,,contributions ,,from ,,the ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation ,,volume ,,vi ,,turquois ,,mosaic ,,art ,,in ,,ancient ,,mexico ,illustration3 ,,pl4 ,i ,,shield ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,,turquois ,,mosaic ,,art ,,in ,,ancient ,,mexico ,,by ,,marshall ,h4 ,,saville ,illustration ,,new ,,york ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation #aibb ,,cond ,,nast ,,press ,,greenwich1 ,,conn4 ,,to ,,george ,,gustav ,,heye ,in appreciation of his long-continued interest in all that pertains to the study of the aboriginal race of ,america1 which has reached fruition in the opening of the ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation this volume is dedicated by the author and the staff of the ,museum ,,preface ,the 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 ,indian1 ,heye ,foundation1 the only institution devoted exclusively to the study of the aboriginal ,american peoples ever established2 and the proximate ,international ,congress of ,americanists to be held at ,rio de ,janeiro this summer4 ,owing to lack of time it has been impossible to obtain new photographic illustrations of all the specimens of mosaic-work in ,european museums1 but the author desires to express his thanks to ,t4 ,a4 ,joyce1 ,esq41 for his courtesy in furnishing photographs of the examples in the ,british ,museum4 ,to ,dr4 ,franz ,heger1 of the ,state ,natural ,history ,museum1 ,vienna1 we are under deep obligations for photographs and description of the interesting ,xolotl figure preserved in that ,museum4 ,dr4 ,s4 ,k4 ,lothrop has kindly had photographs made of the objects of this class in the ,prehistoric and ,ethnographic ,museum in ,rome1 and has made certain valuable observations concerning them4 ,to ,drs4 ,a4 ,m4 ,tozzer and ,h4 ,j4 ,spinden special acknowledgment is due for their generous permission to illustrate the mosaics from ,chichen ,itza1 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 ,america4 ,the fine drawings are from the pen of ,william ,baake1 and the beautiful plates represent the best efforts of the ,heliotype ,company4 ,finally must be acknowledged the characteristic generosity of one of the trustees of the ,museum1 ,james ,b4 ,ford1 ,esq41 who has made it possible for us to publish this paper1 and to whom the ,museum is indebted for its acquisition of the precious collection of ,mexican mosaics which are now described for the first time4 ,,contents ,,page ,,preface ix ,,introduction #a ,,earliest ,,historical ,,accounts ,,of ,,turquois ,,mosaic ,,in ,,mexico #c ,the ,grijalva ,expedition1 #aeah #c ,loot obtained by ,corts1 #aeai-aebe #h ,,tribute ,,of ,,mosaic ,,paid ,,to ,,the ,,aztec ,,rulers #bb ,,source ,,of ,,turquois #bg ,,the ,,aztec ,,lapidaries ,,and ,,their ,,work #bi ,,objects ,,decorated ,,with ,,mosaic #dj ,,existing ,,specimens ,,of ,,mosaic #dg ,minor ,examples #dh ,chichen ,itza ,specimens #ee ,major ,examples #ei ,helmet #fj ,masks #fj ,skull ,masks #fg ,shields #fh ,ear-plug #gi ,animal ,figures #hj ,god ,figure #hb ,knife ,handles #hb ,human ,femur ,musical ,instrument #hd ,,conclusion #hf ,,notes #ib ,,list ,,of ,,works ,,describing ,,mexican ,,mosaics #ajc ,,illustrations ,,plates ,,page ,i4 ,wooden shield with turquois mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york ,frontispiece ,,ii4 ,stone idol with mosaic decoration ,national ,museum1 ,mexico #bb ,,iii4 a1 ,wooden staff with turquois mosaic decoration1 from ,sacred cenote1 ruins of ,chichen ,itza1 ,yucatan ,peabody ,museum1 ,cambridge b1 ,wooden rattle with turquois mosaic decoration1 from ,sacred cenote1 ruins of ,chichen ,itza1 ,yucatan ,peabody ,museum1 ,cambridge #bb ,,iv4 ,wooden helmet with mosaic decoration ,british ,museum1 ,london #bd ,v4 ,wooden mask with turquois mosaic decoration ,british ,museum1 ,london #bf ,,vi4 ,wooden mask with turquois mosaic decoration ,british ,museum1 ,london #bh ,,vii4 ,wooden mask with turquois mosaic decoration ,prehistoric and ,ethnographic ,museum1 ,rome #cj ,,viii4 ,wooden mask with turquois mosaic decoration ,prehistoric and ,ethnographic ,museum1 ,rome #cb ,,ix4 ,wooden mask with turquois mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #cd ,x4 ,wooden mask with turquois mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #cf ,,xi4 ,wooden mask 7fragment7 with turquois mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #ch ,,xii4 ,wooden mask 7fragment7 with turquois mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #dj ,,xiii4 ,wooden mask with mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #db ,,xiv4 ,wooden mask with mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #dd ,,xv4 ,wooden mask 7fragment7 with mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #df ,,xvi4 ,wooden mask formerly covered with mosaic decoration ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #dh ,,xvii4 ,wooden mask with turquois mosaic decoration1 from ,honduras ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #ej ,,xviii4 ,skull mask with mosaic decoration ,ethnographical ,museum1 ,berlin #eb ,,xix4 ,skull mask with mosaic decoration ,british ,museum1 ,london #ed ,,xx4 ,wooden shield with turquois mosaic decoration ,british ,museum1 ,london #ef ,,xxi4 ,wooden shield with turquois mosaic decoration ,state ,natural ,history ,museum1 ,vienna #eh ,,xxii4 ,back of wooden shield illustrated in ,pl4 ,i4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #fj ,,xxiii4 ,wooden shield with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #fb ,,xxiv4 ,wooden shield with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #fd ,,xxv4 ,wooden shield 7fragment7 with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #ff ,,xxvi4 ,wooden shield 7fragment7 with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #fh ,,xxvii4 ,wooden shield 7fragment7 with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #gj ,,xxviii4 ,wooden shield 7fragment7 with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #gb ,,xxix4 ,wooden shield 7fragment7 with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #gd ,,xxx4 ,wooden ear-plug with mosaic decoration4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york #gf ,,xxxi4 ,wooden head with head-piece1 with mosaic decoration4 ,national ,museum1 ,copenhagen #gh ,,xxxii4 a1 ,wooden jaguar head with mosaic decoration4 ,ethnographical ,museum1 ,berlin b1 ,wooden head of animal and human face in jaws with mosaic decoration4 ,national ,museum1 ,copenhagen #gh ,,xxxiii4 a1 ,wooden head of animal with mosaic decoration4 ,state ,natural ,history ,museum1 ,vienna b1 ,wooden head of monkey with mosaic decoration4 ,british ,museum1 ,london #gh ,,xxxiv4 a1 ,wooden two-headed jaguar figure with mosaic decoration4 ,ethnographical ,museum1 ,berlin b1 ,wooden bird's head with mosaic decoration4 ,museum1 ,gotha #gh ,,xxxv4 ,wooden animal figure on haunches with mosaic decoration4 ,british ,museum1 ,london #gh ,,xxxvi4 ,wooden double-headed snake figure with mosaic decoration4 ,british ,museum1 ,london #hj ,,xxxvii4 ,wooden figure of ,xolotl god with mosaic decoration4 ,state ,natural ,history ,museum1 ,vienna #hj ,,xxxviii4 ,flint knife with wooden handle with mosaic decoration4 ,british ,museum1 ,london #hb ,,xxxix4 a1 ,wooden knife handle with mosaic decoration4 ,prehistoric and ,ethnographic ,museum1 ,rome b1 ,wooden knife handle with mosaic decoration4 ,prehistoric and ,ethnographic ,museum1 ,rome #hb ,,xl4 ,human femur musical instrument with mosaic decoration4 ,prehistoric and ,ethnographic ,museum1 ,rome #hd ,,text ,,figures #a4 ,bowl filled with turquois4 ,after ,tribute ,roll of ,montezuma #bd #b4 ,ten masks of turquois4 ,after ,tribute ,roll of ,montezuma #bd #c4 ,small bag filled with turquois4 ,after ,tribute ,roll of ,montezuma #be #d4 ,shields with turquois mosaic decoration4 ,after ,tribute ,roll of ,montezuma #be #e4 ,serpent scepter with turquois mosaic decoration4 ,after ,sahagun1 manuscript of the ,real ,palacio1 ,madrid #dc #f4 a1 ,gold crown with turquois mosaic decoration4 ,after ,sahagun1 manuscript of the ,real ,palacio1 ,madrid b1 ,gold crown4 ,after ,tribute ,roll of ,montezuma #de #g4 ,pottery disc with hematite mosaic decoration1 from ,cuilapa1 ,oaxaca4 ,american ,museum of ,natural ,history1 ,new ,york #ea #h4 ,gold shield breast ornament with turquois mosaic decoration1 from ,yanhuitlan1 ,oaxaca4 ,national ,museum1 ,mexico #eb #i4 ,wooden object 7fragment7 with turquois mosaic decoration1 from ,sacred cenote1 ruins of ,chichen ,itza1 ,yucatan4 ,peabody ,museum1 ,cambridge #eg #aj4 ,wooden object 7fragment7 with turquois mosaic decoration1 from ,sacred cenote1 ruins of ,chichen ,itza1 ,yucatan4 ,peabody ,museum1 ,cambridge #eg #aa4 ,rattle of the god ,xipe ,totec4 ,after ,sahagun1 manuscript of the ,real ,palacio1 ,madrid #eh #ab4 a1 b1 c1 ,crowns with mosaic decoration1 from sculptured wall1 ,temple of the ,jaguars1 ruins of ,chichen ,itza1 ,yucatan4 ,after ,maudslay #eh #ac4 ,mask with mosaic decoration1 from sculptured wall1 ,temple of the ,jaguars1 ruins of ,chichen ,itza1 ,yucatan4 ,after ,maudslay #ei #ad4 ,mask with mosaic decoration1 from sculptured wall1 ,temple of the ,jaguars1 ruins of ,chichen ,itza1 ,yucatan4 ,after ,maudslay #ei #ae4 ,mask of wood with turquois mosaic decoration4 ,prehistoric and ,ethnographic ,museum1 ,rome4 ,after ,pigorini #fc #af4 ,god ,paynal with shield decorated with turquois mosaic4 ,after ,sahagun1 manuscript of the ,real ,palacio1 ,madrid #gj #ag4 ,god ,paynal with shield decorated with turquois mosaic4 ,after ,sahagun1 ,florentine manuscript #gj #ah4 ,glyphs of the town of ,culhuacan4 ,after ,codex ,telleriano ,remensis #gd #ai4 ,knife handle of wood with turquois mosaic decoration4 ,prehistoric and ,ethnographic ,museum1 ,rome4 ,after ,pigorini #hc ,,turquois ,,mosaic ,,art ,,in ,,ancient ,,mexico ,,by ,,marshall ,h4 ,,saville ,,introduction ,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 tribes4 ,had their complete conquest and subjection been delayed a few decades they in all probability would have developed a written phonetic language4 ,their intellectual abilities are evidenced by a study of the intricate calendar system1 and the picture and hieroglyphic records which survive4 ,the triumphs of their architectural attainments are well known1 and may be investigated in the numerous monuments and buildings in the ruined cities scattered throughout ,mexico4 ,they had made notable strides toward civilization in certain of the minor fine arts4 ,ignorant of glass and of glazed pottery1 they nevertheless developed the ceramic art to a high degree of excellence4 ,their inventive genius and technical skill were manifest in their goldsmith's art4#a ,without the knowledge of iron1 in the working of hard precious and semi-precious stones into idols and personal ornaments1 their craftsmanship was equal to that of the best lapidaries of ,europe at the beginning of the sixteenth century4 ,in the lapidarian art they had advanced so far as to fashion and adorn many objects with designs1 both geometric and realistic1 in stone mosaic1 employing turquois chiefly for this purpose1 but also making use of other stones--marcasite and shell4 ,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 designs4 ,this unique art was employed in adorning objects for personal use1 for warfare1 or for priestly ceremonies4 ,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 paper4 ,from descriptions of feather mosaics in the writings of early chroniclers1 and from a study of the handful of specimens which have escaped the ravages of time1 it is evident that this art reached the highest artistic level attained by any of the aboriginal tribes of ,america4 ,we will not enter into a discussion of feather mosaics at this time1 but will consider primarily the parallel art of turquois mosaic4 ,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 ,corts1 there is little of this art upon which to base a careful study that has survived4 ,it is one of the most interesting and highly developed arts of ancient ,america1 but it was practised by only a few tribes4 ,apart from the ,mexican region where turquois mosaic was most highly developed1 excellent examples have been found with other ancient remains of the ,pueblos of ,arizona and ,new ,mexico1 and incrusted objects have also been found with ancient burials on the coast of ,peru1 indicating a somewhat similar technique though far less skill in application4 ,the materials usually employed in ,mexico were turquois1 jadeite1 malachite1 quartz1 beryl1 garnet1 obsidian1 marcasite1 gold1 bits of red and other colored shell1 and nacre4 ,the base upon which the incrustation was laid was wood1 stone1 gold1 shell1 pottery1 and possibly leather and native paper1 the mosaic being held in place by means of a tenacious vegetal pitch or gum1 or a kind of cement4 ,,earliest ,,historical ,,accounts ,,of ,,turquois ,,mosaic ,,in ,,mexico ,,the ,,grijalva ,,expedition1 #aeah ,the 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 governor1 ,diego ,velsquez1 during the spring of #aeah1 under the command of ,juan de ,grijalva4 ,after reaching the shores of ,yucatan near the island of ,cozumel1 the party coasted the ,yucatan peninsula1 reaching the territory of the present ,state of ,campeche1 which had been discovered the previous year by ,francisco ,hernndez de ,crdoba4 ,proceeding westward along unknown lands1 they reached a great river in the ,state of ,tabasco1 to which the name of the commandant was given1 and it is still known as ,rio de ,grijalva4 ,here1 according to some accounts1 the expedition obtained the first specimens of turquois mosaic4 ,we shall consider this point later4 ,leaving the ,rio de ,grijalva they went westward and arrived at the site of the present city of ,vera ,cruz1 where they obtained by barter with the ,indians a considerable treasure1 including some objects of turquois mosaic1 which ,grijalva decided to send immediately to the governor in ,cuba with a report of his discoveries up to that time4 ,consequently1 on ,june #bd1 #aeah1 one of ,grijalva's captains1 ,pedro de ,alvarado1 set out on the return voyage to ,fernandina 7,cuba71 while ,grijalva himself continued the exploration of the eastern coast of ,mexico4 ,the provenience of the treasure obtained by ,grijalva on this first expedition of discovery to the coasts of ,tabasco and ,vera ,cruz in #aeah 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 events4 ,it has been generally assumed that ,grijalva obtained mosaic objects from the ,indians of ,tabasco2 this is specifically stated by both ,oviedo and ,gomara1 who recorded detailed accounts of the ,grijalva expedition4 ,the account by ,oviedo#b is even more extended and valuable than the narrations of the eye-witnesses1 namely1 ,juan ,daz#c the chaplain1 and the redoubtable ,bernal ,daz4 ,oviedo states that his account is from the report forwarded to the ,king of ,spain by the governor ,velsquez1 who sent out the expedition from ,cuba4 ,gomara1 who for a time was chaplain of ,corts in ,spain1 never visited the ,new ,world1 but had access to the various reports sent to ,spain regarding the conquest4 ,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 ,cruz4 ,the extended account given by ,oviedo recites the voyage from day to day and the character of various objects received from the ,tabasco ,indians1 followed by the list of specimens obtained from the ,mexican ,indians near the ,isla de ,sacrificios1 ,vera ,cruz4 ,we will quote from these lists later4 ,gomara's list is quite extended4 ,in the first part of his ,historia de las ,indias he describes various articles procured by ,grijalva from the ,indians at the mouth of the river in ,tabasco1 to which his name was applied1 followed in turn by the inventory of objects obtained at ,san ,juan de ,ulua1 ,vera ,cruz4 ,in the second part of his history1 the ,conquista de ,mexico1 he gives only a single long inventory of the barter obtained1 as he says1 8from the ,indians of ,potonchan ,tabasco1 ,san ,juan de ,ulua1 and other places of that coast40 ,it seems highly probable1 however1 that such interesting and valuable loot must have been accompanied with an inventory when it was sent to ,spain late in #aeah or early in #aeai by ,governor ,velsquez4 ,oviedo mentions seeing the things1 apparently in ,barcelona1 in ,may #aeai4 ,it is possible that both ,oviedo and ,gomara may have had access to such an inventory1 or if not1 they wrote their own descriptions of the objects after seeing them4 ,bernal ,daz1 who accompanied both ,grijalva and ,corts to ,mexico1 wrote his history nearly fifty years after the stirring events of the discovery and conquest4 ,he was a prejudiced writer1 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 ,gomara4 ,bernal ,daz writes bluntly at the very outset of his invaluable history1 which he calls the 8,true ,history10 that he speaks 8here in reply to all that has been said and written by persons who themselves knowing nothing1 have received no true account from others of what really took place1 but who nevertheless now put forward any statements that happen to suit their fancy40 ,while not describing the treasure obtained by ,grijalva1 he mentions 8some gold jewels some 7of which7 were diadems and others were in the shape of ducks like those of ,castile1 and other jewels like lizards1 and three necklaces of hollow beads1 and other articles of gold not of much value1 for they were not worth more than two hundred pesos40#d ,these he states were obtained from the ,indians of ,potonchan4 ,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 ,cruz2 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 forms4 ,he then says3 8,this must be the gold which the historians ,gomara1 ,yllescas1 and ,jovio say was given by the natives of ,tabasco1 and they have written it down as though it were true1 although it is well known to eye-witnesses that there is no gold in the province of the ,rio de ,grijalva or anywhere near it1 and very few jewels40#e ,torquemada wrote in later years to the same effect4 ,in none of the accounts by the participants of this expedition are mosaic pieces specifically mentioned4 ,the chaplain of ,grijalva's fleet1 ,juan ,daz1 states merely that they were given 8a mask of gold beautifully wrought1 and a little figure of a man with a little mask of gold1 and a crown of gold beads with other jewels and stone of various colors40 ,this report was first printed in ,venice1 ,march #c1 #aebj1 appearing in ,italian as an appendix to the ,itinerario of ,ludovico de ,varthema4 ,an anonymous independent relation in ,italian of this voyage seems to have been printed at ,venice in the same year under the title ,littera ,mdata della ,insula de ,cuba1 etc41 the copy in the ,marciana ,library1 ,venice1 being the only one known4 ,from a photostat copy of the ,italian we are able to present a translation of the mention of these objects1 somewhat similar to that given by ,juan ,daz4 ,the ,littera ,mdata states that the ,spaniards obtained 8a mask of gold1 and the figure of a man all of gold1 seemingly of the age of twelve1 and a fan of gold1 and other jewels of divers colors40#f ,another anonymous early printed report1 in ,latin1 without date or place of printing1 affords practically the same information as that contained in the ,itinerario of ,juan ,daz and in the ,littera ,mdata4#g ,the earliest printed information regarding the ,grijalva voyage in which mosaic objects are specifically noted is in ,peter ,martyr's ,de ,nvper ,sub ,d4 ,carolo ,repertis ,insulis1 printed in ,basle in #aeba4 ,in speaking of the valuable objects obtained by ,grijalva in ,coluacan 7,vera ,cruz71 and sent to ,spain1 he mentions that 8the cacique brought a small golden statue of a man1 also a gold fan1 and a mask beautifully wrought and decorated with stones40#h ,it will be observed that these objects correspond with those mentioned in the reports noted above1 only that ,peter ,martyr speaks of the decoration of the mask with stones4 ,with the exception of this note by ,peter ,martyr1 who saw the objects in ,spain1 there is1 as we have said1 no special statement regarding mosaic-work to be found in the earliest known printed accounts of the ,grijalva voyage4 ,in #aece the great work of ,oviedo was first published1 and here we find the following itemized description of pieces of mosaic-work1 said to have been obtained from the ,indians of ,potonchan1 ,tabasco4#i ,another mask covered from the nostrils upward with well set mosaic-work of stones resembling turquoises1 and from the nostrils downward with a thin plate of hammered gold4 ,another mask resembling the first1 but the stones were placed from the eyes upward1 and below them there were thin plates of beaten gold over wood1 the ears being of turquois mosaic-work4 ,another mask made with bands or rods of wood1 two of the strips being covered with mosaic-work1 and the remaining other three with thin beaten gold4 ,a thin disc with a figure of a cemi or devil1 covered above with beaten gold-leaf1 and in other parts were scattered some stones4 ,a tablet of wood like the headstall of a horse in armor1 covered over with thin gold-leaf1 with some strips of black stones well set between the gold4 ,the head of a dog covered with stones1 and very well made4 ,from ,ulua in ,vera ,cruz these mosaic pieces are noted3 ,two masks of small stones like turquois set over wood like mosaic1 with some spangles of gold in the ears4 ,two guariques of blue stones set in gold1 each having eight pendants of the same4 ,a mask of stone mosaic-work4 ,in the work of ,gomara1 printed in #aeec1 appears also an extended account of this barter4#aj ,seler#aa and ,lehmann#ab believe that most of the mosaic objects 8apparently came from the eastern provinces1 i4e41 ,tabasco40 ,relying on the authority of both ,oviedo and ,gomara1 ,lehmann further uses in his discussion the original ,nahuatl text of ,sahagun in the ,florentine manuscript copied and translated by ,seler4 ,in this section of ,sahagun's work relating to the attributes of the ,mexican deities occurs the paragraph1 8,in jtlatquj ,quetzalcoatl coa-xaiacatl xiuhticatl achivalli1 quetzalapanecaiotl10 which ,lehmann renders1 8,the ,quetzalcoatl dress1 the snake-mask with turquois work1 the feather ornament of the people of ,quetzalapan 7,tabasco740#ac ,but there is no mention in early chronicles or on early maps of any town in this region bearing the name ,quetzalapan1 and ,torquemada in giving an account of some of the wars of ,montezuma writes that 8during the twelfth year of his reign 7which was in #aead71 his armies set out for the land of the ,chichimecas1 and entered the ,huaxteca1 subduing those of ,quetzalapan40#ad ,other places bearing the name ,quetzalapan were in the present states of ,morelos1 ,guerrero1 and ,colima4#ae ,in recounting the episode of the conquest of this town1 ,clavijero writes explicitly that 8,montezuma sent out an army in #aeab to the north against the ,quetzalapanecas and conquered them with but little loss40#af ,hence the place mentioned by ,sahagun would seem to have been in ,vera ,cruz1 and probably the region of ,huaxteca or ,cuexteca1 for the ,aztecs had considerable communication with this territory4 ,,loot ,,obtained ,,by ,,cort,s1 #aeai-aebe ,but the treasures of native art secured by the ,grijalva expedition were insignificant by comparison with the enormously valuable loot obtained the next year 7#aeai7 by ,corts4 ,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 ,mexico4 ,this has been done many times1 but in the main most weight is given to the writings of the ,spanish participants and to the early chroniclers4 ,we have already studied in considerable detail the accounts of the art objects sent to ,spain by ,corts1 as contained in these early writings1 and especially the inventories which accompanied the shipments of objects sent to ,europe by the conqueror4 ,let us quote here merely what we wrote in presenting a summary of the events that occurred when ,corts first landed on the coast of ,vera ,cruz4 ,after the arrival of the ,spaniards on the coast of ,vera ,cruz1 the ,indians were not long in ignorance of the consuming thirst of the conquerors for gold4 ,in order to placate the formidable strangers with childlike confidence that by giving them their wish the invasion of his dominions would be averted1 ,montezuma sent rich presents to ,corts through ,tendile 7,teuhtlile71 governor of ,cuetlaxtla 7the modern ,cotastla71 which was then subject to the ,aztecs4 ,when all this treasure thus brought together was ready to be sent to ,spain1 with the report of the voyage1 an inventory or list of the objects was drawn up and despatched with two special messengers1 ,alonso ,portocarrero and ,francisco de ,montejo1 who were charged to deliver the treasure to the ,king4 ,these valuable gifts have been briefly described by several members of the expedition who saw them before they left ,mexico1 and on their receipt in ,spain they were described by various other chroniclers4 ,from the inventory1 which we translated1 we select the items relating to objects ornamented with stone mosaic4 ,item3 two collars of gold and stone mosaic-work 7precious stones74444 ,another item3 a box of a large piece of feather-work lined with leather1 the colors seeming like martens1 and fastened and placed in the said piece1 and in the center 7is7 a large disc of gold1 which weighed sixty ounces of gold1 and a piece of blue stone mosaic-work a little reddish1 and at the end of the piece another piece of colored feather-work that hangs from it4 ,item3 a miter of blue stone mosaic-work with the figure of monsters in the center of it1 and lined with leather which seems in its colors to be that of martens1 with a small 7piece7 of feather-work which is1 as the one mentioned above1 of this said miter4 ,item3 444 a scepter of stone mosaic-work with two rings of gold1 and the rest of feather-work4 ,item3 an armlet of stone mosaic-work4444 ,item3 a mirror placed in a piece of blue and red stone mosaic-work1 with feather-work stuck to it1 and two strips of leather stuck to it4444 ,item3 some leggings of blue stone mosaic-work1 lined with leather1 of which the colors seem like martens2 on each one of them 7there are7 fifteen gold bells4 ,item3 two colored 7pieces of7 feather-work which are for two 7pieces of7 head armor of stone mosaic-work4444 ,more3 two guariques 7ear ornaments7 of blue stone mosaic-work1 which are to be put in the head of the big crocodile4 ,more3 another head armor of blue stone mosaic-work with twenty gold bells which hang pendent at the border1 with two strings of beads which are above each bell1 and two guariques of wood with two plates of gold4 ,item3 another head armor of blue stone mosaic-work with twenty-five gold bells1 and two beads of gold above each bell1 that hang around it with some guariques of wood with plates of gold1 and a bird of green plumage with the feet1 beak1 and eyes of gold4 ,moreover3 sixteen shields of stone mosaic-work with their colored feather-work hanging from the edge of them1 and wide-angled slab with stone mosaic-work with its colored feather-work1 and in the center of the said slab1 made of stone mosaic-work1 a cross of a wheel which is lined with leather1 which has the color of martens4 ,again3 a scepter of red stone mosaic-work1 made like a snake1 with its head1 teeth1 and eyes 7made7 from what appears to be mother-of-pearl1 and the hilt is adorned with the skin of a spotted animal1 and below the said hilt hang six pieces of small feather-work4 ,item3 a piece of colored feather-work which the lords of this land are wont to put on their heads1 and from it hang two ear-ornaments of stone mosaic-work with two bells and two beads of gold1 and above a feather-work of wide green feathers1 and below hang some white1 long hairs4#ag ,peter ,martyr1 who saw the specimens in ,spain shortly after they arrived1 speaks of 8certain miters beset with precious stones of divers colors1 among which some are blue1 like unto sapphires40 ,also 8two helmets garnished with precious stones of a whitish blue color3 one of these is edged with bells and plates of gold1 and under every bell two knobs of gold4 ,the other1 beside the stones wherewith it is covered1 is likewise edged with ,,xxv golden bells and knobs3 and hath on the crest1 a green bird with the feet1 bill1 and eyes of gold40#ah ,las ,casas describes 8a helmet of plates of gold1 and little bells hanging 7from it71 and on it stones like emeralds40 ,also 8many shields made of certain thin and very white rods1 intermingled with feathers and discs of gold and silver1 and some very small pearls1 like misshapen pearls40#ai ,these are some of the statements of early ,spaniards4 ,let us now consider what the ,indians have said about the treasure given by ,montezuma to ,corts at that time4 ,our best source of information is the great ,historia composed by ,fray ,bernardino de ,sahagun1 who spent many years in the valley of ,mexico gathering information at first-hand from intelligent ,indians4 ,this was shortly after the conquest when the natives still retained vivid recollections of the fall of their country4 ,without this work the history of ancient ,mexico1 and of the customs and traditions of the ,indians1 could not be written4 ,we must not lose sight of the fact that ,montezuma1 for a number of reasons which we need not relate here1 expected the 8second coming0 of the culture-hero ,quetzalcoatl1 the great beneficent god of the ,aztecs4 ,this myth was one of the several causes that led to the comparatively easy conquest of a numerous and warlike people by the ,spaniards4 ,we have translated several chapters of ,sahagun's ,historia relating to the first coming of the ,christians to the coast of ,mexico1 which contain a description of some of the gifts sent by ,montezuma to ,corts1 while he still believed the ,spanish conqueror to be the great god ,quetzalcoatl4 ,it is really a report transmitted to us from the ,aztecs1 and is a most fascinating chapter of