3000 Years of Art and Life in Mexico PDF

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I illlllill
^^ YEARS OP
A 3iiiiQQ22sli|f''' IFE IN MEXICO
AS SEEN IN The National Museum of Anthropology, Mexico City
JOCO Years
of Art and Life in Mexico
AS SEEN IN
The National Museum of Anthropology, Mexico City
BY IGNACIO BERNAL,
WITH ROMN PIA-CHN
AND FERNANDO CAMARA-BARBACHANO
PHOTOGRAPHS BY IRMGARD GROTH
HARRY N. ABRAMS, INC. PUBLISHERS NEW YORK

Distributed by New American Library
Times Mirror
B. Czitrom
Translated from the Spanish by Carolyn
Abrams Deluxe Art Paperbacks are published by

Harry N. Abrams, Inc., and distributed by
The New American Library, Inc.
1 301 Avenue
of the Americas, New York, N.Y. 10019
Standard Book Number: 8109-2037-9

of Congress Catalogue Card Number:
68-8978
Library
No part of the contents of this book may be
All rights reserved.
the publishers
reproduced without the written permission of
Harry N. Abrams, Incorporated, New York
Printed and bound in Great Britain
:
Contents
THE ORIGINS, AIMS AND ACHIEVEMENTS OF THE MUSEUM

Ignacio Bernal 7
THE ARCHAEOLOGICAL SECTION Roman Pia-Chn

: 14
Hall I Introduction to Anthropology 14
Map: Regions and Archaeological Sites of Mesoamerica 18
Chronological Table 19
Hall 2 Mesoamerica 20
3 The Origins 28
4 The Preclassic Period in the Central Highlands 33
5 Teotihuacn 47
6 The Toltecs 62
7 The Mexica 77
8 The Cultures of Oaxaca 95
9 The Gulf Coast Cultures 109
10 The Maya 131
11 The North of Mexico 152
12 Western Mexico
THE ETHNOGRAPHICAL SECTION Fernando Cmara-Barbachano
I 174
Introductory Hall 175
The Cora and Huichol Indians 177
Tarascan Hall 179
Otomi Hall 181
The Northern Sierra of Puebla 183
Oaxaca Hall 184
The Gulf Coast Cultures 187
The Maya Halls 189
North-western Mexico 191
Modern Autochthonous Mexico 193
Map : Main Cultural Areas of Mexico
194
Glossary 210
Museum Catalogue Numbers 213
Index of Names 214
WiWAM'n nv
MOilUiiij
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H#jfe.j^ ^p^n L
1 The Museum's large central patio, looking towards the Vestibule from
outside the Mexica Hall
2 View from the Vestibule across the central patio

The Origins, Aims, and Achievements of the Museum
The study of anthropology - although not under this name -

has been pursued in Mexico for many centuries. Very soon
after the Spanish Conquest friars, missionaries, conquerors, and
descendants of the indigenous nobility \vho had received a
European-type education began to record their experiences,
write grammars and vocabularies for the various languages
spoken in Mesoamerica, as well as the history of their ancestors.
Towards the middle of the sixteenth century enterprising men
began to assemble what they could of the old myths and legends,
the ancient customs and traditions, building up an exceptionally
rich corpus of documents of many kinds. The most remarkable
of these scholars - Fray Bernardino de Sahagn (c. 1 499-1 590)
by assiduously tapping a wide variety of local sources assembled
so much material that he was able to write a wide-ranging
treatise on the ethnology of the region, which has in my
opinion no equal.
The purpose of this vast labour of investigation and salvage
was not solely academic. For the Spaniards it arose from the
need to understand the vanquished peoples on whom the
budding colony was founded for the indigenes it was a matter
;
of recalling past glories and sometimes of obtaining advantages

and favours from the new political power. But by the begin-
ning of the seventeenth century this great movement came to
an end.
By contrast, the material remains of the ancient cultures were
destroyed without scruple. The greed of the conquerors for
gold resulted in the melting down of jewels; their urge to
extirpate the pagan religion and spread Christianity in its stead
caused the statues of the gods to be shattered and majestic
temples to be demolished. Some towns were abandoned but on
\
The Mexican National Museum of Anthropology

