We refer here to the labors of Mexican archeologists begun by Leopoldo -Batres, and continued by Dr. Manuel Gamio. An elaborate work, edited -by Gamio, treating of the exploration of this region, has just been printed -in Mexico.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_55" href="#FNanchor_55" class="label">[55]</a> Sahagun, op. cit., tomo <span class="allsmcap">III</span>, lib. 10, cap. <span class="allsmcap">XXIX</span>, p. 107.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_56" href="#FNanchor_56" class="label">[56]</a> Ibid., tomo <span class="allsmcap">I</span>, lib. 3, cap. <span class="allsmcap">XII</span>, p. 255.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_57" href="#FNanchor_57" class="label">[57]</a> Saville, The Cruciform Structures of Mitla and Vicinity, <i>Putnam Anniversary -Volume</i>, p. 187, New York, 1909.</p> - -</div> -<p><span class="pagenum" id="Page_98">[Pg 98]</span></p> -<div class="footnote"> - -<p><a id="Footnote_58" href="#FNanchor_58" class="label">[58]</a> Relación de Andrés de Tapia, published for the first time by Icazbalceta -in <i>Colección de Documentos para la Historia de México</i>, tomo <span class="allsmcap">II</span>, pp. 582-583, -Mexico, 1866.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_59" href="#FNanchor_59" class="label">[59]</a> The Relación de Texcoco was written by Juan Bautista Pomar, a mestizo, -and a grandson of the Texcocan king Nezahualpitzintli on his mother’s -side. It was composed for Philip II, and belongs to the class of Relations -like those of Yucatan, etc. It was first published by Icazbalceta in his -<i>Nueva Colección de Documentos para la Historia de México</i>, tomo <span class="allsmcap">II</span>. The -quotation is from p. 10.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_60" href="#FNanchor_60" class="label">[60]</a> Bernal Díaz, op. cit., vol. <span class="allsmcap">II</span>, book <span class="allsmcap">VI</span>, chap. xcii, p. 74.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_61" href="#FNanchor_61" class="label">[61]</a> Ibid., chap. <span class="allsmcap">CIV</span>, p. 138.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_62" href="#FNanchor_62" class="label">[62]</a> Tezozomoc, op. cit., cap. <span class="allsmcap">LXXXVI</span>, p. 592.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_63" href="#FNanchor_63" class="label">[63]</a> Ibid., cap. <span class="allsmcap">LXXXVII</span>, p. 593.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_64" href="#FNanchor_64" class="label">[64]</a> Sahagun, op. cit., tomo <span class="allsmcap">I</span>, lib. <span class="allsmcap">I</span>, cap. <span class="allsmcap">XIII</span>, p. 18.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_65" href="#FNanchor_65" class="label">[65]</a> Pomar, op. cit., pp. 8-9.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_66" href="#FNanchor_66" class="label">[66]</a> Seler, Altmexikanische Studien, Ein Kapitel aus dem Geschichtswerk -des P. Sahagun. <i>Sonderabzug der Veröffentlichungen aus dem Königlichen -Museum für Völkerkunde</i>, <span class="allsmcap">I</span>, 4, p. 123, Berlin, 1890.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_67" href="#FNanchor_67" class="label">[67]</a> Anonymous Conqueror, op. cit., p. 22.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_68" href="#FNanchor_68" class="label">[68]</a> Sahagun, op. cit., tomo <span class="allsmcap">III</span>, lib. 8, cap. <span class="allsmcap">IX</span>, p. 289.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_69" href="#FNanchor_69" class="label">[69]</a> Antonio Peñafiel, Indumentaria Antigua Vestidos Guerreros y Civiles de -los Mexicanos, pl. 149, Mexico, 1903.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_70" href="#FNanchor_70" class="label">[70]</a> The Codex Coxcatzin has been published in part by Eugène Boban in -<i>Documents pour Servir à l’Histoire du Méxique</i>, Atlas, pl. 41-45, Paris, 1891.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_71" href="#FNanchor_71" class="label">[71]</a> Tezozomoc, op. cit., cap. <span class="allsmcap">LXI</span>, p. 469; cap. <span class="allsmcap">LXIX</span>, pp. 506-507.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_72" href="#FNanchor_72" class="label">[72]</a> Diego Duran, Historia de las Indias de Nueva-España y Islas de Tierra -Firme, tomo <span class="allsmcap">I</span>, cap. <span class="allsmcap">LI</span>, p. 407, Mexico, 1867.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_73" href="#FNanchor_73" class="label">[73]</a> Tezozomoc, op. cit., cap. <span class="allsmcap">CI</span>, p. 659.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_74" href="#FNanchor_74" class="label">[74]</a> Anonymous Conqueror, op. cit., p. 22.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_75" href="#FNanchor_75" class="label">[75]</a> Thomas Unett Brocklehurst, Mexico To-day, pl. <span class="allsmcap">XXXIV</span>, London, 1883.