1. Plain, unadorned war-shields (yaochimalli) of several kinds, used by the common soldiers.2. Gala shields (totopchimalli), indicating the military rank and achievement of chiefs. These seem to have been indiscriminately used in warfare or feasts and dances. Their general structure seems to have been alike in either case, though it is obvious that they may have been more or less light and strong. Shields of this category sometimes reproduced one or more features of the military costume, body-painting and adornments pertaining to each grade. The shield in Museo Nacional is an example of this kind. Others exhibited the emblematic device of a militant god, Huitzilopochtli, Xipe, Yiacatecuhtli, etc., marking an order of chivalry—and to this division the Stuttgart specimens belong.3. Shields, presumably of the supreme war-chief, exhibiting in picture-writing the name of his people or his personal appellation. Nothing certain is known about this group, but its existence seems vouched for by a series of indications.4. Shields pictured in the codices with deities only exhibiting their emblematic devices or reproducing features of their symbolic attire. Such shields seem to have been carried, in religious dances and festivals, by the living images of the deities in whose honor they were held.5. Shields of most precious materials, with strange and elaborate designs, described in the Inventories. As they are not mentioned elsewhere, it is not possible to state anything definite about them, but it is obvious that they were intended for the use of individuals of supreme rank. The beautiful shield at Castle Ambras belongs to this group. It is, consequently, the sole forthcoming specimen with a valid, though shadowy, right to the title of “Montezuma’s shield.”
1. Plain, unadorned war-shields (yaochimalli) of several kinds, used by the common soldiers.
2. Gala shields (totopchimalli), indicating the military rank and achievement of chiefs. These seem to have been indiscriminately used in warfare or feasts and dances. Their general structure seems to have been alike in either case, though it is obvious that they may have been more or less light and strong. Shields of this category sometimes reproduced one or more features of the military costume, body-painting and adornments pertaining to each grade. The shield in Museo Nacional is an example of this kind. Others exhibited the emblematic device of a militant god, Huitzilopochtli, Xipe, Yiacatecuhtli, etc., marking an order of chivalry—and to this division the Stuttgart specimens belong.
3. Shields, presumably of the supreme war-chief, exhibiting in picture-writing the name of his people or his personal appellation. Nothing certain is known about this group, but its existence seems vouched for by a series of indications.
4. Shields pictured in the codices with deities only exhibiting their emblematic devices or reproducing features of their symbolic attire. Such shields seem to have been carried, in religious dances and festivals, by the living images of the deities in whose honor they were held.
5. Shields of most precious materials, with strange and elaborate designs, described in the Inventories. As they are not mentioned elsewhere, it is not possible to state anything definite about them, but it is obvious that they were intended for the use of individuals of supreme rank. The beautiful shield at Castle Ambras belongs to this group. It is, consequently, the sole forthcoming specimen with a valid, though shadowy, right to the title of “Montezuma’s shield.”
PL. XXVISHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATIONMUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
PL. XXVI
SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION
MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
In the inventories of the Cortés loot, 150 shields are enumerated, mostly decorated with feathers, but 25 are specified as being ornamented with turquois mosaic, while others were garnished with gold. Of the feather-mosaic shields, one example is in Vienna (the shield formerly in Castle Ambras), two are in Stuttgart, and one is in the Museo Nacional, Mexico. Of the turquois mosaic shields, one is in London, and one in Vienna; none exists in Mexico. To this number we are now able to add eight specimens in New York, namely, one perfect shield, two nearly complete ones, and five fragments, all from the cave in the Mixteca.
We have already given numerous extracts from the early writers concerning the use of mosaic shields as part of the paraphernalia of the deities. In figs. 16-17 are two representations of the god Paynal, holding in his right hand a mosaic shield. Fig. 16 is from the Florentine manuscript of Sahagun (lamina 8), while fig. 17 is from the Real Palacio manuscript of the same author. In the original the shield is painted blue. These are the only examples we have been able to find in the Mexican codices where the mosaic character of the shield is unquestionably delineated.