the history of the conquest of ,mexico4#bj ,,chapter ,,ii4 ,of the first 7,spanish7 ships which arrived at this land said to have been those of ,juan de ,grijalva4 ,the first time that ships appeared on the coast of ,new ,spain1 the captains of ,montezuma1 who were called calpixques1 who were near the coast1 at once went to see what it was that had come1 never having seen ships2 one of whom was the calpixque of ,cuextecatl1 named ,pinotl3 other calpixques went with him1 one of whom1 named ,yaotzin1 lived in the town of ,mictlanquauhtla1 another named ,teozinzocatl resided in the town of ,teociniocan1 another named ,cuitlalpitoc was not a calpixque but the servant of one of these calpixques1 and principalejos1 and another principalejo named ,tentlil4 ,these went to see what the thing was1 and carried some things to sell under pretence1 so as to see what the thing was3 they carried some rich mantles which only ,montezuma1 and no other 7person71 wore1 nor had permission to wear3 they entered canoes and went to the ships1 saying amongst themselves1 8,we are here to guard this coast2 it is right that we should know for a certainty what this is1 in order to carry accurate news to ,montezuma40 ,they entered at once the canoes and commenced to paddle to the ships1 and when they arrived near the vessels and saw the ,spaniards1 all kissed the prows of the ships1 in sign of adoration1 thinking that it was the god ,quetzalcoatl that had returned1 which god1 as appears in the history1 was already expected4 ,then the ,spaniards spoke and said3 8,who are you8 ,whence have you come8 ,from where are you80 ,those who came in the canoes responded1 8,we have come from ,mexico40 ,the ,spaniards said1 8,if it is true that you are ,mexicans1 tell us what is the name of the ,lord of ,mexico40 ,they replied1 8,our ,lord1 he is called ,montezuma10 and then they presented all of those rich mantles which they had brought to him who went as general of those ships1 who was1 as is said1 ,grijalva1 and the ,spaniards gave to the ,indians some glass beads1 some green and others yellow1 and the ,indians when they saw them were very much astonished and esteemed them greatly1 and then they 7the ,spaniards7 dismissed the ,indians1 saying1 8,now we return to ,castile1 and will soon return and will 7then7 go to ,mexico40 ,the ,indians returned to land and soon departed for ,mexico1 where they arrived in a day and a night1 to give the news of what they had seen to ,montezuma1 and they brought to him the beads which had been given them by the ,spaniards1 and spoke to him 7,montezuma7 as follows3 8,our ,lord1 we are deserving of death2 hear what we have seen1 and what we have done4 ,thou hast placed us on guard at the seashore2 we have seen some gods on the sea1 and went to receive them1 and give them various rich mantles2 look at these beads that they gave us1 saying to us1 #8,is it true that you are ,mexicans8 ,look at these beads1 give them to ,montezuma1 that he may know of us4'0 ,and they told him all that had happened when they were with those 7people7 on the sea in the ships4 ,montezuma responded3 8,you have come tired and worn out2 go and rest4 ,i have received this 7news7 in secret1 and command you not to say anything whatever about what has happened40 ,,chapter ,,iii4 ,of what ,montezuma disposed after he heard the news from those who saw the first 7,spanish7 ships4 ,as soon as he 7,montezuma7 heard the news from those who had come from the seashore1 he ordered to be called at once the highest chief of those who were called ,cuextecatl1 and the others who had come with the message1 and ordered them to place guards and lookouts in all the farms along the shores of the sea1 the one called ,naulitlantoztlan1 and the other ,mictlanquactla1 so that they might see when those ships returned1 and at once give a report4 ,the calpixques and captains then left1 and at once ordered the placing of lookouts on the said farms1 and ,montezuma then summoned the most confidential of his chieftains and communicated to them the news which had arrived1 and showed them the glass beads which the messengers had brought1 and said1 8,it seems to me that they are precious stones2 take great care of them in the wardrobe that none of them be lost1 and if any are lost1 those who have charge of the wardrobe will have to pay40 ,one year hence1 in the year thirteen rabbit1 those who were on guard saw ships on the sea1 and at once came with great speed to give notice to ,montezuma4 ,as soon as he had heard the news1 ,montezuma despatched men for the reception of ,quetzalcoatl1 because he thought that it was him who came1 because they expected him daily1 and as he had received news that ,quetzalcoatl had gone by sea toward the east1 and the ships came from the eastward1 for this 7reason7 they thought that it was he3 he sent five of his chief lords to receive him and to present to him a great present1 which he sent4 ,of those who went the most prominent one was called ,yallizchan1 the second in rank ,tepuztecatl1 the third ,tizaoa1 the fourth ,vevtecatl1 and the fifth ,veicaznecatlheca4 ,,chapter ,,iv4 ,what ,montezuma ordered when he learned the second time that the ,spaniards had returned1 this was ,d4 ,hernando ,corts4 ,to the above mentioned 7messengers7 ,montezuma spoke1 and said1 8,look1 it has been said that our ,lord ,quetzalcoatl has arrived2 go and receive him and listen to what he may say to you with great attention2 see to it that you do not forget anything of what he may say2 see here these jewels which you are to present to him in my behalf1 and which are all the priestly ornaments that belong to him40 ,first a mask wrought in a mosaic of turquois2 this mask had wrought in the same stones a doubled and twisted snake1 the fold of which was the beak of the nose2 then the tail was parted from the head1 and the head with part of the body came over one eye so that it formed an eyebrow1 and the tail with a part of the body went over the other eye1 to form the other eyebrow4 ,this mask was inserted on a high and big crown full of rich feathers1 long and very beautiful1 so that on placing the crown on the head1 the mask was placed over the face3 it had for a 7central7 jewel a medallion of gold1 round and wide3 it was tied with nine strings of precious stones1 which1 placed around the neck1 covered the shoulders and the whole breast3 they carried also a large shield bordered with precious stones with bands of gold which went from the top to the bottom of it1 and other bands of pearls crossing over the gold bands from the top to bottom of it1 and in the spaces left by these bands1 which were like the meshes of a net1 were placed zapitos 7little toads7 of gold4 ,this shield had edgings in the lower part2 there was attached on the same shield a banner which came out from the handle of the shield1 made of rich feathers3 it also had a big medallion made of mosaic-work which was fastened and girded around the loins3 they carried also strings of precious stones with gold bells placed in between the stones to be tied to the ankles3 they carried also a bishop's staff all decorated with turquois mosaic-work1 and the crook of it was like the head of a snake turned around or coiled4 ,they also carried sandals 7cotaras7 such as great lords were accustomed to wear4 ,they also carried the ornaments or finery with which ,tezcatlipoca was adorned1 which was a head-piece made of rich feathers which hung down on the back almost to the waist1 and was strewn all over with stars of gold4 ,they carried also ear-ornaments of gold3 they had hanging from them little gold bells and strings of little white and beautiful sea-shells4 ,from these strings hung a piece of leather like a plastron 7peto71 and it was carried tied in such a manner that it covered the breast down to the waist3 this plastron had strewn on it and hanging from it many little shells4 ,they carried also a corselet of painted white cloth2 the lower border of this corselet was edged with white feathers in three strips all around the border3 they also carried a rich mantle the cloth of which was a light blue1 and embroidered all over with many designs of a very fine blue3 this mantle was worn around the waist1 the 7four7 corners tied to the body3 over this mantle was worn a medallion of turquois work attached to the body over the loins3 they also carried strings of gold bells to tie around the ankles1 and also white sandals 7cotaras7 like those the lords are wont to wear4 ,they also carried the ornaments and decorations of the god ,tlalocantecutli1 which were1 a mask with its feather-work1 and a banner like the one above mentioned3 also wide ear-ornaments of chalchivitl with snakes of chalchivites inside3 and also a corselet painted with green designs1 and strings or collar of precious stones1 and also a medallion with which they girded the loins1 like the one above described1 with a rich mantle1 with which they girded themselves like the one described above1 and golden bells to place on the feet1 and the staff like the one above described4 ,other ornaments which they carried were also of the same ,quetzalcoatl1 a miter of tiger-skin1 and hanging from the miter a hood of raven's feathers3 the miter also had a large chalchivitl rounded at the end1 and also round ear-ornaments of turquois mosaic with a hook of gold called ecacozcatl1 and a rich mantle with which he girded himself1 and some gold bells for the feet1 and a shield which had in the center a round plate of gold1 which shield was bordered with rich feathers4 ,from the lower part of the shield came out a sash of rich feathers in the shape of the one above described3 it had a staff wrought in turquois mosaic1 and its crook was set with rich stones or conspicuous pearls4 ,they also had on top of it all some sandals 7cotaras71 such as the lords were accustomed to wear4 ,all these things were brought by the messengers and presented1 as they say1 to ,d4 ,hernando ,corts4 ,many other things they presented to him which are not written about1 such as a miter of gold made like a periwinkle with edging of rich feathers which hung over the shoulders1 and another plain miter of gold and other jewels of gold which are not written about4 ,all these things were placed in hampers 7petacas71 and upon taking leave from ,montezuma he said to them1 8,go and worship in my name the god who comes1 and say to him we have been sent here by your servant ,montezuma3 these things which we bring have been sent by him1 for you have come to your dwelling1 which is ,mexico40 ,these messengers set out on the road at once1 and arrived at the seaside1 and there took canoes caas1 undoubtedly canoas was written1 and arrived at a place called ,xicalanco3 from there they took other canoes with all their clothes1 and reached the ships1 and then those of the ships asked them1 8,who are you1 and whence have you come80 ,and those of the canoes answered1 8,we come from ,mexico40 ,and those of the ships said to them1 8,perchance you are not from ,mexico1 but falsely say you are from ,mexico and deceive us40 ,and upon this they took and gave 7bartered871 until they were satisfied on both sides1 and they tied the canoe to the ship1 and a ladder was let down1 by which they climbed up to the ship and came to where ,d4 ,hernando ,corts was4 ,,chapter ,v4 ,of what happened when the messengers of ,montezuma entered the ship of ,d4 ,hernando ,corts4 ,they commenced to climb up to the ship on the ladders1 and brought the presents that ,montezuma had commanded them to carry4 ,when they were in front of the captain ,d4 ,hernando ,corts1 all kissed the ground deck in his presence1 and spoke in this wise3 8,may the god whom we come to adore in the name of his servant ,montezuma1 who for him rules and governs the city of ,mexico1 know1 and who says that the god has come after much hardship40 ,and at once they took out the ornaments they had brought1 and placed them in front of the captain ,d4 ,hernando ,corts1 adorning him with them1 placing first the crown and mask which has been described above1 and all the other things3 they put around his neck the collars of 7precious7 stones with the jewels of gold which they had brought1 and put on his left arm the shield above described1 and all the other things were placed in front of him in the order they were accustomed to put their presents4 ,the captain said1 8,is there something more80 ,and they said to him1 8,we have not brought anything else than these things that are here40 ,the captain at once ordered them to be tied1 and ordered shots of artillery fired1 and the messengers who were tied hand and foot1 when they heard the thunder of the bombardment1 fell on the floor like dead1 and the ,spaniards lifted them from the floor1 and gave them wine to drink1 with which they strengthened them and revived them4 ,after this captain ,d4 ,hernando ,corts said to them1 through the interpreter3 8,listen to what ,i say to you4 ,i have been told that the ,mexicans are valiant men1 that they are great conquerors and great warriors1 and are very skillful at arms3 they tell me that one ,mexican alone is enough to conquer from ten to twenty of his enemies4 ,i wish to prove whether this is true1 and whether you are so strong as ,i have been told40 ,then he ordered swords and shields to be given them that they might fight with as many ,spaniards1 so that he might see who might win1 and the ,mexicans then said to captain ,corts1 8,may it please your grace to listen to our excuse1 for we are not able to do what you command1 and it is because our ,lord ,montezuma has sent us to do nothing else than to salute you and give you this present1 we cannot do anything else1 nor are we able to do what you order us1 for if we did we should offend our ,lord ,montezuma1 and he would order us killed40 ,and the captain responded3 8,you will have to do by all means what ,i say4 ,i have to see what kind of men you are1 for over yonder in our country we have been told that you are very courageous men3 arm yourselves with these arms and be ready that we encounter one another tomorrow on the 7battle7 field4 ,,chapter ,,vi4 ,of how the messengers of ,montezuma returned to ,mexico with the report of what they had seen4 ,after what has been related was done1 they took leave of the captain1 and entered their canoes1 and commenced to go toward the land1 paddling with great speed1 and saying to one another1 8,there are valiant men2 let us exert ourselves to paddle before anything happens40 ,they arrived very quickly at the town of ,xicalanco1 and there they ate and rested a little1 and then they got into their canoes again1 and paddling with great speed they arrived at the town called ,tecpantlayacac1 and from there began to journey by land1 running with great speed1 and they reached the town called ,cuetlaxtla3 there they ate and rested a little1 and those of the town begged them that they should rest at least a day1 but they responded that they could not1 because they had to go with great speed to make known to ,montezuma what they had seen1 very new things1 and never before seen nor heard of1 of which no one else could speak about3 and so traveling with great speed by night and day1 they arrived in ,mexico by night40 ,in the accounts of the vast treasure secured by ,corts from ,montezuma before his untimely death1 there is to be found no specific mention or description of objects decorated with stone mosaic4 ,much of the treasure secured in the final sack of ,tenochtitlan 7,mexico7 was lost4 ,the 8empire0 of the ,aztecs was completely subjugated in #aeba4 ,from that time1 and up to #aebe1 ,corts sent to ,europe at various intervals great quantities of loot1 gathered as tribute from the stores of the ,indians1 accompanied with inventories1 a number of which have been published4 ,from these inventories we select the following items which clearly relate to stone mosaic objects4 ,report of the ,feather-work and ,jewels sent to ,spain to be distributed to the following ,churches and ,monasteries and ,special ,persons4 ,without date4 ,for the ,lord ,bishop of ,burgos ,item3 something like a staff 7crosier7 of stone mosaic-work of many colors1 for him 7the ,bishop74 ,copy of the ,register of the ,gold1 ,jewels1 and other ,things which are to go to ,spain in the ,ship ,santa ,mara de la ,rbida1 its ,master 7being7 ,juan ,baptista4 7,the year #aebb47 ,this report contains a register of much treasure sent in one of the several ships which left ,mexico in ,june1 #aebb1 in charge of the treasurer ,julian ,alderete1 and ,alonso ,dvila and ,antonio de ,quiones1 proctors4 ,the register contains statements of the monetary value of certain treasure registered by various persons1 among whom we find one ,juan de ,rivera1 who carried treasure for himself1 ,corts1 and other persons named in the inventory2 but none of the articles is described4 ,in the margin of the report are notes stating that a considerable portion remained in the ,azores4 ,in another inventory1 from which we shall quote later1 are descriptions of certain pieces1 jewels1 and feather-work that remained in the ,azores in charge of the above-named proctors4 ,according to ,peter ,martyr the greater part of this treasure was destined for the ,king of ,spain1 but it never reached him1 for the vessel1 which with the others had put into the ,azores to escape ,french pirates1 was captured later by these corsairs and the rich spoils of the ,aztecs went to augment the treasure of ,francis ,i4 ,the ship ,santa ,mara de la ,rbida seems to have arrived in ,sevilla in ,november1 #aebb1 and ,peter ,martyr saw the treasure that it brought and interviewed ,juan de ,rivera at length concerning the people and country of ,new ,spain4 ,the account which he wrote1 based on a view of the wonderful objects and what ,rivera had told him1 comprises an entire book in the ,fifth ,decade of his ,de ,orbe ,novo1 first printed in #aecj4 ,it contains a mass of valuable and generally trustworthy information1 gleaned not only at first hand from ,rivera1 but also from a young native ,mexican whom ,rivera had brought to ,spain as a slave and servant4 ,this account supplies certain information describing the treasure1 which is missing in the inventory4 ,the report is so interesting that we quote what ,peter ,martyr writes about some of the objects of stone mosaic-work which ,rivera displayed4#ba ,we have been particularly delighted with two mirrors of exceptional beauty3 the first was bordered with a circle of gold1 one palm in circumference1 and set in green wood2 the other was similar4 ,ribera states that there is stone found in these countries1 which makes excellent mirrors when polished2 and we admit that none of our mirrors more faithfully reflect the human face4 ,we also admire the artistically made masks4 ,the superstructure is of wood1 covered over with stones1 so artistically and perfectly joined together that it is impossible to detect their lines of junction1 with the fingernail4 ,they seem to the naked eye to be one single stone1 of the kind used in making their mirrors4 ,the ears of the mask are of gold1 and from one temple to another extend two green lines of emeralds2 two other saffron colored lines start from the half-opened mouth1 in which bone teeth are visible2 in each jaw two natural teeth protrude between the lips4 ,these masks are placed upon the faces of the gods1 whenever the sovereign is ill1 not to be removed until he either recovers or dies4 ,peter ,martyr gives us details regarding the ,king's share of the loot brought by the ,santa ,mara de la ,rbida1 writing as follows3 ,without mentioning the royal fifth1 that ship brings the treasure which is composed of a part of what ,corts amassed1 at the cost of risks and dangers1 and the share belonging to his principal lieutenant3 they offer it all in homage to their ,king4 ,ribera has been instructed to present to the ,emperor in his master's ,corts' name the gifts he sends1 while the others will be presented in the name of their colleagues by the officers who1 as ,i have said1 remained behind at the ,azores4444 ,the treasure destined for the ,emperor is on board the vessel which has not yet arrived3 but it is said that it amounts to #cb1jjj ducats of smelted gold in the form of bars4 ,were all the rings1 jewels1 shields1 helmets1 and other ornaments now smelted1 the total would amount to #aej1jjj ducats4 ,the report has spread1 ,i know not how1 that ,french pirates are on the watch for these ships3 may they come safely in4 ,as we have stated1 the ships were captured and the treasure was irretrievably lost to the ,spaniards4 ,an inventory of the treasure1 preserved in ,spain1 reads3 ,statement of ,pieces1 ,jewels1 and ,feather-work sent from ,new ,spain for ,his ,majesty1 and that ,remained in the ,azores in the ,charge of ,alonso ,dvila and ,antonio ,quiones4 ,without date4 ,statement of the pieces1 jewels1 and feather-work that are sent to ,their ,majesties in the following boxes3 ,a shield with blue stone mosaic-work with its rim of gold4 ,a shield of stone mosaic-work1 with a rim of blue and red feathers4 ,a shield of stone mosaic-work1 the casco 7crown7 of feathers and the clasps of gold1 and on the rim some long green feathers4 ,a shield of stone mosaic-work and confas 7shells7 with some pendants on the rim1 of large and small gold bells4 ,report of the ,objects of ,gold that are ,packed in a ,box for ,his ,majesty which are ,sent in ,care of ,diego de ,soto4 ,without date4 ,a face of gold with the features of stone mosaic-work4 ,a face of tiger-skin sic with two ear-ornaments of gold and stone mosaic-work4 ,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 ,majesty4 ,without date4 ,a large shield with some moons of stone mosaic-work and with much gold4 ,two stone mosaic-work shields4 ,the final inventory from which we extract items relating to stone mosaic-work objects is dated #aebe4 ,it is3 ,report of the ,gold1 ,silver1 ,jewels1 and ,other ,things that the ,proctors of ,new ,spain ,carry to ,his ,majesty4 7,year of #aebe47 ,a large head of a duck of blue stone mosaic-work4 ,two pieces of gold1 such as the natives of these parts wear in their ears with some red and blue stones1 weighing altogether ten pesos4 ,a bracelet with four greenstones set in gold like the hoof of a stag4 ,not weighed4 ,another bracelet of gold with ten pieces like azicates1 and two claws of greenstone set in gold4 ,an armlet of tiger-skin with four greenstones and four small bars of gold of little weight4 ,a shell like a venerica set in gold with a greenstone in the center4 ,a large shell set in gold with a face of greenstone1 with some blue and yellow little stones around the neck4 ,a butterfly of gold with the wings of venera1 and the body and head of greenstone4 ,two veneras1 one purple and the other yellow1 each one respectively with greenstones in the center and other blue ones around it1 set in gold4 ,another white venera1 set in gold1 having some blue and red eyes1 the one inserted in the other4 ,a monster of gold with some greenstone mosaic-work in the belly1 weighing altogether eleven pesos4 ,a poniard 7or jewel broncha7 of white shell set in gold1 weighing altogether thirty-seven pesos1 five tomins4 ,a butterfly of shell1 of fancy work1 set in gold1 weighing altogether eleven pesos1 six tomins4#bb ,,tribute ,,of ,,mosaic ,,paid ,,to ,,the ,,aztec ,,rulers ,mosaic objects1 and especially the raw material for their manufacture1 formed a part of the annual tribute paid by some of the coast provinces of ancient ,mexico to the ,aztec kings of ,tenochtitlan4 ,we have the pictorial representation of some of the objects of such tribute in an important native book or codex1 painted in colors on maguey fiber paper1 known as the ,tribute ,roll of ,montezuma4 ,this original codex was at one time in the famous ,boturini collection1 and is now one of the treasured possessions of the ,museo ,nacional in the ,city of ,mexico4 ,it lacks1 however1 several leaves which were abstracted about a century ago1 and which came into possession of ,joel ,r4 ,poinsett1 who had been ,american ,minister to ,mexico1 and who presented them to the ,american ,philosophical ,society of ,philadelphia in #ahcj1 where they now are4 ,on the pages have been written explanations of the pictures and figures in both ,nahuatl and ,spanish4 8,the ,nahuatl words look as if made by a pencil1 style1 or short brush similar to that used in delineating the figures1 and with a sepia-like preparation2 while the ,spanish ones have evidently been made with an ink containing iron1 and an instrument which disturbed the gloss of the paper1 as is shown by its penetration to fibres adjacent1 giving the lines a sort of hazy margin occasionally40#bc ,some time between the years #aecd and #aeej1 ,don ,antonio de ,mendoza1 the first ,viceroy of ,mexico1 during this period1 had the ,indians prepare for the ,emperor ,charles ,v1 a book on ,european paper1 containing a pictorial account1 in colors1 of some things relating to the history and life of the natives of the ,mexican plateau4 ,it was painted in three sections1 the first being a chronological record of the ,aztec kings and their conquests1 the third relating to the habits and customs of the natives and especially of the education of ,mexican youth4 ,illustration3 ,,pl4 ,,ii ,,stone ,,idol3 ,,the ,,goddess ,,coatlicue1 ,,with ,,mosaic ,,decoration ,,national ,,museum1 ,,mexico ,illustration3 ,,pl4 ,,iii ,,staff ,,and ,,rattle ,,of ,,wood ,,with ,,mosaic ,,decoration ,,peabody ,,museum1 ,,cambridge ,the second part was a copy of the ,tribute ,roll above referred to4 ,these pictures were given to other ,indians for the interpretation of their import1 which was written down in the ,nahuatl language1 and another person1 well versed in both the ,indian and ,spanish languages1 made a translation into ,spanish1 which was incorporated in the book4 ,it was then despatched to ,spain1 probably about the year #aedi1 but the vessel was captured by ,french pirates1 and the book came into the hands of the ,french geographer1 ,andr ,thevet1 in #aeec4 ,after ,thevet's death it was purchased1 about the year #aehd1 by ,richard ,hakluyt1 at that time chaplain to the ,english ,ambassador to ,france4 ,hakluyt bequeathed the volume to ,samuel ,purchas1 who published it1 without colors1 with an ,english translation of the text1 in ,purchas ,his ,pilgrimes1 ,london1 #afbe4 ,the ,english text was translated into ,french and accompanied with the plates was published by ,melchisedec ,thevenot in his ,relations des ,divers ,voyages1 in #affc4 ,the codex ultimately became the property of ,selden1 and with some other original ,mexican codices later became a part of the ,bodleian ,library at ,oxford1 where it is now preserved4 ,in #ahca1 ,lord ,kingsborough issued it for the first time in colors1 together with a new and more accurate ,english rendering of the ,spanish text1 in his monumental work on the ,antiquities of ,mexico4 ,the ,tribute ,roll was published by ,archbishop ,lorenzana in ,mexico in #aggj1 in his edition of the ,cartas de ,corts1 the drawing1 uncolored1 being traced in a very inferior manner from the original in ,mexico4 ,finally1 ,dr4 ,antonio ,peafiel included a beautiful colored facsimile of the ,tribute ,roll in his work1 ,monumentos del ,arte ,mexicano ,antiguo1 published in ,berlin in #ahij1 the missing leaves1 in ,philadelphia1 being reproduced from a very poor drawing of the codex on ,european paper1 probably executed for ,boturini4 ,these leaves were published in exact facsimile in #ahib1 with an article entitled1 ,the ,tribute ,roll of ,montezuma1 edited by ,dr4 ,d4 ,g4 ,brinton and ,henry ,phillips1 in vol4 ,,xvii of the ,transactions of the ,american ,philosophical ,society4 ,illustration3 ,,fig4 #a ,on plate ,,xviii 7we refer to the ,peafiel edition71 in the second section of the plate1 among other objects of tribute is a small bowl containing pieces of cut turquois 7see fig4 #a74 ,in the explanation given by ,purchas1 this item is described as 8a little panne full of ,turkes stones10 and in the ,kingsborough text it has been translated 8a little vessel of small turquois stones40 ,on the plate published by ,lorenzana is the caption1 8,matlauac ,rosilla con q4 se tie azul40 ,the word matlauac is probably a corruption of the ,nahuatl word matlaltic1 meaning #8blue1' but the rest of the sentence in ,spanish is confused1 for rosilla means #8reddish1' and con q4 se tie azul1 #8with which they dyed blue1' seems to indicate that the phrase is incomplete4 ,accompanying the objects depicted as tributes are the hieroglyphs of the towns which paid them4 ,these glyphs have been interpreted in the same manner in all of the reproductions of the codex1 but we use the spelling adopted by ,peafiel1 in preference to that given by ,purchas or by ,kingsborough4 ,they are3 7#a7 ,quiyauhtecpan1 8temple of rain or of its deities0 ,tlaloc or ,chalchiuhtlicue2 7#b7 ,olinalan1 8place of earthquakes20 7#c7 ,cuauhtecomatlan1 8place of tecomates20 7#d7 ,cualac1 8place of good drinkable water20 7#e7 ,ichcatlan1 8cotton-plantation20 7#f7 ,xala1 8sandy ground40 ,these places are given in the explanation as being 8cities of warm provinces40 ,in the third section of the same plate 7,,xviii7 are the objects shown in figs4 #b and #c4 ,peafiel writes of fig4 #b as 8ten little figures worked in turquois40 ,only one object painted blue is depicted1 the number ten being indicated by the ten dots4 ,that masks form this tribute is clearly evident2 in ,purchas the description is 8tenne halfe faces of rich blew ,turkey stones10 and in ,kingsborough1 8likewise #aj middling sized masks of rich blue stones like turquois40 ,illustration3 ,,fig4 #b ,illustration3 ,,pl4 ,,iv ,,helmet ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,illustration3 ,,fig4 #c ,the second item in this section 7fig4 #c7 is described by ,peafiel as 8a small bag of the same stones40 ,kingsborough's statement is1 8a large bag of the said blue stones10 while in ,purchas the translation reads1 8a great trusse full of the said ,turkey