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_76" href="#FNanchor_76" class="label">[76]</a> See Saville, Exploration of Zapotecan Tombs in Southern Mexico, <i>American -Anthropologist</i>, <span class="allsmcap">N. S.</span>, vol. <span class="allsmcap">I</span>, pp. 350-362, April, 1899; and Funeral -Urns from Oaxaca, <i>American Museum Journal</i>, vol. <span class="allsmcap">IV</span>, pp. 49-69, New -York, 1904.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_77" href="#FNanchor_77" class="label">[77]</a> Saville, Goldsmith’s Art in Ancient Mexico, pp. 151-163, pl. i, viii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_78" href="#FNanchor_78" class="label">[78]</a> Manuel Gamio, Los Monumentos Arqueológicos de las Inmediaciones de -Chalchihuites, Zacatecas, sobretiro del tomo <span class="allsmcap">II</span> de los <i>Anales del Museo -Nacional de Arqueología, Historia y Etnología</i>, pp. 467-492, 5 plans, 8 pl.,<span class="pagenum" id="Page_99">[Pg 99]</span> -Mexico, 1910. This is the first piece of work by Gamio, and presents the -results of the first important archeological exploration undertaken in this -part of Mexico.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_79" href="#FNanchor_79" class="label">[79]</a> We have just received the first number (Jan.-Feb., 1922) of tomo <span class="allsmcap">I</span>, -época 4ª, of the <i>Anales del Museo Nacional de Arqueología, Historia y Etnografía</i> -of Mexico, which have long been interrupted. In it is announced the -forthcoming appearance of a paper relating to this subject, “Máscara con -Mosaicos de Turquesas.—Dictámenes Periciales.” It is to be hoped that -the authenticity of this object will be cleared of all suspicion by the proposed -study.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_80" href="#FNanchor_80" class="label">[80]</a> On this subject consult Saville, Precolumbian Decoration of the Teeth in -Ecuador, etc., <i>American Anthropologist</i>, <span class="allsmcap">N. S.</span>, vol. 15, 1913; reprinted as -<i>Contributions from the Heye Museum</i>, vol. <span class="allsmcap">I</span>, no. 2, 1913.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_81" href="#FNanchor_81" class="label">[81]</a> David Casares, A Notice of Yucatan with Some Remarks on its Water -Supply, <i>Proceedings of the American Antiquarian Society</i>, pp. 207-230, -Oct., 1905.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_82" href="#FNanchor_82" class="label">[82]</a> Diego de Landa, Historia de las Cosas de Yucatan, edition of Juan de -Dios de la Rada y Delgado, p. 84, Madrid, 1881.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_83" href="#FNanchor_83" class="label">[83]</a> Casares, op. cit., p. 226.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_84" href="#FNanchor_84" class="label">[84]</a> William H. Holmes, Archeological Studies among the Ancient Cities of -Mexico, <i>Anthropological Series, Field Columbian Museum</i>, vol. <span class="allsmcap">I</span>, no. 1, Chicago, -1895. Part I, Monuments of Yucatan, Section on Chichen Itza, p. 137.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_85" href="#FNanchor_85" class="label">[85]</a> Seler, Codex Vaticanus No. 3773. Elucidation published at the expense -of the Duke of Loubat, Berlin and London, 1902-1903. In this study -Seler treats at length of the God Xipe Totec.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_86" href="#FNanchor_86" class="label">[86]</a> Sahagun, op. cit., tomo <span class="allsmcap">I</span>, lib. I, cap. <span class="allsmcap">XVIII</span>, p. 28.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_87" href="#FNanchor_87" class="label">[87]</a> The two mosaic masks on the sculptured wall at Chichen Itza are taken -from the drawings on pl. 46 and 47 of the great work of Alfred P. Maudslay -published as part of <i>Biologia Centrali-Americana: or Contributions to the -Knowledge of the Fauna and Flora of Mexico and Central America</i>, edited -by F. Ducane Godman and Osbert Salvin. Archæology, vol. <span class="allsmcap">III</span> (Plates). -London, 1895-1902. The crowns are from pl. 38, 49-59. The crown with -the feathers is from the doorway column of Temple A, of the Ball Court.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_88" href="#FNanchor_88" class="label">[88]</a> The first extended study of Mexican turquois mosaics, based especially on -some of the specimens now in the British Museum, was made by E. T. -Stevens and published in his Flint Chips, pp. 324-328, London, 1870. -Read’s paper did not appear until 1895.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_89" href="#FNanchor_89" class="label">[89]</a> See Maudslay’s edition of Bernal Díaz, op. cit., vol. <span class="allsmcap">I</span>, app., pp. 299-302. -Maudslay gives photographs of the two wooden masks in the British -Museum, which he calls “Masks of Quetzalcoatl,” and of the skull mask -which he denominates “Mask of Tezcatlipoca.