The Aztec Cycle.
The Aztec Cycle.
THE MEXICAN CYCLE.
The Mexican calendar contains the following divisions of time: The 'age,' consisting of two periods of fifty-two years each, was calledhuehuetiliztli; the 'cycle,' consisting of four periods of thirteen years each, was namedxiuhmolpilli,xiuhmolpiaorxiuhtlalpilli, meaning the 'binding up of the years.' Each period of thirteen years or, as it was called by the Spanish historians, 'indiccion,' was known as atlalpilli, or 'knot,' and, as stated above, each single year was namedxihuitl, or 'new grass,' The age was not used in the regular reckoning, and is only rarely mentioned to designate a long space of time. The numeral prefixed to the name of any year in the cycle, or xiuhmolpilli, never exceeded four, and to carry out this plan, four signs, respectively namedtochtli, 'rabbit,'calli, 'house,'tecpatl, 'flint,' andacatl, 'cane,' were used. Thus the Aztecs commenced to count the first year of their first cycle with the name or hieroglyphic Ce Tochtli, meaning 'one (with the sign of) rabbit;' and the second year was Ome Acatl, 'two, cane;' the third, Yey Tecpatl, 'three, flint;' the fourth, Nahui Calli, 'four, house;' the fifth, Macuilli Tochtli, 'five, rabbit;' the sixth, Chicoace Acatl, 'six, cane;'the seventh, Chicome Tecpatl, 'seven, flint;' the eighth, Chico ey Calli, 'eight, house;' the ninth, Chico nahui Tochtli, 'nine, rabbit;' the tenth, Matlactli Acatl, 'ten, cane;' the eleventh, Matlactli occe Tecpatl, 'eleven, flint;' the twelfth, Matlactli omome Calli, 'twelve, house;' and the thirteenth, Matlactli omey Tochtli, 'thirteen, rabbit.' This numeration continued in the same manner, the second tlalpilli commencing again with 'one, cane,' the third tlalpilli with 'one, flint,' the fourth with 'one, house,' and so on to the end of the cycle of fifty-two years. It will easily be seen that during the fifty-two years none of these four signs could be accompanied by the same number twice, and therefore no confusion could arise. Instead, therefore, of saying an event happened in the year 1850, as we do in our reckoning, they spoke of it as happening, for instance, in the year of 'three, rabbit' in the twelfth cycle.[621]Still, some confusion has been caused among different writers by the fact that the different nations of Anáhuac did not all commence their cycles with the same hieroglyphic sign. Thus the Toltecs commenced with the sign tecpatl, 'flint;' and the Mexicans, or Aztecs, with tochtli, 'rabbit;' while some again used acatl, 'cane;' and others calli, 'house,' as their first name.[622]A cycle was represented in their paintings by the figures of tochtli, acatl, tecpatl, and calli, repeated each thirteen times and placed in a circle, round which was painted a snake holding its tail in its mouth, and making at each of the four cardinal points a kink with its own body, as shown in the plate on the opposite page, which served to dividethe cycle into four tlalpillis.[623]These four signs, rabbit, cane, flint, and house were also, according to Boturini, used to designate the four seasons of the year, the four cardinal points, and lastly, the four elements. Thus, for instance, tecpatl also signified south; calli, east; tochtli, north; and acatl, west. In the samemanner tecpatl was used to designate fire; calli, earth; tochtli, air; and acatl, water.[624]
The civil year was again divided into eighteen months and five days. Each month had its particular name, but the five extra days were only designated asnemontemior 'unlucky days,' and children born at this time, or enterprises undertaken, were considered unlucky. In hieroglyphical paintings these months were also placed in a circle, in the middle of which a face, representing either the sun or moon, was painted. This circle was called axiuhtlapohualli, or 'count of the year.' Concerning the order in which these months followed one another, and the name of the first month, hardly two authors agree; in the same manner we find three or four various names given to many of the months. It would appear reasonable to suppose that the month immediately following the nemontemi, which were always added at the end of the year, would be the first, and the only difficulty here is to know which way the Aztecs wrote; whether from right to left or from left to right. On the circle of the month given by Veytia, and supposed to have been copied from an original, these five days are inserted between the months Panquetzaliztli and Atemoztli, and counting from left to right, this would make Atemoztli the first month, which would agree with Veytia's statement. But Gama and others decidedly dissent from this opinion, and name other months as the first. I reserve further consideration of this subject for another place in this chapter, where in connection with other matters it can be more clearly discussed, and content myself with simply inserting here a table of the names of the months as enumerated by the principal authors, in order to show at a glance the many variations. I also append to it the different dates given for the first day of the year, in which there are as many contradictions as in the names and position of the months.