the sites of most of the native cities arose new, European-style

houses. Owing and indifference these new cities
to ignorance
covered over what remained of the ancient monuments, and
"
these sank into an obscurity from which modern archaeology
has only recently begun to free them.
Although during the seventeenth and the first half of the
eighteenth century there were a few inquiring minds who took
an interest in discovering objects and documents and investigat-
ing the already remote past, it was not until the end of the Vice-
regal period that a distinguished group of Mexicans - the first
Mexicans - began to accord these documents and relatively few
surviving objects their due importance, realizing that through
them the country's forgotten history could be reconstructed.
Clavijero, lzate, Mrquez, and others were dedicated to this
task, inspired by the new ideas of the Enlightenment, a move-
ment which even prompted Charles III of Spain to send an
archaeological mission to Mexico. The chance discovery in
1790 of three immense monoliths - the Sun Stone, the statue of
Coatlicue, and the monument to the victories of Tizoc - now
housed in the Museum, served to sound the alert. The first
Mexican archaeologist, Antonio de Leon y Gama, published
these carvings, and unlike the procedure hitherto adopted,
instead of being destroyed they were preserved - the Sun Stone
beside the Cathedral, Coatlicue and the Tizoc monument in the
University. This was really the genesis of the Museum, though
it was not to be legally established until 1825 on behest of the
historian Lucas Alamn. Gradually, although with no definite

plan or authentic data as to provenance, more and more pieces
were accumulated in a large hall which the University assigned
to them. However haphazard the first assortment may have
appeared, it is to this initial intent that we owe the salvage of
many unique on 5 December 1865 Maximilian
objects. Finally
signed an agreement whereby an old palace on Moneda Street
was assigned to the new National Museum.
At that time it was a general museum containing not only
prehispanic material but also mementoes of Mexican history
8
The Origins, Aims and Achievements of the Museum
and natural science collections. It was not until 1940 that -

everything else being removed - the Museum vâs dedicated
exclusively to anthropological material. The nev^ly aroused
interest in the subject, the enormous growth of the collection
mainly of the many explorations carried out in the
as a result
preceding 30 years, and the considerable advances made in the
science, meant that the rambling building soon became
inadequate for its purpose. However, these were not the only
reasons for a change.
Mexico has progressed in a remarkable way;
In recent years
besides making great strides on the material plane, it has come
to realize what it means to be the heir of two civilizations and
to belong to a culture that combination of both; just as it
is a
is impossible to deny either a father or a mother, so the country
must fulfil its destiny by a proud affirmation of this hybrid

civilization. It was with this in mind that President Lopez
Mateos decided to construct a magnificent palace for housing
the indigenous cultures, and at the same time display the
Viceregal collections in a worthy manner within an appropriate
frame.
The Museum's dual aim has been to do full justice to the
collections while making every endeavour to ensure that the
visitor shall derive the maximum benefit from the time he
spends in the halls. not an art museum but a museum of
This is
history. The fact that many of the objects are masterpieces of

ancient art can be regarded as a happy bonus over and above
the main objective, namely, to get to know and understand to
the best of our ability the significance of indigenous Mexico
and to relate it to the united country that we all want to create.
In order to achieve these ends in a scientifically valid form
the collection had to be presented in clear and logical order, not
as miscellaneous items but as vestiges of a civilization. That is
why, after progressing through an initiatory hall that gives the
visitor a general idea of the meaning and scope of anthropology,
he passes on to an introductory hall on Mesoamerica where the
various cultures are linked in such a way as to show that
together they form a single civihzation. Styles co-ordinated by

regions or by periods as presented in the other halls tend to
suggest that each one is isolated, since it is precisely these
differences which them; but they are intelligible
characterize
only if it is understood that all form part of a common world
and that the basic similarities are much more important than
regional variations.
The other halls of the north wing trace the sequence of
cultures in the central region of Mexico from their most remote
origins, through the great Preclassic, Teotihuacn, and Toltec
stages, down to the Aztec world. The south wing is devoted
to the regional cultures of Oaxaca, Veracruz, the Maya region.
North and West Mexico, again arranged in chronological
order. Thus the visitor can travel not only through the whole
country but also through time, with each exhibit evoking a
certain period.
But the natural limitations of a museum must be remembered.
It can never be a substitute for books, and the physical presence
of objects from the past will only present a true picture of

history if they are accompanied by related reading.
The Museum - located in Chapultepec Park facing the Paseo
de la Reforma - occupies an area of some 1 25 ,000 square metres.
Such a site, besides offering many practical and aesthetic advan-
tages, is particularly appropriate since Chapultepec has count-
being among other things the place
less historical associations,
in the Valley where the Aztecs first chose to settle.