stones40 ,on the bag which is painted blue1 with two red vertical bands1 is the ,aztecan hieroglyph for stone1 tetl4 ,the towns whence this tribute was exacted are3 7#a7 ,yoaltepec1 8place consecrated to the deity of the night20 7#b7 ,ehaucalco1 8in the place of tanning20 7#c7 ,tzilacapan1 8river of chilacayotes20 7#d7 ,patlanalan1 8place where parrots abound20 7#e7 ,ixicayan1 8where the water comes down20 7#f7 ,ichcaatoyac1 8river of cotton40 ,these cities are of the warm provinces4 ,illustration3 ,,fig4 #d ,the only finished objects of mosaic-work in the ,tribute ,roll are on plate ,,xxxii4 ,this is one of the leaves of the original codex in ,philadelphia1 and we have traced fig4 #d from this original4 ,they are described by ,purchas as 8two pieces like platters decked or garnished with rich ,turkey stones40 ,kingsborough mentions them as 8two pieces like salvers ornamented or set with rich turquoise stones40 ,lorenzana has correctly printed the legend which we find reproduced in the ,philadelphia publication of this leaf2 it is 8,ontetl xiuhtetl10 followed by the ,spanish1 8turquesas o piedras finas40 ,ontetl is ,nahuatl for 8two10 and xiuhtetl1 or xiuitl tetl1 8turquois stone40 ,the mosaic character of these two pieces is graphically represented by the ancient artist4 ,the towns paying the tribute illustrated on this sheet are as follows3 7#a7 ,tochpan1 or ,tuchpan1 8over the rabbit20 7#b7 ,tlaltizapan1 8place situated over chalk20 7#c7 ,cihuateopan1 8in the temple of ,cihuacoatl20 7#d7 ,papantla1 8place of the priests20 7#e7 ,ocelotepec1 8place of the ocelot20 7#f7 ,mihuapan1 8river of the ears of corn20 7#g7 ,mictlan1 8place of rest40 ,in the ,crnica of ,tezozomoc is an account of the campaign of the ,aztecan king ,ahuitzotl into southern ,mexico in #adig4 ,the towns of ,xuchtlan1 ,amaxtlan1 ,izhuatlan1 ,miahuatla1 ,tecuantepec1 and ,xolotlan1 in the region of the ,isthmus of ,tehuantepec1 had revolted against him4 ,after the complete rout of the rebellious ,indians1 it was related by ,tezozomoc that 8the kind of arms carried by the coast people was very rich1 so much so that the undisciplined soldiers began to strip the bodies of the dead of the very rich feather-work pieces called quetzalmanalli1 and from their military ornaments remove a round emerald like a mirror which sparkled in its perfection1 called xiuhtezcatl4 ,others of the dead carried on the back of their arms that which was called yacazcuil1 outside of fine gold1 and in the nose they wore stones2 others 7wore7 gold1 and the shield which they carried had a very rich greenstone in the center1 and around it a decoration of very fine stones set in 7mosaic-work71 said shield being called xiuhchimal40 ,those who remained after the slaughter came to ,ahuitzotl1 saying3 8,our ,lords1 let us speak4 ,we will give our tribute of all that is produced and yielded on these coasts1 which will be chalchihuitl of all kinds and colors1 and other small stones called teoxihuitl 7turquois7 for setting in very rich objects mosaic1 and feathers of the richest sort brought forth in the whole world1 very handsome birds1 the feathers of which are called xiuhtototl1 tlaquechol1 tzinitzcan1 and zacuan2 tanned skins of the tiger 7ocelot71 lions 7puma71 and great wolves1 and other stones veined with many divers colors40#bd ,in the same ,crnica we read that ,montezuma1 who succeeded ,ahuitzotl after his death in #aejb1 received a royal tribute from his vassals in ,xaltepec1 a coast town of ,tehuantepec1 among which were 8broad collars sic for the ankles1 strewn with gold grains and very rich stone mosaic-work40#be ,illustration3 ,,pl4 ,v ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,,source ,,of ,,turquois ,the source of the considerable quantity of turquois used in ,mexico in pre-,spanish times for personal ornaments and mosaic incrustation is still an unsolved problem4 ,thus far no prehistoric workings have been found in ,mexico4 ,only recently turquois has been discovered at the silver mines at ,bonanza1 ,zacatecas1 but ,dr4 ,kunz1 who has called our attention to this1 writes that he has no information regarding prehistoric workings there4#bf ,in the extensive bibliography on the geology of ,mexico by ,aguilar y ,santillan#bg we find only a single entry for turquois1 that being the study of ,mexican mosaics in ,rome by ,pigorini4#bh ,pogue#bi writes that there are no important turquois deposits that do not show signs of prehistoric exploitation1 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 ,america4 ,pogue's conclusion is that 8as no occurrence at all adequate as an important source has been discovered south of the present ,mexican boundary1 it therefore seems probable that the ,aztecs and allied peoples1 through trade with tribes to the north1 obtained supplies of turquois from the ,cerrillos hills ,new ,mexico and perhaps other localities of the ,southwest40 ,sahagun is the only early chronicler who affords information concerning this point4 ,he writes explicitly that 8the ,toltecs had discovered the mine of precious stones in ,mexico1 called xiuitl1 which are turquoises1 which mine1 according to the ancients1 was in a hill called ,xiuhtzone1 close to the town of ,tepotzotlan ,state of ,hidalgo40 ,we will quote other statements by ,sahagun concerning turquois3 ,the turquois occurs in mines4 ,there are some mines whence more or less fine stones are obtained4 ,some are bright1 clear1 and transparent2 while others are not4444 ,teoxiuitl is called turquois of the gods4 ,no one has a right to possess or use it1 but always it must be offered or devoted to a deity4 ,it is a fine stone without any blemish and quite brilliant4 ,it is rare and comes from a distance4 ,there are some that are round and resemble a hazelnut cut in two4 ,these are called xiuhtomolli4444 ,there is another stone1 used medicinally1 called xiuhtomoltetl1 which is green and white1 and very beautiful4 ,its moistened scrapings are good for feebleness and nausea4 ,it is brought from ,guatemala and ,soconusco ,state of ,chiapas4 ,they make beads strung in necklaces for hanging around the neck4444 ,there are other stones1 called xixitl2 these are low-grade turquoises1 flawed and spotted1 and are not hard4 ,some of them are square1 and others are of various shapes1 and they work with them the mosaic1 making crosses1 images1 and other pieces4#cj ,if we are to credit ,sahagun1 turquois was worked not only in the immediate region of the central ,mexican plateau1 but they received supplies from distant points1 and specifically from ,chiapas and ,guatemala4 ,the raw material mentioned in the ,tribute ,roll of ,montezuma as coming from coast towns and from the south1 must also be taken into consideration4 ,hence1 notwithstanding the present lack of information respecting the localities where turquois is to be found in situ in central and southern ,mexico1 we cannot reject the opinion that ultimately ancient workings will be found at more than one site in ,mexico4 ,we do not believe it necessary to assume that the source of supply of both the ,toltecs and the ,aztecs1 as well as of other tribes1 such as the ,tarasco1 and the ,mixtec and ,zapotec1 which also made use of this material1 was the far-distant region of ,new ,mexico4 ,it was formerly asserted by some students that the jadeite of ,middle ,america must have come by trade from ,china1#ca because no deposits have as yet been found in the former region2 but it is now known by chemical analysis that the ,middle ,american jadeite is distinct from that of ,asia4 ,in fact1 the writer has long held that not alone in one1 but in at least five1 different localities1 jadeite will in time be discovered4#cb ,illustration3 ,,pl4 ,,vi ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,,the ,,aztec ,,lapidaries ,,and ,,their ,,works ,the development of the art of the lapidaries and mosaic-workers1 like that of the goldsmiths1 is attributed by ,sahagun to the ,toltecs1 under the beneficent influence of ,quetzalcoatl1 the culture hero god4 ,in treating of the pre-,aztec people called ,tultecas1 or people of ,tollan or ,tula1 by ,sahagun1 he states that they were very skilful in all that pertained to the fine arts4 ,he writes3 ,the ,tultecas were careful and thorough artificers1 like those of ,flanders at the present time1 because they were skilful and neat in whatsoever they put their hands to2 everything 7they did7 was very good1 elaborate1 and graceful1 as for example1 the houses that they erected1 which were very beautiful1 and richly ornamented inside with certain kinds of precious stones of a green color as a coating 7to the walls71 and the others which were not so adorned were very smooth1 and worth seeing1 and the stone of which they were fashioned appeared like a thing of mosaic4444 ,they also knew and worked pearls1 amber1 and amethyst1 and all manner of precious stones1 which they made into jewelry4#cc ,we find another statement to the effect that-- ,the lapidary is very well taught1 and painstaking in his craft1 a judge of good stones1 which1 for working1 they take off the rough part and bring together or cement with others very delicately with bitumen or wax1 in order to make mosaic-work4#cd ,in the pictorial section of the ,florentine manuscript of ,sahagun1#ce in the ,codex ,mendoza1#cf and in the ,mappe ,tlotzin1#cg are pictures delineating artisans engaged in various crafts1 such as weavers1 painters1 carpenters 7wood-carvers71 stone carvers1 lapidaries1 goldsmiths1 and feather-mosaic workers1 yet we find no actual representation of turquois-mosaic workers4 ,in the third section of the ,codex ,mendoza appears a picture of a father teaching his son the secrets of the lapidary's art4 ,the interpreter of the codex writes3 ,the trades of a carpenter1 jeweler 7lapidary71 painter1 goldsmith1 and embroiderer of feathers1 accordingly as they are represented and declared1 signify that the masters of such arts taught these trades to their sons from their earliest boyhood1 in order that1 when grown up to be men1 they might attend to their trades and spend their time virtuously1 counseling them that idleness is the root and mother of vices1 as well as of evil-speaking and tale-bearing1 whence followed drunkenness and robberies1 and other dangerous vices1 and setting before their imaginations many other grounds of alarm1 that hence they might submit to be diligent in everything4 ,the elaborate series of pictures of the various crafts in the ,florentine manuscript of ,sahagun 7laminas liv to lxiv7 includes those that show in detail the work of the goldsmiths and the feather-workers2 but the illustrations devoted to the lapidaries we are unable to correlate1 in the absence of the text1 with the ,nahuatl text of the ,sahagun manuscript in the ,real ,academia de la ,historia in ,madrid1 which we will give later from the study by ,dr4 ,seler containing a translation of the native text into ,french4 ,this description of the work of the lapidaries informs us only concerning the working and polishing of the stones4 ,unlike the other accounts by ,sahagun regarding the goldsmiths and the feather-workers1 which enlighten us with respect to the details of these two fine arts1 he does not here enter into any description concerning the delicate work of the artists who fashioned the beautiful pieces of stone mosaic4 ,although such work was turned out by the ,aztecan workmen1 as we have already demonstrated1 it seems highly probable that in times immediately preceding the ,spanish conquest1 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 ,cruz1 ,oaxaca1 and western ,chiapas4 ,as our knowledge of ,mexican archeology1 now all too meager1 is extended1 it is very probable that we will find vestiges of this art in the ,pacific state of ,guerrero1 where great numbers of jadeite and other greenstone objects have been discovered1 with a respectable number of specimens indicating the high artistic skill of the indigenes of that section4 ,we may also hope to find relics of this art in the area of ,matlaltzincan culture to the north of the valley of ,mexico1 and also in the field of ,tarascan culture in the states of ,michoacan and ,jalisco1 for1 as will be related1 mosaic specimens have been recovered from ancient ruins as far north as the ,state of ,zacatecas4 ,illustration3 ,,pl4 ,,vii ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,prehistoric ,,and ,,ethnographic ,,museum1 ,,rome ,sahagun's account 7chap4 ,,ii7 of the work of the lapidaries we herewith append1 with the ,nahuatl text and a translation of the ,french rendering by ,seler4#ch #a4 ,in tlateque tulteca ynic quitequi yn yztac tehuilotl yoan tlapaltehuilotl yoan chalchiuitl yoan quetzalitztli ynica teoxalli yoan tlaquauac tepuztli4 #a4 ,the lapidary artisans cut rock-crystal1 amethyst1 emerald1 both common and precious1 by means of emery and with an instrument of tempered copper3 #b4 ,auh ynic quichiqui tecpatl tlatetzotzontli4 #b4 ,and they scraped it by means of cutting flint4 #c4 ,auh ynic quicoyonia ynic quimamali teputztlacopintli4 #c4 ,and they dug it out 7hollowed7 and drilled it by means of a little tube of copper4 #d4 ,niman yhuian quixteca quipetlaua quitemetzhuia1 auh yn yc quicencaua4 #d4 ,and then they faceted it very carefully2 they burnished 7polished7 it and gave it the final luster4 #e4 ,ytech quahuitl yn quipetlaua ynic pepetlaca1 ynic motonameyotia ynic tlanextia4 #e4 ,they polished it set in wood1 so that it comes to be very brilliant1 shining1 glossy4 #f4 ,anoo quetzalotlatl ynitech quilau ynic quicencaua ynic quiyecchiua yn intultecayo tlatecque4 #f4 ,or they polish it mounted in bamboo1 and the lapidaries finish it thus1 and conclude their work4 #g4 ,auh annoiuhqui yn tlapaltehuilotl ynic mochiua ynic mocencaua4 #g4 ,and in the same manner they work and smooth amethyst4 #h4 ,achtopa quimoleua quihuipeua teputztica yn tlatecque yn tulteca ynic yyoca quitlatlalia yn qualli motquitica tlapaltic yn itaqui4 #h4 ,in the first place the lapidary artisans break into pieces the amethyst and crush it with an instrument of copper1 for they work only the beautiful pieces which are entirely reddish4 #i4 an niman yuhqui tlatlalia yn campa monequiz quimoleua tepuztica4 #i4 ,they do not set up the precious stones named in this manner1 except in the parts where it is necessary1 when they break them with the copper instrument4 #aj4 ,auh niman quichiqui quixteca yoan quitemetzhuia yoan quipetlaua ytech quahuitl yn tlapetlaualoni ynic quiyectilia ynic quicencaua4 #aj4 ,then they scrape it1 and they facet it1 and they smooth it1 and they polish it1 mounted in wood1 set on the instrument called polisher or burnisher1 and they manufacture and finish it4 #aa4 ,auh yn yehoatl yn moteneua eztecpatl ca cenca tlaquauac chicauac camo ma vel motequi ynica teoxalli4 #aa4 ,the stone called blood silex 7heliotrope7 is very hard and very strong1 and they do not cut it well with emery4 #ab4 aan motlatlapana motehuia4 #ab4 ,they break it and they cut it up in any kind of way4 #ac4 ,yoan motepehuilia yn itepetlayo yn amo qualli1 yn amo uel no mopetlaua4 #ac4 ,and they throw away the vein-stone1 the useless stone1 that which does not lend itself readily to polishing4 #ad4 an yehoatl mocui motemolia yn qualli1 yn vel mopetlaua yn eztic1 yn uel cuicuiltic4 #ad4 ,they do not take or seek except the beautiful pieces that lend themselves to good polishing1 the red-banded1 that permit themselves to be well cut4 #ae4 ,michiqui atica yoan ytech tetl cenca tlaquauac vnpa uallauh yn matlatzinco4 #ae4 ,they rub them with water and mounted in a very hard stone that comes from the country of ,matlatzinca district of ,toluca4 #af4 ,ypampa ca uel monoma namiqui1 yniuh chicauac tecpatl noyuh chicauac yn tetl1 ynic monepanmictia4 #af4 ,and because these two stones are companions1 the one to the other1 as the silex is very hard1 so the stone is hard1 they kill one another 7the one kills the other74 #ag4 atepan mixteca yca teoxalli yoan motemetzhuia yca ezmellil4 #ag4 ,then they facet and polish them by means of emery4 #ah4 ,auh atepan yc mocencaua yc mopetlaua1 yn quetzalotlatl4 #ah4 ,and they finish and polish them with bamboo4 #ai4 ,ynic quicuecueyotza quitonameyomaca4 #ai4 ,in this way they make them scintillate and give to them a luster like the rays of the sun4 #bj4 ,auh yn yehoatl motocayotia vitzitziltecpatl niman yuh yolli tlacati4 #bj4 ,and that which they call hummingbird silex 7stone of a thousand colors7 is 7in color like7 an animal of that nature4 #ba4 ,miyec tlamantli ynic mocuicuiloua1 iztac yoan xoxoctic yoan yuhquin tletl1 anoo yuhqui citlali yoan yuhquin ayauhcoamalotl4 #ba4 ,it is tinted 7painted7 in a thousand colors1 white1 blue1 clear brilliant red1 black with white spots1 and the color of the rainbow4 #bb4 an tepiton xalli ynic michiqui ynic mopetlaua4 #bb4 ,they scrape it and simply polish it with fine sand4 #bc4 ,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 motlanexyotia4 #bc4 ,the stone that they call round turquois is not very hard1 so they have no need of emery to scrape1 facet1 smooth1 or polish1 for they apply to it the bamboo1 then it receives its radiant luster and brilliancy4 #bd4 ,auh yn yehoatl teoxihuitl ca amo cenca tlaquauac4 #bd4 ,the fine turquois is not very hard either4 #be4 anno tepiton xalli ynic mopetlaua ynic moyectilia auh yn uel no yc motlanextilmaca motonameyomaca occentlamantli ytoca xiuhpetlaualoni4 #be4 ,they polish it likewise with fine sand and they give to it a very brilliant luster and radiance by the method of another polisher1 called the polisher of turquois4 ,illustration3 ,,pl4 ,,viii ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,prehistoric ,,and ,,ethnographic ,,museum1 ,,rome ,regarding the patron deities of the lapidaries1 ,sahagun has given us a detailed account which is so interesting that we translate in extenso4 ,the lapidaries who worked precious stones in the time of their pagandom adored four gods1 or better said devils3 the first was called ,chicunavitzcuintli1 the second ,naoalpilli1 the third ,macuilcalli1 and the fourth ,cintcutl3 to all these last three gods they made a festival when there reigned the sign or character called ,chicunavitzcuintli1 which is a woman1 and for this 7reason7 they painted it so3 to this 7one7 they attributed the cosmetics of the women1 and in order to signify this they painted it with a crosier in the right hand1 and in the left they put a shield1 in the which 7shield7 there was represented a foot4 ,they also put ear-ornaments of gold on it1 and from the cartilage of the nose hung a butterfly of the same metal1 and they dressed it 7the idol7 with a uipil and woman's shirt that was woven white and red1 and also the skirts3 they put on some sandals1 also colored1 having some paintings that appeared like almonds4 ,to all these four 7gods7 they gave their images or their titles1 so that they might die in their service on the day of their festival4 ,that one called ,naoalpilli they decked out1 and they cut the strands of hair in unequal lengths1 very badly cut1 disheveled or standing on ends1 and divided in two parts4 ,they put on the forehead a delicate plate of gold 7thin7 like paper1 some earrings of gold in the ears1 and in the hand a crosier decorated with rich feathers1 and in the other 7hand7 a shield made like a net1 and in four parts it had rich feathers badly placed4 ,they also dressed it with a jacket woven white and red1 with edging in the lower end3 they also put on it some colored sandals4 ,and the other god1 called ,macuilcalli1 they also composed like a man1 the hair cut in the middle of the head like a ridge1 that is called quachichiquille1 and this ridge was not of hair but made of the richest feathers4 ,they placed in the temples some plates of delicate gold1 and a jewel hung from the neck also1 made of a round and wide marine shell4 ,in the hand a crosier made of rich feathers was placed1 and in the other hand was a shield with some circles of red1 some inside the others2 they had the body painted vermilion color1 and they also put on it some sandals of the same color4 ,the other god1 called ,cinteutl1 was fashioned in the likeness of a man1 with a mask wrought like mosaic-work1 with some rays of the same 7mosaic-work71 coming out of the same mask4 ,they put on it a jacket of cloth dyed light-blue2 a jewel of gold hung from the neck4 ,they place it 7the idol7 on a high platform from which it looked out1 which platform1 called cincalli1 was composed of cornstalks after the manner of a xacal4 ,they adorned it with some white sandals1 the fastenings of which were made of loose cotton2 they say that to these gods they attribute the artifice of working precious stones1 of the making of barbotes 7the tops of helmets71 and ear-ornaments of black stone1 of crystal1 and of amber1 and of other white 7stones74 ,they also attribute to these gods the working of beads1 anklets1 strings of pearls which they carried on their wrists1 and all kinds of work in stones and chalchihuites1 and the hollowing-out and polishing of all the stones2 they said that these gods had invented it1 and for this reason they were honored as gods1 and to them the elder artisans of this craft and all the other lapidaries made a festival4 ,by night they intoned their hymns and set the captives who were to die1 on watch in their honor1 and they did not work during the festival4 ,this 7festival7 was celebrated in ,xochimilco1 because they said that the forefathers and ancestors of the lapidaries had come from that town1 and there was the place of origin of these artisans4#ci ,illustration3 ,,pl4 ,,ix ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation4 ,,new ,,york ,the ruler of the eighteenth week of the astrological calendar1 or tonalamatl1 was a goddess named ,chantico or ,quaxolotl1 also nicknamed ,chiconaui-itzcuintli1#dj from the ninth day of the thirteen-day period or week4 ,seler writes3 ,she was the goddess of ,xochimilco1 and consequently also the chief deity of the guild of the tlatecque1 of the stone cutters1 the stone polishers1 the jewelers1 who were also supposed to come from ,xochimilco4 7,duran calls her wrongly ,ciuacoatl and identifies her with the goddess of ,colhuacan1 which place stood opposite the city of ,xochimilco74444 ,besides ,chiconaui-itzcuintli the stone-cutters had still a few other titles for the goddess4 ,such were ,papaloxaual and ,tlappepalo1 i4e41 8she of the red butterfly painting10 and 8she with the red butterfly10 and these have reference to fire4444 ,the stone-cutters also gave their goddess a butterfly as her nasal ornament1 which1 red and white1 are the colors of her robe4#da ,in some of the different versions or paintings of the tonalamatl contained in old ,mexican codices1 opposite the delineation of the goddess ,chantico there is placed a fasting man in an enclosure4 ,in both ,codex ,borbonicus#db and ,codex ,telleriano ,remensis1#dc this figure is found4 ,seler describes it as-- an enclosure inlaid with gold discs or rings4 ,the interpreter designates it as 8house of gold40 ,beyond doubt this name has reference to one of the four little fasting houses 7necaualcalli7 which the hero of ,tollan1 ,quetzalcoatl1 built for himself1 and naturally corresponded to the four quarters of the heavens1 the first of which was said to be made of gold or embellished with gold 7coztic teocuitlacalli71 the second decorated with red musselshells 7tapachcalli71 the third with turquoises 7xiuihcalli71 the fourth with white musselshells 7teccizcalli74#dd ,seler draws this inference from the legend given by ,sahagun1 which we have translated in full below4 ,as often is the case1 there is some confusion in the description of ,chantico in the early writings4 ,this deity is also asserted to be a male4 ,in the explanation of the ,codex ,telleriano ,remensis the attributes of ,chantico or ,cuaxolotle are recited4 ,it is said that-- ,chantico presided over these thirteen signs 7a division of the tonalamatl1 or divinatory calendar71 and was the lord of chile or of the yellow woman4 ,he was the first who offered sacrifice after having eaten fried fish2 the smoke of which 7sacrifice7 ascended to heaven2 at which ,tonacotli 7,tonacatecutli1 the father of all the gods7 became incensed1 and pronounced a curse against him that he should be changed into a dog1 which accordingly happened1 and he named him ,chantico on this account1 which is another name for ,miquitlatecotle4 ,from this transgression the destruction of the world ensued4 ,he was called ,nine ,dogs1 from the sign on which he was born4 ,chantico or ,cuaxolotle is the symbol which the country people of ,xolotle wear on their heads4#de 7,the symbol of the city of ,xolotlan in the ,codex ,mendoza is the head of a ,dog47 ,in the ,sahagun manuscript of the ,real ,palacio in ,madrid#df the deity is painted with the shirt and skirt of a woman1 and also in the ,codex ,borbonicus#dg and the ,tonalamatl ,aubin4#dh ,in his explanation of the last codex ,seler has treated exhaustively of the various representations and attributes of this goddess4#di ,among the laws of the ,mexicans was the following3 ,they hung and very severely punished those sons who squandered the property left them by their fathers1 or destroyed the arms1 jewels1 or remarkable things that their fathers had left4#ej ,illustration3 ,,pl4 ,x ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,in another study#ea we have called attention1 as follows1 to the daily traffic of gold and precious stones in the great market of ,tenochtitlan4 ,corts describes the great market of ,tenochtitlan1 and the great quantity of things daily exposed for sale included jewels of gold1 silver1 and stones4 ,the ,anonymous ,conqueror1 in describing the great market1 states that 8on one side of the plaza are those who sell gold1 and adjoining are those who sell precious stones of various classes set in gold1 in the shapes of various birds and animals40#eb ,this refers to mosaic jewels with stone and gold inlays4 ,corts further informs us that ,montezuma had in his house representations in gold1 silver1 stones1 or feathers1 of every object of his domain1 beautifully executed2 and there is also a statement 7by ,ixtlilxochitl7 that in the collection of ,nezahualcoyotl1 king of ,texcoco1 were the representations in stone mosaic-work and gold of every bird1 fish1 or animal which could not be obtained alive4#ec ,a most interesting description is given by ,sahagun of one of the edifices erected by the ,toltecs in ,tula4 ,if true1 it clearly shows that in pre-,aztec times much more elaborately decorated buildings were erected than in the more recent period1 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 century4 ,this is corroborated by the excavations now being conducted in the ruins of ,teotihuacan1 the greatest city known to us from ,toltec times1 where some marvelous structures have been unearthed4#ed ,the temple in question is said by ,sahagun to have been built in honor of ,quetzalcoatl1 and included in its embellishment some of the most precious work of which they were capable4 ,it had four halls4 ,the eastern one 7had the walls7 covered with plates of gold1 and it was called the golden hall or house4 ,the western hall was called the hall of emeralds1 or turquoises1 because inside they had 7the walls7 covered with fine stonework1 with all manner of stones1 all placed and joined 7together7 as a coating or covering1 like work of mosaic4 ,the southern hall had the walls of divers marine shells1 and in place of any other covering1 they had silver1 which was put together so nicely with the shells that the joints were not visible4 ,the fourth hall1 the northern one1 had the walls made of colored jasper and shell1 put on in a very ornamental manner4#ee ,the fame of this temple or palace seems to have been firmly established1 as ,sahagun recurs to it in another part of his history1 but in less detail4 ,sahagun follows the fortunes of the culture hero while he was in the ascendency in ,tula1 and states that later1 owing to circumstances which it is needless to relate in this place1 ,quetzalcoatl determining to abandon ,tula1 ordered the burning of 8all the houses that he had made of silver and shell1 and furthermore commanded that other precious things should be buried in the neighboring hills and ravines40#ef ,this indicates that the mosaic-decorated building was laid in ruins1 and part of the treasure1 at least1 was buried before the inhabitants left the region and commenced the migration southward4 ,in presenting the tradition of this migration of ,quetzalcoatl1 ,sahagun states that he 7,quetzalcoatl7 is reputed to have made and erected some houses underground which are called ,mientlancalco4 ,this of course refers to the famous ruins of ,mitla1 and seems to be an authentic tradition of the ,nahuan origin of this important city of southern ,mexico4 ,it is doubly significant1 when considered in connection with the description of the mosaic-decorated buildings in ,tula1 for1 as is well known1 the dominant architectural feature of the ,mitla group of structures is the mosaic treatment of many of their outer and inner walls4 ,illustration3 ,,pl4 ,,xi ,,mask ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,it is not necessary to give more than brief attention to this application of mosaic-work in architecture4 ,the traditional mosaic-decorated buildings of ,tula have disappeared1 but the structures of ,mitla are still standing in an excellent state of preservation1 and moreover are easily accessible to travelers by rail and automobile2 therefore they have been visited and admired by more people than perhaps any ruins in ancient ,america4 ,in the embellishment of the walls a true mosaic decoration was employed1 differing in kind only from the turquois mosaic on small objects4 ,geometric patterns were produced by fitting together small stones of different shapes and sizes1 some of which were more deeply imbedded than others1 so that the designs were traced out by the stones which projected more than others2 in single panels1 