Fig. 16Fig. 17
Fig. 16Fig. 17
We will now consider the two mosaic shields in Europe. On pl.XXis the shield in the British Museum. Its early history isunknown, other than that it was purchased in 1866 from a dealer who stated that it came from Turin. Quite a little of the mosaic is missing, but not enough to destroy the intricate and interesting designs. It has been described by Read, accompanied with a drawing of the figures.[95]The shield is of cedar, with a diameter of 12¼ inches. The material used for the mosaic is turquois and shell. The center of the design consists of a circle in relief, the edge of which is divided into four equal parts by angular points in pink shell, and each quarter of the circumference has three large but irregular pieces of shell at intervals. It is atonatiuh, or sun disc, and a figure of a serpent is disposed meander-fashion vertically over the entire central portion. One edge of the snake is bordered with imitation studs formed of brown gum, of which a few still preserve a covering of very thin gold-leaf. The head is placed at the upper left side, the tail ending in three feathers at the lower right edgeof the circle. On each side are two human figures, and at the center, near the top, projecting from the body of the snake, is a bifurcated design, probably a tree, upon which rests, in a pear-shaped enclosure, a human figure on its back. Through the shield are many irregular perforations, and twenty-five small holes are regularly disposed around the edge, possibly for the suspension of feathers, or bits of stone, gold, or gold-leaf, over gum, may have been inserted. Two larger holes are near the upper margin.
PL. XXVIISHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATIONMUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
PL. XXVII
SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION
MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
On pl.XXIwe reproduce the Vienna shield.[96]It is larger than the London specimen, being 16½ inches in diameter, and the designs are not so involved as in the London shield. Unfortunately the greater part of the mosaic has fallen out, but the figures in most cases may be traced by the impressions in the gum matrix. The designs consist of twotonatiuh, or sun discs, placed one above the other. In the uppertonatiuhis a human figure. There are many examples of this motive in Mexican sculptures and codices. Across the center of the shield, between the two sun discs, is a procession of human figures, four each on the right and the left, all facing the center. Between them is a human figure, head-downward, in the act of falling or plunging from the upper sun disc. Above this line of figures are four others, two on each side of the sun disc, which they face. Below, facing the lower disc, are three other figures on each side, and lower still are two more on each side. The total number of human figures, so far as we are able to determine, is twenty-four. This shield was formerly in the Castle Ambras, near Innsbruck, and its history is traceable to 1596, it being mentioned in an inventory of that date.
We cannot identify these two shields with those described in the Cortés inventories, but there is no reason to doubt that they formed part of that treasure. As examples of mosaic art, they are priceless, even in their damaged condition.
The circumstances attending the discovery of the shields now in New York have already been alluded to. Pl.Iis an exact reproduction in colors of one of these, the most important exampleof aboriginal American mosaic art known. It is in an almost perfect state of preservation, and is practically of the same size as the London specimen, being 12¾ inches in diameter, with an average thickness of three-eighths of an inch. The wood is probably cedar. In a highly esthetic manner the mosaic incrustation has been set in a bed of gum, with alternating massing of light and dark turquoises to produce bands or zones of shading in light or dark bluish-green. It is estimated that nearly 14,000 individual pieces enter into the composition of this mosaic, the greater number being tiny circular bits. The design represents a sun disc, with eight pointers in the outer rim. Inside of the innermost of the two raised narrow encircling bands is a picture of ceremonial or mythological character. We hesitate at an interpretation, but the main features may quite certainly be recognized. We are of the opinion that the scene portrayed perhaps relates to the worship of the planet Venus. It is in the region where this shield was found that Seler, after making exhaustive comparative studies of several pre-Columbian codices, concludes:
We have to look for the home of the Codex Borgia group of manuscripts.... It was a land inhabited by Aztec-speaking peoples; it was conterminous with the Zapotec territory, and it lay on the trade-route which led to the coast, and to the Maya-peopled district of Tabasco.... Indeed we also know that in this very region astronomic observation was highly developed, and the Morning Star (Venus) held in special veneration.[97]
We have to look for the home of the Codex Borgia group of manuscripts.... It was a land inhabited by Aztec-speaking peoples; it was conterminous with the Zapotec territory, and it lay on the trade-route which led to the coast, and to the Maya-peopled district of Tabasco.... Indeed we also know that in this very region astronomic observation was highly developed, and the Morning Star (Venus) held in special veneration.[97]
The upper horizontal band of the shield represents the celestial region. It recalls, with its feather fringe at the top and dots hanging from the lower section, the design around the so-called calendar stone collected by Humboldt, now in the Berlin Museum, and the upper encircling rim above the procession of figures of the so-called stone of Tizoc, as well as some of the upper bands in the murals of Mitla. If this is the celestial band, as we believe, it is quite appropriate to find on it thetonatiuh, or sun, represented in the rosette in the center. We find here two sets of four pointers each, radiating from the central disc offeathers, which surrounds a lozenge-shaped piece on which is a tiny pit below two horizontal lines. In the Real Palacio manuscript of Sahagun (estampaXII) are pictures of various symbols for heavenly bodies, one being a small disc with tiny dots, explained by Sahagun as being the sign for Venus. We have endeavored to identify this glyph with that of the symbol for turquois or jewel, or the sign for chalchihuitl. There is a slight resemblance, but we hold the opinion, as before stated, that it is the sign for the sun. We have been unable to find the exact counterpart of this combination either in the codices or in sculptures.