NAMES OF MEXICAN MONTHS ACCORDING TO VARIOUS AUTHORS.
NAMES OF THE AZTEC MONTH.
Each month, as before stated, was represented by its proper hieroglyph, having a certain meaning, and generally referring to some feast or natural event, such as the ripening of fruit, or falling of rain, happening during the month, although in this case also there are many differences between authors regarding the meaning of the names.
The Aztec Year.
The Aztec Year.
Tititl, which according to Gama was the first month, is translated by Boturini as 'our mother,' or 'mother of the gods,' while Cabrera calls it 'fire.'[627]Itzcalli, according to Boturini, means 'regeneration;' the Codex Vaticanus translates it 'skill;' and Veytia, 'the sprouting of the grass.'[628]Atlcahualco means the 'abating of the waters.' The Tlascaltec name of this month, Xilomanaliztli, signifies the 'offering of green maize.' In other localities this month was also known by the name of Quahuitlehua, the 'burning of the mountains,' or rather of the trees on the mountains, previous to sowing.[629]Tlacaxipehualiztli means the 'flaying of the people;' the other name of this month, Cohuailhuitl, is the 'feast of the snake.' Tozoztontli, Tozcotzintli, and Hueytozoztli are respectively the small and great fast or vigil; while some translate these words by 'pricking of veins,' 'shedding of blood,' or 'great and small penance.'[630]Toxcatl is a 'collar' or 'necklace.'[631]Etzalqualiztli is translated by Boturini 'bean stew,' or 'the eating of beans,' while Veytia calls it 'the eating of maize gruel.' Tecuilhuitzintliand Hueytecuilhuitl mean respectively the small and great 'feast of the Lord.' Miccailhuitzintli is explained both as 'the feast of dead children,' and 'the small feast of the dead;' another name for this month is Tlaxochimaco, meaning 'distribution of flowers.' Hueymiccailhuitl is either 'the feast of dead adults,' or 'the great feast of the dead.' Xocotlhuetzin, another name for this month, means 'the ripening of the fruit.' Ochpaniztli is 'the cleaning of streets.' Teotleco, or 'the arrival of the gods,' was the nextmonth, and was also named Pachtli, or Pachtontli, the latter being translated by 'humiliation,' and the former by 'moss hanging from trees.' Hueypachtli was 'the great feast of humiliation,' also called Tepeilhuitl, or 'feast of the mountains.' Quecholli means 'peacock,' but the interpreter of theCodex Telleriano-Remensiscalls it the 'serpent of the clouds.' Panquetzaliztli is 'the raising of flags and banners.' Atemoztli, the last month, means the 'drying up of the waters.'[632]The plate on the preceding page shows the order of the months and the pictures by which they were represented.
The Aztec Month.
The Aztec Month.
NAMES OF THE AZTEC DAYS.
Each month contained twenty days, which were divided into four groups or weeks, as we may for convenience call them; and at the end of each group a public market or fair was held. There is no difference of opinion as to the names of the days or the order in which they follow one another, but it is very difficult, and in many cases impossible, to reconcile one with another the different hieroglyphic signs denoting these days given in the codices or in the various representations of the calendar. The names of the days are: Cipactli, a name of which it is almost impossible to give the correct meaning, it being variously represented as an animal's head with open mouth armed with long tusks, as a fish with a number of flint knives on its back, as a kind of lizard with a very long tail curled up over its back, and in many other monstrous shapes. It is called the 'sea-animal,' the 'sword-fish,' the 'serpent armed with harpoons,' and other names. Ehecatl is 'wind;' Calli, 'house;' Cuetzpalin, 'lizard;' Coatl, 'snake;' Miquiztli, 'death;' Mazatl, 'deer;' Tochtli, 'rabbit;' Atl,'water;' Itzcuintli, 'dog;' Ozomatli, 'monkey;' Malinalli, 'brushwood,' or 'tangled grass;' Acatl, 'cane;' Ocelotl, 'tiger;' Quauhtli, 'eagle;' Cozcaquauhtli, a species of vulture, known in Mexico as 'rey de los zopilotes;' Ollin, 'movement;' Tecpatl, 'flint;' Quiahuitl, 'rain;' and Xochitl, 'flower.' It will be seen that the days having the names or signs of the years,—namely: Tochtli, Calli, Tecpatl, and Acatl—stand first in each week. The five nemontemi had no particular name. The cut given above shows themethod by which the Aztecs represented their month, with the hieroglyphic names of each day.[633]
INTERCALARY DAYS.
