Conquest of Mexico
with the aid of a siliceous dust, the hardest substances, as basalt, porphyry, amethysts, and emeralds.1 They fashioned these last, which were found very large, into many curious and fantastic forms. They cast, also, vessels of gold and silver, carving them with their metallic chisels in a very delicate manner. Some of the silver vases were so large, that a man could not encircle them with his arms. They imitated very nicely the figures of animals, and, what was extraordinary, could mix the metals in such a manner that the feathers of a bird, or the scales of a fish should be alternately of gold and silver. The Spanish goldsmiths admitted their superiority over themselves in these ingenious works.2
They employed another tool, made of itztli, or obsidian, a dark transparent mineral, exceedingly hard, found in abundance in their hills. They made it into knives, razors, and their serrated swords. It took a keen edge, though soon blunted. With this they wrought the various stones and alabasters employed in the construction of their public works and principal dwellings. I shall defer a more particular account of these to the body of the narrative, and will only add here, that the entrances and angles of the buildings were profusely ornamented with images, sometimes of their fantastic deities, and frequently of animals.3 The latter were executed with great accuracy. "The former," according to Torquemada, "were the hideous reflection of their own souls. And it was not till after they had been converted to Christianity, that they could model the true figure of a man."4 The old chronicler's facts are well founded, whatever we may think of his reasons. The allegorical phantasms of his religion, no doubt, gave a direction to the Aztec artist, in his delineation of the human figure; supplying him with an imaginary beauty in the personification of divinity itself. As these superstitions lost their hold on his mind, it opened to the influences of a purer taste; and, after the Conquest, the Mexicans furnished many examples of correct, and some of beautiful portraiture.
Sculptured images were so numerous, that the foundations of the cathedral in the Plaza Mayor, the great square of Mexico, are said to be entirely composed of them.5 This spot may, indeed, be regarded as the Aztec forum,—the great depository of the treasures of ancient sculpture, which now lie hid in its bosom. Such monuments are spread all over the capital, however, and a new cellar can hardly be dug, or foundation laid, without turning up some of the
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