The Sacrifice of the DancerA more important festival of Chicomecohuatl, however, was the Xalaquia, which lasted from June 28 to July 14, commencing when the maize plant had attainedits full growth. The women of thepueblo(village) wore their hair unbound, and shook and tossed it so that by sympathetic magic the maize might take the hint and grow correspondingly long.Chian pinolliwas consumed in immense quantities, and maize-porridge was eaten. Hilarious dances were nightly performed in theteopan(temple), the central figure in which was the Xalaquia, a female captive or slave, with face painted red and yellow to represent the colours of the maize-plant. She had previously undergone a long course of training in the dancing-school, and now, all unaware of the horrible fate awaiting her, she danced and pirouetted gaily among the rest. Throughout the duration of the festival she danced, and on its expiring night she was accompanied in the dance by the women of the community, who circled round her, chanting the deeds of Chicomecohuatl. When daybreak appeared the company was joined by the chiefs and headmen, who, along with the exhausted and half-fainting victim, danced the solemn death-dance. The entire community then approached theteocalli(pyramid of sacrifice), and, its summit reached, the victim was stripped to a nude condition, the priest plunged a knife of flint into her bosom, and, tearing out the still palpitating heart, offered it up to Chicomecohuatl. In this manner the venerable goddess, weary with the labours of inducing growth in the maize-plant, was supposed to be revivified and refreshed. Hence the name Xalaquia, which signifies “She who is clothed with the Sand.” Until the death of the victim it was not lawful to partake of the new corn.The so-called TeoyaominquiThe so-called TeoyaominquiIn the National Museum, MexicoPhoto C. B. Waite, MexicoThe general appearance of Chicomecohuatl was none too pleasing. Her image rests in the National Museum in Mexico, and is girdled with snakes. On the underside the symbolic frog is carved. The Americanistsof the eighteenth and early nineteenth centuries were unequal to the task of elucidating the origin of the figure, which they designated Teoyaominqui. The first to point out the error was Payne, in hisHistory of the New World called America, vol. i. p. 424. The passage in which he announces his discovery is of such real interest that it is worth transcribing fully.
The Sacrifice of the DancerA more important festival of Chicomecohuatl, however, was the Xalaquia, which lasted from June 28 to July 14, commencing when the maize plant had attainedits full growth. The women of thepueblo(village) wore their hair unbound, and shook and tossed it so that by sympathetic magic the maize might take the hint and grow correspondingly long.Chian pinolliwas consumed in immense quantities, and maize-porridge was eaten. Hilarious dances were nightly performed in theteopan(temple), the central figure in which was the Xalaquia, a female captive or slave, with face painted red and yellow to represent the colours of the maize-plant. She had previously undergone a long course of training in the dancing-school, and now, all unaware of the horrible fate awaiting her, she danced and pirouetted gaily among the rest. Throughout the duration of the festival she danced, and on its expiring night she was accompanied in the dance by the women of the community, who circled round her, chanting the deeds of Chicomecohuatl. When daybreak appeared the company was joined by the chiefs and headmen, who, along with the exhausted and half-fainting victim, danced the solemn death-dance. The entire community then approached theteocalli(pyramid of sacrifice), and, its summit reached, the victim was stripped to a nude condition, the priest plunged a knife of flint into her bosom, and, tearing out the still palpitating heart, offered it up to Chicomecohuatl. In this manner the venerable goddess, weary with the labours of inducing growth in the maize-plant, was supposed to be revivified and refreshed. Hence the name Xalaquia, which signifies “She who is clothed with the Sand.” Until the death of the victim it was not lawful to partake of the new corn.The so-called TeoyaominquiThe so-called TeoyaominquiIn the National Museum, MexicoPhoto C. B. Waite, MexicoThe general appearance of Chicomecohuatl was none too pleasing. Her image rests in the National Museum in Mexico, and is girdled with snakes. On the underside the symbolic frog is carved. The Americanistsof the eighteenth and early nineteenth centuries were unequal to the task of elucidating the origin of the figure, which they designated Teoyaominqui. The first to point out the error was Payne, in hisHistory of the New World called America, vol. i. p. 424. The passage in which he announces his discovery is of such real interest that it is worth transcribing fully.