As three hundred and sixty-five days do not make the year complete, the Mexicans added the missing thirteen days at the end of the cycle of fifty-two years. But Gama asserts that they came still nearer to our more correct calculations, and added only twelve days and a half.[634]It has been frequently attemptedto fix accurately the time when the Mexican year commenced according to our dates, but there is no agreement on this point between the old historians, as will be seen from the table given, and although many elaborate calculations have been made for the purposeof verifying the one or the other statement, the result is in no two cases the same. Gama calculated, and Humboldt and Gallatin confirmed his statement, that the first year of a Mexican cycle commenced on the 31st day of December, old style, or on the 9th day of January, new style, with the month Tititl and the day Cipactli.[635]
THE RITUAL CALENDAR.
We come now to another mode of reckoning known as the ritual calendar, which, as its name implies, was used for adjusting all religious feasts and rites and everything pertaining thereto. The previously described reckoning was solar, while that of the ritual calendar was lunar. The periods into which it was divided were of thirteen days each, thus representing about half the time that the moon was visible. The year contained as many days as the solar calendar, but they were divided into entirely different periods. Thus, in reality there were no months at all, but only twenty weeks of thirteen days each; and these not constituting a full year, the same kind of reckoning was continued for one hundred and five days more, and at the end of a tlalpilli thirteen days were intercalated to make up for the lost days. The names of the days were the same as in the solar calendar but they were counted as follows. To the first day the number one was prefixed, to the second, two, to the third, three, and so on to thirteen; when the fourteenth name was again called one, the fifteenth, two, and so on to thirteen again, after which the same count was continued to the end of the year. But as in this reckoning it naturally happens that one name has the same number twice, accompanying signs were added to the regular names, which were calledquecholli, 'lords or rulers of the night.' Of these there were nine,xiuhtecutli,tletl, 'lord of the year, fire;'tecpatl, 'flint;'xochitl, 'flower;'centeotl, 'goddess of maize;'miquiztli, 'death;'atl, 'water,' represented by the goddess Chalchihuitlicue;tlazolteotl, 'goddess of love;'tepeyollotli, a deity supposed to inhabit the centre of the mountains;quiahuitl, 'rain,' represented by the god Tlaloc.[636]As stated above, one of these signs was understood to accompany the regular name of each day, commencing with the first day of the year; but they were never written or mentioned with the first two hundred and sixty days, but only with the last one hundred and five days, to distinguish them from the former.[637]For the purpose of making this system more comprehensible, I insert a few months of the Mexican calendar, showing the solar and lunar system together, as arranged by Gama.
The five nemontemi were counted in this calendar as other days, that is, they received the names which came in the regular order, but, nevertheless, they were believed to be unlucky days and had no accompanying signs.
The Calendar-Stone.
The Calendar-Stone.
THE AZTEC CALENDAR-STONE.
