Aztec Land, Maturin Murray Ballou [always you kirsty moseley .TXT] 📗

There can hardly be said to be any home demand for their products. There is one other canvas, seen in the galleries, which comes back to memory, and of which it is a pleasure to speak in commendation. The artist's name has escaped us, but the admirable and effective picture represented "Columbus contemplating the Sea."

Art should certainly be at home in Mexico, where it has found expression in various forms for hundreds of years. What were the picture-writings of the aborigines but early examples of art? There are numerous specimens of Aztec paintings illustrative of the early history of Mexico, which were produced long before the arrival of the conquering Spaniards. Some of these on deerskin, and some on a sort of parchment, or papyrus, which the Toltecs and Aztecs made from the leaves of the maguey plant, may be seen in European museums. They show that the arts of metal casting and the manufacture of cotton and of jewelry were derived from the Toltecs by the Aztecs. There are plenty of examples to be seen showing that these aborigines were admirable workers in silver and gold. So eager was Cortez to send large sums of gold to his sovereign, and thus to win royal forgiveness and countenance as regarded his gross insubordination in stealing away from Cuba, and in boldly taking upon himself all the prerogatives of a viceroy, that he not only extorted every ounce of gold dust he could possibly obtain from the natives of the conquered provinces, but he melted many of their beautiful and precious ornaments into more available shape for his purpose. Some of these he transmitted to Spain, where, in course of time, they also shared the same fate. The aggregate sum thus sent by him to Spain, as given in the records of the period, was so large as to provoke our incredulity. Were specimens of those golden ornaments, the product of Toltec and Aztec art, now extant, they would be worth fifty times their weight in gold, and form tangible links of history connecting the present with the far past. This native art has been handed down from generation to generation; and there is nothing of the sort made in the world superior to Mexican silver filigree work, which recalls the lace-like texture of similar ornaments manufactured at Genoa. Again, illustrative of this natural instinct for art in the aborigines, let us not forget to speak of the colored straw pictures produced by the Indian women, representing natural scenery and prominent buildings, done with wonderful fidelity, even in the matter of perspective. Statuettes or wax figures are also made by them, representing the native laboring classes and street scenes to the very life. This is a sort of specialty in Naples; but we have never seen one of these small Italian figures superior to those which one can buy in the stores on San Francisco Street in Mexico, all of which are the work of untaught native Indians. While we are writing these lines, there stands upon our library table a specimen of Mexican pottery which we brought from Guadalajara. It is of an antique pattern, made by hand in an Indian mud cabin, beautifully decorated and glazed, combining colors which mingle in perfect harmony. This is not an organized industry here. Each family produces its own ware for sale; and no two pieces can be exactly similar. No people, unless possessed of a high degree of artistic instinct and appreciation, could produce pottery, either in shape or finish, such as the traveler sees at Guadalajara.

We are told that the ancient Aztecs excelled in one branch of art above all others; namely, in the production of scenes and various ornamentations in feather work, the effect of which is similar to Florentine mosaic. The gorgeous plumage of the humming-bird and of parrots was especially devoted to this object. The feathers, glued upon a cotton web, were made into dresses for the wealthy to wear on festal occasions. The gradations and brilliancy of these feather pictures are said to have been marvelous. There is preserved in the museum at the national capital a vestment of this character, said to have been worn by Montezuma II. Antonio de Solis, royal historiographer, speaks of "a quantity of plumes and other curiosities made from feathers," by the Aztecs, "whose beauty and natural variety of colors, found on the native birds of the country, were placed and combined with wonderful art, distributing the several colors and shadowing the light with the dark so exactly, that, without making use of artificial colors or of the pencil, they could draw pictures, and would undertake to imitate nature." One is constantly importuned, in the patio of the Iturbide Hotel, to purchase figures and small landscapes newly made of these brilliant feathers, offered at a very moderate price. Indeed, their production forms quite an industry among a certain class of Indians. So it seems that this art has been inherited; there being no present market for such elaborate examples as used to be produced, the fine artistic ability of centuries past is neither demanded, nor does it exist. According to one Spanish authority (Clavigero), so abundant were sculptured images that the foundation of the cathedral on the Plaza Mayor is entirely composed of them! Another writer of the same nationality (Gama) says that a new cellar cannot be dug in the capital without turning up some of the mouldering relics of barbaric art. As cellars cannot be dug at all on account of the mere crust of earth existing above the water, this veracious historian could not have written from personal knowledge, or have visited the country. It is these irresponsible writers who have made "history" to suit their own purposes. Father Torquemada surpasses Baron Munchausen when he tells us that, at the dedication of a certain aboriginal temple, a procession of persons two miles long, numbering seventy-two thousand, perished on the sacrificial stone, which is now exhibited in the National Museum of Mexico. This stone, by the way, is to our mind clearly Toltec, not Aztec. Examination shows it to be identical with the stone relics of Tula, the original capital of the Toltecs. The same may be said of the "Calendar Stone," placed in the outer walls of the cathedral.