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_90" href="#FNanchor_90" class="label">[90]</a> See List of Works following.</p> - -</div> - -<p><span class="pagenum" id="Page_100">[Pg 100]</span></p> - -<div class="footnote"> - -<p><a id="Footnote_91" href="#FNanchor_91" class="label">[91]</a> See translation in Saville, Goldsmith’s Art in Ancient Mexico, pp. 126-127.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_92" href="#FNanchor_92" class="label">[92]</a> See List of Works following.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_93" href="#FNanchor_93" class="label">[93]</a> See List of Works following. Our illustration is a photograph of the colored -lithographic plate of Uhle.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_94" href="#FNanchor_94" class="label">[94]</a> Zelia Nuttall, On Ancient Mexican Shields, <i>Separat-Abdruck aus Internationales -Archiv für Ethnographie</i>, Bd. <span class="allsmcap">V</span>, 21 pp., Leiden, 1892.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_95" href="#FNanchor_95" class="label">[95]</a> Read, in his study, gives only a drawing of this shield. Our illustration, a -direct photograph, does not show the designs so clearly as the drawing.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_96" href="#FNanchor_96" class="label">[96]</a> Our illustration is a copy of the photograph published by Heger. See List -of Works following.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_97" href="#FNanchor_97" class="label">[97]</a> Seler, Codex Fejérváry, An Old Mexican Picture Manuscript in the Liverpool -Free Public Museum, published at the Expense of His Excellency -the Duke of Loubat, p. 210, Berlin and London, 1901-1902.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_98" href="#FNanchor_98" class="label">[98]</a> The Codex Nuttall or Zouche was published by the Peabody Museum, -Cambridge, in 1892. The original is now in the British Museum.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_99" href="#FNanchor_99" class="label">[99]</a> On this subject consult the elucidations of Mexican codices by Seler, -published at the expense of the Duke of Loubat. Also, Mexican and -Central American Antiquities, Calendar Systems, and History, being -translations from the German of papers by Seler, Förstemann, and others, -published as <i>Bulletin 28, Bureau of American Ethnology</i>, Washington, 1904. -The studies of C. P. Bowditch will be found in his Numeration, Calendar -Systems and Astronomical Knowledge of the Mayas, Cambridge, Mass., -1910.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_100" href="#FNanchor_100" class="label">[100]</a> Hermann Beyer, El llamado “Calendario Azteca,” Mexico, 1921, an important -study of interpretation of the calendar stone of the Aztecs.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_101" href="#FNanchor_101" class="label">[101]</a> This specimen was first illustrated by Lehmann in his paper, Die altmexikanischen -Mosaiken des Ethnographischen Museums in Kopenhagen, -<i>Globus</i>, 1907. Our illustration is a drawing from the photograph reproduced -in this study.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_102" href="#FNanchor_102" class="label">[102]</a> See Note 101.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_103" href="#FNanchor_103" class="label">[103]</a> See Heger, 1892, in List of Works.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_104" href="#FNanchor_104" class="label">[104]</a> Our drawing is from the photograph published by Lehmann in his paper -in the <i>Proceedings of the Fifteenth International Congress of Americanists</i>, -Quebec, 1907.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_105" href="#FNanchor_105" class="label">[105]</a> Our drawing of this specimen is made from the illustration published by -Oppel. See List of Works, 1896.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_106" href="#FNanchor_106" class="label">[106]</a> Illustrations of this piece have just been published for the first time by -Lehmann in his Altmexikanische Kunstgeschichte: Ein Entwurf in Umrissen, -Berlin, 1922(?).</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_107" href="#FNanchor_107" class="label">[107]</a> See Seler’s remarks to Heger’s paper, List of Works, 1890.</p> - -</div> - -<p><span class="pagenum" id="Page_101">[Pg 101]</span></p> - -<div class="footnote"> - -<p><a id="Footnote_108" href="#FNanchor_108" class="label">[108]</a> Consult Seler, Altmexikanische Knochenrasseln, <i>Gesammelte Abhandlungen</i>, -Zweiter Band, pp. 672-694, Berlin, 1904; also Lumholtz, Unknown -Mexico, vol. ii, pp. 428-430, New York, 1902.