Besides the preceding cuts of the Mexican calendar systems, as they were represented by Gemelli Careri, Veytia, and others, the calendar-stone is the most reliable source by which the extent of the astronomical science of the Aztecs can be shown. Gama, and after him Gallatin, give very accurate descriptions of this stone; I insert here a résumé from the latter author. On this stone there is engraved in high-relief a circle, in which are represented by certain hieroglyphics the sun and its several motions, the twenty days of the month, some principal fast-days, and other matters. The central figure represents the sun as it is usually painted by the Mexicans. Around it, outside of a small circle, are four parallelograms with the signs of the days, Nahui Ocelotl, Nahui Ehecatl, Nahui Quiahuitl, and Nahui Atl. Between the two upper and lower parallelograms are two figures, which Gama explains as being two claws, which are the hieroglyphics representing two eminent astrologers, man and wife. Gama further explains these four signs of the days in this place, as having reference to the four epochs of nature, of which the Aztec traditions speak. The first destruction of the sun is said to have taken place in the year Ce Acatl and on the day Nahui Ocelotl. The second sun was supposed to have died in the year Ce Tecpatl and on the day Nahui Ehecatl; the third destruction occurred also in the year Ce Tecpatl and on the day Nahui Quiahuitl; and lastly, the fourth destruction took place in the year Ce Calli, on the day Nahui Atl. But Mr Gallatin thinks that these four parallelograms had yet some other purpose; for on the twenty-second of May and on the twenty-sixth of July, which days are Nahui Ocelotl and Nahui Quiahuitl, if we accept the thirty-first of December as thefirst day of the Mexican cycle, the sun passed the meridian of the city of Mexico. But in this case the other two days, Nahui Ehecatl and Nahui Atl cannot be explained in connection with any other astronomical event. Between the lower parallelograms are two small squares, in each of which are five oblong marks, signifiying the number ten; and as the central figure is theollin tonatiuh, or sun, the number ten in these two squares is supposed to mean the day Matlactli Ollin. Below this again are the hieroglyphics Ce Quiahuitl, and Ome Ozomatli. The day Matlactli Ollin in the first year of the cycle is the twenty-second of September; Ce Quiahuitl in the year Matlactli omey Acatl, which year is inscribed at the head of the stone, is our twenty-second of March; and Ome Ozomatli in the same year would be our twenty-second of June. Here are therefore designated three of the principal phenomena as they happened in the first year of the cycle, viz: two transits of the sun by the zenith and the autumnal equinox. In the year designated on the stone Matlactli omey Acatl, there are given the spring equinox and summer solstice. In a circle surrounding these figures are represented the twenty days of the months. From the central figure of the sun there runs upward, as far as the circle of days, a triangle, the upper and smallest angle of which points between the days Cipactli and Xochitl, thus confirming the idea that Cipactli was always the first day of the month. Gama, Gallatin, Humboldt, Dupaix, and others have given correct pictures of the stone as is proved by recent photographs; but in my cut the figures are reversed. It is a copy from Charnay, whose photographs were in 1875 the best authority accessible; and I failed to notice that this, unlike Charnay's other plates, was a photo-lithograph reversed in printing. Not only did I fall into this error, but in my earlier editions charged other writers with having made a similar one. The cut does not otherwise mislead, but it must be noted that insteadof running from left to right, the days really run from right to left. From the circle of days, four triangles, or rays, project, exactly dividing the stone into four quarters, each of which has ten visible squares, and, as the rays cover twelve more, there would be fifty-two in all. In each square are five oblong marks, which multiplied by fifty-two, give two hundred and sixty, or the first period of the Mexican ritual year. Outside of the circle of these squares the four quarters are each again divided by a smaller ray, and, as stated before, at the head of the stone, over the principal triangle is the sign of the year Matlactli omey Acatl. Round the outer edge are a number of other figures and hieroglyphics,which have not yet been deciphered, or whose interpretations by different writers present so many contradictions that they would have no value here.[638]
CALENDAR OF THE TARASCOS.
The only information we have of the calendar used in Michoacan is furnished by Veytia, and this is only fragmentary. Enough is known, however, to show that their system was the same as that of the Aztecs. Instead of the four principal signs of the Aztecs, tecpatl, calli, tochtli, and acatl, in Mechoacan the namesinodon,inbani,inchon, andintihuiwere used. Of the eighteen months only fourteen are mentioned by name. These are: Intacaci, Indehuni, Intecamoni, Interunihi, Intamohui, Inizcatolohui, Imatatohui, Itzbachaa, Intoxihui, Intaxihui, Intechaqui, Intechotahui, Inteyabchitzin, Intaxitohui. The five intercalarydays were namedintasiabire.[639]The days of the month, divided into four equal parts by the above-mentioned four principal signs, were called: Inodon, Inicebi, Inettuni, Inbeari, Inethaati, Inbani, Inxichari, Inchini, Inrini, Inpari, Inchon, Inthahui, Intzini, Intzoniabi, Intzimbi, Inthihui, Inixotzini, Inichini, Iniabi, Intaniri.[640]
The Zapotecs in Oajaca, according to the description of Burgoa, used the same calendar as the Aztecs, with this difference, that the year always commenced on the twelfth day of March, and that the bissextile year was corrected every fourth year, by adding, instead of five, six intercalary days.[641]
Hieroglyphic Records—The Native Books—Authorities—Destruction of the Native Archives by Zumárraga and his Confrères—Picture-writings used after the Conquest for Confession and Law-Suits—Value of the Records—Documents sent to Spain in the Sixteenth Century—European Collections—Lord Kingsborough's Work—Picture-writings retained in Mexico—Collections of Ixtlilxochitl, Siguënza, Gemelli Careri, Boturini, Veytia, Leon y Gama, Pichardo, Aubin, and the National Museum of Mexico—Process of Hieroglyphic Development—Representative, Symbolic, and Phonetic Picture-writing—Origin of Modern Alphabets—The Aztec System—Specimen from the Codex Mendoza—Specimen from Gemelli Careri—Specimen from the Boturini Collection—Probable future success of Interpreters—The Nepohualtzitzin.