The Sacrifice of the DancerA more important festival of Chicomecohuatl, however, was the Xalaquia, which lasted from June 28 to July 14, commencing when the maize plant had attainedits full growth. The women of thepueblo(village) wore their hair unbound, and shook and tossed it so that by sympathetic magic the maize might take the hint and grow correspondingly long.Chian pinolliwas consumed in immense quantities, and maize-porridge was eaten. Hilarious dances were nightly performed in theteopan(temple), the central figure in which was the Xalaquia, a female captive or slave, with face painted red and yellow to represent the colours of the maize-plant. She had previously undergone a long course of training in the dancing-school, and now, all unaware of the horrible fate awaiting her, she danced and pirouetted gaily among the rest. Throughout the duration of the festival she danced, and on its expiring night she was accompanied in the dance by the women of the community, who circled round her, chanting the deeds of Chicomecohuatl. When daybreak appeared the company was joined by the chiefs and headmen, who, along with the exhausted and half-fainting victim, danced the solemn death-dance. The entire community then approached theteocalli(pyramid of sacrifice), and, its summit reached, the victim was stripped to a nude condition, the priest plunged a knife of flint into her bosom, and, tearing out the still palpitating heart, offered it up to Chicomecohuatl. In this manner the venerable goddess, weary with the labours of inducing growth in the maize-plant, was supposed to be revivified and refreshed. Hence the name Xalaquia, which signifies “She who is clothed with the Sand.” Until the death of the victim it was not lawful to partake of the new corn.The so-called TeoyaominquiThe so-called TeoyaominquiIn the National Museum, MexicoPhoto C. B. Waite, MexicoThe general appearance of Chicomecohuatl was none too pleasing. Her image rests in the National Museum in Mexico, and is girdled with snakes. On the underside the symbolic frog is carved. The Americanistsof the eighteenth and early nineteenth centuries were unequal to the task of elucidating the origin of the figure, which they designated Teoyaominqui. The first to point out the error was Payne, in hisHistory of the New World called America, vol. i. p. 424. The passage in which he announces his discovery is of such real interest that it is worth transcribing fully.
The Sacrifice of the DancerA more important festival of Chicomecohuatl, however, was the Xalaquia, which lasted from June 28 to July 14, commencing when the maize plant had attainedits full growth. The women of thepueblo(village) wore their hair unbound, and shook and tossed it so that by sympathetic magic the maize might take the hint and grow correspondingly long.Chian pinolliwas consumed in immense quantities, and maize-porridge was eaten. Hilarious dances were nightly performed in theteopan(temple), the central figure in which was the Xalaquia, a female captive or slave, with face painted red and yellow to represent the colours of the maize-plant. She had previously undergone a long course of training in the dancing-school, and now, all unaware of the horrible fate awaiting her, she danced and pirouetted gaily among the rest. Throughout the duration of the festival she danced, and on its expiring night she was accompanied in the dance by the women of the community, who circled round her, chanting the deeds of Chicomecohuatl. When daybreak appeared the company was joined by the chiefs and headmen, who, along with the exhausted and half-fainting victim, danced the solemn death-dance. The entire community then approached theteocalli(pyramid of sacrifice), and, its summit reached, the victim was stripped to a nude condition, the priest plunged a knife of flint into her bosom, and, tearing out the still palpitating heart, offered it up to Chicomecohuatl. In this manner the venerable goddess, weary with the labours of inducing growth in the maize-plant, was supposed to be revivified and refreshed. Hence the name Xalaquia, which signifies “She who is clothed with the Sand.” Until the death of the victim it was not lawful to partake of the new corn.The so-called TeoyaominquiThe so-called TeoyaominquiIn the National Museum, MexicoPhoto C. B. Waite, MexicoThe general appearance of Chicomecohuatl was none too pleasing. Her image rests in the National Museum in Mexico, and is girdled with snakes. On the underside the symbolic frog is carved. The Americanistsof the eighteenth and early nineteenth centuries were unequal to the task of elucidating the origin of the figure, which they designated Teoyaominqui. The first to point out the error was Payne, in hisHistory of the New World called America, vol. i. p. 424. The passage in which he announces his discovery is of such real interest that it is worth transcribing fully.