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_109" href="#FNanchor_109" class="label">[109]</a> As Colini’s paper is not easily consulted, we append his description of these -three Mexican wooden objects:</p> - -<p>“L’idolo, a guisa di figura umana, è alto m.o. 45 [17¾ inches high]. La -testa è molto grande, senza alcuna proporzione con le altre parti del corpo -ed è sormontana da un ornamento. La faccia conserva ancora traccie del -rosso con cui era colorita, il naso è piccolo ma largo e schiacciato, gli -occhi sono incavature ovali ed hanno sotto tre incisioni circolari, come se si -fossero volute rappresentare le occhiaje di persona vecchia o malata. Anche -vicino agli angoli della bocca, poco sopra, sono incise due linee oblique, -riempite di bianco, quasi a guisa di rughe. Tiene le braccia sollevate con -le mani sull’ornamento della testa, ma le altre parti del corpo non sono -affatto distinte. Posa sopra una base decorata con incisioni colorite in -bianco, di cui manca però una parte, cosicché non è possibile comprendere -pienamente la sua forma primitiva, la quale sembra che fosse rettangolare. -In ogni modo era troppo sottile per sostenere l’idolo, e perciò dobbiamo -credere che facesse parte di un apparecchio più complicato.</p> - -<p>“Delle maschere l’una (<span class="allsmcap">V.</span> Tav. in fine, fig. 2) nel tipo e nell’espressione -somiglia a quella incrosta di mosaico, descritta da Ulisse Aldrovandi la -quale oggi si conserva nel Museo Etnografico Nazionale di Roma [6⅞ -inches high]. Il naso è lungo, sottile ed arcuato; ma non essendo incavato -nell’interno, la maschera non potrebbe adattarsi faccia. Gli occhi consistono -in rozze aperture ovali, sotto le quali, a breve distanza, sono incisi -due profondi solchi, a guisa di semicerchi, come nell’idolo. Intorno la -fronte, sopra la radice del naso, corre una larga fascia in rilievo. Fra le -labbra inferiore allungate, esce la lingua, che si ripiega sul mento: della -parte inferiore non è possibile formarsi un concetto perchè è stata tagliata. -Conserva qua e là le traccie della tinta rossa, ma sono meno evidenti che -nell’idoli. Sulla fascia della fronte, nella lingua e sul naso possono ancora -notarsi delle linee incise, riempite di materia bianca.</p> - -<p>“L’altra maschera (tav., fig. I) è lavorata con maggiore cura [7⅛ inches -high]: ha la faccia simmetrica nelle varie parti e proporzionata. Le labbra -sono piccole, ma, quello inferiore essendo rotto, non è possibile indovinarne -la forma. Ha il naso arcuato, e largo alla base, ed è internamente incavato -in modo che la maschera potrebbe adattarsi alla faccia, e siccome la bocca, -le narici e gli occhi sono forati, cosi il portatore potrebbe benissimo vedere, -respirare e parlare. Nella parte inferiore delle occhiaje, agli angoli, si -notano due piccole incavature ad arco, la cui forma farebbe supporre che -vi fossero adattati pezzi di madreperla a guisa di occhi, come in quelle del -Museo Christy. In generale i lineamente mostrano quella espressione -placida e contemplativa, che, secondo il Tylor, e caratteristica dei lavori -aztechi e degli egiziani, tanto se si riguardano le massiccie sculture in -pietra, quanto le piccole teste di terracotta. Ambedue queste maschere, -nella parte superiore corrispondente alla fronte, hanno fori nei quali forse<span class="pagenum" id="Page_102">[Pg 102]</span> -s’immettevano cordoncini per sospenderle: la prima ne ha due grandi agli -angoli, l’altra quattro più piccoli intorno.” (See note under List of Works, -1885.)</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_110" href="#FNanchor_110" class="label">[110]</a> D. I. Bushnell, Jr., Two Ancient Mexican Atlatls, <i>American Anthropologist</i>, -<span class="allsmcap">N. S.</span>, vol. 7, no. 2, 1905; also North American Ethnographical Material -in Italian Collections, <i>ibid.</i>, vol. 8, 1906.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_111" href="#FNanchor_111" class="label">[111]</a> See Note 94.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_112" href="#FNanchor_112" class="label">[112]</a> Fr. Toribio Motolinia, Historia de los Indios de Nueva España, Tratado -Tercero, cap. <span class="allsmcap">XX</span>, pp. 247-249, edition published by Icazbalceta, <i>Colección -de Documentos para la Historia de México</i>, tomo 1, Mexico, 1858.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_113" href="#FNanchor_113" class="label">[113]</a> Consult Frederick Starr, The Little Pottery Objects of Lake Chapala, -Mexico, <i>Bulletin II, Department of Anthropology, University of Chicago</i>, -Chicago, 1897.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_114" href="#FNanchor_114" class="label">[114]</a> An important summary of these discoveries has recently been published -by Gamio; see Las Excavaciones del Pedregal de San Angel y la Cultura -Arcaica del Valle de Mexico, <i>American Anthropologist</i>, <span class="allsmcap">N. S.</span>, vol. 22, no. -2, 1920. Also the paper of Hermann Beyer, Sobre Antigüedades del Pedregal -de San Angel, <i>Memorias de la Sociedad Científica “Antonio Alzate” -de México</i>, tomo 37, núm. 8, Oct., 1917; and Ramon Mena, El Hombre de -“El Pedregal” de San Angel, <i>Escuela Naciona, Preparatoria Curso de 1918</i>.