several planes were necessary to bring out the desired patterns4 ,in many cases the stones are so neatly fitted that the joints can hardly be traced4 ,we have written elsewhere that-- 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 ,america4 ,the workmanship revealed in the stonework1 the elegant precision with which the stones are laid and carved1 is not equaled in any of the ,mayan ruins4 ,however1 as noted by ,holmes1 the geometric fretwork mosaics differ from the great faades of the ,mayan buildings 8in subject matter rather than in kind1 for the decorated surfaces there1 though depicting animal forms1 are mosaics in the sense that they are made up of separate hewn or carved stones set in mortar to form ornamental designs40#eg ,,objects ,,decorated ,,with ,,mosaic ,in the ancient chronicles are found many descriptions of the employment of mosaic-work decoration in the central ,mexican region4 ,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 intervals4 ,the rulers and the priests and members of the so-called nobility used such objects on these occasions4 ,the major employment of the mosaic art seems to have been for the adornment of objects or ornaments used ceremonially1 such as crowns or head-bands1 helmets1 masks1 shields1 scepters1 ear-ornaments1 nose-ornaments1 breast-plates1 bracelets1 and anklets4 ,the material on which the mosaic incrustation was placed was chiefly wood1 but gold1 shell1 bone1 and stone were also used4 ,small figures of the gods1 either in human or in animal form1 as well as musical instruments1 were thus adorned4 ,there are also indications that pottery vessels were sometimes decorated by embedding turquois in the clay4 ,unfortunately we still possess only scant knowledge of the various objects ornamented in this manner4 ,in the data obtained from the early chronicles there is abundant evidence that1 in the central plateau of ,mexico during the period immediately preceding the ,spanish conquest1 the art was highly developed4 ,visual evidence is at hand in the few beautiful examples now in ,european museums1 specimens which were sent across the water by ,corts during the earliest period of the conquest1 between the years #aeah and #aebe4 ,a few references from some of the early writers regarding the use of turquois mosaic by the ,aztecs will be presented4 ,illustration3 ,,pl4 ,,xii ,,mask ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,stone idols were often decorated with mosaic incrustations4 ,andrs de ,tapia describes an idol probably representing ,huitzilopochtli1 showing this type of embellishment1 in the great temple at ,tenochtitlan4 ,tapia's account is worthy of attention1 for he was one of the captains of ,corts1 and took a prominent part in the capture of the capital of ,montezuma4 ,he writes3 ,there were two idols on two pedestals1 each one of the bulk of an ox2 the pedestals measured a yard in height1 and above these 7were7 two idols1 each one almost three yards in height1 of polished grain3 and the stone was covered over with nacre1 which is the shell in which pearls are created1 and over this 7mother-of-pearl71 fastened with bitumen after the manner of paste1 were 7set in7 many jewels of gold1 and men1 snakes1 birds1 and histories 7hieroglyphs71 made of small and large turquoises1 of emeralds and amethysts1 so that all the mother-of-pearl was covered1 except in some places where they left it 7uncovered7 so as to make work with the stones4 ,these idols had plump snakes of gold 7as7 girdles1 and for collars each 7one had7 ten or twelve hearts made of gold1 and for the face a mask of gold and eyes of mirror 7obsidian or iron pyrites71 and they had another face in the back of the head like the head of a man without flesh4#eh ,pomar describes the idol of ,huitzilopochtli as of wood1 8having on the breast a jewel of turquoises set in gold1 with some gold bells 7hanging71 and on the face 7were7 two stripes of gold and two of turquoises1 very beautifully wrought and placed40#ei ,in describing this idol1 ,bernal ,daz writes that 8the whole body was covered with precious stones1 and gold and pearls1 and with seed pearls stuck on with a paste that they make in this country out of a sort of root1 and all the body and head was covered with it1 and the body was girdled by great snakes made of gold and precious stones40 ,he goes on to mention another idol close to it1 which held 8a short lance and a shield richly decorated with gold and stones40#fj ,concerning the ancestral treasure of the ,aztecan kings which ,montezuma inherited from his father ,axayacatl1 finally exacted by ,corts from the unfortunate ruler1 ,bernal ,daz describes 8three blowguns with their pellet molds and their coverings of jewels and pearls1 and pictures in feathers of little birds covered with pearl shell1 and other birds1 all of great value4#fa ,tezozomoc1 in describing the great sacrifices offered to the god ,huitzilopochtli in honor of the coronation of ,montezuma1 and the presents brought by neighboring chiefs and lords as tributes from the various towns under their jurisdiction1 writes3 ,in the center of the great square there was a building 7xacal7 where was the teponaztli1 and the great tlapanhuehuetl with which they made music4 ,on the xacal was the device of the ,mexican arms with a small peula 7rock87 of painted paper1 like a natural rock1 with a great cactus 7tuna7 on it1 and on the cactus a royal eagle having in its claws a great mangled snake1 and the eagle had a crown of doubled or twisted paper very well 7made7 and gilded1 and 7with7 very rich stone mosaic-work round about it1 in the ,mexican custom called teocuitla amayxcuatzolli4#fb ,at this festival ,montezuma had the king of ,aculhuacan attired in special raiment1 which ,tezozomoc describes as 8a netted mantle with much rich stonework in the knots of the mantle1 and with little gold bells hanging from the fringe4#fc ,according to ,sahagun1 ,xiuhtecutli1 god of fire1 wore 8earrings in the holes of the ears worked with mosaics of turquois4444 ,in his left hand he carried a shield with five greenstones called chalchihuite1 placed like a cross on a round gold plate1 which nearly covered the whole of the shield40#fd ,illustration3 ,,pl4 ,,xiii ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,chalchihuitlicue1 goddess of water1 fountains1 and rivers1 wore earrings of turquois fashioned in mosaic-work4 ,in describing the idol of ,quetzalcoatl1 ,sahagun says that1 for ceremonial occasions1 ear-ornaments of turquois mosaic were placed on it1 and 8in the right hand was placed a scepter like a bishop's crosier or staff1 the upper part crooked like a bishop's staff1 and wrought with stone mosaic-work40 ,in treating of the presents sent to ,corts by ,montezuma we have already given the description of the paraphernalia pertaining to this deity4 ,this scepter is there described as having 8the crook like the head of a snake turned around or coiled40 ,in the codices the god or his priest is represented with this staff with a crook1 but the serpent-headed scepter is shown by ,sahagun 7manuscript of the ,real ,palacio1 ,madrid1 estampa ,,vii1 fig4 #a7 as part of the ceremonial outfit of ,huitzilopochtli 7fig4 #e74 ,the body of the serpent is painted blue1 representing the scales done in turquois mosaic4 ,illustration3 ,,fig4 #e ,in describing the god ,tezcatlipoca1 ,pomar states that he was represented with 8a mask with three stripes 7vetas7 of espejuelo 7either transparent lamellated gypsum selenite1 or more probably obsidian71 and two of gold1 which crossed over the face40#fe ,the idol was fashioned from wood in the figure of a man4 ,espejuelo1 he states1 was a kind of shining metal called tezcapoctli4 ,in the invocation to the god ,paynal1 which has been preserved to us in the original ,mexican tongue by ,sahagun1 is the strophe1 8yxiuh chimal1 xiuhtica tlatzaqualli chimalli imax mani10 which has been translated by ,seler1 8the blue shield1 covered with the turquois mosaic1 hangs from his arm 444 he carries the 7blue mosaic7 shield40#ff ,this chapter was copied by ,seler from the manuscript in the ,real ,palacio1 ,madrid4 ,in the reproduction of the pictorial part of the manuscript published in colors by ,troncoso1 we find the representation of this deity1 in which the mosaic shield is graphically drawn and painted blue 7see our fig4 #gj1 p4 #ag74 ,sahagun 7book #a1 chap4 #b7 briefly describes 8this god called ,paynal1 who was a kind of under-captain of ,huitzilopochtli40 ,he is said to have been a man adored as a god4 ,the ,anonymous ,conqueror affords valuable information regarding the use of shields4 ,he says3 ,they use shields of various kinds1 made of thick reeds which grow in that country1 interwoven with cotton of double thickness1 and they cover them with precious stones 7turquois mosaic-work7 and round plates of gold1 which make them so strong that nothing can go through them1 unless from a good crossbow4 ,some arrows1 it is true1 pierced them1 but could do no harm4 ,and because some of these shields have been seen in ,spain1 ,i say that they are not of the kind borne in war1 but only those used in the festivals and dances which they are accustomed to have4#fg ,in his chapter devoted to a consideration of 8the finery that the lords used in their dances10 ,sahagun mentions 8bracelets of mosaic-work made of turquoises10 and also 8masks worked in mosaic1 and 7having7 false hair such as they now use1 and some plumes of gold which came out of the masks40 ,he further describes the costumes1 as follows3 ,they also wear attached to the wrists thick bands of black leather made soft with balsam1 and decorated with a large bead of chalchihuitl or other precious stone4 ,they also wore labrets of chalchihuitl set in gold1 placed through the flesh1 although they do not have this custom now4 ,they also have these ornaments made of large rock-crystals1 with blue feathers set in them1 which give them the appearance of sapphires4 ,they wear also many other precious stones protruding through openings made in the lower lip4 ,the noses of the great lords are also pierced1 and they wear in the openings fine turquoises and other precious stones1 one on each side4 ,they wear also some strings of precious stones around the neck2 they wear a disc of gold hanging from a collar1 and in the middle of it a plain precious stone1 and around the circumference some pendants of pearls4 ,they use bracelets of mosaic-work made of turquois1 with some rich feathers which come out from them higher than the head1 and bordered with rich plumes and gold1 and some bands of gold which rise with the feathers4#fh ,illustration3 ,,pl4 ,,xiv ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation4 ,,new ,,york ,the distinctive head-band or crown worn by the ,mexican rulers is mentioned by numerous early writers and illustrated in many codices4 ,it was known as the xiuhtzolli or xiuhuitzontli1 and was called also copilli4 ,we have selected for illustration 7fig4 #f7 two examples from the codices4 ,the first 7a7 is taken from the ,sahagun manuscript of the ,real ,academia de la ,historia1 ,madrid 7estampa ,,xvii74 ,this page contains pictures of a number of ,aztecan rulers1 all represented with the turquois-mosaic crown painted blue4 ,moreover1 the hieroglyphic name of ,montezuma1 here placed above his head1 is a mosaic crown4 ,the crown itself was of gold1 on which the turquois mosaic was placed4 ,the other example 7b7 is from the ,tribute ,roll of ,montezuma 7,peafiel edition1 pl4 ,,xix74 ,it is part of the hieroglyph for the place-name ,tecmilco1 signifying 8the lands of the royal crown10 the combination being the crown painted blue resting on the sign for cultivated land4 ,our figure shows a plain gold crown1 but it is painted blue in the codex4 ,illustration3 a ,,fig4 #f b ,a copper crown from ,tenango1 ,state of ,mexico1 has been figured by ,peafiel4 ,it is properly a head-band with a triangular projection with rounded top which rose from the forehead1 and was probably worn by a warrior or sub-chief4#fi ,in this work ,peafiel illustrates the mask in ,rome 7see our pl4 ,,vii71 and states that the upper part is a xiuhhuitzolli1 or turquois-mosaic crown4 ,we will discuss this point later4 ,many years ago1 in ,mexico1 the writer heard of a gold copilli as having been found in the ,matlaltzincan region near ,toluca1 but was never able to verify the story4 ,a few extracts from the chroniclers1 relating to these golden crowns with turquois mosaic1 follow4 ,in the ,codex ,cozcatzin the ,aztec king ,axayacatl is represented with the xiuhuitzontli1 the turquois mosaic-work head-band4#gj ,in the selection of ,ahuitzotl as king1 ,tezozomoc writes3 ,they put on him the crown which was blue1 of rich stone mosaic-work1 7in shape7 like a half miter called xiuhtzolli 7or xihuitzolli71 and also placed on him1 among other things1 a netted mantle strewn with small stonework4 ,this formed part of his costume when he went to the temple of ,huitzilopochtli to worship4 ,when adored by neighboring subjugated tribes he wore a crown of gold 7adorned7 with much stone mosaic-work of a half miter shape1 and on the left shoulder was put a sash called matemacatl which was all gilded and enameled with fine stone mosaic-work1 which was also called teocuitla cozehuatl1 as we now speak of a shoe-ribbon1 and on the foot was placed something like an anklet of acero sic strewn with emerald stones1 all gilded4#ga ,duran states that among the offerings buried with the ,aztec king ,ahuitzotl were 8crowns of the fashion that they used1 of gold and of stone mosaic-work40#gb ,it is related by ,tezozomoc that after the death of ,netzahualpilli1 king of ,texcoco1 ,montezuma assembled the senate of ,aculhuacan in order to select a new king4 ,the choice fell on the fifth son1 ,quetzalacxoyatl4 ,in the ceremony of investiture they placed on him 8the blue crown or forehead-band decorated with stone mosaic-work40#gc ,the ,anonymous ,conqueror writes3 ,to guard the head1 they carry things like the heads of serpents1 tigers1 lions1 or wolves with open jaws1 and the head of the man is inside the head of the creature as if it was being devoured4 ,they are of wood covered over with feathers and with jewels of gold and precious stones1 which is a wonderful sight4#gd ,from ,alonso de ,molina's ,vocabulario ,mexicano 7,mexico1 #aeee1 reprinted #aega7 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 objects4 ,the following are some of the more common3 nacochtli1 ear-plugs2 tentetl1 labret2 yacaxuitl1 nose-ornament2 copilli1 crown2 xiuhxayacatl1 mask of turquois mosaic2 xayacatl1 mask2 cactli1 sandal2 tilmatl1 mantle2 amaneahapantli1 mantle for lords richly wrought2 teopixcatla-quemitl1 vestment of priests2 ecaceuaztli1 fan2 chimalli1 shield2 teteotl1 stone idol2 tequacuilli1 large stone idol or statue2 xiuitl1 turquois2 tlaquauac xiuitl1 hard turquois2 xiuhtomolli1 turquois2 omichicauaztli1 bone musical instrument2 ayacachtli1 rattle4 ,illustration3 ,,pl4 ,,xv ,,mask ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,,existing ,,specimens ,,of ,,mosaic ,we will now consider the existing specimens of mosaic-work4 ,it has been demonstrated1 by the extended quotations from the old chronicles and codices1 that this art was considerably employed in adorning objects of a special nature in connection with the dress of kings1 nobles1 warriors1 and priests1 and the paraphernalia of the gods4 ,we have at present no actual examples of many of the objects which we have learned were thus ornamented1 consequently whatever conception we may gain by a study of existing specimens will give us an inadequate idea of the art4 ,it is evident that the most elaborate works in stone mosaic sent to ,europe1 as noted in the inventories1 have not been preserved1 a fact borne out by the descriptions in the early accounts of the discovery and 8things0 of ,mexico4 ,moreover1 many of the pieces now in ,european museums are either in a poor state of preservation or are incomplete4 ,until recently only twenty-four major examples of mosaic-work had come to light and been placed on record by printed description and illustration4 ,of these twenty-three are in ,europe4 ,the other specimen was found a few years ago in a cave in ,honduras1 and for some time was exhibited in the ,national ,museum at ,washington1 but later came into the possession of the ,museum of the ,american ,indian1 ,heye ,foundation4 ,the twenty-three known specimens in ,europe were probably all sent to the ,old ,world by ,corts or his companions4 ,some years ago an ,indian found a deposit of ceremonial objects of wood1 incrusted with mosaic-work1 in a cave in the mountains of the ,mixteca region of the ,state of ,puebla4 ,these specimens1 seventeen in number1 are now exhibited in the ,museum of the ,american ,indian1 ,heye ,foundation4 ,the chief object of this monograph is to describe and illustrate this unique collection4 ,we are also now enabled to record and illustrate1 through the courtesy of the officials of the ,peabody ,museum1 ,harvard ,university1 four other objects decorated with mosaic-work4 ,these were found in the sacred cenote at the ruins of ,chichen ,itza1 ,yucatan1 and are now exhibited in the ,central ,american hall of the ,museum mentioned4 ,this brings the number of known specimens to forty-five1 of which twenty-two are in the ,united ,states1 and twenty-three in ,europe4 ,these specimens are now preserved in the following museums3 ,british ,museum1 ,london1 nine specimens4 ,prehistoric and ,ethnographic ,museum1 ,rome1 five specimens4 ,ethnographical ,museum1 ,berlin1 three specimens4 ,state ,natural ,history ,museum1 ,vienna1 three specimens4 ,national ,museum1 ,copenhagen1 two specimens4 ,museum1 ,gotha1 one specimen4 ,museum of the ,american ,indian1 ,heye ,foundation1 ,new ,york1 eighteen specimens4 ,peabody ,museum1 ,cambridge1 four specimens4 ,in this census are not included the minor objects with mosaic decoration1 which we will also describe4 ,of the forty-five pieces enumerated1 all but three are of wood2 two are human skulls1 and one a human femur4 ,as the ,european specimens have hitherto been described1 and in some instances their history traced to the middle of the sixteenth century1 it will be necessary only to refer the student to these studies1 note of which will be found in the bibliography at the close of this volume4 ,in the present study we have assembled photographs or drawings of all of these major specimens1 as well as of nearly all the minor pieces1 and drawings of some of the mosaic objects represented in color in the codices4 ,our pictorial record is therefore practically complete4 ,,minor ,,examples ,the use of mosaic incrustation in the decoration of stone idols is illustrated in pl4 ,,ii4 ,this stone figure1 #c feet #aj inches high1 came from ,cozcatlan1 district of ,tehuacan1 ,puebla1 and is now preserved in the ,national ,museum of ,mexico4 ,it represents the goddess ,coatlicue1 mother of ,huitzilopochtli1 the ,aztecan war god4 ,the ,sahagun manuscript in the ,real ,palacio1 ,madrid1 represents this deity with a rattlesnake girdle around the waist2 held in the right hand is a staff in the form of a rattlesnake with the head downward1 and having depending feathers projecting from the rattles1 which are opposite the face of the figure4 ,above the deity is the caption 8,yztac ciuatl coatlicue40 ,this statue1 together with another1 of colossal size1 also in the ,museo ,nacional of ,mexico1 has often been denominated ,teoyamiqui1 and again at times it has been called ,mictecacihuatl4 ,the turquois decoration is still preserved in the statue illustrated1 in the incrustation of the circular ear-ornaments and in the discs of mosaic in each cheek4 ,the teeth are made of white shell2 the inner part of the mouth is of red shell2 the nose is inlaid with white shell4 ,there are traces of incrustation around the eyes1 but this mosaic feature is practically destroyed4 ,in the breast is set a circular mirror of iron pyrites4 ,around the upper part of the forehead are small holes which probably at one time contained stone or shell inlays4 ,a poorly colored representation of this idol has been published by ,brocklehurst1 with the title 8,teoyamiqui1 goddess of death40#ge ,illustration3 ,,pl4 ,,xvi ,,mask ,,of ,,wood1 ,,mosaic ,,decoration ,,missing ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,one of the most interesting uses of turquois-mosaic decoration was in the embellishment of wooden covers for the ancient books or codices4 ,we are fortunate in still having preserved even a single example bearing traces of this art4 ,in #ahif the ,due de ,loubat had reproduced the first of his series of ,mexican codices1 being the first to appear in exact facsimile1 even to the ancient binding4 ,this work was ,codex ,vaticanus ,no4 #cggc1 a pre-,columbian ,nahua picture-writing preserved in the ,vatican ,library4 ,in a pamphlet by ,francisco del ,paso y ,troncoso which accompanies the reproduction is an interesting description of the book1 from which we quote with respect to the covers3 ,it is of fine and thin wood4 ,each cover measures six by five inches4444 ,the wood of the covers is whitish1 and traces of the brilliant lacquer which covered it may still be seen4444 7,one7 cover bears a character which shows us that this is the point at which to begin the reading of the book4 ,as in modern binding the first cover bears a lettering or coat-of-arms2 so too1 as a rule1 the ,indians indicated the beginning of their books1 and placed on the first cover the decorative incrustations which indicate that here is the first page4444 ,on the center of the cover1 placed two in a line1 are four reliefs4 ,at first these appeared to have been made by impression on the lacquer1 but ,monseigneur ,francisco ,plancarte1 who examined them with a microscope1 has discovered that they are composed of a paste with which the ,indians fasten precious stones in their settings1 and in these incrustations we have the impress left by the inequalities of the materials once fixed on the surface4 ,one round greenstone is left1 of the kind used by the ,mexicans in their mosaics2 it is on the upper right-hand corner of the volume1 when held ready to be opened4 ,below it1 in the lower right-hand corner may be observed a corresponding conical shaped depression1 and the remains of the lacquer in which a stone was fixed4 ,in the other angles there is no trace of anything1 proving that nothing existed there of the same kind as that which remains4 ,in the ,loubat reproduction all these features are faithfully represented1 even to the single greenstone remaining in place4 ,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 ,history1 under the direction of the writer1 during the winters of #ahih and #aijb4 ,in mounds locally called mogotes were discovered stone burial chambers in which skeletons interred with numerous offerings were uncovered4 ,in the burial vaults at ,xoxo1 excavated in #ahih1 practically no personal ornaments were found1 but fragments of mosaic objects were discovered in the form of bits of shell1 obsidian1 jadeite1 turquois1 and hematite1 on fragmentary stucco matrices4#gf ,illustration3 ,,pl4 ,,xvii ,,mask ,,of ,,wood ,,with ,,mosaic ,,decoration ,,from ,,honduras ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,in the graves and tombs at ,cuilapa were discovered many personal ornaments made of jadeite1 amazon stone1 and turquois4 ,in an excavation made during ,january1 #aijb1 in the great temple mound1 or teocalli1 dominating the group of mogotes at ,cuilapa1 a grave was discovered on the summit at a depth of six feet from the surface4 ,it contained the skeleton of a child1 whose bones1 together with the accompanying artifacts1 were stained bright-red by hematite paint which had been thrown into the grave4 ,surrounding the skeleton were seventeen greenstone idols in the form of human figures2 more than four hundred beads of greenstone and jadeite of varying sizes2 thirty-five shells of various kinds1 perforated for suspension2 bits of mother-of-pearl1 obsidian1 and hematite1 which evidently were fragments of disintegrated mosaic objects2 but the most interesting objects recovered were a pair of small discs of pottery1 upon the flat upper surfaces of which were cemented small pieces of very thin1 highly-polished hematite1 placed in mosaic4 ,these last were undoubtedly mirrors1 although from the small perforation in the center of each we are inclined to regard the pair as having been used also as ear-ornaments4 ,one of these specimens should be in the ,museo ,nacional of ,mexico1 where it belongs2 the other is in the ,american ,museum of ,natural ,history4 ,the latter1 now illustrated for the first time 7fig4 #g71 is an inch and three-quarters in diameter1 and an eighth of an inch in thickness4 ,our reproduction of this interesting object has been made possible by the courtesy of ,dr4 ,clark ,wissler1 ,curator of ,anthropology4 ,illustration3 ,,fig4 #g ,an interesting specimen of the combination of gold with turquois mosaic in jewelry has been recently figured in colors1 and described by the writer 7see fig4 #h74gg ,it is in the form of a shield1 with four arrows or darts and pendent bells1 and has an extreme length of three and one-eighth inches from the top of the shield to the bottom of the central bells4 ,we have described in detail the meaning of the hieroglyph formed by the mosaic-work1 and shown that the brooch-like jewel was the insignia of one of the four principal chiefs of the ,aztecan army1 who governed one of the four wards1 or calpullis1 into which ,tenochtitlan1 the capital of ,montezuma1 was divided4 ,as a matter of fact1 the jewel was found in a grave in ,yanhuitlan1 in the ,mixteca region of ,oaxaca4 ,it is the only known specimen that shows turquois set on gold1 a combination to which we have called attention1 in quoting from ,sahagun and others1 regarding turquois mosaic on crowns1 bracelets1 and other gold objects for personal adornment4 ,illustration3 ,,fig4 #h ,in the collections of the ,museum of the ,american ,indian1 ,heye ,foundation1 are three mirrors faced with highly-polished marcasite on their original matrices1 apparently slate--the only specimens of this character that we have seen4 ,two of these mirrors1 which were collected by ,william ,niven from ancient graves near ,iguala1 ,guerrero1 are perforated for suspension1 and all three average five inches in diameter and a quarter of an inch in thickness4 ,with these mirrors were found numerous little unpolished cubes of iron pyrites1 which may have been intended for use in mosaic-work4 ,there are1 however1 a number of rather thin1 flat1 irregularly shaped pieces1 with very thin matrix of stone1 and with beveled edges1 which unquestionably have been parts of mirrors made in mosaic fashion similar to those found in the ,cuilapa grave1 the only difference being that the inlays from ,iguala are larger and thicker than those on the ,cuilapa specimens1 which are simply thin sheets of hematite4 ,the region where the ,iguala specimens were discovered was probably the seat of a people of ,nahuan culture4 ,illustration3 ,,pl4 ,,xviii ,,mask ,,of ,,human ,,skull ,,with ,,mosaic ,,decoration ,,ethnographical ,,museum1 ,,berlin ,in #aijh ,dr4 ,manuel ,gamio conducted an important excavation of an ancient building at the site known as the monuments of ,alta ,vista1 near ,chalchihuites1 ,zacatecas1 in northern ,mexico4 ,in a large chamber called the ,hall of the ,columns1 ,gamio found two mosaics in a small circular compartment in the concrete floor4 ,one of these was a disc of yellow pottery encircled by a ring of wood1 the entire object being about two and three-quarters inches in diameter and three-eighths of an inch thick4 ,the wooden ring bore traces of a coating of resin1 and many tiny bits which formed the mosaic incrustation were found with it1 although not in place4 ,the bits that had formed the mosaic were thin plates of worked turquois1 beryl1 and steatite4 ,from the fact that the disc contained perforations1 evidently for suspension1 ,gamio described it as a breast ornament4 ,the other mosaic piece ,gamio believes to have been a labret4 ,he writes that 8at first glance its shape may be described as resembling the bridge of a violin4444 ,its nucleus is wood1 carved to represent two symmetrical figures of an alligator 7caiman71 united at the belly4 ,crowning the head are two head plumes1 each having two branches4 ,above the point of union of the two reptiles there is a square projection with a perforation40#gh ,the surface of the ornament had been covered with small spherical plates of turquois1 beryl1 and steatite4 ,near these two mosaic ornaments were found numerous small pieces of turquois and beryl of different shapes4 ,in ,october1 #aiba1 the ,spanish newspaper ,la ,prensa1 ,new ,york1 published a short account1 received by letter from the ,city of ,mexico1 describing what purported to be an extraordinary discovery made early in the autumn4 ,it related to the finding of a stone mask decorated in mosaic1 discovered by one of the assistants of the ,museo ,nacional in a sepulchral chamber in ,guerrero4 ,this mask was described as being about eight inches high1 the human face being partly covered with an incrustation of small pieces of turquois1 with small bits of coral shell above the eyebrows and below the nose4 ,each eye was formed by an oval piece of pearl shell1 with pupils of hematite4 ,the mosaic covering was missing from the upper part of the forehead and the chin4 ,the newspaper ,excelsior of ,mexico ,city1 under date of ,october #bj1 #aiba1 published a photograph of the specimen and a detailed study of the object in a statement signed by ,jos ,mara ,arreola1 a member of the staff of the ,department of ,anthropology in the ,city of ,mexico4 ,in this statement ,arreola casts doubt on the authenticity of the specimen1 pointing out that none of the known pieces of mosaic-work in ,european collections are of stone2 that the surface of the mask is polished1 which would make it difficult