The Nahua nations possessed an original hieroglyphic system by which they were able to record all that they deemed worthy of preservation. The art of picture-writing was one of those most highly prized and most zealously cultivated and protected, being entrusted to a class of men educated for the purpose and much honored. The written records included national, historic, and traditional annals, names and genealogical tables of kings and nobles, lists and tribute-rolls of provinces and cities, land-titles, law codes, court records, the calendar and succession of feasts, religious ceremonies of the templeservice, names and attributes of the gods, the mysteries of augury and soothsaying, with some description of social customs, mechanical employments, and educational processes. The preparation and guardianship of records of the higher class, such as historical annals and ecclesiastical mysteries, were under the control of the highest ranks of the priesthood, and such records, comparatively few in number, were carefully guarded in the temple archives of a few of the larger cities. These writings were a sealed book to the masses, and even to the educated classes, who looked with superstitious reverence on the priestly writers and their magic scrolls. It is probable that the art as applied to names of persons and places or to ordinary records was understood by all educated persons, although by no means a popular art, and looked upon as a great mystery by the common people. The hieroglyphics were painted in bright colors on long strips of cotton cloth, prepared skins, or maguey-paper—generally the latter—rolled up or, preferably, folded fan-like into convenient books calledamatl, and furnished often with thin wooden covers. The same characters were also carved on the stones of public buildings, and probably also in some cases on natural cliffs. The early authorities are unanimous in crediting these people with the possession of a hieroglyphic system sufficiently perfect to meet all their requirements.[642]
DESTRUCTION OF ABORIGINAL RECORDS.
Unfortunately the picture-writings, particularly those in the hands of priests—those most highly prized by the native scholar, those which would, if preserved, have been of priceless value to the students of later times—while in common with the products of other arts they excited the admiration of the foreign invaders, at the same time they aroused the pious fears of the European priesthood. The nature of the writings was little understood. Their contents were deemed to be for the most part religious mysteries, painted devices of the devil, the strongest band that held the people to their aboriginal faith, and the most formidable obstacle in the way of their conversion to the true faith. The destruction of the pagan scrolls was deemed essential to the progress of the Church, and was consequently ordered and most successfully carried out under the direction of the bishops and their subordinates, the most famous of these fanatical destroyers of a new world's literature being Juan de Zumárraga, who made a public bonfire of the native archives. The fact already noticed, that the nationalannals were preserved together in a few of the larger cities, made the task of Zumárraga and his confrères comparatively an easy one, and all the more important records, with very few probable exceptions, were blotted from existence. The priests, however, sent some specimens, either originals or copies, home to Europe, where they attracted momentary curiosity and were then lost and forgotten. Many of the tribute-rolls and other paintings of the more ordinary class, with perhaps a few of the historical writings, were hidden by the natives and thus saved from destruction. Of these I shall speak hereafter.[643]
After the zeal of the priests had somewhat abated, or rather when the harmless nature of the paintings was better understood, the natives were permitted to use their hieroglyphics again. Among other things they wrote down in this way their sins when the priests were too busy to hear their verbal confessions. The native writing was also extensively employed in the many lawsuits between Aztecs and Spaniards during the sixteenth century, as it had been employed in the courts before the conquest. Thus the early part of the century produced many hieroglyphic documents, not a few of which have been preserved, and several of which I have in my library. During the same period some fragments that had survived the general destruction were copied and supplied with explanationswritten with European letters in Aztec, or dictated to the priests who wrote in Spanish. The documents, copies, and explanations of this time are of course strongly tinctured with Catholic ideas wherever any question of religion is involved, but otherwise there is no reason to doubt their authenticity.[644]
VALUE OF THE NATIVE RECORDS.