PL. XXVIIISHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATIONMUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
PL. XXVIII
SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION
MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
We now come to a feature which is also found in the Vienna shield, namely, a person falling or descending from the sun or celestial regions. The injured condition of the Vienna specimen renders it impossible to distinguish the sex of the figure, but in the New York specimen a woman is represented, probably a goddess. On several pages of the Codex Nuttall Zouche[98](pp. 4, 19, 21) are representations of human figures hanging from or plunging from the heavenly band. Seler has connected these scenes with the Venus period of the Mexican calendar. Attached to the band on our shield are five dots. Taken in connection with the eight dots below, respectively four on each side of the hieroglyph at the bottom, one recalls the suggestive fact that the Mexicans were acquainted with the correspondence of eight solar years to five Venus periods, and reckonings connected with the correction of these two periods have been established by both Seler and Bowditch.[99]In the Codex Selden is found an analogous picture, the band of the sky, with a centraltonatiuh, and a descending human figure attached, below which are two figures. This scene has been interpreted by Beyer[100]as representing the solar god accepting human sacrifice. In our shield, the feature which follows in Codex Selden, depicting this sacrifice, is absent.
In our shield, facing the plunging figure, are two human figures, one on each side, holding something like a staff in each hand, similar to those held in the hands of the goddess. Fromthe mouth of each of these figures protrudes an unknown object, perhaps a conch-shell trumpet, but it is not supported by the hands.
Fig. 18
Fig. 18
Above a horizontal band just over the bottom of the inner encircling rim is a hieroglyph. It is the well-known glyph for Culhuacan, or Colhuacan, the name of an important town in the valley of Mexico in ancient times. The form of the glyph, a mountain with a curved peak, is derived from the tradition that the Nahuan people originated where there was a mountain with a curved peak, called in the Nahuan languageCulhuacan. The sign is interwoven with the legendary history of the ancient tribes in central Mexico, Teuculhuacan being the province far to the north where were situated the Seven Caves of Chicomostoc, the primeval home whence sallied the Seven Tribes. In the Codex Boturini I, this legend is pictured. In fig. 18 are two forms of the glyph taken from the Codex Telleriano Remensis. On each side of this glyph on the shield are four dots, not to be confounded with the representations of shells attached to the glyph. These eight dots should have a calendric meaning, and we might stretch our imagination and consider the glyph to beCalli, a day-sign and also year-bearer, represented by the conventional figure of a house, which would give us the date 8Calli, capable of being coordinated with either the year 1461 or 1513. The general character of the glyph, however, seems to be too well established as Culhuacan to admit of such hypothesis.
PL. XXIXSHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATIONMUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
PL. XXIX
SHIELD OF WOOD (FRAGMENT) WITH MOSAIC DECORATION
MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
In a letter to the writer Dr. H. J. Spinden advances an explanation of the combination of the figures in this sun-disc shield. With his permission we quote him verbatim:
I am inclined to believe that the design as a whole represents a sun shield, the eight radiating bars being the rays, while the celestial band, the three human figures, and the Colhuacan glyph replace the parts of the sun’s face, namely, the head-band, the two eyes and nose (the plunging figure in lieu of the nose), and the mouth. This may seem pretty far-fetched at first glance, but it is quite in the spirit of Aztec art. On the Calendar Stone, around the face of the sun god and theollinsymbol with the enclosed glyphs of the four ages, is, first, a circle of the day signs, second, a circle of quincunx figures, supposed to be the classical hieroglyphs or rather symbols of turquoises, third, a frieze of eagles’ feathers. Multiple rays of different sizes complete the picture. In the actual shield before us we have the turquois mosaic, and the holes around the rim suggest that eagles’ feathers may once have been attached. Compare the sun shield or sun basket of the Pueblo Indians, and the various sun shields on Mayan monuments. Now, the sun and turquois seem to be pretty closely connected symbolically—both mean divine. The hieroglyph of the sun is used for theteo, god, in place names, while the prefixxiuhmeans divine in connection with various objects. Jade, on the other hand, means precious. The sun in Aztec ritual is pretty closely connected with riches and jewels, and the sun disc may easily have been conceived of as a gem-studded object. I think it quite possible, therefore, that the design on this shield was intended to symbolize the face of the sun, and the fact that complete figures engaged in some ritualistic function replaces the parts of a realistic face does not detract from the theory.