</p> - -</div> - -</div> - -<hr class="full x-ebookmaker-drop" /> - -<div class="books"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_103">[Pg 103]</span></p> -<h2 class="nobreak" id="c24">LIST OF WORKS DESCRIBING MEXICAN MOSAICS</h2> -</div> - - - -<p class="c b">1648</p> - -<p><span class="smcap large">Aldrovanus, Ulysses.</span> Musæum metallicum. Bologna.</p> - -<p class="less">In this work are a brief description (p. 550) and illustrations of two of the -specimens now in the Museum in Rome, namely, one of the knife handles (our -pl. <span class="allsmcap">XXXIX</span>), and the mask (our pl. <span class="allsmcap">VIII</span>). This book is vol. <span class="allsmcap">XIII</span> of the fourteen -volumes of the <i>Opera Omnia</i> of Aldrovanus, issued in 1602-1668.</p> - - -<p class="c b">1861</p> - -<p><span class="smcap large">Tylor, E. B.</span> Anahuac: or Mexico and the Mexicans, ancient and -modern. London.</p> - -<p class="less">See pp. 110, 235, 337-339, I fig. Dr. Tylor illustrates the knife with handle -in the figure on p. 101. In the appendix (pp. 337-339), article V is a “Description -of three very rare specimens of ancient Mexican mosaic work (in the collection -of Henry Christy, Esq.).” These objects are now in the British Museum.</p> - - -<p class="c b">1866</p> - -<p><span class="smcap large">Brasseur de Bourbourg, E.</span>, and <span class="smcap large">Waldeck, F.</span> Palenque et -autres ruines de l’ancienne civilisation du Mexique. Collection de -vues, bas-reliefs, morceaux d’architecture, coupes, vases, terre cuites, -cartées et plans, dessinés d’après nature et relevés par M. -de Waldeck. Texte rédigé par M. Brasseur de Bourbourg.... -Ouvrage publié sous les auspices de S. E. M. le Ministre de -l’instruction publique. Paris. Arthur Bertrand, Editeur. Plates. -Monuments anciens du Mexique.</p> - -<p class="less">Describes (p. <span class="allsmcap">VIII</span>) and illustrates in color (pl. <span class="allsmcap">XLIII</span>, <span class="allsmcap">XLIV</span>) the mosaic-handled -knife and mosaic skull mask formerly in the Hertz collection, now in -the British Museum.</p> - - -<p class="c b">1867</p> - -<p><span class="smcap large">Léouzon le Duc, L.</span> Rapport sur les antiquités mexicaines conservées -à Copenhague. <i>Archives de la Commission Scientifique du -Mexique</i>, Tome <span class="allsmcap">III.</span> Paris.</p> - -<p class="less">Two Mexican mosaics in the Copenhagen Museum are described (tome <span class="allsmcap">III</span>, -pp. 157-158), as follows:</p> -<p><span class="pagenum" id="Page_104">[Pg 104]</span></p> -<p class="less">“Voici maintenant trois pièces qui, à mon avis, méritent une attention -toute particulière.</p> - -<p class="less">“D’abord, une tête d’alligator, de 19 centimètres de longueur. Cette tête est -sculptée en bois et creusée par derrière. La gueule de l’alligator est largement -ouverte et ses mâchoires encadrent une tête humaine fixée au fond du palais.</p> - -<p class="less">“Ensuite, une tête d’idole, également sculptée en bois et évidée intérieurement, -avec une coiffure très-élevée et évasée au sommet, d’une hauteur totale, y -compris la tête, de 24 centimètres. La bouche de l’idole est vaste, ses lèvres -fortement tendues découvrent une double rangée de longues dents; ses oreilles -sont ornées de pendelogues.</p> - -<p class="less">“Ces deux pièces offrent cette singularité remarquable qu’elles sont garnies -en partie, et ont dû l’avoir été en entier, de petits fragments d’os la plupart -quadrangulaires, blanc ou teints en vert, en rouge et en noir, fixés sur le bois -à l’aide d’une espèce de résine, ce qui leur donne l’aspect d’une mosaïque. Fort -endommagées, elles n’ont guère conservé d’intacts que les yeux, dont les prunelles -sont formées d’os blancs, noirs et rouges, et entourées d’un cordon d’os -verts. L’état du bois qui les compose suffrirait à lui seul pour établir leur haute -antiquité, si déjà leur caractère symbolique ne la rendait évidente. L’une et -l’autre out été achetées à Rome, où l’on suppose qu’elles avaient été apportées de -Mexico par un missionnaire.”</p> - - -<p class="c b">1869</p> - -<p><span class="smcap large">Squier, E. G.</span> Observations on a collection of chalchihuitls from -Central America. <i>Annals of the New York Lyceum of Natural -History</i>, vol. <span class="allsmcap">IX</span>, August, article <span class="allsmcap">XIV</span>, pp. 252-253, fig. I.</p> - -<p class="less">The mosaic skull in the British Museum is illustrated, after Waldeck.</p> - - -<p class="c b">1870</p> - -<p><span class="smcap large">Stevens, Edward T.</span> Flint chips. A guide to prehistoric archæology, -as illustrated by the collection in the Blackmore Museum, -Salisbury. London.</p> - -<p class="less">Aztec mosaic work, pp. 324-328. Describes specimens in the Christy collection.</p> - - -<p class="c b">1880</p> - -<p><span class="smcap large">Steinhauer, C. L.</span> Das Königliche Ethnographische Museum zu -Copenhagen. Hand-catalog für die Besuchenden. Copenhagen.