To discuss the historical value of such Aztec writings as have been preserved, or even of those that were destroyed by the Spaniards, or the accuracy of the various interpretations that have been given to the former, forms no part of my purpose in this chapter. Here I shall give a brief account of the preserved documents, with plates representing a few of them as specimens, and as clear an idea as possible of the system according to which they were painted. Respecting the theory, supported by a few writers, that the Aztecs had no system of writing except the habit common to all savage tribes of drawing rude pictures on the rocks and trees, that the statements of the conquerors on the subject are unfounded fabrications, the specimens handed down to us mere inventions of the priests, and their interpretations consequently purely imaginary, it is well to remark that all this is a manifest absurdity. On the use of hieroglyphics the authorities, as we have seen, all agree; on their destruction by the bishops they are no less unanimous; even the destroyers themselves mention the act in their correspondence, glorying in it as a most meritoriousdeed. The burning was moreover perfectly consistent with the policy of the Church at that time, and its success does not seem extraordinary when we consider the success of the priests in destroying monuments of solid stone. The use of the aboriginal records in the Spanish courts for a long period is undeniable. The priests had neither the motive nor the ability to invent and teach such a system. Respecting the historical value of the destroyed documents, it is safe to believe that they contained all that the Aztecs knew of their past. Having once conceived the idea of recording their annals, and having a system of writing adequate to the purpose, it is inconceivable that they failed to record all they knew. The Aztecs derived their system traditionally from the Toltecs, whose written annals they also inherited; but none of the latter were ever seen by any European, and, according to tradition, they were destroyed by a warlike Aztec king, who wished the glory of his own kingdom to overshadow that of all others, past, present, or future. If the hieroglyphics of the Nahua nations beyond the limits of Anáhuac differed in any respect from those of the Aztecs, such differences have not been recorded.[645]
EUROPEAN COLLECTIONS.
I have said that many hieroglyphic manuscripts, saved from the fires kindled by Zumárraga's bigotry, or copied by ecclesiastical permission before serving as food for their purifying flames, were sent to Spain by the conquerors. After lying forgotten for a few centuries, attention was again directed to these relics of an extinct civilization, and their importance began to be appreciated; search was made throughout Europe, and such scattered remnants as survived their long neglect were gathered and deposited in public and private libraries. Eight or ten such collections were formed and their contents were for the most part published by Lord Kingsborough.
TheCodex Mendozawas sent by the viceroy Mendoza to Charles V., and is now in the Bodleian Library at Oxford. It is a copy on European paper, coarsely done with a pen, and rolled instead of folded. Another manuscript in the Escurial Library is thought by Prescott to be the original of this codex, but Humboldt calls it also a copy. An explanation of the codex in Aztec and Spanish accompanies it, added by natives at the order of Mendoza. It has been several times published, and is divided in three parts, the first being historical, the second composed of tribute-rolls, and the third illustrative of domestic life and manners.[646]
TheCodex Vaticanus(No. 3738) is preserved at Rome in the Vatican Library, and nothing is known of its origin further than that it was copied by Pedro de los Rios, who was in Mexico in 1566. It is dividedinto two parts, mythological and historical, and has a partial explanation in Italian. Another manuscript, (No. 3776) preserved in the same library, is written on skin, has been interpreted to some extent by Humboldt, and is supposed to pertain to religious rites. TheCodex Telleriano-Remensis, formerly in the possession of M. Le Tellier, and now in the Royal Library at Paris, is nearly identical with the Codex Vaticanus (No. 3738), having only one figure not found in that codex, but itself lacking many. It has, however, an explanation in Aztec and Spanish.[647]
TheCodex Borgianwas deposited in the College of the Propaganda at Rome by Cardinal Borgia, who found it used as a plaything by the children in the Gustiniani family. It is written on skin, and appears to be a ritual and astrologic almanac very similar to the Vatican manuscript (No. 3776). It is accompanied by an interpretation or commentary by Fabrega. TheCodex Bologna, preserved in the library of the Scientific Institute, was presented in 1665 to the Marquis de Caspi, by Count Valerio Zani. It is written on badly prepared skin, and appears to treat of astrology. A copy exists in the Museum of Cardinal Borgia at Veletri. Of theCodex Viennanothing is known except that it was given in 1677 to the Emperor Leopold by the Duke of Saxe-Eisenach, and that its resemblance to the manuscripts at Rome and Veletri would indicate a common origin. Four additional manuscripts from the Bodleian Library at Oxford, and one belonging to M. de Fejérvary in Hungary, are published by Kingsborough. Nothing is known of the origin of these, nor has any interpretation been attempted, although the last-named seems to be historical or chronological in its nature.[648]
PICTURE-WRITINGS PRESERVED IN MEXICO.