for the incrustation to have adhered during centuries of burial2 that there are no traces of dirt in the cracks between the pieces of turquois1 and finally he calls attention to a strong odor of glue which pervades the object4 ,these arguments seemed sufficient to cast serious doubt as to the genuineness of the mosaic decoration of the mask4 ,no such question was raised in regard to the mask itself4 ,in a brief article entitled 8,una ,mascara de ,mosaico ,falsificada10 published in ,ethnos 7nos4 #h-ab1 dated ,mexico1 ,nov4 #aibj-,mar4 #aiba71 the same writer categorically asserts that the specimen is fraudulent1 and calls on the reputed finder1 ,sr4 ,don ,porfirio ,aguirre1 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 discovery4#gi ,illustration3 ,,pl4 ,,xix ,,mask ,,of ,,human ,,skull ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,precious and semi-precious stones were occasionally inserted singly for decorative purposes4 ,in this respect we may simply refer1 in passing1 to the custom in ancient ,mexico and ,central ,america of decorating the teeth by inserting inlays in the upper incisors1 turquois1 jadeite1 hematite1 obsidian1 and rock-crystal having been used in such manner4 ,rarely two1 and in one instance three1 insets have been found in a single tooth2 but this form of decoration can in no sense be considered as mosaic4#hj ,another example of the use of turquois as an inlay is supposed to be unique4 ,many years ago we obtained from ,don ,francisco ,belmar a beautiful tripod vessel supporting against the side a polychrome human figure in the round1 representing the god ,macuilxochitl1 god of dance and sport--the deity represented with the painted design around the mouth4 ,it is not necessary here to discuss the question raised by ,seler regarding the attributes and representations of the two analogous gods ,macuilxochitl and ,xochipilli4 ,the vessel here seems clearly to be ,macuilxochitl1 corresponding with that given by ,sahagun in the manuscript of the ,real ,palacio1 ,madrid4 ,what is of interest is the disc of turquois inserted in the clay on the upper left-hand part of the chest1 unquestionably there placed to denote some attribute of the deity4 ,,chichen ,,itza ,,specimens ,we will now consider some interesting examples from the ,mayan ruins of ,chichen ,itza1 ,yucatan1 which were found in the sacred well1 or cenote1 at that site4 ,this sacred well is described by ,casares in #aijeha as arousing the admiration and awe of the ,indians even to this day4 ,it is about #dej feet north of the great pyramid known as the ,castillo1 and a paved way1 several inches high1 leads to it4 ,at the brink is a small temple4 ,the cenote is about #aej feet in diameter2 the level of the water is #gj feet below the surface1 and it is #dj feet deep1 with a deposit of mud estimated to be about #cj feet in thickness4 ,landa writes3 8,they the ,maya held ,cozumel and the well of ,chichen ,itza in the same veneration as do pilgrims now ,jerusalem and ,rome1 and so they used to visit them1 carrying their offerings chiefly to ,cozumel1 as holy places1 and when they could not go1 they sent them40 ,in another place this author states that 8they had the habit then of throwing into this well living men as sacrifices to their gods in time of drought1 and they thought that these would not die1 though they never saw them again4 ,they used also to throw precious stones and the things they most prized4 ,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 land40#hb ,casares adds3 8,what ,landa1 ,cogolludo1 and all other writers had narrated from mere hearsay1 one of the distinguished members of the ,american ,antiquarian ,society1 ,mr4 ,e4 ,h4 ,thompson1 has had the satisfaction to realize1 bringing to light the truth of these statements1 by diligent and intelligent work1 the results of which ,i will not mention1 as that grateful and honorable task belongs exclusively to him40#hc ,holmes wrote in #ahie of the sacred cenote as follows3 ,the ,sacred ,cenote is larger1 and more symmetrical than the other1 and1 occurring in the midst of the somber forest1 is a most impressive and awe-inspiring spectacle4 ,its charm is enhanced by the weird stories of human sacrifice associated correctly or incorrectly with its history4 ,the walls are nearly circular and approach the perpendicular closely all around4 ,they are diversified only by the encircling ribs and pitted grooves produced by the uneven weathering of the massive1 horizontally-bedded limestones4 ,the water has a light coffee color and looks very impure4 ,it is shallow on one side and of unknown depth on the other4 ,a small tomb-like ruin is perched upon the brink4 ,it is conjectured that this structure had something to do with the ceremonies attending the casting of victims and treasure into the terrible pool4 ,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 treasures1 but the task is a most formidable one and will require the erection of strong windlasses and efficient dredging apparatus4 ,it is doubtful if promised results warrant the outlay necessary for carrying out the work in a thorough manner4#hd ,illustration3 ,,pl4 ,,xx ,,shield ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,nevertheless1 a few years later1 as hinted by ,casares1 ,mr4 ,edward ,h4 ,thompson secured the complete confirmation of the traditions concerning the character of the cenote4 ,he brought out of the mud a most amazing archeological treasure4 ,through the kindness of ,prof4 ,a4 ,m4 ,tozzer we are enabled to include here drawings of four pieces of mosaic-work which were among the many interesting things discovered4 ,as ,professor ,tozzer and ,dr4 ,spinden are engaged in an exhaustive study of the cenote material for publication1 we will not further anticipate the results of their investigations4 ,illustration3 ,,fig4 #i ,illustration3 ,,fig4 #aj ,in figs4 #i and #aj are illustrated two small fragments of wooden objects from the cenote which still retain portions of turquois-mosaic decoration4 ,in fig4 #i the irregularly shaped piece in the center is a thin plate of gold4 ,both fragments are evidently from objects of considerable size4 ,several wooden teeth covered with the same kind of mosaic incrustation were probably from a jaguar mask or head4 ,pl4 ,,iii represents two fairly complete specimens from the cenote4 ,of these1 a is a small staff or scepter1 the face of which is covered with turquois mosaic1 and it is possible that the headdress was once similarly incrusted4 ,in b is shown a rattle of wood1 within which is a copper bell4 ,only two bits of turquois of the mosaic decoration remain4 ,illustration3 ,,fig4 #aa ,in this object we find in the ,mexican pictures an instrument analogous to the one last mentioned4 ,in both of the ,sahagun manuscripts1 that of the ,real ,palacio in ,madrid and the one in ,florence1 are representations of the deity ,xipe ,totec4 ,in the former manuscript is found the name of the god written above the figure1 ,xippe anavatlitec1 translated by ,seler as 8,xipe1 lord of the coastland40 ,he is an earth deity1 8our lord the flayed10 for he is represented wearing loosely about him a human skin4 ,he was the patron deity of the goldsmiths of the valley of ,mexico1 and is said to have been paid special homage by the people of the ,teotitlan district1 the beginning of the highway to ,tabasco4 ,in the pictures given by ,sahagun1 and in other codices1 this god carried a long staff which terminates in a kind of rattle 7fig4 #aa71 similar in shape to that found in the cenote of ,chichen ,itza4 ,it was called chicauaztli by the ,nahua1 and ,seler asserts that the rattlestick of the god ,xipe was carried1 besides him1 only by the goddesses of the earth4#he ,sahagun describes it as a scepter made after the manner of the calyx of the poppy where the seed is1 with something like the point of a dart fastened in and rising from the upper part4#hf ,the resemblance of the cenote specimen to the one shown in the ,sahagun manuscript suggests that it was brought from the ,nahuan region4 ,illustration3 ,,fig4 #ab ,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 paraphernalia4 ,several of these persons wear the typical triangular head-band or crown of the ,nahuas1 on which may be distinguished turquois-mosaic decoration 7fig4 #ab74 ,two of these priests or warriors have their faces covered with unmistakable turquois-mosaic masks 7figs4 #ac1 #ad74hg ,this points to ,nahuan influence1 and we have other instances of this influence both at ,chichen ,itza and at ,uxmal4 ,we are thus led to the belief that the mosaics recovered from the cenote were brought to ,chichen ,itza from ,nahuan territory4 ,illustration3 ,,pl4 ,,xxi ,,shield ,,of ,,wood ,,with ,,mosaic ,,decoration ,,state ,,museum ,,of ,,natural ,,history1 ,,vienna ,another example of a turquois mosaic mask in stone sculpture is found at the back of the profile face1 in front of the ear1 of the human figure carved on the front of stela #aa at ,seibal1 in the region of the upper ,usumacinta1 ,department of ,peten1 ,guatemala4 ,it was photographed by ,maler in #ahie1 and illustrated and described by him in his monograph1 ,explorations of the ,upper ,usumatsintla and ,adjacent ,region 7,memoirs of the ,peabody ,museum1 ,harvard ,university1 vol4 ,,iv1 no4 #a1 ,cambridge1 #aijh74 ,morley has deciphered the date on this stela as #aj4a4j4j4j1 corresponding approximately1 according to his method of correlation1 to #eij ,a4,d4 ,it appears to have been a hotun-marker1 or stone erected every five years1 and is placed in the ,great ,period of ,mayan civilization4 ,illustration3 ,,fig4 #ac ,illustration3 ,,fig4 #ad ,,major ,,examples ,the more important major specimens now remain to be considered4 ,as all these objects are of wood1 with the exception of numbers #c and #i1 we will not repeat this in our descriptions4 ,they are3 #a4 ,helmet or head-piece #b4 ,wooden masks #c4 ,skull masks #d4 ,shields #e4 ,ear-plug #f4 ,animal figures #g4 ,god figure #h4 ,knife handles #i4 ,human femur musical instrument4 ,helmet ,the helmet or head-piece on pl4 ,,iv is in the ,british ,museum1 and was first described and illustrated in colors in #ahie by ,sir ,charles ,hercules ,read4 ,from his study we take the following notes3#hh ,the helmet is hollowed out inside to fit the head and is painted green2 the exterior is carved with two projections1 perhaps intended to represent the upper mandibles of eagles4 ,the space between the inner upper part of the two beaks and the two outer faces of the beaks bears traces of red paint4 ,with this exception1 the outer surface has been covered with a mosaic of turquois1 malachite1 pearl shell1 and pink shell1 inlaid or incrusted on a bed of dark-brown gum4 ,a great number of the pieces of mosaic have fallen out4 ,it contains1 fashioned in dark-green malachite pieces1 two involved animal figures1 which ,read conjectures are rattlesnakes with crested heads4 ,judging from the plate accompanying ,read's study 7no measurements are given71 the specimen has an extreme height of #g inches and a diameter of #g inches4 ,the illustration which we reproduce1 as well as of the other specimens in ,london1 we owe to the kindness of ,t4 ,a4 ,joyce1 ,esq41 of the ,british ,museum4 ,masks ,the mask on pl4 ,v is in the ,british ,museum1 and is one of the best preserved specimens of mosaic-work from ,mexico4 ,it is of cedar1 the outer surface being covered with a mosaic of minute pieces of turquois1 of a brilliant color beneath the eyes and on the forehead1 while on the other parts the color is a poor grayish-green4 ,the face is studded with irregularly shaped cabochon turquoises4 ,the eyes1 nostrils1 and mouth are all pierced2 the first are filled with oval pieces of pearl shell1 each with a circular hole for the pupil4 ,the gum surrounding the shell and keeping it in position is gilded4 ,in the half-open mouth is a row of seven teeth of white shell set in the upper jaw4 ,on each temple is set a pierced square of pearl shell4 ,the inside of the mask is painted red4 ,its height is #f inches1 the width #f inches4 ,illustration3 ,,pl4 ,,xxii ,,back ,,of ,,shield ,,shown ,,on ,,plate ,i ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,on pl4 ,,vi is shown another mosaic mask in the ,british ,museum4 ,we follow ,read's description4 ,it is of cedar1 and the lower left-hand part of the face is missing4 ,over the face are represented two entwined serpents curving around the eyes and mouth1 and the rattle-tipped tails rest over the right and left of the forehead4 ,the whole of the surface of the mask is covered with a mosaic of turquois1 bright-blue and dull-green in color1 arranged in such manner that the two snakes are distinct in color4 ,the rattle of each snake upon the temples are modeled of the same gum as that in which the stones are embedded1 and it seems possible that they were formerly gilded4 ,the mouth of the mask is slightly open and contains teeth of white shell in the upper jaw4 ,there is a slit over each eye and a hole in each temple4 ,the inside of the mask is painted red4 ,height #f4i inches1 width #f4f inches4 ,read believes that the heads of the two snakes were on the lower checks1 which are incomplete4 ,maudslay identifies this mask with that described by ,sahagun in the chapter which we have translated 7see p4 #ad71 relating to the objects pertaining to the god ,quetzalcoatl which were presented by ,montezuma to ,corts4#hi ,in this description only one serpent is mentioned1 and ,sahagun states that 8the head with part of the body came over one eye so that it formed an eyebrow1 and the tail with a part of the body went over the other eye to form the other eyebrow40 ,in the plate the two rattles are clearly seen1 and ,holmes has published a diagrammatic drawing differentiating the bodies of the serpents4 ,if ,sahagun's description is accurate1 this specimen cannot be the one mentioned by him4 ,it is1 however1 one of the most interesting pieces of mosaic that has survived4 ,the very interesting mask of wood shown on pl4 ,,vii is in the ,prehistoric and ,ethnographic ,museum in ,rome4 ,it is one of the best preserved pieces in ,europe1 and its history is known as far back as #aeec4 ,it was purchased for the ,museum by ,giglioli from ,cosimo de ,medici for two and a half francs4 ,it was first illustrated in colors by ,pigorini1#ij and our illustration is from a photograph just received from ,rome through the kindness of ,dr4 ,s4 ,k4 ,lothrop4 ,the specimen is #aa inches high and #e inches broad1 being the tallest mosaic mask that has thus far come to light4 ,it represents a human face placed in what appears to be the flat open jaws of a snake or an animal1 a common motive in ,middle ,american art4 ,the back of the mask is flat1 and there are ovate openings for the eyes4 ,from the nose hangs an ornament of a type familiar in central ,mexico4 ,over the forehead appear what seem to be raised twined bodies of serpents1 and from the left of the upper part of the face projects the plumed head of a serpent4 ,we are unable to say if the head of the other snake once projected from the opposite side of the mask1 but it seems impossible that the artist would have made this elaborate piece so symmetrical4 ,from ,dr4 ,lothrop's notes it appears that the turquois around the sides is of a slightly faded color1 but the major portion is brilliant and glistening4 ,the materials used are turquois1 pink shell1 white shell1 mother-of-pearl1 jadeite 7for the facial lumps71 and a dull-black stone4 ,this remarkable piece is a veritable work of art1 and from the serpent motive we would class it as a ,quetzalcoatl mask4 ,illustration3 ,,pl4 ,,xxiii ,,shield ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,the other mask in ,rome 7pl4 ,,viii7 was illustrated as early as #afdh4 ,this illustration1 and the one published by ,pigorini 7fig4 #ae71 are front views4 ,our plate1 from a photograph taken for ,dr4 ,lothrop1 is a sideview presenting interesting features which are not revealed in the illustrations hitherto published4 ,the materials employed are turquois1 malachite1 pink shell1 white shell1 mother-of-pearl1 an unidentifiable black stone1 and garnet4 ,the edges of the orbits and the protruding tongue are painted red1 while the fangs are painted white4 ,on the side of the face1 below the right eye1 is the head of an alligator1 in the neck of which is set a garnet4 ,attention is called also to the peculiar nose and the curling tongue4 ,a considerable portion of the mosaic is lost4 ,this mask is larger than the masks in ,london and ,new ,york1 being #h inches high1 with an extreme length1 including the protruding tongue1 of #aa inches4 ,dr4 ,lothrop writes that in his description ,pigorini has done scant justice to this remarkable piece4 ,on pls4 ,,ix to ,,xvi are illustrated the series of masks from the cave recently discovered in ,mexico1 which are in the ,museum of the ,american ,indian1 ,heye ,foundation4 ,they fall into two classes1 those on pls4 ,,ix to ,,xii being ornamented with turquois mosaic1 and so nearly alike in workmanship that they might well be the product of one artist1 while the masks on pls4 ,,xiii to ,,xv are different in character1 the mosaic pieces being larger and coarser1 and considerable stone other than turquois was employed in the decoration4 ,they are all in a damaged condition and lack the chin4 ,all the mosaic incrustations are set in a bed of gum4 ,illustration3 ,,fig4 #ae ,the best-preserved specimen is illustrated in colors on pl4 ,,ix2 it is #g inches high1 and #f inches wide4 ,bands of light and dark turquois will be observed on the forehead and temples4 ,around the lower margin of the face is a band of blackish to dark-brown stones4 ,on the sides of the mask are two large black discs made of a composition resembling charcoal and sticky clay4 ,this substance is present in a number of the other masks1 and we venture the conjecture that it may be the material used by the goldsmiths in modeling figures to be cast in gold4 ,sahagun describes it as follows3 ,the master gives them the charcoal1 which they grind very fine4 ,and when it is ground they add a little clay1 the glutinous earth which they use in their pottery4 ,they mix the charcoal with the clay and stir it1 and knead it in such manner that the two substances constitute one solid mass4 ,and when they have the mass prepared1 they shape it into thin discs which they expose to the sun4444 ,for two days these objects dry1 and become very hard4 ,when the charcoal is well dried and very hard1 it is cut1 then carved by means of a little scraper of copper4#ia ,the tip of the nose1 as well as the chin1 is gone4 ,there are traces of red paint over the mouth and in the circular spaces on each side of the nose4 ,when the specimen was received1 the missing section of the lower part of the face was covered with a band of tin1 as in the mask 7pl4 ,,xvi7 from which the mosaic has disappeared4 ,from this circumstance we believe that the objects in this cave deposit were used by the ,indians after the ,spanish conquest1 possibly until comparatively recent times4 ,our reasons for this belief will be found in the chapter translated from ,motolinia in our conclusion4 ,if we assume that at certain intervals during centuries the ,indians resorted to the cave to worship in secret their ancient gods1 we can explain the worn condition of nearly all of these specimens4 ,undoubtedly they were preserved and treasured for many generations1 revered as precious relics of a lost but not entirely forgotten civilization4 ,there is not the slightest reason for doubting their origin in pre-,spanish times4 ,illustration3 ,,pl4 ,,xxiv ,,shield ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,the mask on pl4 ,x is #f inches high and #f inches wide4 ,it is quite similar to the one last described1 but lacks the encircling lower marginal band4 ,the outer zone is of light turquois1 with zones of a darker shade toward the center4 ,there are traces of red paint above the mouth and in the spaces on each side of the nose4 ,on the left temple are the remains of a black disc of the same material as on the other mask4 ,the right section of the mask on pl4 ,,xi is #g inches in height4 ,the turquois incrustation is light-blue in color4 ,there are traces of red paint above the mouth4 ,the black composition inlay on the temple is square1 and contains a biconical depression which does not pass through the wood4 ,around the eye is a raised design1 possibly a serpent's body4 ,the entire lower zone is at present without decoration1 and possibly was never covered with mosaic4 ,the mask fragment on pl4 ,,xii is #g inches high4 ,the small section of mosaic remaining on the forehead is dark-blue1 while that on the rest of the face is light-blue4 ,there is a black composition disc on the temple1 and traces of red paint above the mouth4 ,the marking on the plain surface on the forehead appears to be ancient4 ,we now come to the other group4 ,on pl4 ,,xiii is a mask #f inches high and #e inches wide4 ,a portion of the chin still remains1 with mosaic decoration1 indicating that the missing chins in the other masks were probably thus embellished4 ,in general appearance this specimen differs widely from those just described4 ,the pieces used in the mosaic are rougher in shape and larger4 ,a few bits of bright-green turquois are found on the forehead1 but the rest of the incrustation is a stone of a brownish- or grayish-green color4 ,the distinctive feature is the band which encircles the forehead1 running downward and ending at the sides of the nose4 ,it is of black composition1 but is highly polished1 and there are pieces of light-brown color4 ,traces of red paint appear above the mouth4 ,the mask on pl4 ,,xiv is #f inches high and #e inches wide4 ,it lacks the chin1 but still retains a goodly part of the mosaic4 ,this specimen is somewhat different in treatment from the others1 closely resembling in technique the mask fragment which follows on pl4 ,,xv4 ,the mass of incrustation is outlined by a band of single light brownish-gray stones4 ,the forehead has a mosaic of blackish and dark-green stones1 the same effect being seen on each side of the plain space at the sides of the nose1 merging into lighter zones on the cheeks4 ,red paint is above the mouth and on the spaces at the side of and below the nose4 ,this mask had a tin band or plate over the missing chin4 ,the space above the eyes is coated black1 the material being probably obtained by thinning the black composition into a coarse paint by the addition of melted gum or wax4 ,two black composition discs are on the temples4 ,the fragment of mask on pl4 ,,xv is #e inches high4 ,as before stated1 it resembles the mask just described4 ,the mosaic1 of large bits of stone1 is outlined by a line of single lighter stones4 ,the forehead contains a mosaic of greenish stones1 and the space above the ridge of the nose has a patch of light-red shell bits4 ,the space on each side of the nose and in the mouth is painted red1 while that above the eyes is painted jet black4 ,a black composition disc is on the temple4 ,the mask without mosaic on pl4 ,,xvi is #f inches high and #e inches wide4 ,the wood is of a light color1 and rather soft4 ,we have left on this specimen the tin plate which replaces the missing chin4 ,that this mask was once covered with mosaic decoration may be seen in the fragment remaining at the right side of the mouth4 ,the eyes in this specimen are semi-lenticular in shape1 differing from the others which are either ovate or lenticular in outline4 ,this closes our description of the specimens found in the deposit in the cave in the ,mixteca4 ,with them were found some fragments of native paper made of amate fiber1 two of which enclosed regularly shaped small masses of gum incense4 ,in one of these several pieces of the gum were held together by an interlaced string of flexible bark4 ,they provide further proof that the cave was resorted to for religious ceremonies or sacrifices4 ,illustration3 ,,pl4 ,,xxv ,,shield ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,the next mask to be considered1 on pl4 ,,xvii1 is the only specimen known from ,central ,america1 and with the pieces found recently in the ,mexican cave are the only major specimens found under archeological conditions4 ,this mask is #h inches high1 and the three facial projections extend #d inches from the face4 ,it is in the ,museum of the ,american ,indian1 ,heye ,foundation4 ,this interesting object was found some years ago in a cave in the mountainous region of ,honduras1 in an arroyo on the headwaters of a small stream flowing into the ,rio ,chamelecon1 about #be miles from the ruins of the ancient city of ,naco4 ,hundreds of copper bells of varying sizes and shapes were found at the same time4 ,the mask has been figured and described by ,a4 ,h4 ,blackiston1 whose description follows3 ,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 coated4 ,three greatly elongated straight projections answer for the nose and the two lips4 ,holes were cut for the eyes and two small ones on the sides for the thongs which bound it to the head4 ,a large cavity in the forehead was evidently the setting of the crowning stone of the collection1 though of what nature this was we unfortunately are unable to surmise1 as it evidently became loosened and dropped out years before its discovery4 ,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 width1 arranged in parallel rows--none of which remain at present4 ,the rest of the surface1 as noted1 was covered with small turquois mosaics1 a number of which are in place today4#ib ,skull ,masks ,the two final masks to be described are the skull masks in the ,ethnographical ,museum in ,berlin1 and in the ,british ,museum1 ,london4 ,on pl4 ,,xviii is represented the ,berlin example1 which has been described by ,uhle and illustrated in colors1 three-fourths natural size4#ic ,only the front of the skull has been used1 and it was incrusted with sky-blue to pale slabs of turquois4 ,the mask is #f inches in height4 ,our illustration is a photograph of the lithograph published by ,uhle4 ,the skull mask in the ,british ,museum 7pl4 ,,xix7 has been illustrated many times1 and is one of the best-known pieces of ,mexican mosaic4 ,it has also been repeatedly described1 so that it is not necessary to present a detailed description at this time4 ,suffice it to say that the back of the skull has been cut away1 and the front covered with five broad transverse mosaic bands1 alternating from the top downward1 of lignite 7not obsidian1 as all writers have described it1 we are informed by ,joyce7 and turquois4 ,the inside is lined with leather1 on which traces of red paint still remain4 ,shields ,richly decorated shields or chimallis played a prominent part in certain phases of the life of the ancient ,mexicans4 ,mrs4 ,nuttall1 in her interesting and instructive study1 8,on ,old ,mexican ,shields10#id has pointed out that 8all authorities agree that the shields were of two kinds4 ,the first consisted of the military shields used for protection in warfare by all grades of warriors2 the second comprised the shields carried1 for display only1 in religious dances and festivals40 ,in this study ,mrs4 ,nuttall has made the following classification of shields1 based on an extended examination of the chronicles of early writers3 #a4 ,plain1 unadorned war-shields 7yaochimalli7 of several kinds1 used by the common soldiers4 #b4 ,gala shields 7totopchimalli71 indicating the military rank and achievement of chiefs4 ,these seem to have been indiscriminately used in warfare or feasts and dances4 ,their general structure seems to have been alike in either case1 though it is obvious that they may have been more or less light and strong4 ,shields of this category sometimes reproduced one or more features of the military costume1 body-painting and adornments pertaining to each grade4 ,the shield in ,museo ,nacional is an example of this kind4 ,others exhibited the emblematic device of a militant god1 ,huitzilopochtli1 ,xipe1 ,yiacatecuhtli1 etc41 marking an order of chivalry--and to this division the ,stuttgart specimens belong4 #c4 ,shields1 presumably of the supreme war-chief1 exhibiting in picture-writing the name of his people or his personal appellation4 ,nothing certain is known about this group1 but its existence seems vouched for by a series of indications4 #d4 ,shields pictured in the codices with deities only exhibiting their emblematic devices or reproducing features of their symbolic attire4 ,such shields seem to have been carried1 in religious dances and festivals1 by the living images of the deities in whose honor they were held4 #e4 ,shields of most precious materials1 with strange and elaborate designs1 described in the ,inventories4 ,as they are not mentioned elsewhere1 it is not possible to state anything definite about them1 but it is obvious that they were intended for the use of individuals of supreme rank4 ,the beautiful shield at ,castle ,ambras belongs to this group4 ,it is1 consequently1 the sole forthcoming specimen with a valid1 though shadowy1 right to the title of 8,montezuma's shield40 ,illustration3 ,,pl4 ,,xxvi ,,shield ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,in the inventories of the ,corts loot1 #aej shields are enumerated1 mostly decorated with feathers1 but #be are specified as being ornamented with turquois mosaic1 while others were garnished with gold4 ,of the feather-mosaic shields1 one example is in ,vienna 7the shield formerly in ,castle ,ambras71 two are in ,stuttgart1 and one is in the ,museo ,nacional1 ,mexico4 ,of the turquois mosaic shields1 one is in ,london1 and one in ,vienna2 none exists in ,mexico4 ,to this number we are now able to add eight specimens in ,new ,york1 namely1 one perfect shield1 two nearly complete ones1 and five fragments1 all from the cave in the ,mixteca4 ,we have already given numerous extracts from the early writers concerning the use of mosaic shields as part of the paraphernalia of the deities4 ,in