I am inclined to believe that the design as a whole represents a sun shield, the eight radiating bars being the rays, while the celestial band, the three human figures, and the Colhuacan glyph replace the parts of the sun’s face, namely, the head-band, the two eyes and nose (the plunging figure in lieu of the nose), and the mouth. This may seem pretty far-fetched at first glance, but it is quite in the spirit of Aztec art. On the Calendar Stone, around the face of the sun god and theollinsymbol with the enclosed glyphs of the four ages, is, first, a circle of the day signs, second, a circle of quincunx figures, supposed to be the classical hieroglyphs or rather symbols of turquoises, third, a frieze of eagles’ feathers. Multiple rays of different sizes complete the picture. In the actual shield before us we have the turquois mosaic, and the holes around the rim suggest that eagles’ feathers may once have been attached. Compare the sun shield or sun basket of the Pueblo Indians, and the various sun shields on Mayan monuments. Now, the sun and turquois seem to be pretty closely connected symbolically—both mean divine. The hieroglyph of the sun is used for theteo, god, in place names, while the prefixxiuhmeans divine in connection with various objects. Jade, on the other hand, means precious. The sun in Aztec ritual is pretty closely connected with riches and jewels, and the sun disc may easily have been conceived of as a gem-studded object. I think it quite possible, therefore, that the design on this shield was intended to symbolize the face of the sun, and the fact that complete figures engaged in some ritualistic function replaces the parts of a realistic face does not detract from the theory.
The back of the shield is shown in pl.XXII. Through the two vertical ridges are pairs of holes, evidently for the leather thongs for holding the shield. The twenty-eight small holes around the edge of the shield were probably for the insertion of feathers or other ornaments, as in the British Museum shield.
In technique our shield is similar in all respects to the two mosaic shields in Europe. In all three the incrustation is in a bed of gum that has been spread over the wood.
We now come to the series of seven mosaic shields in New York, shown in pls.XXIII-XXIX. In these we are dealing with a different technique, and one which is new to us. For the matrix a kind of cement like fine gritty brown sand was used in place of gum. They are unfortunately in a considerably damaged state, but two are more or less complete. In these examples the wood has been roughly shaped, and in all of them the marks of the copper or stone adzes are clearly visible, for there was no final smoothing of the wood as in the three specimens before described. The probable reason for this is seen in the shield on pl.XXIII. On the face of this specimen, on portions of the lower edge, especially at the left, are traces of a coarse native paper made from theamatetree, which occurs as a band that had been glued to the wood. Traces of paper also are found in the same place on the shield fragment illustrated on pl.XXIV. It is impossible to state definitely if this paper once extended from the edge to the raised body of the mosaic decoration. On the fragmentary shield just referred to may be seen a faint black line, made with some substance like graphite, running partly around the circumference 1 to 1⅞ inches from the edge. It is probably the artist’s line in arranging for some class of decoration, perhaps delimiting the section to be covered with paper. On the first shield no such line is found, but it seems certain that the rough wood between the narrow band of paper and the mosaic must have been covered either with paper or with some other material. There is no trace of cement, and we are led to believe that the paper once extended over the entire plain surface of the wood. Parchment or soft leather may also have been stretched tightly over the outer zones of shields which show no traces of paper. On this surface some type of decoration was undoubtedly placed. We recall the quotation given above concerning the use of turquois mosaic decoration on paper, in connection with the worship of the god Huitzilopochtli. Feather-mosaics, so far as we know, were generally made either on parchment or on paper. The codices were made either of leather, parchment, or paper, oftensized with stucco. In rare cases the painting was applied directly on the paper. It is undoubtedly true that one or the other of these processes of decoration completed the ensemble of the shields we are now considering.
PL. XXXEAR PLUG OF WOOD WITH MOSAIC DECORATIONMUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
PL. XXX
EAR PLUG OF WOOD WITH MOSAIC DECORATION
MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
Another point of difference in this series of shields is the material spread over the wood to receive the incrusted stones. It must have solidified slowly to have allowed for the careful and laborious work of fixing the pieces in the plastic matrix. In the case of the matrix of gum, material could have been applied and would have hardened immediately, for by tests, even after the lapse of centuries, we have found it possible to loosen the bits by the application of heat to the stone; but in the case of the cement matrix this is not possible. We do not know what liquid was used to harden the cement, which is now quite friable.
Relatively speaking, comparatively little turquois was used in this class of mosaics. Different shades of a soft light-gray stone was employed in the outer zones, while darker stones interspersed with turquois of varying shades, some almost white, and bits of lignite and obsidian, are found.