I have said that many manuscripts, mostly copies, but probably some originals, were preserved from destruction, and retained in Mexico. Material is not accessible for a complete detailed history of these documents, nor does it seem desirable to attempt here to disentangle the numerous contradictory statements on the subject. The surviving remnants of the Tezcucan archives, with additions from various sources, were inherited by Ixtlilxochitl, the lineal descendant of Tezcuco's last king, who used them extensively if not always judiciously in his voluminous historical writings. The collection of which these documents formed a nucleus may be traced more or less clearly to the successive possession of Sigüenza, the College of San Pedro y San Pablo, Boturini Benaduci, the Vice-regal Palace, Veytia, Ortega, Leon y Gama, Pichardo, Sanchez, and at last to the National Museum of the University of Mexico, its present and appropriate resting-place. Frequent interventions of government and private law-suits interrupted this line of succession, and the collection by no means passed down the line intact. Under the care of several of the owners large portions of the accumulation were scattered; but on the other hand, several by personal research greatly enlarged their store of aboriginal literature. While in Sigüenza's possession the documents were examined by the Italian traveler Gemelli Careri, through whose published work one of the most important of the pictured records was made known to the world. This latter has been often republished and will be given as a specimen in this chapter.[649]Clavigero studied the manuscripts in the Jesuit College of San Pedro y San Pablo in 1759.[650]Boturini was a most indefatigable collector, his accumulation in eight years amounting to over five hundred specimens, some of them probably antedating the Spanish conquest. He published a catalogue of his treasures, which were for the most part confiscated by the government and deposited in the palace of the viceroy, where many of the documents are said to have been destroyed or damaged by dampness and want of care. Those retained by the collector were even more unfortunate, since the vessel on which they were sent to Europe was taken by an English pirate, and the papers have never since been heard of. Only a few fragments from the Boturini collection have ever been published, the most important of which, a history of the Aztec migration, has been often reproduced, and will be given in this chapter. The original was seen by Humboldt in the palace of the viceroy, and is now in the Mexican Museum.[651]
The confiscated documents passed by order of the Spanish government into the hands of Veytia, or at least he was permitted to use them in the preparation of his history,[652]and after his death and the completion of his work by Ortega, they passed, not without a lawsuit, into the possession of Leon y Gama, the astronomer.[653]On the death of Gama a part of his manuscripts were sold to Humboldt to form the Berlin collection published by Kingsborough;[654]the restcame into the hands of Pichardo, Gama's executor, who spent his private fortune in improving his collection, described by Humboldt as the richest in Mexico. Many of Pichardo's papers were scattered during the revolution, and the remainder descended through his executor Sanchez to the Museum.[655]It is not unlikely either that the French intervention in later years was also the means of sending some picture-writings to Europe. Of the documents removed from the Mexican collections on different occasions and under different pretexts, M. Aubin claims to have secured the larger part, which are now in his collection in Paris, with copies of such manuscripts as he has been unable to obtain in the original form.[656]
HIEROGLYPHIC DEVELOPMENT.
In order to form a clear idea of the Aztec system of picture-writing, it will be well to consider first the general principles of hieroglyphic development, which are remarkably uniform and simple, and which may best be illustrated by our own language, supposing it, for convenience, to be only a spoken tongue.
It is evident that the first attempt at expressing ideas with the brush, pencil, or knife, would be the representation of visible objects by pictures as accurately drawn as possible; a house, man, bird, or flower are drawn true to the life in all their details. But very soon, if a frequent repetition of the pictures were needed, a desire to save labor would prompt the artist to simplify his drawing, making only the lines necessary to show that a house, man, etc., were meant,—a retrograde movement artistically considered, but intellectually the first step towards an alphabet. The representation of actions and conditions, such as a house on fire, a dead man, a flying bird, or a red flower would naturally follow.