figs4 #af-ag are two representations of the god ,paynal1 holding in his right hand a mosaic shield4 ,fig4 #af is from the ,florentine manuscript of ,sahagun 7lamina #h71 while fig4 #ag is from the ,real ,palacio manuscript of the same author4 ,in the original the shield is painted blue4 ,these are the only examples we have been able to find in the ,mexican codices where the mosaic character of the shield is unquestionably delineated4 ,illustration3 ,,fig4 #af ,illustration3 ,,fig4 #ag ,we will now consider the two mosaic shields in ,europe4 ,on pl4 ,,xx is the shield in the ,british ,museum4 ,its early history is unknown1 other than that it was purchased in #ahff from a dealer who stated that it came from ,turin4 ,quite a little of the mosaic is missing1 but not enough to destroy the intricate and interesting designs4 ,it has been described by ,read1 accompanied with a drawing of the figures4#ie ,the shield is of cedar1 with a diameter of #ab inches4 ,the material used for the mosaic is turquois and shell4 ,the center of the design consists of a circle in relief1 the edge of which is divided into four equal parts by angular points in pink shell1 and each quarter of the circumference has three large but irregular pieces of shell at intervals4 ,it is a tonatiuh1 or sun disc1 and a figure of a serpent is disposed meander-fashion vertically over the entire central portion4 ,one edge of the snake is bordered with imitation studs formed of brown gum1 of which a few still preserve a covering of very thin gold-leaf4 ,the head is placed at the upper left side1 the tail ending in three feathers at the lower right edge of the circle4 ,on each side are two human figures1 and at the center1 near the top1 projecting from the body of the snake1 is a bifurcated design1 probably a tree1 upon which rests1 in a pear-shaped enclosure1 a human figure on its back4 ,through the shield are many irregular perforations1 and twenty-five small holes are regularly disposed around the edge1 possibly for the suspension of feathers1 or bits of stone1 gold1 or gold-leaf1 over gum1 may have been inserted4 ,two larger holes are near the upper margin4 ,illustration3 ,,pl4 ,,xxvii ,,shield ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,on pl4 ,,xxi we reproduce the ,vienna shield4#if ,it is larger than the ,london specimen1 being #af inches in diameter1 and the designs are not so involved as in the ,london shield4 ,unfortunately the greater part of the mosaic has fallen out1 but the figures in most cases may be traced by the impressions in the gum matrix4 ,the designs consist of two tonatiuh1 or sun discs1 placed one above the other4 ,in the upper tonatiuh is a human figure4 ,there are many examples of this motive in ,mexican sculptures and codices4 ,across the center of the shield1 between the two sun discs1 is a procession of human figures1 four each on the right and the left1 all facing the center4 ,between them is a human figure1 head-downward1 in the act of falling or plunging from the upper sun disc4 ,above this line of figures are four others1 two on each side of the sun disc1 which they face4 ,below1 facing the lower disc1 are three other figures on each side1 and lower still are two more on each side4 ,the total number of human figures1 so far as we are able to determine1 is twenty-four4 ,this shield was formerly in the ,castle ,ambras1 near ,innsbruck1 and its history is traceable to #aeif1 it being mentioned in an inventory of that date4 ,we cannot identify these two shields with those described in the ,corts inventories1 but there is no reason to doubt that they formed part of that treasure4 ,as examples of mosaic art1 they are priceless1 even in their damaged condition4 ,the circumstances attending the discovery of the shields now in ,new ,york have already been alluded to4 ,pl4 ,i is an exact reproduction in colors of one of these1 the most important example of aboriginal ,american mosaic art known4 ,it is in an almost perfect state of preservation1 and is practically of the same size as the ,london specimen1 being #ab inches in diameter1 with an average thickness of three-eighths of an inch4 ,the wood is probably cedar4 ,in a highly esthetic manner the mosaic incrustation has been set in a bed of gum1 with alternating massing of light and dark turquoises to produce bands or zones of shading in light or dark bluish-green4 ,it is estimated that nearly #ad1jjj individual pieces enter into the composition of this mosaic1 the greater number being tiny circular bits4 ,the design represents a sun disc1 with eight pointers in the outer rim4 ,inside of the innermost of the two raised narrow encircling bands is a picture of ceremonial or mythological character4 ,we hesitate at an interpretation1 but the main features may quite certainly be recognized4 ,we are of the opinion that the scene portrayed perhaps relates to the worship of the planet ,venus4 ,it is in the region where this shield was found that ,seler1 after making exhaustive comparative studies of several pre-,columbian codices1 concludes3 ,we have to look for the home of the ,codex ,borgia group of manuscripts4444 ,it was a land inhabited by ,aztec-speaking peoples2 it was conterminous with the ,zapotec territory1 and it lay on the trade-route which led to the coast1 and to the ,maya-peopled district of ,tabasco4444 ,indeed we also know that in this very region astronomic observation was highly developed1 and the ,morning ,star 7,venus7 held in special veneration4#ig ,the upper horizontal band of the shield represents the celestial region4 ,it recalls1 with its feather fringe at the top and dots hanging from the lower section1 the design around the so-called calendar stone collected by ,humboldt1 now in the ,berlin ,museum1 and the upper encircling rim above the procession of figures of the so-called stone of ,tizoc1 as well as some of the upper bands in the murals of ,mitla4 ,if this is the celestial band1 as we believe1 it is quite appropriate to find on it the tonatiuh1 or sun1 represented in the rosette in the center4 ,we find here two sets of four pointers each1 radiating from the central disc of feathers1 which surrounds a lozenge-shaped piece on which is a tiny pit below two horizontal lines4 ,in the ,real ,palacio manuscript of ,sahagun 7estampa ,,xii7 are pictures of various symbols for heavenly bodies1 one being a small disc with tiny dots1 explained by ,sahagun as being the sign for ,venus4 ,we have endeavored to identify this glyph with that of the symbol for turquois or jewel1 or the sign for chalchihuitl4 ,there is a slight resemblance1 but we hold the opinion1 as before stated1 that it is the sign for the sun4 ,we have been unable to find the exact counterpart of this combination either in the codices or in sculptures4 ,illustration3 ,,pl4 ,,xxviii ,,shield ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,we now come to a feature which is also found in the ,vienna shield1 namely1 a person falling or descending from the sun or celestial regions4 ,the injured condition of the ,vienna specimen renders it impossible to distinguish the sex of the figure1 but in the ,new ,york specimen a woman is represented1 probably a goddess4 ,on several pages of the ,codex ,nuttall ,zouche#ih 7pp4 #d1 #ai1 #ba7 are representations of human figures hanging from or plunging from the heavenly band4 ,seler has connected these scenes with the ,venus period of the ,mexican calendar4 ,attached to the band on our shield are five dots4 ,taken in connection with the eight dots below1 respectively four on each side of the hieroglyph at the bottom1 one recalls the suggestive fact that the ,mexicans were acquainted with the correspondence of eight solar years to five ,venus periods1 and reckonings connected with the correction of these two periods have been established by both ,seler and ,bowditch4#ii ,in the ,codex ,selden is found an analogous picture1 the band of the sky1 with a central tonatiuh1 and a descending human figure attached1 below which are two figures4 ,this scene has been interpreted by ,beyer#ajj as representing the solar god accepting human sacrifice4 ,in our shield1 the feature which follows in ,codex ,selden1 depicting this sacrifice1 is absent4 ,in our shield1 facing the plunging figure1 are two human figures1 one on each side1 holding something like a staff in each hand1 similar to those held in the hands of the goddess4 ,from the mouth of each of these figures protrudes an unknown object1 perhaps a conch-shell trumpet1 but it is not supported by the hands4 ,illustration3 ,,fig4 #ah ,above a horizontal band just over the bottom of the inner encircling rim is a hieroglyph4 ,it is the well-known glyph for ,culhuacan1 or ,colhuacan1 the name of an important town in the valley of ,mexico in ancient times4 ,the form of the glyph1 a mountain with a curved peak1 is derived from the tradition that the ,nahuan people originated where there was a mountain with a curved peak1 called in the ,nahuan language ,culhuacan4 ,the sign is interwoven with the legendary history of the ancient tribes in central ,mexico1 ,teuculhuacan being the province far to the north where were situated the ,seven ,caves of ,chicomostoc1 the primeval home whence sallied the ,seven ,tribes4 ,in the ,codex ,boturini ,i1 this legend is pictured4 ,in fig4 #ah are two forms of the glyph taken from the ,codex ,telleriano ,remensis4 ,on each side of this glyph on the shield are four dots1 not to be confounded with the representations of shells attached to the glyph4 ,these eight dots should have a calendric meaning1 and we might stretch our imagination and consider the glyph to be ,calli1 a day-sign and also year-bearer1 represented by the conventional figure of a house1 which would give us the date #h ,calli1 capable of being coordinated with either the year #adfa or #aeac4 ,the general character of the glyph1 however1 seems to be too well established as ,culhuacan to admit of such hypothesis4 ,illustration3 ,,pl4 ,,xxix ,,shield ,,of ,,wood 7,,fragment7 ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,in a letter to the writer ,dr4 ,h4 ,j4 ,spinden advances an explanation of the combination of the figures in this sun-disc shield4 ,with his permission we quote him verbatim3 ,i am inclined to believe that the design as a whole represents a sun shield1 the eight radiating bars being the rays1 while the celestial band1 the three human figures1 and the ,colhuacan glyph replace the parts of the sun's face1 namely1 the head-band1 the two eyes and nose 7the plunging figure in lieu of the nose71 and the mouth4 ,this may seem pretty far-fetched at first glance1 but it is quite in the spirit of ,aztec art4 ,on the ,calendar ,stone1 around the face of the sun god and the ollin symbol with the enclosed glyphs of the four ages1 is1 first1 a circle of the day signs1 second1 a circle of quincunx figures1 supposed to be the classical hieroglyphs or rather symbols of turquoises1 third1 a frieze of eagles' feathers4 ,multiple rays of different sizes complete the picture4 ,in the actual shield before us we have the turquois mosaic1 and the holes around the rim suggest that eagles' feathers may once have been attached4 ,compare the sun shield or sun basket of the ,pueblo ,indians1 and the various sun shields on ,mayan monuments4 ,now1 the sun and turquois seem to be pretty closely connected symbolically--both mean divine4 ,the hieroglyph of the sun is used for the teo1 god1 in place names1 while the prefix xiuh means divine in connection with various objects4 ,jade1 on the other hand1 means precious4 ,the sun in ,aztec ritual is pretty closely connected with riches and jewels1 and the sun disc may easily have been conceived of as a gem-studded object4 ,i think it quite possible1 therefore1 that the design on this shield was intended to symbolize the face of the sun1 and the fact that complete figures engaged in some ritualistic function replaces the parts of a realistic face does not detract from the theory4 ,the back of the shield is shown in pl4 ,,xxii4 ,through the two vertical ridges are pairs of holes1 evidently for the leather thongs for holding the shield4 ,the twenty-eight small holes around the edge of the shield were probably for the insertion of feathers or other ornaments1 as in the ,british ,museum shield4 ,in technique our shield is similar in all respects to the two mosaic shields in ,europe4 ,in all three the incrustation is in a bed of gum that has been spread over the wood4 ,we now come to the series of seven mosaic shields in ,new ,york1 shown in pls4 ,,xxiii-,,xxix4 ,in these we are dealing with a different technique1 and one which is new to us4 ,for the matrix a kind of cement like fine gritty brown sand was used in place of gum4 ,they are unfortunately in a considerably damaged state1 but two are more or less complete4 ,in these examples the wood has been roughly shaped1 and in all of them the marks of the copper or stone adzes are clearly visible1 for there was no final smoothing of the wood as in the three specimens before described4 ,the probable reason for this is seen in the shield on pl4 ,,xxiii4 ,on the face of this specimen1 on portions of the lower edge1 especially at the left1 are traces of a coarse native paper made from the amate tree1 which occurs as a band that had been glued to the wood4 ,traces of paper also are found in the same place on the shield fragment illustrated on pl4 ,,xxiv4 ,it is impossible to state definitely if this paper once extended from the edge to the raised body of the mosaic decoration4 ,on the fragmentary shield just referred to may be seen a faint black line1 made with some substance like graphite1 running partly around the circumference #a to #a inches from the edge4 ,it is probably the artist's line in arranging for some class of decoration1 perhaps delimiting the section to be covered with paper4 ,on the first shield no such line is found1 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 material4 ,there is no trace of cement1 and we are led to believe that the paper once extended over the entire plain surface of the wood4 ,parchment or soft leather may also have been stretched tightly over the outer zones of shields which show no traces of paper4 ,on this surface some type of decoration was undoubtedly placed4 ,we recall the quotation given above concerning the use of turquois mosaic decoration on paper1 in connection with the worship of the god ,huitzilopochtli4 ,feather-mosaics1 so far as we know1 were generally made either on parchment or on paper4 ,the codices were made either of leather1 parchment1 or paper1 often sized with stucco4 ,in rare cases the painting was applied directly on the paper4 ,it is undoubtedly true that one or the other of these processes of decoration completed the ensemble of the shields we are now considering4 ,illustration3 ,,pl4 ,,xxx ,,ear ,,plug ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum ,,of ,,the ,,american ,,indian ,,heye ,,foundation1 ,,new ,,york ,another point of difference in this series of shields is the material spread over the wood to receive the incrusted stones4 ,it must have solidified slowly to have allowed for the careful and laborious work of fixing the pieces in the plastic matrix4 ,in the case of the matrix of gum1 material could have been applied and would have hardened immediately1 for by tests1 even after the lapse of centuries1 we have found it possible to loosen the bits by the application of heat to the stone2 but in the case of the cement matrix this is not possible4 ,we do not know what liquid was used to harden the cement1 which is now quite friable4 ,relatively speaking1 comparatively little turquois was used in this class of mosaics4 ,different shades of a soft light-gray stone was employed in the outer zones1 while darker stones interspersed with turquois of varying shades1 some almost white1 and bits of lignite and obsidian1 are found4 ,a final unique feature may be noted in the shields on pls4 ,,xxvii and ,,xxviii4 ,in the outer band will be observed the irregular inner edges of the two lines of stones which form the border4 ,in pl4 ,,xxvii the space is filled in with a sprinkling of gritty1 almost sand-like1 bits of faded whitish-blue bastard turquois4 ,it appears to have been spattered or sprinkled on while the matrix was very soft4 ,in the case of the shield on pl4 ,,xxviii1 the material is somewhat coarser1 and consists of rough bits of the same stone used in the broad light band within the outer border4 ,these shields1 so far as we are able to judge from the fragmentary sections1 contained no pictures or figures as in the other type4 ,in general execution they are inferior in workmanship1 and less refined and finished in appearance4 ,in fact1 they constitute a quite distinct and1 up to the present1 unknown type of stone mosaic from ,mexico4 ,the first shield of this series 7pl4 ,,xxiii7 is in two fragments1 a portion of one edge being missing4 ,it has an average diameter of #ae inches1 and a thickness of one-half to three-quarters of an inch1 the mosaic disc rising one-eighth of an inch above the wood4 ,the mosaic portion has a diameter of #aj inches4 ,it appears to be a sun shield1 judging by the eight pointers which radiate from the band surrounding the circular design in the center1 which suggest a conventional representation of the sun4 ,in the center the darker bits are obsidian4 ,a portion of the matrix and of the mosaic incrustation has fallen off1 and on the matrix near the upper left is a greasy patch which may be candle grease4 ,the shield on pl4 ,,xxiv is the same size as the preceding one1 #ae inches in diameter4 ,it is also in two sections1 and a larger section of the side is missing4 ,this likewise is probably a sun shield1 but it has no pointers4 ,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 decoration4 ,in the center the black bits are lignite4 ,the next shield shown 7pl4 ,,xxv7 consists of a half section only4 ,it was slightly larger than any other shield in the collection1 having a diameter of #ae inches and a thickness of #a inch4 ,it was a sun shield1 and had four pointers identical with those on the famous calendar stone of the ,aztecs4 ,there are traces of a paper band glued around the outer edge2 the black line has already been referred to4 ,the central disc1 with the white lines made of very tiny bits1 is similar to the central part of the shield on pl4 ,,xxiii4 ,illustration3 ,,pl4 ,,xxxi ,,head ,,with ,,head-,,piece ,,of ,,wood ,,with ,,mosaic ,,decoration ,,national ,,museum1 ,,copenhagen ,illustration3 ,,pl4 ,,xxxii ,a ,,jaguar ,,head ,,of ,,wood ,,with ,,mosaic ,,decoration ,,ethnographical ,,museum1 ,,berlin ,b ,,animal ,,head ,,of ,,wood ,,with ,,human ,,face ,,in ,,open ,,jaw ,,with ,,mosaic ,,decoration ,,national ,,museum1 ,,copenhagen ,illustration3 ,,pl4 ,,xxxiii ,a ,,animal ,,head ,,of ,,wood ,,with ,,mosaic ,,decoration ,,state ,,natural ,,history ,,museum1 ,,vienna ,b ,,monkey ,,head ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,illustration3 ,,pl4 ,,xxxiv ,a ,,two-,,headed ,,jaguar ,,figure ,,of ,,wood ,,with ,,mosaic ,,decoration ,,ethnographical ,,museum1 ,,berlin ,b ,,bird ,,head ,,of ,,wood ,,with ,,mosaic ,,decoration ,,museum1 ,,gotha ,illustration3 ,,pl4 ,,xxxv ,,animal ,,figure ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,one of the most interesting specimens is reproduced in pl4 ,,xxvi1 which is #ad inches in diameter4 ,this is the only shield of the series bearing a figure4 ,it had four pointers1 which suggest a sun disc1 but the symbol seems clearly to be a conventional cross-section of a conch-shell1 the well-known and often delineated symbol of ,ehecatl1 god of the air1 one of the various attributes of the god ,quetzalcoatl4 ,in this example the light pieces of stone are larger than in any other piece1 but they are cut exceedingly thin4 ,around the outer edge of the mosaic is a faint incised line1 and three lines may be seen projecting from the pointers1 showing that the artist carried his guide-lines beyond the zone finally used4 ,the circular line is so regular that there is no doubt that the workman used our methods1 tying a piece of cord to an awl and working from the exact center of the shield4 ,the two fragments on pl4 ,,xxvii and ,,xxviii are the same size--#ae inches in diameter4 ,they are similar in workmanship2 the special feature1 the sprinkled outer band1 has already been alluded to4 ,in the first specimen an irregular cavity on the upper face was apparently filled in with cement1 traces of which remain4 ,the two holes in each shield are modern1 but the two specimens came to us joined with leather strings4 ,they are1 however1 sections of separate shields4 ,the last shield of the series 7pl4 ,,xxix7 has a height of #ad inches4 ,it comprises little more than a third of the original object1 hence the diameter must have been fully #ae inches or more4 ,as in the others1 we find the encircling bands1 but as no part of the center remains1 we do not know if it had a figure or was like the others of the series4 ,ear-plug ,with the deposit of masks and shields in the cave in the ,mixteca1 now in the ,museum of the ,american ,indian1 ,heye ,foundation1 was the unique wooden object shown on pl4 ,,xxx4 ,it is spool-shaped1 the bottom flat1 the upper part concave and covered with a mosaic of dark-green turquois1 with a central disc of dark rose-colored shell4 ,it is #a inch high1 with a diameter of #a inch at the upper and lower rims4 ,there is no doubt that this specimen was an ear-plug4 ,the sides of the spool show the small gouges of the cutting instrument with which it was fashioned1 and the entire surface not covered with mosaic was painted rose-red4 ,animal ,figures ,the specimen in the ,national ,museum in ,copenhagen1 shown on pl4 ,,xxxi1 has been described in detail by ,lehmann1#aja and our illustration is taken from his photograph4 ,it is considerably damaged1 much of the mosaic incrustation having disappeared4 ,the materials are turquois1 malachite1 shell1 and mother-of-pearl4 ,in its original state it was one of the imposing pieces of this art4 ,the upper projecting part rising from the top of the head probably simulated a plumed head-dress4 ,its extreme height is about #aj inches1 and the diameter only #c inches4 ,on pl4 ,,xxxii are illustrated two animal heads4 ,the first 7a71 a jaguar head1 in the ,ethnographical ,museum in ,berlin1 has been described in detail by ,lehmann in his paper published in the ,proceedings of the ,fifteenth ,congress of ,americanists1 held at ,quebec in #aijf4 ,it is #e inches high1 and the mosaic is composed of turquois1 malachite1 and shell4 ,the other specimen 7b7 is in the ,national ,museum at ,copenhagen4#ajb ,it seems to represent a serpent's head with a human face in the open jaws4 ,the mosaic is turquois1 malachite1 and reddish shell4 ,it has an extreme length of #ac inches and is #h inches high4 ,much of the incrustation has fallen off4 ,the animal head shown on pl4 ,,xxxiii1 a1 is in the ,vienna ,museum1 and has been illustrated by ,heger in three views4#ajc ,our drawing is the side-view1 after ,heger4 ,this object is #d inches long from front to back4 ,much of the mosaic has fallen away1 and the pieces of jadeite1 obsidian1 and shell are larger and the work is generally coarser than in any of the other examples in ,europe4 ,heger's photographs depict a leather thong issuing from a hole at the back of the head4 ,illustration3 ,,pl4 ,,xxxvi ,,double-,,headed ,,serpent ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,illustration3 ,,pl4 ,,xxxvii ,,figure ,,of ,,wood ,,with ,,mosaic ,,decoration1 ,,god ,,xolotl ,,state ,,museum ,,of ,,natural ,,history1 ,,vienna ,the other mosaic on this plate 7b7 is in the ,british ,museum4 ,it represents a monkey-like head of white wood1 with open mouth4 ,the mosaic coating is of turquois1 malachite1 and other stones4 ,the back has a hemispherical depression coated round the sides with a thick layer of brown gum1 smoothly finished1 containing some woolen threads4 ,the turquoises are chiefly of the pale-greenish variety1 but above the sides of the mouth are two patches of bright-blue stones4 ,each eye is set in the lower edge of a protuberance coated with malachite1 the eyes themselves being convex discs of highly polished iron pyrites set in a ring of shell4 ,height #d inches1 width #b4g inches4 ,an interesting piece is the two-headed jaguar figure in the ,ethnographical ,museum in ,berlin 7pl4 ,,xxxiv1 a74#ajd ,it is covered with bits of turquois and malachite1 together with some obsidian1 shell1 and mother-of-pearl4 ,the eyes are of malachite4 ,this specimen measures #ab inches in length1 and the workmanship seems to be very artistic4 ,an important and unique example of mosaic art is shown on pl4 ,,xxxiv1 b1 which represents a bird's head embellished with an incrustation of turquois1 malachite1 obsidian1 mother-of-pearl1 red coral1 and white shell1 but much of the mosaic has fallen out4 ,this specimen is in the ,museum in ,gotha4#aje ,a much injured specimen in the ,british ,museum is illustrated on pl4 ,,xxxv1 which represents an animal on his haunches1 with open mouth and protruding tongue4 ,on its back is a circular1 cup-like receptacle4 ,it is cut from a hard1 pale-brown wood4 ,almost the entire surface was originally covered with mosaic laid in a bed of black gum1 the component pieces being turquois1 malachite1 pink shell1 pearl shell1 and fragments of iron pyrites4 ,the cup-shaped receptacle on the back of the animal is now covered with a transparent varnish1 except in one place where the black gum and bits of mosaic are still in place4 ,the varnish shows here and there fragments of gold-leaf1 perhaps indicating that the cup was once entirely gilded4 ,the height is #f4h inches4#ajf ,the gracefully modeled breast-ornament representing a two-headed serpent 7pl4 ,,xxxvi7 is in the ,british ,museum4 ,the base is of light-colored wood1 hollowed at the back and painted red4 ,the front of the snake is covered with turquois mosaic2 the teeth and fangs in each open jaw of the snake are made of white shell1 while the edges of the gums are indicated with pink shell4 ,across each nose is a raised band of turquois and red shell4 ,the heads have mosaic-work on both sides1 and it is probable that the eye-sockets formerly contained discs of iron pyrites4 ,on the upper edges of the two loops of the bodies are holes for suspension4 ,length #ag inches1 height #h inches4 ,god ,figure ,the figure of the deity shown in pl4 ,,xxxvii is in the ,vienna ,museum4 ,it has been described by ,dr4 ,heger1 who has kindly sent me a number of photographs of the object1 and some details regarding it4 ,this has been identified by ,dr4 ,seler as representing the god ,xolotl1 one of the deities or guardians of the ,tonalamatl4#ajg ,the specimen does not contain much mosaic decoration1 being of highly polished wood4 ,it is #c inches high and #b inches broad4 ,dr4 ,heger has courteously sent me the following notes concerning the specimen3 ,the posterior circular cavity 7see side view7 is partly filled with a resin-like mass1 by means of which the piece must have been fastened to some other object4 ,vestiges of this resin-like substance are found in all the hollowed places where today some of the inlay is missing1 as in each of the three rounded oval incurvations1 of both lateral walls1 in which probably small heads of mosaic8 were also incrusted4 ,the eyes and the six small teeth consist of milk-white shells2 the two hook-like canines consist of white mother-of-pearl-like shells4 ,the two large ear-lobes1 as well as the inferior part of the nasal septum1 are perforated transversely4 ,the pretty little human head at the navel of the figure probably consists of pitch-black obsidian4 ,the ear-pendants are missing on the left side4 ,the pupils of the eye 7right one missing7 are enclosed in small rings of mother-of-pearl4 ,projecting from the opened mouth1 there is above the red tongue another small white shell-plate with three sharp downward points 7teeth74 ,the little head shows injury in several places4 ,illustration3 ,,pl4 ,,xxxviii ,,stone ,,knife ,,with ,,handle ,,of ,,wood ,,with ,,mosaic ,,decoration ,,british ,,museum1 ,,london ,illustration3 ,,pl4 ,,xxxix ,a ,b ,,knife ,,handles ,,of ,,wood ,,with ,,mosaic ,,decoration ,,prehistoric ,,and ,,ethnographic ,,museum1 ,,rome ,knife ,handles ,the next group of objects to be noted consists of knife handles4 ,the beautiful specimen on pl4 ,,xxxviii is in the ,british ,museum4 ,it is a chipped leaf-shape bladed knife of honey-colored chalcedony4 ,the handle is of a soft1 light-colored wood1 carved in the form of a crouching human figure4 ,the actual socket in which the blade is fixed proceeds from the chest of the figure1 which grasps it with a hand on each side1 and rests his chin on the top4 ,the socket is firmly bound with cord4 ,the figure and the socket up to the binding have been covered with a mosaic1 chiefly of turquois1 varied with malachite and white1 pink1 purple1 and orange shell1 as well as a few pieces of pearl shell4 ,much of the mosaic has disappeared4 ,the figure wears an eagle mask1 the face appearing in the open jaws4 ,this knife1 which measures #ab inches in length1 is one of the most artistic of mosaic specimens4 ,illustration3 ,,fig4 #ai ,belonging to this class are the two handles on pl4 ,,xxxix1 which are in the ,museum in ,rome4 ,they have been illustrated in colors by ,pigorini4 ,through the interest of ,dr4 ,lothrop we are enabled to present photographs of these two very interesting objects1 together with some additional observations concerning them4 ,the first piece 7pl4 ,,xxxix1 a1 and fig4 #ai after ,pigorini71 is in the form of a crouching figure with an animal head and wide-open mouth4 ,it has been described as a knife handle1 like the other specimen 7b71 which is unquestionably of that character1 but ,dr4 ,lothrop writes that the front of this piece 7a71 where the knife blade should be inserted1 is smoothly covered with a kind of cement1 while in the belly of