A final unique feature may be noted in the shields on pls.XXVIIandXXVIII. In the outer band will be observed the irregular inner edges of the two lines of stones which form the border. In pl.XXVIIthe space is filled in with a sprinkling of gritty, almost sand-like, bits of faded whitish-blue bastard turquois. It appears to have been spattered or sprinkled on while the matrix was very soft. In the case of the shield on pl.XXVIII, the material is somewhat coarser, and consists of rough bits of the same stone used in the broad light band within the outer border.
These shields, so far as we are able to judge from the fragmentary sections, contained no pictures or figures as in the other type. In general execution they are inferior in workmanship, and less refined and finished in appearance. In fact, they constitute a quite distinct and, up to the present, unknown type of stone mosaic from Mexico.
The first shield of this series (pl.XXIII) is in two fragments, a portion of one edge being missing. It has an average diameter of 15 inches, and a thickness of one-half to three-quarters of an inch, the mosaic disc rising one-eighth of an inch above the wood. The mosaic portion has a diameter of 10¼ inches. It appears to be a sun shield, judging by the eight pointers which radiate from the band surrounding the circular design in the center, which suggest a conventional representation of the sun. In the center the darker bits are obsidian. A portion of the matrix and of the mosaic incrustation has fallen off, and on the matrix near the upper left is a greasy patch which may be candle grease.
The shield on pl.XXIVis the same size as the preceding one, 15 inches in diameter. It is also in two sections, and a larger section of the side is missing. This likewise is probably a sun shield, but it has no pointers. Where the outer band has fallen off toward the lower part can be seen a faint incised line which the artist placed there as a guide-line in following out the circular mosaic decoration. In the center the black bits are lignite.
The next shield shown (pl.XXV) consists of a half section only. It was slightly larger than any other shield in the collection, having a diameter of 15¼ inches and a thickness of 1 inch. It was a sun shield, and had four pointers identical with those on the famous calendar stone of the Aztecs. There are traces of a paper band glued around the outer edge; the black line has already been referred to. The central disc, with the white lines made of very tiny bits, is similar to the central part of the shield on pl.XXIII.
PL. XXXIHEAD WITH HEAD-PIECE OF WOOD WITH MOSAIC DECORATIONNATIONAL MUSEUM, COPENHAGEN
PL. XXXI
HEAD WITH HEAD-PIECE OF WOOD WITH MOSAIC DECORATION
NATIONAL MUSEUM, COPENHAGEN
PL. XXXIIJAGUAR HEAD OF WOOD WITH MOSAIC DECORATIONETHNOGRAPHICAL MUSEUM, BERLIN
PL. XXXII
JAGUAR HEAD OF WOOD WITH MOSAIC DECORATION
ETHNOGRAPHICAL MUSEUM, BERLIN
PL. XXXIIANIMAL HEAD OF WOOD WITH HUMAN FACE IN OPEN JAWWITH MOSAIC DECORATIONNATIONAL MUSEUM, COPENHAGEN
PL. XXXII
ANIMAL HEAD OF WOOD WITH HUMAN FACE IN OPEN JAWWITH MOSAIC DECORATION
NATIONAL MUSEUM, COPENHAGEN
PL. XXXIIIANIMAL HEAD OF WOOD WITH MOSAIC DECORATIONSTATE NATURAL HISTORY MUSEUM, VIENNA
PL. XXXIII
ANIMAL HEAD OF WOOD WITH MOSAIC DECORATION
STATE NATURAL HISTORY MUSEUM, VIENNA
PL. XXXIIIMONKEY HEAD OF WOOD WITH MOSAIC DECORATIONBRITISH MUSEUM, LONDON
PL. XXXIII
MONKEY HEAD OF WOOD WITH MOSAIC DECORATION
BRITISH MUSEUM, LONDON
PL. XXXIVTWO-HEADED JAGUAR FIGURE OF WOOD WITH MOSAIC DECORATIONETHNOGRAPHICAL MUSEUM, BERLIN
PL. XXXIV
TWO-HEADED JAGUAR FIGURE OF WOOD WITH MOSAIC DECORATION
ETHNOGRAPHICAL MUSEUM, BERLIN
PL. XXXIVBIRD HEAD OF WOOD WITH MOSAIC DECORATIONMUSEUM, GOTHA
PL. XXXIV
BIRD HEAD OF WOOD WITH MOSAIC DECORATION
MUSEUM, GOTHA
PL. XXXVANIMAL FIGURE OF WOOD WITH MOSAIC DECORATIONBRITISH MUSEUM, LONDON
PL. XXXV
ANIMAL FIGURE OF WOOD WITH MOSAIC DECORATION
BRITISH MUSEUM, LONDON
One of the most interesting specimens is reproduced in pl.XXVI, which is 14⅞ inches in diameter. This is the only shield of the series bearing a figure. It had four pointers, which suggest a sun disc, but the symbol seems clearly to be a conventional cross-section of a conch-shell, the well-known and often delineated symbol of Ehecatl, god of the air, one of the various attributes of the god Quetzalcoatl. In this example the lightpieces of stone are larger than in any other piece, but they are cut exceedingly thin. Around the outer edge of the mosaic is a faint incised line, and three lines may be seen projecting from the pointers, showing that the artist carried his guide-lines beyond the zone finally used. The circular line is so regular that there is no doubt that the workman used our methods, tying a piece of cord to an awl and working from the exact center of the shield.