The Sacrifice of the Dancer
A more important festival of Chicomecohuatl, however, was the Xalaquia, which lasted from June 28 to July 14, commencing when the maize plant had attainedits full growth. The women of thepueblo(village) wore their hair unbound, and shook and tossed it so that by sympathetic magic the maize might take the hint and grow correspondingly long.Chian pinolliwas consumed in immense quantities, and maize-porridge was eaten. Hilarious dances were nightly performed in theteopan(temple), the central figure in which was the Xalaquia, a female captive or slave, with face painted red and yellow to represent the colours of the maize-plant. She had previously undergone a long course of training in the dancing-school, and now, all unaware of the horrible fate awaiting her, she danced and pirouetted gaily among the rest. Throughout the duration of the festival she danced, and on its expiring night she was accompanied in the dance by the women of the community, who circled round her, chanting the deeds of Chicomecohuatl. When daybreak appeared the company was joined by the chiefs and headmen, who, along with the exhausted and half-fainting victim, danced the solemn death-dance. The entire community then approached theteocalli(pyramid of sacrifice), and, its summit reached, the victim was stripped to a nude condition, the priest plunged a knife of flint into her bosom, and, tearing out the still palpitating heart, offered it up to Chicomecohuatl. In this manner the venerable goddess, weary with the labours of inducing growth in the maize-plant, was supposed to be revivified and refreshed. Hence the name Xalaquia, which signifies “She who is clothed with the Sand.” Until the death of the victim it was not lawful to partake of the new corn.The so-called TeoyaominquiThe so-called TeoyaominquiIn the National Museum, MexicoPhoto C. B. Waite, MexicoThe general appearance of Chicomecohuatl was none too pleasing. Her image rests in the National Museum in Mexico, and is girdled with snakes. On the underside the symbolic frog is carved. The Americanistsof the eighteenth and early nineteenth centuries were unequal to the task of elucidating the origin of the figure, which they designated Teoyaominqui. The first to point out the error was Payne, in hisHistory of the New World called America, vol. i. p. 424. The passage in which he announces his discovery is of such real interest that it is worth transcribing fully.
A more important festival of Chicomecohuatl, however, was the Xalaquia, which lasted from June 28 to July 14, commencing when the maize plant had attainedits full growth. The women of thepueblo(village) wore their hair unbound, and shook and tossed it so that by sympathetic magic the maize might take the hint and grow correspondingly long.Chian pinolliwas consumed in immense quantities, and maize-porridge was eaten. Hilarious dances were nightly performed in theteopan(temple), the central figure in which was the Xalaquia, a female captive or slave, with face painted red and yellow to represent the colours of the maize-plant. She had previously undergone a long course of training in the dancing-school, and now, all unaware of the horrible fate awaiting her, she danced and pirouetted gaily among the rest. Throughout the duration of the festival she danced, and on its expiring night she was accompanied in the dance by the women of the community, who circled round her, chanting the deeds of Chicomecohuatl. When daybreak appeared the company was joined by the chiefs and headmen, who, along with the exhausted and half-fainting victim, danced the solemn death-dance. The entire community then approached theteocalli(pyramid of sacrifice), and, its summit reached, the victim was stripped to a nude condition, the priest plunged a knife of flint into her bosom, and, tearing out the still palpitating heart, offered it up to Chicomecohuatl. In this manner the venerable goddess, weary with the labours of inducing growth in the maize-plant, was supposed to be revivified and refreshed. Hence the name Xalaquia, which signifies “She who is clothed with the Sand.” Until the death of the victim it was not lawful to partake of the new corn.
The so-called TeoyaominquiThe so-called TeoyaominquiIn the National Museum, MexicoPhoto C. B. Waite, Mexico
The so-called Teoyaominqui
In the National Museum, Mexico
Photo C. B. Waite, Mexico
The general appearance of Chicomecohuatl was none too pleasing. Her image rests in the National Museum in Mexico, and is girdled with snakes. On the underside the symbolic frog is carved. The Americanistsof the eighteenth and early nineteenth centuries were unequal to the task of elucidating the origin of the figure, which they designated Teoyaominqui. The first to point out the error was Payne, in hisHistory of the New World called America, vol. i. p. 424. The passage in which he announces his discovery is of such real interest that it is worth transcribing fully.