</p> - -<p class="less">Describes (p. 19) the two mosaics in the Copenhagen Museum. In the 1866 -edition the description is on p. 22.</p> - - -<p class="c b">1883</p> - -<p><span class="smcap large">Brocklehurst, Thomas Unett.</span> Mexico to-day: a country with -a great future, and a glance at the prehistoric remains and antiquities -of the Montezumas. London.</p> - -<p><span class="pagenum" id="Page_105">[Pg 105]</span></p> - -<p class="less">Describes (p. 184) and reproduces in colors (pl. <span class="allsmcap">XXXIII</span>) the human-skull -mask in the British Museum. Pl. <span class="allsmcap">XXXIV</span> illustrates the goddess Coatlicue, -showing the turquois-mosaic in colors—the specimen to which Peñafiel refers, -vide 1903. See our pl. <span class="allsmcap">II</span>.</p> - - -<p class="c b">1885</p> - -<p><span class="smcap large">Colini, G. A.</span> Collezioni etnografiche del Museo Borgiano. <i>Bollettino -della Società Geografica Italiana</i>, Roma, Anno XIX, vol. -<span class="allsmcap">XXII</span>; serie <span class="allsmcap">II</span>, vol. <span class="allsmcap">X</span>, pp. 316-325, 914-932.</p> - -<p class="less">In this article Colini (pp. 324-325) describes two masks and an idol in the -Museo Borgiano in Rome. Regarding these specimens he quotes from Vitæ -Synopsis Stephani Borgiæ, S. R. E. Cardinalis amplissimi, S. Congr. de Propaganda -Fide Præfecti, Roma, 1805, p. 44, “Classis mexicana: multa lignea et -testacea idolorum simulacra forma et figura singulari, ac gente mexicanæ -propia.” He describes the idol as being made of wood in the form of a human -figure, 45 cm. high. The two masks of wood are described, and figured on the -plate containing drawings of other American antiquities. It is highly probable -that these three objects were formerly decorated with mosaic.</p> - -<p><span class="smcap large">Pigorini, Luigi.</span> Gli antichi oggetti Messicani incrostati di mosaico -esistenti nel Museo Preistorico ed Ethnografico di Roma. <i>Reale -Accademia dei Lincei</i>, Anno CCLXXXII, 1884-1885. 9 pp., I pl. -with 5 colored figs.</p> - -<p><span class="smcap large">Bastian, A.</span> Zwei altmexikanische Mosaiken. <i>Verhandlungen der -Berliner Gesellschaft für Anthropologie</i>, p. 201.</p> - - -<p class="c b">1888</p> - -<p><span class="smcap large">Bastian, A.</span>, and <span class="smcap">Uhle, Max</span>. Schädelmaske von Mexico und -Analogien aus der Südsee. <i>Veröffentlichungen aus dem Königlichen -Museum für Völkerkunde, Herausgegeben von der Verwaltung</i>, -Berlin, Oct.</p> - -<p class="less">A description (pp. 2-3) and colored illustration (T. I., I) of the mosaic-skull -mask in the Berlin Museum.</p> - -<p><span class="smcap large">Andree, Richard.</span> Die altmexikanischen Mosaiken. <i>Beitrage zur -Ethnographie von Amerika aus dem Internationalen Archiv für -Ethnographie.</i> Leiden.</p> - -<p class="less">Brief notice (p. 8) of the specimen in Gotha.</p> - - -<p class="c b">1889</p> - -<p><span class="smcap large">Andree, Richard.</span> Ethnographische Parallelen und Vergleiche. -Neue Folge. Leipzig.</p> - -<p class="less">Description (pp. 127-130) of the mosaic specimen in Gotha.</p> - -<p><span class="pagenum" id="Page_106">[Pg 106]</span></p> - - -<p class="c b">1890</p> - -<p><span class="smcap large">Peñafiel, Antonio.</span> Monumentos del arte Mexicano antiguo. -Berlin.</p> - -<p class="less">Description (Text, p. 23) and illustration in colors (Atlas, pl. 123) of the -knife with mosaic handle in the British Museum.</p> - -<p><span class="smcap large">Andree, Richard.</span> Sur une ancienne mosaique mexicaine. <i>Congrès -International des Américanistes, Compte-rendu de la septième -session</i>, Berlin, 1888. Berlin.</p> - -<p class="less">Describes the Gotha specimen (pp. 146-148).</p> - -<p><span class="smcap large">Heger, Franz.</span> Sur quelques objets archéologiques du Mexique et -de l’Amérique du Sud. <i>Congrès International des Américanistes, -Compte-rendu de la septième session</i>, Berlin, 1888, pp. 93-97.</p> - -<p class="less">The author describes (p. 94) one of the mosaic pieces in the Vienna Museum. -In the discussion of this paper, Seler (p. 104) identifies the animal-like figure as -representing the god Xolotl.</p> - - -<p class="c b">1892</p> - -<p><span class="smcap large">Pi y Margil, Francisco.</span> Historia de la América antecolombiana. -Tomo primero, segunda parte. Barcelona.</p> - -<p class="less">Two colored illustrations (opposite p. 1214) of the mosaic-handled knife in -the British Museum.</p> - -<p><span class="smcap large">Heger, Franz.</span> Altmexikanische Reliquien aus dem Schlosse -Ambras in Tirol. <i>Annalen des K. K. Naturhistorischen Hofmuseums</i>, -B. <span class="allsmcap">VII</span>, Heft 4, pp. 310-400, pl. <span class="allsmcap">XVIII</span>, <span class="allsmcap">XXII</span>. Vienna.</p> - -<p class="less">In this paper Dr. Heger describes and illustrates the shield and animal head -(three views) of turquois mosaic in the Vienna Museum.