The two fragments on pl.XXVIIandXXVIIIare the same size—15 inches in diameter. They are similar in workmanship; the special feature, the sprinkled outer band, has already been alluded to. In the first specimen an irregular cavity on the upper face was apparently filled in with cement, traces of which remain. The two holes in each shield are modern, but the two specimens came to us joined with leather strings. They are, however, sections of separate shields.
The last shield of the series (pl.XXIX) has a height of 14⅝ inches. It comprises little more than a third of the original object, hence the diameter must have been fully 15 inches or more. As in the others, we find the encircling bands, but as no part of the center remains, we do not know if it had a figure or was like the others of the series.
Ear-plug
With the deposit of masks and shields in the cave in the Mixteca, now in the Museum of the American Indian, Heye Foundation, was the unique wooden object shown on pl.XXX. It is spool-shaped, the bottom flat, the upper part concave and covered with a mosaic of dark-green turquois, with a central disc of dark rose-colored shell. It is 1½ inch high, with a diameter of 1¾ inch at the upper and lower rims. There is no doubt that this specimen was an ear-plug. The sides of the spool show the small gouges of the cutting instrument with which it was fashioned, and the entire surface not covered with mosaic was painted rose-red.
Animal Figures
The specimen in the National Museum in Copenhagen, shown on pl.XXXI, has been described in detail by Lehmann,[101]and our illustration is taken from his photograph. It is considerably damaged, much of the mosaic incrustation having disappeared. The materials are turquois, malachite, shell, and mother-of-pearl. In its original state it was one of the imposing pieces of this art. The upper projecting part rising from the top of the head probably simulated a plumed head-dress. Its extreme height is about 10½ inches, and the diameter only 3¾ inches.
On pl.XXXIIare illustrated two animal heads. The first (a), a jaguar head, in the Ethnographical Museum in Berlin, has been described in detail by Lehmann in his paper published in theProceedings of the Fifteenth Congress of Americanists, held at Quebec in 1906. It is 5¾ inches high, and the mosaic is composed of turquois, malachite, and shell. The other specimen (b) is in the National Museum at Copenhagen.[102]It seems to represent a serpent’s head with a human face in the open jaws. The mosaic is turquois, malachite, and reddish shell. It has an extreme length of 13½ inches and is 8¼ inches high. Much of the incrustation has fallen off.
The animal head shown on pl.XXXIII,a, is in the Vienna Museum, and has been illustrated by Heger in three views.[103]Our drawing is the side-view, after Heger. This object is 4⅝ inches long from front to back. Much of the mosaic has fallen away, and the pieces of jadeite, obsidian, and shell are larger and the work is generally coarser than in any of the other examples in Europe. Heger’s photographs depict a leather thong issuing from a hole at the back of the head.
PL. XXXVIDOUBLE-HEADED SERPENT OF WOOD WITH MOSAIC DECORATIONBRITISH MUSEUM, LONDON
PL. XXXVI
DOUBLE-HEADED SERPENT OF WOOD WITH MOSAIC DECORATION
BRITISH MUSEUM, LONDON
PL. XXXVIIFIGURE OF WOOD WITH MOSAIC DECORATION, GOD XOLOTLSTATE MUSEUM OF NATURAL HISTORY, VIENNA
PL. XXXVII
FIGURE OF WOOD WITH MOSAIC DECORATION, GOD XOLOTL
STATE MUSEUM OF NATURAL HISTORY, VIENNA
The other mosaic on this plate (b) is in the British Museum. It represents a monkey-like head of white wood, with open mouth. The mosaic coating is of turquois, malachite, and other stones. The back has a hemispherical depression coated round the sides with a thick layer of brown gum, smoothly finished, containing some woolen threads. The turquoises arechiefly of the pale-greenish variety, but above the sides of the mouth are two patches of bright-blue stones. Each eye is set in the lower edge of a protuberance coated with malachite, the eyes themselves being convex discs of highly polished iron pyrites set in a ring of shell. Height 4 inches, width 2.7 inches.