the figure is a large hole4 ,from ,dr4 ,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 staff4 ,the materials used for the incrustation are turquois1 reddish shell1 dull white shell1 mother-of-pearl1 and small flakes of gold4 ,in the ,pigorini illustration1 which represents the side opposite that shown here1 two flakes of gold are shown1 one in the eye1 the other on the arm between elbow and shoulder4 ,the other piece 7pl4 ,,xxxix1 b71 unquestionably a knife handle1 as stated1 of the same technique as the specimens in the ,british ,museum1 represents a crouching human figure4 ,the materials are turquois1 dark-green malachite1 white shell1 mother-of-pearl1 and red shell4 ,lothrop calls our attention to the tiny pieces of turquois set in shell on the shoulder and in other places4 ,he also states that a portion of a broken chert 787 blade is still imbedded in the socket in front of the figure4 ,human ,femur ,musical ,instrument ,the last of the specimens of mosaic to be described is the musical instrument 7omichicauaztli7 made from a left human femur1 illustrated on pl4 ,,xl4 ,this unique example1 which is in the ,museum in ,rome1 has been reproduced in colors by ,pigorini4 ,the mosaic seems to have been confined to the head and neck1 although the trochanter major may also have been covered at one time4 ,the incrustation at present consists of gum in which are pinkish-orange bits of colored shell4 ,a modern copper chain is attached to the bone1 from which hangs an oliva shell1 undoubtedly ancient4 ,illustration3 ,,pl4 ,,xl ,,human ,,femur ,,musical ,,instrument ,,with ,,mosaic ,,decoration ,,prehistoric ,,and ,,ethnographic ,,museum1 ,,rome ,according to ,dr4 ,lothrop1 the oliva shell shows signs of wear1 and was probably the instrument used for rasping the bone1 as the bone is sound and produces a rather musical tone when scraped with the shell1 as if the bone were of china4 ,notched human bones are not uncommon in ancient ,mexico1 and some have been found elaborately engraved4 ,in the course of excavations made in #aijj in the street back of the ,cathedral in the ,city of ,mexico1 were uncovered many small pottery models of musical instruments which had been placed there undoubtedly when the foundations of the great ,aztecan teocalli were laid4 ,the writer secured for the ,american ,museum of ,natural ,history examples of these interesting models4 ,among them was a notched bone having attached to it a model of the handled instrument with which it was rubbed or rasped4#ajh 99 99 99 99 99 ,finally1 attention is called to three objects of wood1 of ,mexican origin1 in the ,museo ,borgiano1 ,rome4 ,they have been described by ,colini1 and two of the pieces illustrated1 in the ,bollettino della ,societ ,geografica ,italiana4#aji ,the first is an idol representing a human figure1 #ag inches in height2 the other two specimens1 those figured by ,colini1 are masks1 and it is highly probable that all of these pieces were once decorated1 at least in part1 with mosaic4 ,one of the masks is #f inches1 and the other #g inches1 in height4 ,,conclusion ,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 ,mexico1 part of the loot obtained by ,hernn ,corts1 it is quite possible that other examples are still hidden away either in ,spain or in ,italy1 which some day will be brought to light4 ,only twenty years ago two wonderfully preserved carved ceremonial spear-throwers1 or atlatls1 of wood1 covered with delicate gold-leaf1 were found in an old leather-covered case in a house in ,florence1 and are now exhibited in the ,ethnological ,museum of that city4 ,it is not to be doubted that they were sent from ,mexico by ,corts himself1 and remained stored away1 unknown to the world1 until recent times4 ,bushnell1 who figured and described these atlatls1 believes that they were formerly in the famous collection of the ,medicis1 and that other objects of ,mexican origin may be hidden away in ,italy1 to be revealed from time to time4#aaj ,again1 in #ahia1 ,mrs4 ,zelia ,nuttall was the first to bring to our notice the important mosaic shield1 and the still more interesting feather-mosaic shield in the ,castle ,ambras near ,innsbruck1 which were shortly afterward transferred to the ethnographical section of the ,state ,natural ,history ,museum in ,vienna4#aaa ,we should call attention here to the possibilities of finding mosaics in ,mexico1 emphasizing the fact that the collection in the ,museum of the ,american ,indian1 ,heye ,foundation1 was found under archeological conditions4 ,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 ,america4 ,as we have already written1 the few traces of this mosaic art found heretofore in excavations have been of a fragmentary character4 ,no specimens of wood covered with mosaic have been found previously in ,mexico1 with the exception of the small rim of wood excavated by ,gamio in ,zacatecas1 and the four pieces from ,chichen ,itza4 ,in the tropical and temperate zones1 where the most important ancient sites are situated1 artifacts of wood of any sort have rarely been unearthed4 ,it is true that in some of the remote villages carved wooden drums 7teponaztli7 have been religiously guarded from the time of the conquest1 and are brought out and played at certain festivals during the year4 ,but these drums are kept in the cabildos1 and are preserved with zealous care4 ,we would again call attention to the statement of ,sahagun regarding the tradition of the abandonment of ,tula1 that ,quetzalcoatl ordered certain precious things to be buried in the neighboring hills and ravines4 ,this1 of course1 refers to times long anterior to the coming of white men4 ,after this unfortunate event1 fatal indeed to the ,indian1 the natives undoubtedly secreted a vast amount of material4 ,the circumstances concerning this have been told by ,father ,motolinia4 ,as this account is but little known1 we have translated literally the entire chapter1 for it reveals to us the miserable state into which the aborigines had fallen within twenty years after their subjugation4 ,of how there was an end of idols and of the feasts which the ,indians were wont to prepare1 and of the vanity and the endeavor which the ,spaniards displayed in 7their7 search for idols4 ,the feasts which the ,indians made1 as is told in the first part 7of this book71 with their ceremonies and pomp1 all ended from the beginning 7of the time7 that the ,spaniards were making war 7on them71 because the ,indians had so much to think about in their tribulations that they did not think of their gods1 not even of themselves1 because they had so much sorrow that in order to remedy that1 all the principal 7things in their lives7 were stopped4 ,in every town they had an idol or demon whom they considered chiefly as their mediator1 and called him such1 and they honored and adorned him with jewels and garments1 and the best they could find they offered him1 each town as it was 7able to71 and more so in the capitals of provinces4 ,these principal idols ,i mention1 as soon as the city of ,mexico was taken by the ,spaniards1 with their jewels and wealth the ,indians hid in the most secret place they could find2 a large part of the gold that was on 7or with7 the idols and in the temples they gave as tribute to the ,spaniards under whose patronage they belonged2 for they could not do otherwise because in the beginning the tributes were so excessive that all the ,indians could scrape together or search for1 nor what the lords and chiefs had1 would suffice2 besides1 they were forced 7to pay tributes7 with such iniquity that they also gave the gold they had in the temples of the demons 7idols71 and even when this was exhausted they paid tribute in slaves1 and many times not having slaves in order to comply 7with the taxes71 they gave free 7,indians7 as slaves4 ,these principal idols1 with the insignia and ornaments or garments belonging to the demons1 the ,indians hid1 some in the earth1 others in caves1 and still others in the woods4 ,later1 when the ,indians became converted and were baptized1 they unearthed many 7of them71 and they brought them to the courtyards of the churches to burn them publicly4 ,others rotted in the earth1 because after the ,indians had received 7or accepted7 the ,faith1 they were ashamed to take out those they had hidden1 and would rather let them rot than that anyone should know that they hid them4 ,and when they were importuned to tell 7talk7 about their principal idols and their vestments1 they took them out1 all decayed1 of which ,i am a witness1 for ,i have seen it 7done7 many times4 ,the excuse they gave was good1 for they said1 8,when we hid it1 we did not know ,god1 and we thought the ,spaniards would soon return to their 7own7 country1 and after we came to understand 7about7 ,god1 we left it to rot1 because we were afraid and ashamed to take it out40 ,in other towns these principal idols with their vestments were in the care of the lords or of the principal priests of the demons1 and those kept them so secretly that hardly anyone knew about them except two or three people who guarded them1 and of these 7idols7 they also brought a very large number to the monasteries to burn them4 ,in many other remote villages1 far away from ,mexico1 when the monks went there to preach1 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 7them73 and in this manner they also gave and brought a large quantity which was publicly done in many parts 7of the country73 because wherever the doctrine and the word of ,god has reached1 not a thing has remained that they knew or could tell about1 for if from now on for a hundred years they should dig in the courts of the temples of the ancient idols1 they would always find idols1 because there were so many that they had made3 for it happened that when a child was born they made an idol1 and the following year 7they made7 one a little larger1 and after four years they made another one1 and as the child grew up they went on making idols1 and of these 7idols7 the foundations and walls are filled1 and in the courts there are many of them4 ,in the year 7#ae7ci and in the year 7#ae7dj several ,spaniards1 some with authority and some without it1 to show their zeal of the ,faith1 and thinking that they were accomplishing something 7worth while71 began to dig and to unearth the dead and to urge the ,indians that they should give them idols3 and in some parts 7of the country7 this reached such a stage that the ,indians went to look for the idols that were decayed and forgotten in the earth1 and some of the ,indians were even so sorely tormented that1 to tell the truth1 they made new idols and gave them 7to the ,spaniards7 that they should cease maltreating them4 ,mixed with the great zeal they 7the ,spaniards7 showed in searching for idols1 7there was7 not a little covetousness1 and it was because the ,spaniards 7would say71 in such a village1 or in such a parish1 there are 7were7 idols of gold1 or of chalchihuitl which is a stone of great value1 and they imagined that there was an idol weighing ten or fifteen arrobas3 but in truth they came 7too7 late1 because all the gold and precious stones were spent and cashed in and safely in the power 7hands7 of the ,spaniards who first held those ,indians under their jurisdiction4 ,they also thought of finding an idol of stone which would be worth as much as a city1 and certainly1 although ,i have seen many idols which were adored and held highly by the ,indians and 7were7 very 7greatly7 revered as chief gods1 and some were of chalchihuitl1 the one which seemed to me to be worth most1 ,i do not think that in ,spain they would give ten pesos of gold for it3 for this they upset and stir and scandalize the towns with their truly indiscrete zeal1 because if there really is still an idol in some village1 it is either rotten or so 7completely7 forgotten or 7held or kept7 so secretly that in a town of ten thousand inhabitants there are not even five who know it1 and they hold them for what they are1 either for stones or for wood4 ,those who thus upset these ,indians who go their straight way1 are like ,laban who went to meet ,jacob to look for his property1 and to upset his house in search of his idols1 because of this that ,i am telling here ,i have great experience and ,i 7can7 see the deceit in which they go about and the way they have to disturb and disfavor 7hurt7 these poor ,indians who have forgotten so absolutely their idols1 as if it were a hundred years ago 7that they had had them74#aab ,hernndo ,ruiz de ,alarcon1 in his treatise on the superstitions of the natives of ,new ,spain1 relates that when they went to the hills or other remote places where their idols were hidden away1 or to certain piles of stones where they often made offerings and sacrifices1 they carried there offerings which were sometimes copal incense wrapped in quauhamatl1 a kind of white paper made from the bark of a soft tree4 ,this work1 written in #afbj1 is entitled1 ,tratado de las ,supersticiones y ,costumbres ,gentilicas que oy viuen entre los ,indios ,naturales desta ,nueva ,espaa1 and was published for the first time in #ahib by the ,museo ,nacional of ,mexico4 ,the present writer has noted such stone piles1 particularly in ,yucatan4 ,it is probable that we have here an explanation of the existence of our deposit of mosaic-incrusted wooden shields and masks1 which leads us to hope that still further discoveries of this character may be made4 ,the climatic conditions in certain parts of the highlands of ,middle ,america1 where this deposit was found in a cave1 favor this assumption4 ,there are great sections of comparatively dry1 wind-swept1 almost desert plains1 treeless hill-slopes1 and ravines1 where the chief vegetation is cacti in the lower altitudes1 while higher up pines and oaks abound4 ,here wooden objects should be indefinitely preserved in ancient tombs or in caves1 protected by a covering of loose1 dry earth1 the condition under which our collection was found4 ,the discovery of this remarkable collection of mosaics emphasizes the fact that the investigation of the archeology of ,mexico is hardly commenced1 in view of the vast amount of material hidden under the ruins of thousands of ancient settlements and burial places1 and probably in countless caves1 which still remain untouched by the archeologist4 ,as revealed by the surprising results of ,thompson's dredging in the sacred cenote in ,yucatan1 a wealth of archeological material also lies buried in the mud under the waters of sacred wells and lakes4 ,this is notably so in the case of ,lake ,chapala1 on the borders of ,michoacan and ,jalisco in ,mexico1#aac and of ,lake ,amatitlan in ,guatemala1 where thousands of pottery vessels and other objects have been recovered from the bottoms of the lakes by divers1 and from the mud when the waters have receded from the shores during times of extreme drought4 ,these objects had been thrown into the waters as offerings to the gods4 ,the recent results of the systematic exploration of the great mounds at ,teotihuacan have been quite surprising1 and have shed new light on the archeology of the central plateau of ,mexico4 ,even more important is the discovery of culture sequences in stratified deposits in the valley of ,mexico1 the investigations showing three distinct culture layers distinguished by the character of the pottery4 ,of great significance are the discoveries recently made under the great lava flow called the ,pedregal1 at the very edge of the ,city of ,mexico1 where the artifacts correspond in toto with those found in the bottom layer of the stratified deposits4#aad ,these discoveries mark a great advance in our knowledge of the history of ancient ,mexico1 but1 as we have before stated1 they are only a beginning4 ,buried underground are the 8books0 the student must study1 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 recorded4 ,,notes #a ,see ,saville1 ,the ,goldsmith's ,art in ,ancient ,mexico1 ,museum of the ,american ,indian1 ,heye ,foundation1 ,indian ,notes and ,monographs1 #aibj4 #b ,gonzalo ,fernndez de ,oviedo y ,valds1 ,historia ,general y ,natural de las ,indias1 edition of the ,real ,academia de la ,historia1 tomo ,i1 primera parte1 lib4 ,,xvii1 caps1 ,,viii-,,xviii1 pp4 #ejb-ecg1 ,madrid1 #ahea4 #c ,the ,itinerary of ,grijalva1 written by chaplain ,juan ,daz1 was undoubtedly recorded in ,spanish1 but we know it only from the ,italian translation of #aebj4 ,it was translated into ,spanish by ,joaquin ,garcia ,icazbalceta and published by him in his ,documentos para la ,historia de ,mxico1 tomo ,i1 ,mexico1 #aheh4 ,a translation into ,english1 with translations of other accounts1 relating to this voyage1 will appear in the ,publications of the ,cortes ,society under the title1 ,the ,voyage of ,juan de ,grijalva to ,yucatan and the ,mexican ,coast in #aeah4 #d ,we quote here from the edition of ,bernal ,daz published by the ,hakluyt ,society1 bearing the title1 ,the ,true ,conquest of ,new ,spain1 translated into ,english by ,alfred ,percival ,maudslay4 ,the citation is from vol4 ,i1 pp4 #dh-di1 ,london1 #aijh4 #e ,bernal ,daz1 op4 cit41 vol4 ,i1 p4 #ec4 ,in the work of ,torquemada1 ,monarchia ,indiana1 is an important statement bearing on this matter1 of which we give the following translation in extenso3 8,and this present it was that ,gomara and ,antonio de ,herrera make confused mention as having been brought to ,ferdinand ,corts by the governors of ,montezuma on his first landing1 which they notice in the following words3 #8,which present it is said was sent for ,juan de ,grijalva1 when he touched on those shores2 but that1 notwithstanding the haste of those who carried it1 they found that he was gone4' ,the fact was as they state2 but ,i do not understand how those who drew up the account of which ,herrera availed himself1 could have omitted that which ,i say in this chapter1 and many other particulars which shall be observed in the sequel2 since the circumstances which they mention1 and those which ,i relate1 are intimately connected with each other1 and those who could have given an account of the former1 could likewise have done so of the latter2 although ,i think that the error lay in their seeking information only from the ,spaniards1 who at that period returned from the ,indies1 without verifying facts by applying to the ,indians1 who were mainly concerned in most of them1 or ,i may say in all1 since they were the mark which all who have written on the affairs of the conquest strove to hit1 and were those who were very well acquainted with them1 and in the beginning recorded them by means of figures and characters1 and afterward1 when some of the most curious amongst them had learned how to write1 wrote them down2 which histories are in my possession3 and so high is the estimation in which ,i hold them1 on account of their language and the style of their composition1 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 language2 and since these histories are true and authentic1 ,i follow them to the letter2 but lest the accounts which they contain should appear strange to those who read them1 ,i affirm that they are merely a true relation of what actually happened1 but that other authors have not noticed them before me1 because the few that have written on the affairs of the ,indies were ignorant of the events which then occurred1 nor had they any one to give them the requisite information2 neither should ,i have mentioned these facts had ,i not found that they were verified by ,father ,bernardino de ,sahagun1 a grave and pious ecclesiastic1 who was of the second number of those who undertook the conversion of the natives of ,new ,spain1 but was the first of the investigators of the most secret things of this land1 of which he knew all the secrets1 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 acquire40 ,lib4 ,,iv1 cap4 ,,xiii4 #f ,this important work will be reprinted in facsimile1 with a translation into ,english1 in the author's proposed work on the voyage of ,grijalva1 as mentioned in ,note #c4 #g ,this account will also be reprinted in facsimile1 with a translation into ,english1 in the author's account of the voyage of ,grijalva4 ,the title is1 ,provinci ,sive ,regiones in ,india ,occidentali ,noviter ,repert in ,vltima ,navigatione4 ,the known copies are in the ,john ,carter ,brown ,library1 ,providence1 and the ,new ,york ,public ,library4 #h ,i quote here from the translation made and edited by ,francis ,a4 ,mac,nutt1 ,de ,orbe ,novo1 vol4 ,,ii1 pp4 #ai-bj1 ,new ,york1 #aiab4 #i ,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 #c4 #aj ,francisco ,lpez de ,gomara1 edition of ,don ,enrique de ,vedia1 ,historiadores ,primitivos de ,indias1 in ,biblioteca de ,autores ,espaoles1 tomo ,i1 ,madrid1 #ahgg4 #aa ,eduard ,seler1 ,ein ,kapitel aus dem ,geschichtswerk des ,p4 ,sahagun1 p4 #abd1 ,berlin1 #ahij4 #ab ,lehmann1 in his ,methods and ,results in ,mexican ,research1 ,paris1 #aiji1 writes3 8,hardly less remarkable are the mosaics made of more or less precious stones1 shells1 etc4 ,no less than twenty-three pieces are known in various museums1 the finest being in ,london1 ,rome1 and ,berlin4 ,the stones when cut to shape are embedded in a peculiar substance 7tzinacanquauhcuitlatl7 covering the whole surface of the object to be decorated2 the latter were chiefly of wood1 rarely of bone or stone4 ,two masks are skilfully prepared human skulls4 ,the usual shapes are shields1 helmets1 knife handles and trinkets4 ,the small cup-shaped heads and the double-jaguar in the ,berlin ,museum are of doubtful meaning4 ,most of these objects apparently come from the ,eastern provinces1 i4 e41 ,tabasco4 ,we know from other sources that it was only under king ,ahuizotl1 with the conquest of the ,tzapotec district1 that the ,mexicans became acquainted with turkois-mosaics1 shields1 earrings1 etc40 ,this is a translation of his ,ergebnisse und ,aufgaben der mexikanistischen ,forschung1 published in ,archiv fr ,anthropologie1 ,neue ,folge1 band ,,vi1 heft #b u #c1 ,braunschweig1 #aijg4 #ac ,see ,lehmann in our ,list of ,works ,describing ,mexican ,mosaics1 under #aijf4 #ad ,juan de ,torquemada1 ,monarchia ,indiana1 ,barcia edition1 ,madrid1 #agcb1 lib4 ,,ii1 cap4 ,,lxxix1 p4 #bae4 #ae ,see ,antonio ,peafiel1 ,nomenclatura ,geogrfica y ,etimolgica de ,mxico1 ,mexico1 #ahig4 #af ,clavigero1 ,the ,history of ,mexico1 ,cullen transl41 vol4 ,,ii1 p4 #bcb1 ,london1 #aghg4 #ag ,saville1 ,the ,goldsmith's ,art in ,ancient ,mexico1 op4 cit4 #ah ,peter ,martyr1 op4 cit41 vol4 ,,ii1 p4 #df4 #ai ,las ,casas1 ,historia de las ,indias1 tomo ,,iv1 cap4 ,,cxxi1 pp4 #bhd-bhf1 ,madrid ed41 #ahgf4 #bj ,fr4 ,bernardino de ,sahagun1 ,historia ,general de las ,cosas de ,nueva ,espaa1 ,bustamante ed41 lib4 #ab1 caps1 ,,ii-,,vi1 pp4 #e-ab1 ,mexico1 #ahbi4 ,notes to ,chapter ,,iii4 ,the two places mentioned here1 ,naulitlantoztlan and ,mictlanquactle1 are given by ,torquemada 7op4 cit41 lib4 ,,iv1 cap4 ,,xiii1 p4 #cgi7 as four different towns4 ,nauhtla and ,toztla1 the first two1 are recognizable as being combined into one place-name by ,sahagun4 ,this is also the case with ,mictla and ,quauhtla1 the third and fourth towns of ,torquemada1 the ,mictlanquactle of ,sahagun4 ,brasseur de ,bourbourg transforms them to ,nauhtlan1 ,tochtlan1 and ,mictlan-,quauhtla1 in which he is followed by ,orozco y ,berra4 ,vigil1 the editor of ,tezozomoc1 states that the town of ,mictlancuauhtla has disappeared1 but in a map or plan of ,vera ,cruz in the collection of ,icazbalceta1 sent in #aehj to ,philip ,,ii by the alcalde ,alvaro ,patio1 the place is still mentioned1 under a corrupted form of the name1 as ,metlangutla4 ,the name of the five lords sent by ,montezuma to receive ,corts1 conceived to be ,quetzalcoatl1 are spelled differently by ,torquemada 7op4 cit41 ,p-#cgi71 and they more closely approach the orthography of ,molina's dictionary4 ,they are1 ,yohualychan1 ,tepuztecatl1 ,tizahua1 ,huehuetecatl1 and ,hueycamecateca4 ,notes to ,chapter ,,vi4 ,this ,xicalanco is not to be confused with the ,mexican colonial town of the same name near the ,laguna de ,trminos1 ,tabasco4 ,a branch of the ,nahuan ,mexican people called ,xicalancas from the name of their first ruler1 ,xicalancatl1 settled on the coast of ,vera ,cruz in the region between the present city of ,vera ,cruz and the ,isthmus of ,tehuantepec4 ,torquemada relates that the messengers1 on leaving the ship of ,corts1 8paddled rapidly away1 and came to a little island called ,xicalanco1 where they ate1 and rested a little1 and they left there and came to a town on the seashore called ,tecpantlayacac2 from there they went to ,cuetlaxtla1 which is some leagues in the interior1 where they spent the night2 the lords and chief of the town begged them to remain there that day and rest1 but they replied that the need for speed for their journey was great40--,op4 cit41 lib4 ,,iv1 cap4 ,,xiv1 p4 #chd4 #ba ,peter ,martyr1 op4 cit41 vol4 ,,ii1 pp4 #aif-aig4 #bb ,saville1 ,goldsmith's ,art in ,ancient ,mexico4 ,the inventories of the loot obtained by ,corts are given in ,english translation on pp4 #ef-ajb4 #bc ,this is quoted from the study of ,dr4 ,j4 ,cheston ,morris on the 8,physical and ,technographical ,characteristics0 of the leaves1 in the article1 8,the ,tribute ,roll of ,montezuma10 edited by ,dr4 ,daniel ,g4 ,brinton1 ,henry ,phillips1 ,jr41 and ,dr4 ,j4 ,cheston ,morris1 published in ,transactions of the ,american ,philosophical ,society1 vol4 ,,xvii1 ,n4 ,s41 pt4 ,,ii1 art4 ,,iv1 p4 #fa1 ,philadelphia1 #ahib4 #bd ,the very important ,crnica ,mexicana1 written by ,hernando ,alvarado ,tezozomoc1 was published by ,jos ,m4 ,vigil in his ,biblioteca ,mexicana1 ,coleccin ,metdica de ,obras y ,documentos ,relativos a la ,historia1 ,geografa1 ,literatura1 ,estadstica y ,legislacin de ,mxico1 #ahha4 ,the quotation is from cap4 ,,lxxvi1 pp4 #edc-edd4 #be ,tezozomoc1 op4 cit41 cap4 ,,lxxxix1 p4 #fjj4 #bf ,dr4 ,george ,f4 ,kunz has kindly placed in our hands his publications relating to precious stones4 ,in this connection consult his ,gems and ,precious ,stones1 ,new ,york1 #ahib2 his important paper1 ,new ,observations on the ,occurrences of ,precious ,stones of ,archological ,interest in ,america 7extrait des ,mmoires et ,dliberations du ,,xv ,congrs des ,amricanistes tenue ,qubec du #aj au #ae ,septembre #aijf1 ,quebec1 #aijg72 and ,gems and ,precious ,stones of ,mexico1 ,mexico1 #aijg4 #bg ,the work of ,rafael ,aguilar y ,santillan is entitled ,bibliografa ,geolgica y ,minera de la ,repblica ,mexicana completada hasta el ao de #aijd1 ,boletn del ,instituto ,geolgico de ,mxico1 nm4 #ag1 ,mexico1 #aijh4 #bh ,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 ,roma1 ,reale ,accademia dei ,lincei1 ,rome1 ,anno ,,cclxxxii1 #ahhd-he1 #c serie1 vol4 ,,xii1 pp4 #a-i1 ,i pl4 with #e colored illustrations4 #bi ,the important study by ,joseph ,e4 ,pogue1 ,the ,turquois4 ,a ,study of its ,history1 ,mineralogy1 ,geology1 ,ethnology1 ,archology1 ,mythology1 ,folklore1 and ,technology1 appears as the third memoir of ,vol4 ,,xii1 ,memoirs of the ,national ,academy of ,sciences1 ,washington1 #aiae4 #cj ,fray ,bernardino de ,sahagun1 ,historia ,general de las ,cosas de ,nueva ,espaa que en ,doce ,libros y ,dos ,volmenes ,escribi el ,r4 ,p4 ,fr4 ,bernardino de ,sahagun1 published by ,carlos ,mara de ,bustamante1 #d vols41 ,mexico1 #ahbi4 ,also published by ,lord ,kingsborough4 ,the quotations are from the ,bustamante edition1 tomo ,,iii1 lib4 ,,ii1 cap4 ,,vii1 p4 #bhd1 and cap4 ,,viii1 pp4 #bif-big4 #ca ,on this subject consult the paper by ,dr4 ,a4 ,b4 ,meyer1 ,die ,nephritfrage1 ein ethnologisches ,problem1 ,berlin1 #ahhc1 of which an abstract 78,the ,nephrite ,question07 was published in ,american ,anthropologist1 ,o4 ,s41 vol4 ,i1 no4 #c1 ,washington1 ,july1 #ahhh4 #cb ,saville1 ,a ,votive ,adze of ,jadeite from ,mexico1 ,monumental ,records1 ,new ,york1 ,may1 #aijj4 #cc ,sahagun1 op4 cit41 tomo ,,iii1 lib4 #aj1 cap4 ,,xxix1 p4 #ajg4 #cd ,ibid41 cap4 vii1 p4 #ai4 #ce ,the pictorial part of the section of the great work of ,sahagun in ,florence was reproduced in facsimile by the late ,mexican scholar1 ,sr4 ,d4 ,francisco del ,paso y ,troncoso1 for the ,mexican government4 ,only recently has the work been received in ,mexico1 and we are under the greatest obligations to ,sr4 ,d4 ,luis ,castillo ,ledon1 ,director of the ,museo ,nacional1 ,mexico1 for a copy which we have recently received1 and which has been of such great assistance in the preparation of this study of ,mexican mosaics4 ,it is an ,atlas1 denominated ,vol4 ,v1 of #aeh estampas 7plates74 ,the plates relating to arts and crafts are to illustrate ,libro ,,ix1 and include pl4 lv to lxxvi4 #cf ,we refer the student to the edition of ,lord ,kingsborough1 vol4 ,i4 #cg ,the ,mappe ,tlotzin once formed a part of the ,boturini collection2 it was afterward acquired by ,aubin1 later by ,goupil1 and is now in the ,national ,library in ,paris4 ,it has been published in colors 7pl4 i-iii7 in ,mmoires sur la ,peinture ,didactique et l'criture ,figurative des ,anciens ,mxicains1 par ,j4 ,m4 ,a4 ,aubin1 with an introduction by ,e4 ,t4 ,hamy1 ,paris1 #ahhe4 ,the pictures referred to are on pl4 ii4 #ch ,eduard ,seler1 ,l',orfverie des ,anciens ,mexicains et leur ,art de ,travailler la ,pierre et de ,faire des ,ornements en ,plumes1 ,compte rendu de la ,,viii ,session du ,congrs ,international des ,amricanistes1 ,paris1 pp4 #dja-deb4 ,the chapter on the art of the lapidaries is on pp4 #dah-dbe4 ,the article1 with slight changes in the ,french translation of the ,nahuatl text1 and some revision1 is included in ,seler's ,gesammelte ,abhandlungen zur ,amerikanischen ,sprach- und ,alterthumskunde1 ,zweiter ,band1 pp4 #fbj-ffc1 ,berlin1 #aijd4 ,the section on the lapidaries' art is on pp4 #fce-fdj4 #ci ,sahagun1 op4 cit41 tomo ,,ii1 lib4 #i1 cap4 ,,xvii1 pp4 #chi-cia4 #dj ,the goddess is figured in the numerous examples of the tonalamatl in the various codices1 of which facsimiles are to be found in all important libraries4 #da ,the ,tonalamatl of the ,aubin ,collection4 ,an ,old ,mexican ,picture ,manuscript in the ,paris ,national ,library4 ,published at the ,expense of his ,excellency the ,duke of ,loubat4 ,with ,introduction and ,explanatory ,text by ,dr4 ,eduard ,seler4 ,berlin and ,london1 #aijj-aija1 p4 #aae4 #db ,the ,codex ,borbonicus is in the ,national ,library1 ,paris4 ,it was published in exact facsimile1 with an introduction by ,dr4 ,e4 ,t4 ,hamy1 ,paris1 #ahii4 ,the scene referred to is on p4 #ah of the ,paris reproduction4 #dc ,the important ,codex ,telleriano ,remensis was published in facsimile1 with an introduction by ,e4 ,t4 ,hamy1 by the ,duke of ,loubat1 ,paris1 #ahii4 ,the illustration referred to is on p4 #bb verso1 of the plates4 #dd ,seler1 op4 cit4 7,note #da71 p4 #aah4 #de ,kingsborough1 vol4 ,,vi1 p4 #abi4 #df ,sahagun1 see reproduction of ,troncoso1 estampa x1 fig4 #cd4 #dg ,codex ,borbonicus1 p4 #ah4 #dh ,tonalamatl ,aubin1 op4 cit41 pl4 #ah4 #di ,seler1 op4 cit41 pp4 #aad-aah4 #ej ,this quotation is from the ,libro de ,oro y ,tesoro ,indico1 a precious manuscript in the library of the late ,joaqun ,garca ,icazbalceta4 ,icazbalceta writes as follows about the author3 8,we do not know who was ,fr4 ,andrs de ,alcobiz1 who in the year #aedc collected in ,spain these laws of the ,mexicans4 ,it is published in ,nueva ,coleccin de ,documentos para la ,historia de ,mxico1 tomo ,,iii1 p4 #cac1 ,mexico1 #ahia4 #ea ,saville1 ,goldsmith's ,art in ,ancient ,mexico1 p4 #aai4 #eb ,anonymous ,conqueror1 translated by ,marshall ,h4 ,saville1 publication of the ,cortes ,society1 no4 ,i1 pp4 #fe-fg1 ,new ,york1 #aiag4 #ec ,obras ,histricas de ,don ,fernando de ,alva ,ixtlilxochitl1 tomo ,i1 ,historia ,chichimeca1 cap4 ,,xxxvi1 p4 #ahj1 published in ,mexico in #ahib under the editorship of ,dr4 ,alfredo ,chavero4 #ed ,we refer here to the labors of ,mexican archeologists begun by ,leopoldo ,batres1 and continued by ,dr4 ,manuel ,gamio4 ,an elaborate work1 edited by ,gamio1 treating of the exploration of this region1 has just been printed in ,mexico4 #ee ,sahagun1 op4 cit41 tomo ,,iii1 lib4 #aj1 cap4 ,,xxix1 p4 #ajg4 #ef ,ibid41 tomo ,i1 lib4 #c1 cap4 ,,xii1 p4 #bee4 #eg ,saville1 ,the ,cruciform ,structures of ,mitla and ,vicinity1 ,putnam ,anniversary ,volume1 p4 #ahg1 ,new ,york1 #aiji4 #eh ,relacin de ,andrs de ,tapia1 published for the first time by ,icazbalceta in ,coleccin de ,documentos para la ,historia de ,mxico1 tomo ,,ii1 pp4 #ehb-ehc1 ,mexico1 #ahff4 #ei ,the ,relacin de ,texcoco was written by ,juan ,bautista ,pomar1 a mestizo1 and a grandson of the ,texcocan king ,nezahualpitzintli on his mother's side4 ,it was composed for ,philip ,,ii1 and belongs to the class of ,relations like those of ,yucatan1 etc4 ,it was first published by ,icazbalceta in his ,nueva ,coleccin de ,documentos para la ,historia de ,mxico1 tomo ,,ii4 ,the quotation is from p4 #aj4 #fj ,bernal ,daz1 op4 cit41 vol4 ,,ii1 book ,,vi1 chap4 xcii1 p4 #gd4 #fa ,ibid41 chap4 ,,civ1 p4 #ach4 #fb ,tezozomoc1 op4 cit41 cap4 ,,lxxxvi1 p4 #eib4 #fc ,ibid41 cap4 ,,lxxxvii1 p4 #eic4 #fd ,sahagun1 op4 cit41 tomo ,i1 lib4 ,i1 cap4 ,,xiii1 p4 #ah4 #fe ,pomar1 op4 cit41 pp4 #h-i4 #ff ,seler1 ,altmexikanische ,studien1 ,ein ,kapitel aus dem ,geschichtswerk des ,p4 ,sahagun4 ,sonderabzug der ,verffentlichungen aus dem ,kniglichen ,museum fr ,vlkerkunde1 ,i1 #d1 p4 #abc1 ,berlin1 #ahij4 #fg ,anonymous ,conqueror1 op4 cit41 p4 #bb4 #fh ,sahagun1 op4 cit41 tomo ,,iii1 lib4 #h1 cap4 ,,ix1 p4 #bhi4 #fi ,antonio ,peafiel1 ,indumentaria ,antigua ,vestidos ,guerreros y ,civiles de los ,mexicanos1 pl4 #adi1 ,mexico1 #aijc4 #gj ,the ,codex ,coxcatzin has been published in part by ,eugne ,boban in ,documents pour ,servir l',histoire du ,mxique1 ,atlas1 pl4 #da-de1 ,paris1 #ahia4 #ga ,tezozomoc1 op4 cit41 cap4 ,,lxi1 p4 #dfi2 cap4 ,,lxix1 pp4 #ejf-ejg4 #gb ,diego ,duran1 ,historia de las ,indias de ,nueva-,espaa y ,islas de ,tierra ,firme1 tomo ,i1 cap4 ,,li1 p4 #djg1 ,mexico1 #ahfg4 #gc ,tezozomoc1 op4 cit41 cap4 ,,ci1 p4 #fei4 #gd ,anonymous ,conqueror1 op4 cit41 p4 #bb4 #ge ,thomas ,unett ,brocklehurst1 ,mexico ,to-day1 pl4 ,,xxxiv1 ,london1 #ahhc4 #gf ,see ,saville1 ,exploration of ,zapotecan ,tombs in ,southern ,mexico1 ,american ,anthropologist1 ,n4 ,s41 vol4 ,i1 pp4 #cej-cfb1 ,april1 #ahii2 and ,funeral ,urns from ,oaxaca1 ,american ,museum ,journal1 vol4 ,,iv1 pp4 #di-fi1 ,new ,york1 #aijd4 #gg ,saville1 ,goldsmith's ,art in ,ancient ,mexico1 pp4 #aea-afc1 pl4 i1 viii4 #gh ,manuel ,gamio1 ,los ,monumentos ,arqueolgicos de las ,inmediaciones de ,chalchihuites1 ,zacatecas1 sobretiro del tomo ,,ii de los ,anales del ,museo ,nacional de ,arqueologa1 ,historia y ,etnologa1 pp4 #dfg-dib1 #e plans1 #h pl41 ,mexico1 #aiaj4 ,this is the first piece of work by ,gamio1 and presents the results of the first important archeological exploration undertaken in this part of ,mexico4 #gi ,we have just received the first number 7,jan4-,feb41 #aibb7 of tomo ,i1 poca #d1 of the ,anales del ,museo ,nacional de ,arqueologa1 ,historia y ,etnografa of ,mexico1 which have long been interrupted4 ,in it is announced the forthcoming appearance of a paper relating to this subject1 8,mscara con ,mosaicos de ,turquesas4--,dictmenes ,periciales40 ,it is to be hoped that the authenticity of this object will be cleared of all suspicion by the proposed study4 #hj ,on this subject consult ,saville1 ,precolumbian ,decoration of the ,teeth in ,ecuador1 etc41 ,american ,anthropologist1 ,n4 ,s41 vol4 #ae1 #aiac2 reprinted as ,contributions from the ,heye ,museum1 vol4 ,i1 no4 #b1 #aiac4 #ha ,david ,casares1 ,a ,notice of ,yucatan with ,some ,remarks on its ,water ,supply1 ,proceedings of the ,american ,antiquarian ,society1 pp4 #bjg-bcj1 ,oct41 #aije4 #hb ,diego de ,landa1 ,historia de las ,cosas de ,yucatan1 edition of ,juan de ,dios de la ,rada y ,delgado1 p4 #hd1 ,madrid1 #ahha4 #hc ,casares1 op4 cit41 p4 #bbf4 #hd ,william ,h4 ,holmes1 ,archeological ,studies among the ,ancient ,cities of ,mexico1 ,anthropological ,series1 ,field ,columbian ,museum1 vol4 ,i1 no4 #a1 ,chicago1 #ahie4 ,part ,i1 ,monuments of ,yucatan1 ,section on ,chichen ,itza1 p4 #acg4 #he ,seler1 ,codex ,vaticanus ,no4 #cggc4 ,elucidation published at the expense of the ,duke of ,loubat1 ,berlin and ,london1 #aijb-aijc4 ,in this study ,seler treats at length of the ,god ,xipe ,totec4 #hf ,sahagun1 op4 cit41 tomo ,i1 lib4 ,i1 cap4 ,,xviii1 p4 #bh4 #hg ,the two mosaic masks on the sculptured wall at ,chichen ,itza are taken from the drawings on pl4 #df and #dg of the great work of ,alfred ,p4 ,maudslay published as part of ,biologia ,centrali-,americana3 or ,contributions to the ,knowledge of the ,fauna and ,flora of ,mexico and ,central ,america1 edited by ,f4 ,ducane ,godman and ,osbert ,salvin4 ,archology1 vol4 ,,iii 7,plates74 ,london1 #ahie-aijb4 ,the crowns are from pl4 #ch1 #di-ei4 ,the crown with the feathers is from the doorway column of ,temple ,a1 of the ,ball ,court4 #hh ,the first extended study of ,mexican turquois mosaics1 based especially on some of the specimens now in the ,british ,museum1 was made by ,e4 ,t4 ,stevens and published in his ,flint ,chips1 pp4 #cbd-cbh1 ,london1 #ahgj4 ,read's paper did not appear until #ahie4 #hi ,see ,maudslay's edition of ,bernal ,daz1 op4 cit41 vol4 ,i1 app41 pp4 #bii-cjb4 ,maudslay gives photographs of the two wooden masks in the ,british ,museum1 which he calls 8,masks of ,quetzalcoatl10 and of the skull mask which he denominates 8,mask of ,tezcatlipoca40 #ij ,see ,list of ,works following4 #ia ,see translation in ,saville1 ,goldsmith's ,art in ,ancient ,mexico1 pp4 #abf-abg4 #ib ,see ,list of ,works following4 #ic ,see ,list of ,works following4 ,our illustration is a photograph of the colored lithographic plate of ,uhle4 #id ,zelia ,nuttall1 ,on ,ancient ,mexican ,shields1 ,separat-,abdruck aus ,internationales ,archiv fr ,ethnographie1 ,bd4 ,v1 #ba pp41 ,leiden1 #ahib4 #ie ,read1 in his study1 gives only a drawing of this shield4 ,our illustration1 a direct photograph1 does not show the designs so clearly as the drawing4 #if ,our illustration is a copy of the photograph published by ,heger4 ,see ,list of ,works following4 #ig ,seler1 ,codex ,fejrvry1 ,an ,old ,mexican ,picture ,manuscript in the ,liverpool ,free ,public ,museum1 published at the ,expense of ,his ,excellency the ,duke of ,loubat1 p4 #baj1 ,berlin and ,london1 #aija-aijb4 #ih ,the ,codex ,nuttall or ,zouche was published by the ,peabody ,museum1 ,cambridge1 in #ahib4 ,the original is now in the ,british ,museum4 #ii ,on this subject consult the elucidations of ,mexican codices by ,seler1 published at the expense of the ,duke of ,loubat4 ,also1 ,mexican and ,central ,american ,antiquities1 ,calendar ,systems1 and ,history1 being translations from the ,german of papers by ,seler1 ,frstemann1 and others1 published as ,bulletin #bh1 ,bureau of ,american ,ethnology1 ,washington1 #aijd4 ,the studies of ,c4 ,p4 ,bowditch will be found in his ,numeration1 ,calendar ,systems and ,astronomical ,knowledge of the ,mayas1 ,cambridge1 ,mass41 #aiaj4 #ajj ,hermann ,beyer1 ,el llamado 8,calendario ,azteca10 ,mexico1 #aiba1 an important study of interpretation of the calendar stone of the ,aztecs4 #aja ,this specimen was first illustrated by ,lehmann in his paper1 ,die altmexikanischen ,mosaiken des ,ethnographischen ,museums in ,kopenhagen1 ,globus1 #aijg4 ,our illustration is a drawing from the photograph reproduced in this study4 #ajb ,see ,note #aja4 #ajc ,see ,heger1 #ahib1 in ,list of ,works4 #ajd ,our drawing is from the photograph published by ,lehmann in his paper in the ,proceedings of the ,fifteenth ,international ,congress of ,americanists1 ,quebec1 #aijg4 #aje ,our drawing of this specimen is made from the illustration published by ,oppel4 ,see ,list of ,works1 #ahif4 #ajf ,illustrations of this piece have just been published for the first time by ,lehmann in his ,altmexikanische ,kunstgeschichte3 ,ein ,entwurf in ,umrissen1 ,berlin1 #aibb7874 #ajg ,see ,seler's remarks to ,heger's paper1 ,list of ,works1 #ahij4 #ajh ,consult ,seler1 ,altmexikanische ,knochenrasseln1 ,gesammelte ,abhandlungen1 ,zweiter ,band1 pp4 #fgb-fid1 ,berlin1 #aijd2 also ,lumholtz1 ,unknown ,mexico1 vol4 ii1 pp4 #dbh-dcj1 ,new ,york1 #aijb4 #aji ,as ,colini's paper is not easily consulted1 we append his description of these three ,mexican wooden objects3 8,l'idolo1 a guisa di figura umana1 alto m4o4 #de #ag inches high4 ,la testa molto grande1 senza alcuna proporzione con le altre parti del corpo ed sormontana da un ornamento4 ,la faccia conserva ancora traccie del rosso con cui era colorita1 il naso piccolo ma largo e schiacciato1 gli occhi sono incavature ovali ed hanno sotto tre incisioni circolari1 come se si fossero volute rappresentare le occhiaje di persona vecchia o malata4 ,anche vicino agli angoli della bocca1 poco sopra1 sono incise due linee oblique1 riempite di bianco1 quasi a guisa di rughe4 ,tiene le braccia sollevate con le mani sull'ornamento della testa1 ma le altre parti del corpo non sono affatto distinte4 ,posa sopra una base decorata con incisioni colorite in bianco1 di cui manca per una parte1 cosicch non possibile comprendere pienamente la sua forma primitiva1 la quale sembra che fosse rettangolare4 ,in ogni modo era troppo sottile per sostenere l'idolo1 e perci dobbiamo credere che facesse parte di un apparecchio pi complicato4 8,delle maschere l'una 7,v4 ,tav4 in fine1 fig4 #b7 nel tipo e nell'espressione somiglia a quella incrosta di mosaico1 descritta da ,ulisse ,aldrovandi la quale oggi si conserva nel ,museo ,etnografico ,nazionale di ,roma #f inches high4 ,il naso lungo1 sottile ed arcuato2 ma non essendo incavato nell'interno1 la maschera non potrebbe adattarsi faccia4 ,gli occhi consistono in rozze aperture ovali1 sotto le quali1 a breve distanza1 sono incisi due profondi solchi1 a guisa di semicerchi1 come nell'idolo4 ,intorno la fronte1 sopra la radice del naso1 corre una larga fascia in rilievo4 ,fra le labbra inferiore allungate1 esce la lingua1 che si ripiega sul mento3 della parte inferiore non possibile formarsi un concetto perch stata tagliata4 ,conserva qua e l le traccie della tinta rossa1 ma sono meno evidenti che nell'idoli4 ,sulla fascia della fronte1 nella lingua e sul naso possono ancora notarsi delle linee incise1 riempite di materia bianca4 8,l'altra maschera 7tav41 fig4 ,i7 lavorata con maggiore cura #g inches high3 ha la faccia simmetrica nelle varie parti e proporzionata4 ,le labbra sono piccole1 ma1 quello inferiore essendo rotto1 non possibile indovinarne la forma4 ,ha il naso arcuato1 e largo alla base1 ed internamente incavato in modo che la maschera potrebbe adattarsi alla faccia1 e siccome la bocca1 le narici e gli occhi sono forati1 cosi il portatore potrebbe benissimo vedere1 respirare e parlare4 ,nella parte inferiore delle occhiaje1 agli angoli1 si notano due piccole incavature ad arco1 la cui forma farebbe supporre che vi fossero adattati pezzi di madreperla a guisa di occhi1 come in quelle del ,museo ,christy4 ,in generale i lineamente mostrano quella espressione placida e contemplativa1 che1 secondo il ,tylor1 e caratteristica dei lavori aztechi e degli egiziani1 tanto se si riguardano le massiccie sculture in pietra1 quanto le piccole teste di terracotta4 ,ambedue queste maschere1 nella parte superiore corrispondente alla fronte1 hanno fori nei quali forse s'immettevano cordoncini per sospenderle3 la prima ne ha due grandi agli angoli1 l'altra quattro pi piccoli intorno40 7,see note under ,list of ,works1 #ahhe47 #aaj ,d4 ,i4 ,bushnell1 ,jr41 ,two ,ancient ,mexican ,atlatls1 ,american ,anthropologist1 ,n4 ,s41 vol4 #g1 no4 #b1 #aije2 also ,north ,american ,ethnographical ,material in ,italian ,collections1 ibid41 vol4 #h1 #aijf4 #aaa ,see ,note #id4 #aab ,fr4 ,toribio ,motolinia1 ,historia de los ,indios de ,nueva ,espaa1 ,tratado ,tercero1 cap4 ,,xx1 pp4 #bdg-bdi1 edition published by ,icazbalceta1 ,coleccin de ,documentos para la ,historia de ,mxico1 tomo #a1 ,mexico1 #aheh4 #aac ,consult ,frederick ,starr1 ,the ,little ,pottery ,objects of ,lake ,chapala1 ,mexico1 ,bulletin ,,ii1 ,department of ,anthropology1 ,university of ,chicago1 ,chicago1 #ahig4 #aad ,an important summary of these discoveries has recently been published by ,gamio2 see ,las ,excavaciones del ,pedregal de ,san ,angel y la ,cultura ,arcaica del ,valle de ,mexico1 ,american ,anthropologist1 ,n4 ,s41 vol4 #bb1 no4 #b1 #aibj4 ,also the paper of ,hermann ,beyer1 ,sobre ,antigedades del ,pedregal de ,san ,angel1 ,memorias de la ,sociedad ,cientfica 8,antonio ,alzate0 de ,mxico1 tomo #cg1 nm4 #h1 ,oct41 #aiag2 and ,ramon ,mena1 ,el ,hombre de 8,el ,pedregal0 de ,san ,angel1 ,escuela ,naciona1 ,preparatoria ,curso de #aiah4 ,,list ,,of ,,works ,,describing ,,mexican ,,mosaics #afdh ,,aldrovanus1 ,,ulysses4 ,musum metallicum4 ,bologna4 ,in this work are a brief description 7p4 #eej7 and illustrations of two of the specimens now in the ,museum in ,rome1 namely1 one of the knife handles 7our pl4 ,,xxxix71 and the mask 7our pl4 ,,viii74 ,this book is vol4 ,,xiii of the fourteen volumes of the ,opera ,omnia of ,aldrovanus1 issued in #afjb-affh4 #ahfa ,,tylor1 ,e4 ,b4 ,anahuac3 or ,mexico and the ,mexicans1 ancient and modern4 ,london4 ,see pp4 #aaj1 #bce1 #ccg-cci1 ,i fig4 ,dr4 ,tylor illustrates the knife with handle in the figure on p4 #aja4 ,in the appendix 7pp4 #ccg-cci71 article ,v is a 8,description of three very rare specimens of ancient ,mexican mosaic work 7in the collection of ,henry ,christy1 ,esq4740 ,these objects are now in the ,british ,museum4 #ahff ,,brasseur ,,de ,,bourbourg1 ,e41 and ,,waldeck1 ,f4 ,palenque et autres ruines de l'ancienne civilisation du ,mexique4 ,collection de vues1 bas-reliefs1 morceaux d'architecture1 coupes1 vases1 terre cuites1 cartes et plans1 dessins d'aprs nature et relevs par ,m4 de ,waldeck4 ,texte rdig par ,m4 ,brasseur de ,bourbourg4444 ,ouvrage publi sous les auspices de ,s4 ,e4 ,m4 le ,ministre de l'instruction publique4 ,paris4 ,arthur ,bertrand1 ,editeur4 ,plates4 ,monuments anciens du ,mexique4 ,describes 7p4 ,,viii7 and illustrates in color 7pl4 ,,xliii1 ,,xliv7 the mosaic-handled knife and mosaic skull mask formerly in the ,hertz collection1 now in the ,british ,museum4 #ahfg ,l,,ouzon ,,le ,,duc1 ,l4 ,rapport sur les antiquits mexicaines conserves ,copenhague4 ,archives de la ,commission ,scientifique du ,mexique1 ,tome ,,iii4 ,paris4 ,two ,mexican mosaics in the ,copenhagen ,museum are described 7tome ,,iii1 pp4 #aeg-aeh71 as follows3 8,voici maintenant trois pices qui1 mon avis1 mritent une attention toute particulire4 8,d'abord1 une tte d'alligator1 de #ai centimtres de longueur4 ,cette tte est sculpte en bois et creuse par derrire4 ,la gueule de l'alligator est largement ouverte et ses mchoires encadrent une tte humaine fixe au fond du palais4 8,ensuite1 une tte d'idole1 galement sculpte en bois et vide intrieurement1 avec une coiffure trs-leve et vase au sommet1 d'une hauteur totale1 y compris la tte1 de #bd centimtres4 ,la bouche de l'idole est vaste1 ses lvres fortement tendues dcouvrent une double range de longues dents2 ses oreilles sont ornes de pendelogues4 8,ces deux pices offrent cette singularit remarquable qu'elles sont garnies en partie1 et ont d l'avoir t en entier1 de petits fragments d'os la plupart quadrangulaires1 blanc ou teints en vert1 en rouge et en noir1 fixs sur le bois l'aide d'une espce de rsine1 ce qui leur donne l'aspect d'une mosaque4 ,fort endommages1 elles n'ont gure conserv d'intacts que les yeux1 dont les prunelles sont formes d'os blancs1 noirs et rouges1 et entoures d'un cordon d'os verts4 ,l'tat du bois qui les compose suffrirait lui seul pour tablir leur haute antiquit1 si dj leur caractre symbolique ne la rendait vidente4 ,l'une et l'autre out t achetes ,rome1 o l'on suppose qu'elles avaient t apportes de ,mexico par un missionnaire40 #ahfi ,,squier1 ,e4 ,g4 ,observations on a collection of chalchihuitls from ,central ,america4 ,annals of the ,new ,york ,lyceum of ,natural ,history1 vol4 ,,ix1 ,august1 article ,,xiv1 pp4 #beb-bec1 fig4 ,i4 ,the mosaic skull in the ,british ,museum is illustrated1 after ,waldeck4 #ahgj ,,stevens1 ,,edward ,t4 ,flint chips4 ,a guide to prehistoric archology1 as illustrated by the collection in the ,blackmore ,museum1 ,salisbury4 ,london4 ,aztec mosaic work1 pp4 #cbd-cbh4 ,describes specimens in the ,christy collection4 #ahhj ,,steinhauer1 ,c4 ,l4 ,das ,knigliche ,ethnographische ,museum zu ,copenhagen4 ,hand-catalog fr die ,besuchenden4 ,copenhagen4 ,describes 7p4 #ai7 the two mosaics in the ,copenhagen ,museum4 ,in the #ahff edition the description is on p4 #bb4 #ahhc ,,brocklehurst1 ,,thomas ,,unett4 ,mexico to-day3 a country with a great future1 and a glance at the prehistoric remains and antiquities of the ,montezumas4 ,london4 ,describes 7p4 #ahd7 and reproduces in colors 7pl4 ,,xxxiii7 the human-skull mask in the ,british ,museum4 ,pl4 ,,xxxiv illustrates the goddess ,coatlicue1 showing the turquois-mosaic in colors--the specimen to which ,peafiel refers1 vide #aijc4 ,see our pl4 ,,ii4 #ahhe ,,colini1 ,g4 ,a4 ,collezioni etnografiche del ,museo ,borgiano4 ,bollettino della ,societ ,geografica ,italiana1 ,roma1 ,anno ,,xix1 vol4 ,,xxii2 serie ,,ii1 vol4 ,x1 pp4 #caf-cbe1 #iad-icb4 ,in this article ,colini 7pp4 #cbd-cbe7 describes two masks and an idol in the ,museo ,borgiano in ,rome4 ,regarding these specimens he quotes from ,vit ,synopsis ,stephani ,borgi1 ,s4 ,r4 ,e4 ,cardinalis amplissimi1 ,s4 ,congr4 de ,propaganda ,fide ,prfecti1 ,roma1 #ahje1 p4 #dd1 8,classis mexicana3 multa lignea et testacea idolorum simulacra forma et figura singulari1 ac gente mexican propia40 ,he describes the idol as being made of wood in the form of a human figure1 #de cm4 high4 ,the two masks of wood are described1 and figured on the plate containing drawings of other ,american antiquities4 ,it is highly probable that these three objects were formerly decorated with mosaic4 ,,pigorini1 ,,luigi4 ,gli antichi oggetti ,messicani incrostati di mosaico esistenti nel ,museo ,preistorico ed ,ethnografico di ,roma4 ,reale ,accademia dei ,lincei1 ,anno ,,cclxxxii1 #ahhd-ahhe4 #i pp41 ,i pl4 with #e colored figs4 ,,bastian1 ,a4 ,zwei altmexikanische ,mosaiken4 ,verhandlungen der ,berliner ,gesellschaft fr ,anthropologie1 p4 #bja4 #ahhh ,,bastian1 ,a41 and ,,uhle1 ,,max4 ,schdelmaske von ,mexico und ,analogien aus der ,sdsee4 ,verffentlichungen aus dem ,kniglichen ,museum fr ,vlkerkunde1 ,herausgegeben von der ,verwaltung1 ,berlin1 ,oct4 ,a description 7pp4 #b-c7 and colored illustration 7,t4 ,i41 ,i7 of the mosaic-skull mask in the ,berlin ,museum4 ,,andree1 ,,richard4 ,die altmexikanischen ,mosaiken4 ,beitrage zur ,ethnographie von ,amerika aus dem ,internationalen ,archiv fr ,ethnographie4 ,leiden4 ,brief notice 7p4 #h7 of the specimen in ,gotha4 #ahhi ,,andree1 ,,richard4 ,ethnographische ,parallelen und ,vergleiche4 ,neue ,folge4 ,leipzig4 ,description 7pp4 #abg-acj7 of the mosaic specimen in ,gotha4 #ahij ,,pe,,afiel1 ,,antonio4 ,monumentos del arte ,mexicano antiguo4 ,berlin4 ,description 7,text1 p4 #bc7 and illustration in colors 7,atlas1 pl4 #abc7 of the knife with mosaic handle in the ,british ,museum4 ,,andree1 ,,richard4 ,sur une ancienne mosaique mexicaine4 ,congrs ,international des ,amricanistes1 ,compte-rendu de la septime session1 ,berlin1 #ahhh4 ,berlin4 ,describes the ,gotha specimen 7pp4 #adf-adh74 ,,heger1 ,,franz4 ,sur quelques objets archologiques du ,mexique et de l',amrique du ,sud4 ,congrs ,international des ,amricanistes1 ,compte-rendu de la septime session1 ,berlin1 #ahhh1 pp4 #ic-ig4 ,the author describes 7p4 #id7 one of the mosaic pieces in the ,vienna ,museum4 ,in the discussion of this paper1 ,seler 7p4 #ajd7 identifies the animal-like figure as representing the god ,xolotl4 #ahib ,,pi ,y ,,margil1 ,,francisco4 ,historia de la ,amrica antecolombiana4 ,tomo primero1 segunda parte4 ,barcelona4 ,two colored illustrations 7opposite p4 #abad7 of the mosaic-handled knife in the ,british ,museum4 ,,heger1 ,,franz4 ,altmexikanische ,reliquien aus dem ,schlosse ,ambras in ,tirol4 ,annalen des ,k4 ,k4 ,naturhistorischen ,hofmuseums1 ,b4 ,,vii1 ,heft #d1 pp4 #caj-djj1 pl4 ,,xviii1 ,,xxii4 ,vienna4 ,in this paper ,dr4 ,heger describes and illustrates the shield and animal head 7three views7 of turquois mosaic in the ,vienna ,museum4 #ahie ,,read1 ,,charles ,,hercules4 ,on an ancient ,mexican head-piece coated with mosaic4 ,archologia1 vol4 ,,liv1 #af pp41 pl4 ,,xxviii1 fig4 #a-f1 ,london4 ,gives in colors and describes for the first time the mosaic head-piece1 and illustrates all but one of the eight other pieces1 in the ,british ,museum4 #ahif ,,oppel1 ,a4 ,die altmexikanischen ,mosaiken4 ,globus1 ,bd4 ,,lxx1 ,nr4 #a 7,june71 pp4 #d-ab1 #ae fig41 ,braunschweig4 ,figures seven mosaic pieces in the ,british ,museum1 five pieces in ,rome1 one piece in ,berlin1 a piece in ,gotha1 and a section of the shield in ,vienna4 #aijc ,,pe,,afiel1 ,,antonio4 ,indumentaria ,antigua ,mexicana4 ,vestidos ,guerreros y ,civiles de los ,mexicanos4 ,mexico4 ,dr4 ,peafiel1 in chapter ,,xxiii1 under the heading 8,incrustaciones de ,mosaico10 describes some of the mosaic pieces in ,europe which he states are the most important specimens4 8,of this class of works the ,museo ,nacional 7,mexico7 can count as having only one1 in the statue of ,coatlicue coming from ,tehuacan40 ,on pl4 #bf are given the ,british ,museum knife1 and the two knife-handles in ,rome2 on pl4 #aag one of the masks in ,rome2 on pl4 #aah7;,a7 the skull mask in ,berlin1 and 7,b7 the mask in ,rome2 pl4 #abc is the femur musical instrument in ,rome2 and pl4 #afh restorations of the knife-handle specimens with blades1 in ,rome4 ,these illustrations are all in colors1 excepting the last4 #aijf ,,bushnell1 ,,david ,i41 ,jr4 ,north ,american ethnographical material in ,italian museums4 ,american ,anthropologist1 ,n4 ,s41 vol4 ,,viii1 ,lancaster1 ,pa4 ,on pp4 #bde-bdf the author briefly describes the five mosaic pieces in ,rome1 and regarding one of the masks 7our pl4 ,,vii1 a7 quotes from the inventory of the ,guardaroba ,medicea1 #aeec1 showing the specimen to have been in the ,medici collection4 ,,lehmann1 ,,walter4 ,altmexikanische ,mosaiken und die ,geschenke ,knig ,motecuzomas und ,corts4 ,globus1 ,bd4 ,,xv1 ,nr4 #bj1 pp4 #cah-cbb1 ,braunschweig1 #bi ,nov4 ,in this study ,lehmann enumerates the twenty-three ,mexican mosaic pieces in ,european museums and gives considerable documentary material from the early chroniclers4 #aijg ,,kunz1 ,,george ,,frederick4 ,gems and precious stones of ,mexico4 ,mexico4 ,on pp4 #g-aj1 ,dr4 ,kunz discusses turquois and describes some of the turquois mosaic specimens in ,european museums4 ,on p4 #eb he concludes that 8it must be considered as possible1 at least1 that other localities containing turquois were once known1 and may be hereafter re-discovered40 ,,lehmann1 ,,walter4 ,altmexikanische ,mosaiken in ,kgl4 ,museum fr ,vlkerkunde zu ,berlin4 ,congrs ,international des ,amricanistes1 ,,xv ,session1 tenue ,quebec en #aijf1 tome ,,ii1 pp4 #cci-cdi1 #d fig41 ,quebec4 ,describes and illustrates two pieces of ,mexican mosaics in the ,ethnographical ,museum of ,berlin1 a double-jaguar figure1 and a jaguar head4 ,the first came from the estate of ,alexander von ,humboldt1 the second was transferred to the ,berlin ,museum from the ,ducal ,museum of ,braunschweig4 ,,lehmann1 ,,walter4 ,die altmexikanischen ,mosaiken des ,ethnographischen ,museums in ,kopenhagen4 ,globus1 ,bd4 ,,xci1 ,nr4 #ba1 pp4 #ccb-cce1 #f ,june1 #aijg4 ,abb4 ,i-,,iii4 ,the author describes and figures the two pieces in ,copenhagen1 giving front and side views1 and two different drawings of one of the masks in ,rome4 #aijh ,d,,az ,,del ,,castillo1 ,,bernal4 7,maudslay1 ,a4 ,p41 translator and editor47 ,the true history of the conquest of ,new ,spain4 ,edition of the ,hakluyt ,society1 vol4 ,i1 ,london4 ,under the title 8,montezuma's ,gifts to ,corts10 ,maudslay describes 7,appendix1 pp4 #bii-cjb7 and illustrates 7pl4 #ac-af7 the three mosaic masks in the ,british ,museum4 ,pl4 #af is a rear view of the skull mask showing the leather strap by which it was attached to the head4 ,this mask ,maudslay identifies as probably that of ,tezcatlipoca1 and the other two as belonging to ,quetzalcoatl4 #aiaj ,,gamio1 ,,manuel4 ,los monumentos arqueolgicos de las inmediaciones de ,chalchihuites1 ,zacatecas4 ,anales del ,museo ,nacional de ,arqueologa1 ,historia y ,etnologa1 tome ,,ii1 pp4 #dfi-dib1 pls4 #a-h1 ,mexico4 ,on pl4 #h are figured two pieces of mosaic-work found in the ruins near ,chalchihuites4 ,,blackiston1 ,a4 ,,hooton4 ,recent discoveries in ,honduras4 ,american ,anthropologist1 ,n4 ,s41 vol4 #ab1 ,lancaster1 ,pa4 ,describes 7p4 #eci7 and illustrates 7pl4 ,,xlvi7 the mosaic wooden mask found in #aijh in a cave in an arroyo on the headwaters of a small stream flowing into the ,rio ,chamelecon1 about #be miles distant from the ruins of the ancient city of ,naco4 ,this specimen is now in the ,museum of the ,american ,indian1 ,heye ,foundation4 ,see our pl4 ,,xvii4 #aiab ,,joyce1 ,t4 ,a4 ,a short guide to the ,american antiquities in the ,british ,museum4 ,london4 ,joyce describes 7p4 #ad7 and illustrates 7figs4 #ab-ag7 six of the mosaic pieces in the ,british ,museum4 #aiad ,,joyce1 ,t4 ,a4 ,mexican archology4 ,an introduction to the archology of the ,mexican and ,mayan civilizations of pre-,spanish ,america4 ,new ,york and ,london4 ,in pl4 ,i is reproduced in colors the skull mask1 and in pl4 ,,xviii1 fig4 #a1 the knife with handle4 ,reference to these is made on p4 #ada4 ,,holmes1 ,w4 ,h4 ,masterpieces of aboriginal ,american art4 ,,ii4 ,mosaic work1 minor examples4 ,art and ,archology1 vol4 ,i1 no4 #c1 ,washington1 ,november4 ,a description 7pp4 #ia-ajb7 of some of the more important specimens of mosaics1 with colored frontispiece and #i figures4 #aiae ,,pogue1 ,,joseph ,e4 ,the turquoise4 ,a study of its history1 mineralogy1 geology1 ethnology1 archology1 mythology1 folklore1 and technology4 ,memoirs of the ,national ,academy of ,sciences1 vol4 ,,xii1 part ,,ii1 third memoir1 ,washington4 ,mexican mosaics are described on pp4 #ic-ig2 fig4 #d illustrates the bird mask in ,gotha2 pl4 #ae-ag1 ,mexican mosaics in the ,british ,museum and in ,rome 7#aj pieces74 ,the ,use of ,turquois in ,mexico and ,central ,america3 ,use as ,attested by ,historical ,evidence1 pp4 #ij-ib2 ,use as ,attested by ,objects1 pp4 #ic-ig4 #aiba ,,arreola1 ,,jos ,,mar,a4 ,como legtima el ,museo ,nacional ha adquirido una pieza falsificada4 ,el ,excelsior1 ,mexico1 ,oct4 #bj4 ,illustrates in this signed newspaper article a stone mask with turquois mosaic decoration said to have been found in ,guerrero4 ,he concludes that it is fraudulent4 ,,lehmann1 ,,walter4 ,altmexikanische ,kunstgeschichte ein ,entwurf in ,umrissen4 ,band #h des ,orbis ,pictus4 ,weltkunst-,bcherei herausgegeben von ,paul ,westheim4 ,berlin4 ,in this short study of old ,mexican art history ,dr4 ,lehmann illustrates a number of notable ,mexican antiquities4 ,the ,xolotl figure in ,vienna is illustrated1 front and side views1 pl4 #g1 and the crouching animal figure in the ,british ,museum is given on pl4 #h4 ,he gives brief descriptions in the description of plates on pp4 #bb-bc4 #aibb ,,gamio1 ,,manuel4 ,una mscara de mosaico falsificada4 ,a counterfeit mosaic mask4 ,ethnos1 tomo ,i1 nms4 #h-ab1 pp4 #bfj-bfd1 ,mexico1 ,nov4 #aibj-,mar4 #aiba4 ,gamio denounces as fraudulent the stone mosaic mask claimed to have been discovered in ,guerrero by ,porfirio ,aguirre4 ,,mena1 ,,ramon4 ,la arqueologa debe de estar en manos de arqueolgicos4 ,el ,universal1 ,mexico1 ,april #b4 ,in this signed newspaper article ,mena defends the authenticity of the stone mask decorated with turquois mosaic1 said to have been found in ,guerrero4 ,transcriber's ,notes3 ,italics are shown thus3 sloping4 ,small capitals have been capitalised4 ,variations in spelling and hyphenation are retained4 ,punctuation has been retained as published4