The National Conservatory of Music, dating from January 25, 1553, is near at hand; so also is the National Library, where the admirable collection of books numbers nearly two hundred thousand. The confiscated convent of Saint Augustine serves as an appropriate building for this library of choice books. We say of choice books, not only because they are many of them unique, but because all books are choice, being sources from which the careful student and historian can cull true history and philosophy. He does not accept each and all of the statements which are here presented, but from the collated mass culls the truthful deductions. These books very largely and very naturally relate to religious subjects, as they are mostly made up from the confiscated convent libraries heretofore existing in Mexico. Valuable modern and secular books have been added to these collections from time to time. Our attention was called to a volume bearing the date of 1472, and to one still older which was printed in two colors. There is here an atlas of England which was printed in Amsterdam in 1659, with steel plates, and in colors which are as bright and fresh as though just from the press. A Spanish and Mexican dictionary, printed in Mexico in 1571, showed how early the printing-press followed the period of the conquest. A book of autographs bearing the names of Cortez's notable soldiers was interesting. This, we understood, was one of the much-coveted prizes which has been sought by foreign collectors. The manuscripts are of great antiquity and interest. One was in the form of a large volume, done with the pen in old English letters; another, very highly prized, is of painted pictures, which purports to be original dispatches from Montezuma to his allies, and which was captured by Cortez. This last is on a roll of prepared deerskin. The richly-carved front of the library is a profound study in itself, and is the work of a native artist. The fence which incloses the edifice is ornamented with marble busts of famous scientists, orators, and authors, while beautiful flowers grace the small plot in front, the whole made refreshingly cool by the playing of a small fountain. This library contains books in all languages, and bearing dates of four hundred years since. Some of these books are almost priceless in value, very old, and believed to be unique. We were told that an agent of the British Museum, who came thousands of miles for the purpose, had offered a fabulous price for some half a dozen volumes on the shelves of the National Library of Mexico; but he offered the princely sum in vain,--a fact which speaks well for those in authority. The library has no systematic arrangement and no catalogue.

The Plaza Mayor must be fully a thousand feet square. It was laid out and beautified under the personal direction of the youthful, handsome, and would-be empress, Carlotta, who exhibited exquisite taste in such matters, and hesitated at no cost to carry out her imperial will, freely expending from her private fortune for the purpose. In the centre of the plaza is the Zacalo, so called, screened with groups of orange-trees, choice shrubbery, and flowers. Here there is a music stand and fountain, where frequent out-of-door concerts are given by military bands, especially in the evenings. At the western side of the square, under the shadow of the cathedral, is the flower market, rendering the whole neighborhood fragrant in the early mornings with the perfume it exhales, while it delights the eye with hillocks of bright color. This market is in an iron pavilion covered in part with glass, the lovely goods presided over by nut-brown women and pretty Indian girls. Barbaric as the Aztecs were, they had a true love and tenderness for flowers, using them freely in their religious rites, a taste which three hundred years and more of oppression, together with foreign and civil wars, has not served to extinguish. The most abundant specimens of the floral kingdom one meets with here are red and white roses, very finely developed, pinks of all colors, violets, mignonette, heliotrope, scarlet and white poppies, pansies, and forget-me-nots. Such flowers were artistically mingled in large bouquets, with a delicate backing of maiden-hair fern, and sold for fifteen cents each. There is no fixed tariff of prices, strangers naturally paying much more than the residents, and the sum first demanded being usually double what will be finally received,--a manner of trade which is by no means confined to the Spanish-speaking races. It must be remembered that although, these are cultivated flowers, still they bloom out-of-doors all the year round. The women venders emulate their lovely wares in the colors they assume in their costumes. The dahlia, we are told, first came from the valley of Mexico. The universal love of flowers finds expression in the houses, not only of the rich, but in those of the very humble poor, all over the town and the environs.

It was interesting to note the special class of customers drawn in the early morning to this flower pagoda. These were the true lovers of Flora, bent upon securing their favorites while damp with dewy sweetness. There was the very humble but appreciative purchaser, who invested only a few centavos, but took away a choice collection of bright colors and of mingled fragrance. Here was an ardent lover, all eagerness, who would write his words of devotion to his idol in the alphabet of angels. Now and then an American tourist was seen to carry away an armful of bouquets to bestow with impartial hand