An interesting piece is the two-headed jaguar figure in the Ethnographical Museum in Berlin (pl.XXXIV,a).[104]It is covered with bits of turquois and malachite, together with some obsidian, shell, and mother-of-pearl. The eyes are of malachite. This specimen measures 12⅝ inches in length, and the workmanship seems to be very artistic.
An important and unique example of mosaic art is shown on pl.XXXIV,b, which represents a bird’s head embellished with an incrustation of turquois, malachite, obsidian, mother-of-pearl, red coral, and white shell, but much of the mosaic has fallen out. This specimen is in the Museum in Gotha.[105]
A much injured specimen in the British Museum is illustrated on pl.XXXV, which represents an animal on his haunches, with open mouth and protruding tongue. On its back is a circular, cup-like receptacle. It is cut from a hard, pale-brown wood. Almost the entire surface was originally covered with mosaic laid in a bed of black gum, the component pieces being turquois, malachite, pink shell, pearl shell, and fragments of iron pyrites. The cup-shaped receptacle on the back of the animal is now covered with a transparent varnish, except in one place where the black gum and bits of mosaic are still in place. The varnish shows here and there fragments of gold-leaf, perhaps indicating that the cup was once entirely gilded. The height is 6.8 inches.[106]
The gracefully modeled breast-ornament representing a two-headed serpent (pl.XXXVI) is in the British Museum. The base is of light-colored wood, hollowed at the back and painted red. The front of the snake is covered with turquois mosaic; the teeth and fangs in each open jaw of the snake are made of white shell, while the edges of the gums are indicated with pink shell. Across each nose is a raised band of turquois andred shell. The heads have mosaic-work on both sides, and it is probable that the eye-sockets formerly contained discs of iron pyrites. On the upper edges of the two loops of the bodies are holes for suspension. Length 17⅛ inches, height 8 inches.
God Figure
The figure of the deity shown in pl.XXXVIIis in the Vienna Museum. It has been described by Dr. Heger, who has kindly sent me a number of photographs of the object, and some details regarding it. This has been identified by Dr. Seler as representing the god Xolotl, one of the deities or guardians of the Tonalamatl.[107]The specimen does not contain much mosaic decoration, being of highly polished wood. It is 3½ inches high and 2¾ inches broad. Dr. Heger has courteously sent me the following notes concerning the specimen:
The posterior circular cavity (see side view) is partly filled with a resin-like mass, by means of which the piece must have been fastened to some other object. Vestiges of this resin-like substance are found in all the hollowed places where today some of the inlay is missing, as in each of the three rounded oval incurvations, of both lateral walls, in which probably small heads [of mosaic?] were also incrusted.The eyes and the six small teeth consist of milk-white shells; the two hook-like canines consist of white mother-of-pearl-like shells. The two large ear-lobes, as well as the inferior part of the nasal septum, are perforated transversely. The pretty little human head at the navel of the figure probably consists of pitch-black obsidian. The ear-pendants are missing on the left side. The pupils of the eye (right one missing) are enclosed in small rings of mother-of-pearl. Projecting from the opened mouth, there is above the red tongue another small white shell-plate with three sharp downward points (teeth). The little head shows injury in several places.
The posterior circular cavity (see side view) is partly filled with a resin-like mass, by means of which the piece must have been fastened to some other object. Vestiges of this resin-like substance are found in all the hollowed places where today some of the inlay is missing, as in each of the three rounded oval incurvations, of both lateral walls, in which probably small heads [of mosaic?] were also incrusted.
The eyes and the six small teeth consist of milk-white shells; the two hook-like canines consist of white mother-of-pearl-like shells. The two large ear-lobes, as well as the inferior part of the nasal septum, are perforated transversely. The pretty little human head at the navel of the figure probably consists of pitch-black obsidian. The ear-pendants are missing on the left side. The pupils of the eye (right one missing) are enclosed in small rings of mother-of-pearl. Projecting from the opened mouth, there is above the red tongue another small white shell-plate with three sharp downward points (teeth). The little head shows injury in several places.