</p> - - -<p class="c b">1895</p> - -<p><span class="smcap large">Read, Charles Hercules.</span> On an ancient Mexican head-piece -coated with mosaic. <i>Archæologia</i>, vol. <span class="allsmcap">LIV</span>, 16 pp., pl. <span class="allsmcap">XXVIII</span>, -fig. 1-6, London.</p> - -<p class="less">Gives in colors and describes for the first time the mosaic head-piece, and -illustrates all but one of the eight other pieces, in the British Museum.</p> - - -<p class="c b">1896</p> - -<p><span class="smcap large">Oppel, A.</span> Die altmexikanischen Mosaiken. <i>Globus</i>, Bd. <span class="allsmcap">LXX</span>, -Nr. 1 (June), pp. 4-12, 15 fig., Braunschweig.</p> - -<p class="less">Figures seven mosaic pieces in the British Museum, five pieces in Rome, -one piece in Berlin, a piece in Gotha, and a section of the shield in Vienna.</p> -<p><span class="pagenum" id="Page_107">[Pg 107]</span></p> - -<p class="c b">1903</p> - -<p><span class="smcap large">Peñafiel, Antonio.</span> Indumentaria Antigua Mexicana. Vestidos -Guerreros y Civiles de los Mexicanos. Mexico.</p> - -<p class="less">Dr. Peñafiel, in chapter <span class="allsmcap">XXIII</span>, under the heading “Incrustaciones de Mosaico,” -describes some of the mosaic pieces in Europe which he states are the most -important specimens. “Of this class of works the Museo Nacional (Mexico) -can count as having only one, in the statue of Coatlicue coming from Tehuacan.” -On pl. 26 are given the British Museum knife, and the two knife-handles -in Rome; on pl. 117 one of the masks in Rome; on pl. 118(A) the skull mask in -Berlin, and (B) the mask in Rome; pl. 123 is the femur musical instrument in -Rome; and pl. 168 restorations of the knife-handle specimens with blades, in -Rome. These illustrations are all in colors, excepting the last.</p> - - -<p class="c b">1906</p> - -<p><span class="smcap large">Bushnell, David I.</span>, Jr. North American ethnographical material -in Italian museums. <i>American Anthropologist</i>, <span class="allsmcap">N. S.</span>, vol. <span class="allsmcap">VIII</span>, -Lancaster, Pa.</p> - -<p class="less">On pp. 245-246 the author briefly describes the five mosaic pieces in Rome, -and regarding one of the masks (our pl. <span class="allsmcap">VII</span>, <i>a</i>) quotes from the inventory of -the Guardaroba Medicea, 1553, showing the specimen to have been in the -Medici collection.</p> - -<p><span class="smcap large">Lehmann, Walter.</span> Altmexikanische Mosaiken und die Geschenke -König Motecuzomas und Cortés. <i>Globus</i>, Bd. XV, Nr. 20, pp. -318-322, Braunschweig, 29 Nov.</p> - -<p class="less">In this study Lehmann enumerates the twenty-three Mexican mosaic pieces -in European museums and gives considerable documentary material from the -early chroniclers.</p> - - -<p class="c b">1907</p> - -<p><span class="smcap large">Kunz, George Frederick.</span> Gems and precious stones of Mexico. -Mexico.</p> - -<p class="less">On pp. 7-10, Dr. Kunz discusses turquois and describes some of the turquois -mosaic specimens in European museums. On p. 52 he concludes that “it -must be considered as possible, at least, that other localities containing turquois -were once known, and may be hereafter re-discovered.”</p> - -<p><span class="smcap large">Lehmann, Walter.</span> Altmexikanische Mosaiken in Kgl. Museum -für Völkerkunde zu Berlin. <i>Congrès International des Américanistes, -XVᵉ Session, tenue à Quebec en 1906</i>, tome <span class="allsmcap">II</span>, pp. 339-349, 4 -fig., Quebec.</p> - -<p class="less">Describes and illustrates two pieces of Mexican mosaics in the Ethnographical -Museum of Berlin, a double-jaguar figure, and a jaguar head. The first came<span class="pagenum" id="Page_108">[Pg 108]</span> -from the estate of Alexander von Humboldt, the second was transferred to the -Berlin Museum from the Ducal Museum of Braunschweig.</p> - -<p><span class="smcap large">Lehmann, Walter.</span> Die altmexikanischen Mosaiken des Ethnographischen -Museums in Kopenhagen. <i>Globus</i>, Bd. XCI, Nr. -21, pp. 332-335, 6 June, 1907. Abb. I-III.</p> - -<p class="less">The author describes and figures the two pieces in Copenhagen, giving front -and side views, and two different drawings of one of the masks in Rome.</p> - - -<p class="c b">1908</p> - -<p><span class="smcap large">Díaz del Castillo, Bernal.</span> (Maudslay, A. P., translator and -editor.) The true history of the conquest of New Spain. Edition -of the Hakluyt Society, vol. I, London.</p> - -<p class="less">Under the title “Montezuma’s Gifts to Cortés,” Maudslay describes (Appendix, -pp. 299-302) and illustrates (pl. 13-16) the three mosaic masks in the -British Museum. Pl. 16 is a rear view of the skull mask showing the leather -strap by which it was attached to the head. This mask Maudslay identifies as -probably that of Tezcatlipoca, and the other two as belonging to Quetzalcoatl.