In the case of the buried cities of Uxmal and Palenqüe a great antiquity is generally agreed upon. Indeed one writer on the subject goes so far as to place their foundation at the beginning of the second Glacial Epoch! He sees in these ruins the remnants of a civilisation which flourished at a time when men, fleeing from the rigours of the glacial ice-cap, huddled for warmth in the more central parts of the earth. It is unnecessary to state that this is a wholly preposterous theory, but the fact that the ruins of Palenqüe are at the present time lost in the depths of a tropic forest goes far to prove their great antiquity.

Arguing, then, from this antiquity, we may be justified in assuming that in these now buried cities the mythology of Mexico was partly evolved; that it was handed down to the Aztec conquerors who entered the country some four hundred years before its subjugation by Cortes, and that it received additions from the tribal deities. In the case of the Peruvian mythology we may argue a similar evolution, which, as we shall see later, had been spread over a considerably shorter period.

CHAPTER II

MEXICAN MYTHOLOGY

The Mexican Empire at the period of its conquest by Cortes had arrived at a standard of civilisation comparable with that of those dynasties which immediately preceded the rule of the Ptolemies in Egypt. The government was an elective monarchy, but princes of the blood alone were eligible for royal honours. A complex system of jurisdiction prevailed, and a form of district and family government was in vogue which was somewhat similar to that of the Anglo-Saxons. In the arts a high state of perfection had been reached, and the Aztec craftsman appears to have been a step beyond the slavish conventionalism of the ancient Egyptian artist. In architecture the Mexicans were highly skilled, and their ability in this respect aroused the wonder of their Spanish conquerors, who, however, did not hesitate to raze to the ground the splendid edifices they professed so much to admire. As road-builders and constructors of aqueducts they chiefly excelled, and a perfect system of posts was established on each of the great highways of the empire.

With the Aztecs the art of writing took the form of hieroglyphs, which in some ways resembled those of the ancient Egyptians; but they had not at the period of their conquest by Cortes evolved a more convenient, and cursive method, such as the hieratic or demotic scripts employed in the Nile valley. In astronomical science they were surprisingly advanced and exact. The system in use by them was wonderfully accurate. It is, however, quite erroneous to suppose that it has affinities with any Asiatic system. They divided the year into eighteen periods of twenty days each, adding five supplementary days, and providing for intercalation every half-century. Each month contained four weeks of five days each, and each of the months had a distinct name. That the Aztecs were possessed of exact astronomical instruments cannot be proved; but in the thirteenth plate of Dupaix's Monuments, (Part II.) there is a representation of a man holding to his face an instrument which might or might not be a telescope.[2] The astronomical dial was certainly in use among them, and astrology, and divination in its every shape were frequently resorted to.

In the manual arts the Aztecs were far advanced. Papermaking was in a moderate state of perfection, and the dyeing, weaving, and spinning of cotton were crafts in which they excelled. Feather-work of supreme beauty was a staple article of manufacture, but in the metallic arts the absence of iron had to be compensated for by an alloy of copper, siliceous powder, and tin—an admixture by the use of which the hardest granite was cut and shaped, and the most beautiful gold and silver ornaments fashioned. Sharp tools were also made from obsidian, and in the barbers' shops of the city of Mexico razors of the same stone were in use.

To the art of war the Aztecs—a military nation who won and held all they possessed by force of arms—attached great importance. Training in the army was rigorous, and the knowledge of tactics displayed appears to have been very considerable.

Although the Aztecs had founded and adopted from other nations a complete pantheon of their own, they were strongly influenced by the ancient sun and moon worship of Central America. Ometecutli (twice Lord) and Omecihuatl (twice Lady) were the names which they bestowed upon these luminaries, and they were probably the first deities known to the Aztecs upon their emergence from a condition of totemism. The sun was the teotl, the god of the Mexicans, but it will be seen in the course of this chapter that the national deities and those acquired by the Aztecs in their intercourse with the surrounding peoples of Tezcuco and Tlacopan somewhat obscured the worship of those elementary gods.

Through all the confusion of a mythology second only in richness to those of Egypt and Hellas can be traced the idea of a supreme creator, a 'god behind the gods.' This was not the sun, but an Allfather, addressed by the Mexican nations as 'the God by whom we live'; 'omnipotent, that knoweth all thoughts, and giveth all gifts'; 'invisible, incorporeal, one God, of perfect perfection and purity.' The universality of this great being would seem (as in other mythologies) to have led to the deification of his attributes, and thus we have a pantheon in which we can trace all the various attributes of an anthropomorphic deity. This subdivision of the deity was not, however, responsible for all the gods embraced by the Mexican pantheon. Many of these were purely national gods—and two at least had probably been raised to this rank from a condition of symbolic totemism during a period of national expansion and military success.

Such a god was the Mexican Mars, Huitzilopochtli, a name which signifies 'Humming-bird on the left,' a designation concerning the exact derivation of which there is considerable difference of opinion. The general explanation of this peculiar name is that it may have arisen from the fact that the god is usually represented as having the feathers of a humming-bird on the left foot. Before attempting an elucidation of the name, however, it will be well to examine the myth of Huitzilopochtli.

Huitzilopochtli was the principal tribal deity of the Aztecs. Another, though evidently less popular name applied to him, was Mextli, which signifies 'Hare of the Aloes.' Indeed a section of the city of Mexico derived its name from this appellation. The myth concerning his origin is one the peculiar features of which are common to many nations. His mother, Coatlicue or Coatlantona (she-serpent), a devout widow, on entering the Temple of the Sun one day for the purpose of adoring the deity, beheld a ball of brightly coloured feathers fall at her feet. Charmed with the brilliancy of the plumes, she picked it up and placed it in her bosom with the intention of making an offering of it to the sun-god. Soon afterwards she was aware of pregnancy, and her children, enraged at the disgrace, were about to put her to death when her son Huitzilopochtli was born, grasping a spear in his right hand and a shield in his left, and wearing on his head a plume of humming-bird's feathers. On his left leg there also sprouted the flights of the