PL. XXXVIIISTONE KNIFE WITH HANDLE OF WOOD WITH MOSAIC DECORATIONBRITISH MUSEUM, LONDON
PL. XXXVIII
STONE KNIFE WITH HANDLE OF WOOD WITH MOSAIC DECORATION
BRITISH MUSEUM, LONDON
PL. XXXIXKNIFE HANDLES OF WOOD WITH MOSAIC DECORATIONPREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME
PL. XXXIX
KNIFE HANDLES OF WOOD WITH MOSAIC DECORATION
PREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME
Knife Handles
The next group of objects to be noted consists of knife handles. The beautiful specimen on pl.XXXVIIIis in the BritishMuseum. It is a chipped leaf-shape bladed knife of honey-colored chalcedony. The handle is of a soft, light-colored wood, carved in the form of a crouching human figure. The actual socket in which the blade is fixed proceeds from the chest of the figure, which grasps it with a hand on each side, and rests his chin on the top. The socket is firmly bound with cord. The figure and the socket up to the binding have been covered with a mosaic, chiefly of turquois, varied with malachite and white, pink, purple, and orange shell, as well as a few pieces of pearl shell. Much of the mosaic has disappeared. The figure wears an eagle mask, the face appearing in the open jaws. This knife, which measures 12½ inches in length, is one of the most artistic of mosaic specimens.
Fig. 19
Fig. 19
Belonging to this class are the two handles on pl.XXXIX, which are in the Museum in Rome. They have been illustrated in colors by Pigorini. Through the interest of Dr. Lothrop we are enabled to present photographs of these two very interesting objects, together with some additional observations concerning them. The first piece (pl.XXXIX,a, and fig. 19 after Pigorini), is in the form of a crouching figure withan animal head and wide-open mouth. It has been described as a knife handle, like the other specimen (b), which is unquestionably of that character, but Dr. Lothrop writes that the front of this piece (a), where the knife blade should be inserted, is smoothly covered with a kind of cement, while in the belly of the figure is a large hole. From Dr. Lothrop’s examination of the specimen he was unable to satisfy himself whether it was a knife handle or was intended to be placed on the head of a staff. The materials used for the incrustation are turquois, reddish shell, dull white shell, mother-of-pearl, and small flakes of gold. In the Pigorini illustration, which represents the side opposite that shown here, two flakes of gold are shown, one in the eye, the other on the arm between elbow and shoulder.
The other piece (pl.XXXIX,b), unquestionably a knife handle, as stated, of the same technique as the specimens in the British Museum, represents a crouching human figure. The materials are turquois, dark-green malachite, white shell, mother-of-pearl, and red shell. Lothrop calls our attention to the tiny pieces of turquois set in shell on the shoulder and in other places. He also states that a portion of a broken chert (?) blade is still imbedded in the socket in front of the figure.
Human Femur Musical Instrument
The last of the specimens of mosaic to be described is the musical instrument (omichicauaztli) made from a left human femur, illustrated on pl.XL. This unique example, which is in the Museum in Rome, has been reproduced in colors by Pigorini. The mosaic seems to have been confined to the head and neck, although the trochanter major may also have been covered at one time. The incrustation at present consists of gum in which are pinkish-orange bits of colored shell. A modern copper chain is attached to the bone, from which hangs an oliva shell, undoubtedly ancient.
PL. XLHUMAN FEMUR MUSICAL INSTRUMENT WITH MOSAIC DECORATIONPREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME
PL. XL
HUMAN FEMUR MUSICAL INSTRUMENT WITH MOSAIC DECORATION
PREHISTORIC AND ETHNOGRAPHIC MUSEUM, ROME
According to Dr. Lothrop, the oliva shell shows signs of wear, and was probably the instrument used for rasping thebone, as the bone is sound and produces a rather musical tone when scraped with the shell, as if the bone were of china.
Notched human bones are not uncommon in ancient Mexico, and some have been found elaborately engraved. In the course of excavations made in 1900 in the street back of the Cathedral in the City of Mexico, were uncovered many small pottery models of musical instruments which had been placed there undoubtedly when the foundations of the great Aztecanteocalliwere laid. The writer secured for the American Museum of Natural History examples of these interesting models. Among them was a notched bone having attached to it a model of the handled instrument with which it was rubbed or rasped.[108]
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Finally, attention is called to three objects of wood, of Mexican origin, in the Museo Borgiano, Rome. They have been described by Colini, and two of the pieces illustrated, in theBollettino della Società Geografica Italiana.[109]The first is an idol representing a human figure, 17¾ inches in height; the other two specimens, those figured by Colini, are masks, and it is highly probable that all of these pieces were once decorated, at least in part, with mosaic. One of the masks is 6⅞ inches, and the other 7⅛ inches, in height.