The three grades of development mentioned belong to what may be termed representative picture-writing. It is to be noted that this writing has no relation to language; that is, the signs represent only visible objects and actions without reference to the words by which the objects are named or the actions expressed in our language. The pictures would have the same meaning to a Frenchman or German as to the painter.
The next higher phase of the art is known as symbolic picture-writing. It springs from the need that would soon be experienced of some method by which to express abstract qualities or invisible objects. The symbolic system is closely analogous in its earlier stages to the representative, as when the act of swimming is symbolized by a fish, a journey by a succession of footprints, night by a black square, light by an eye, power by a hand, the connection between the picture and the idea to be expressed being more or less obvious. Such a connection, real or imaginary, must always be supposed to have existed originally, since it is not likely that purely arbitrary symbols would be adopted, but nearly all the symbols would be practically arbitrary and meaningless to a would-be interpreter ignorant of the circumstances which originated their signification.
We have seen that the symbolic and representative stages of development are in many respects very like one to the other, and there are many hieroglyphic methods between the two, which it is very difficult to assign altogether to either. For instance, when a large painted heart expresses the name of a chief 'Big Heart;' or when a peculiarly formed nose is painted to represent the man to whom it belongs; or when the outlines of the house, man, bird, or flower already mentioned are so very much simplified as to lose all their apparent resemblance to the objects represented. It is also to be noted that the symbolic writing, as well as the representative, is entirely independent of language.
REPRESENTATIVE AND SYMBOLIC WRITING.
Picture-writing of the two classes described has been practiced more or less, probably, by every savage tribe. By its aid records of events, such as tribal migrations, and the warlike achievements of noted chiefs, may be and doubtless have been made intelligible to those for whose perusal they were intended. But the key to such hieroglyphics is the actual acquaintance of the nation with each character and symbol, and it cannot long survive the practice of the art. In only two ways can the meaning of such records be preserved,—the study of the art while actually in use by a people of superior culture, or its development into a hieroglyphic system of a higher grade. Neither of these conditions were fulfilled in the case of our Wild Tribes, but both were so to some extent, as we shall see, in the case of the Civilized Nations. Throughout the Pacific States rock-carvings and painted devices will be noted in a subsequent volume of this work; most of them doubtless had a meaning to their authors, although many may be attributed to the characteristic common to savages and children of whiling away time by tracing unmeaning sketches from fancy. All are meaningless now and must ever remain so. Full of meaning to the generation whose work they were, they served to keep alive in the following generation the memory of some distinguished warrior, or some element of aboriginal worship, but to the third generation they became nothing but objects of superstitious wonder. Even after coming into contact with Europeans the savage often indicates by an arrow and other figures carved on a forest-tree the number of an enemy and the direction they have taken, or leaves some other equally simple representative record.
The next and most important step in hieroglyphic development is taken when a phonetic element is introduced; when the pictures come into a relation, not before attained, with sounds or spoken language; when a picture of the human form signifiesman,nothommeorhombre; a painted house,house, notcasaormaison. Of this phonetic picture-writing in its simplest form, the illustrated rebuses—children's hieroglyphics—present a familiar example; as when charity is written by drawing in succession a chair, an eye, and a chest of tea, 'chair-eye-tea.' In pronouncing the whole word thus written, the sounds of the words represented by the pictures are used without the slightest reference to their meaning. To the Frenchman the same pictures 'chaise-œil-thé' would have no meaning.
In the example given the whole name of each word pictured is pronounced, but the number of words that could be produced by such combinations is limited, and the first improvement of the system would perhaps be to pronounce only the leading syllable or sound of the pictured word, and then charity might be painted 'cha (pel)-ri (ng)-tee (th).' By this system the same word might be written in a great many ways, and the next natural improvement would be the conventional adoption of certain easily pictured words to represent certain sounds, as 'hat,' 'hand,' or 'ham,' for the soundha, or simply the aspiratedh. The next development would be effected by simplifying the outlines of the numerous pictures employed, which have now become too complicated and bulky for rapid writing. For a time this process of simplification would still leave a rude resemblance to the original picture; but at last the resemblance would become very faint, or only imaginary, and perhaps some arbitrary signs would be added—in other words, a phonetic alphabet would be invented, the highest degree of perfection yet achieved in this direction.