</p> - - -<p class="c b">1910</p> - -<p><span class="smcap large">Gamio, Manuel.</span> Los monumentos arqueológicos de las inmediaciones -de Chalchihuites, Zacatecas. <i>Anales del Museo Nacional de -Arqueología, Historia y Etnología</i>, tome <span class="allsmcap">II</span>, pp. 469-492, pls. 1-8, -Mexico.</p> - -<p class="less">On pl. 8 are figured two pieces of mosaic-work found in the ruins near Chalchihuites.</p> - -<p><span class="smcap large">Blackiston, A. Hooton.</span> Recent discoveries in Honduras. <i>American -Anthropologist</i>, <span class="allsmcap">N. S.</span>, vol. 12, Lancaster, Pa.</p> - -<p class="less">Describes (p. 539) and illustrates (pl. <span class="allsmcap">XLVI</span>) the mosaic wooden mask found -in 1908 in a cave in an arroyo on the headwaters of a small stream flowing into -the Rio Chamelecon, about 25 miles distant from the ruins of the ancient city -of Naco. This specimen is now in the Museum of the American Indian, Heye -Foundation. See our pl. <span class="allsmcap">XVII</span>.</p> - - -<p class="c b">1912</p> - -<p><span class="smcap large">Joyce, T. A.</span> A short guide to the American antiquities in the -British Museum. London.</p> - -<p class="less">Joyce describes (p. 14) and illustrates (figs. 12-17) six of the mosaic pieces in -the British Museum.</p> - -<p><span class="pagenum" id="Page_109">[Pg 109]</span></p> - - -<p class="c b">1914</p> - -<p><span class="smcap large">Joyce, T. A.</span> Mexican archæology. An introduction to the archæology -of the Mexican and Mayan civilizations of pre-Spanish -America. New York and London.</p> - -<p class="less">In pl. I is reproduced in colors the skull mask, and in pl. <span class="allsmcap">XVIII</span>, fig. 1, the -knife with handle. Reference to these is made on p. 141.</p> - -<p><span class="smcap large">Holmes, W. H.</span> Masterpieces of aboriginal American art. II. -Mosaic work, minor examples. <i>Art and Archæology</i>, vol. I, no. 3, -Washington, November.</p> - -<p class="less">A description (pp. 91-102) of some of the more important specimens of -mosaics, with colored frontispiece and 9 figures.</p> - - -<p class="c b">1915</p> - -<p><span class="smcap large">Pogue, Joseph E.</span> The turquoise. A study of its history, mineralogy, -geology, ethnology, archæology, mythology, folklore, and -technology. <i>Memoirs of the National Academy of Sciences</i>, vol. -<span class="allsmcap">XII</span>, part <span class="allsmcap">II</span>, third memoir, Washington.</p> - -<p class="less">Mexican mosaics are described on pp. 93-97; fig. 4 illustrates the bird mask -in Gotha; pl. 15-17, Mexican mosaics in the British Museum and in Rome -(10 pieces). The Use of Turquois in Mexico and Central America: Use as -Attested by Historical Evidence, pp. 90-92; Use as Attested by Objects, pp. -93-97.</p> - - -<p class="c b">1921</p> - -<p><span class="smcap large">Arreola, José María.</span> Como legítima el Museo Nacional ha -adquirido una pieza falsificada. <i>El Excelsior</i>, Mexico, Oct. 20.</p> - -<p class="less">Illustrates in this signed newspaper article a stone mask with turquois -mosaic decoration said to have been found in Guerrero. He concludes that it -is fraudulent.</p> - -<p><span class="smcap large">Lehmann, Walter.</span> Altmexikanische Kunstgeschichte ein Entwurf -in Umrissen. Band 8 des Orbis Pictus. Weltkunst-Bücherei -herausgegeben von Paul Westheim. Berlin.</p> - -<p class="less">In this short study of old Mexican art history Dr. Lehmann illustrates a -number of notable Mexican antiquities. The Xolotl figure in Vienna is illustrated, -front and side views, pl. 7, and the crouching animal figure in the -British Museum is given on pl. 8. He gives brief descriptions in the description -of plates on pp. 22-23.</p> - -<p><span class="pagenum" id="Page_110">[Pg 110]</span></p> - - -<p class="c b">1922</p> - -<p><span class="smcap large">Gamio, Manuel.</span> Una máscara de mosaico falsificada. [A counterfeit -mosaic mask.] <i>Ethnos</i>, tomo <span class="allsmcap">I</span>, núms. 8-12, pp. 260-264, -Mexico, Nov. 1920-Mar. 1921.</p> - -<p class="less">Gamio denounces as fraudulent the stone mosaic mask claimed to have been -discovered in Guerrero by Porfirio Aguirre.</p> - -<p><span class="smcap large">Mena, Ramon.</span> La arqueología debe de estar en manos de arqueológicos. -<i>El Universal</i>, Mexico, April 2.</p> - -<p class="less">In this signed newspaper article Mena defends the authenticity of the stone -mask decorated with turquois mosaic, said to have been found in Guerrero.</p> - -</div> - -<hr class="full x-ebookmaker-drop" /> - -<div class="transnote"> - -<p class="c">Transcriber’s Notes:</p> - -<p>Variations in spelling and hyphenation are retained.</p> - -<p>Punctuation has been retained as published.</p> - -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK TURQUOIS MOSAIC ART IN ANCIENT MEXICO ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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