The building has 44,000 square metres under cover and
35,700 square metres of open spaces, including the central patio
and large plaza forming the entrance, and the sunken patios
surrounding it. Spacious lawns separate the Museum from the
streets and there is ample space for the parking of cars. The
wooded park forms a handsome setting not only for the
display halls but also for the general offices, the Library, and the
School of Anthropology.
Crossing the large entrance plaza one enters a central vestibule
of vast proportions. In the centre of this is a raised area with
10
The Origins, Aims and Achievements of the Museum
beneath it the Orientation Room containing a small amphi-

theatre where the visitor is treated to a pageant preparing him
for his visit to the Museum. This form of a recorded
takes the
commentary illustrated by a succession of models and photo-
graphs, all automatically operated.
To the right of the vestibule is devoted to tempo-
a large hall
rary exhibits, and beyond this an auditorium for nearly four
hundred people. Various offices and storerooms occupy the left
side of the vestibule. Above is the Library which has a large,
pleasantly appointed reading room and all the appropriate
accessories such as the Historic Archives, Department of
Codices, microfilm projectors, and Archives for this section -
with some twelve million documents - and the Library storage
with room for nearly half a million books.
On a mezzanine floor below the Museum and to the right
are ample storerooms for the Archaeology, Ethnography, and
Physical Anthropology sections, which contain not only its
vast reserve collections but also space for future acquisitions.
Adjacent to these are the technical offices and laboratories. On
the left are the rooms of the scholastic services where children
are prepared for their visit to the museum, and a sunken patio
through which one reaches a side staircase leading up to the
central patio.
From the central vestibule through an entrance in a glass wall
one gains access to the large patio round which are ranged the
display halls. The first covered by a graceful
part of the patio is
roof measuring 82 by 84 metres with only one central support,

and adorned with sculptured copper; from above falls a circle
of water that forms an inverse fountain.
The great ornamental patio beyond, with a rectangular pool
in the centre, allows the visitor access to the various halls of the
Museum without compelling him to follow any particular
route; like the displays set in gardens adjoining some of the
halls, it serves to dispel the museum atmosphere and allows him
an occasional respite.
Ignacio Bernal
II
(Above left) Ground-floor plan of Museum
(Above right) First-floor plan of Museum
3 View of main entrance to the Museum

12
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HALL I
Introduction to Anthropology
The diverse indigenous cultures of Mexico, both those which

flourished in prehistoric times and those which have persisted
until the present day, presentanthropology with a vast field for
study while providing museums with rich and valuable
materials for display. At the same time they constitute a major
part of the history and the cultural inheritance of the country,
the knowledge, dissemination, and conservation of which
constantly gain in importance.
Keeping this in mind, those who planned the new National
Museum of Anthropology decided to include an initiatory hall
that would justify the Museum's name and at the same time
present a universal framework into which the Mexican cultures
could be fitted in space and in time, as well as allowing visitors
to compare their cultural contributions with those of other
peoples.
The Introductory Hall to Anthropology was thus established
to explain what this science is, the various branches it covers,
its aims and methods of work, and what has been achieved in its
study of man. There are four interrelated sections corresponding

to the four basic branches of the subject physical anthropology,
:
archaeology, linguistics, and ethnography.

The section on physical anthropology begins with the
question of man's origin and his biological evolution. The
subject is illustrated with drawings, chronological charts, and
fossil reproductions, emphasis being placed on the dynamic
process of evolution - through genetic and morphological

change - and on the position occupied by man in the animal
kingdom, his antiquity, and his relation to other primates.
Special displays show advances made in the study of physical
anthropology, such as the determining of age and sex in
14
deceased or living individuals, for demographic purposes;

craniology, or classification of individuals and groups into
dolichocephalic, mesocephalic, and brachycephalic types;
dental mutilations and cranial deformation; trepanation;
grow^th and stature of individuals, as wêll as demographic
increase in populations, as these are linked to dietetic and
nutritional problems, and biotypology, which show^s the
relation betwêen corporal structure and the behaviour of human
beings.
Finally, this section illustrates work done with
in connection
certain hereditary factors such as steatopygia, eye colour, and
the mongolian spot, as well as on the classification of human
beings by blood groups. The section as a whole stresses the
basic aim of physical anthropology, which is to study biological
aspects of human populations, past and present, and the
application of such knowledge to medicine and public health.
The relation between man and his culture is introduced in the
section assigned to archaeology, which focuses on vanished
indigenous cultures. Here the subject is broached by explaining
the purpose of stratigraphy, basic to archaeology since strati-
graphic layers hold remains that are a key to man's activities and
enable us to determine what the inhabitants of any one place
were like and how they lived in different periods.
The field work and studies that the archaeologist must carry
out are shown next, among which we find the reconnaissance
of archaeological areas, excavation of test pits and trenches, the
exploration of burial and ritual offerings, cleaning and recon-
struction of buildings, protection of perishable materials or
mural paintings, and many others. All this serves to establish
typologies for ceramics and artifacts, chronologies, the nature
of funerary practices, and artistic manifestations; in short, to
interpret and integrate the history of a culture.
In this way archaeologists have been able to reconstruct the
cultural development of man from the most remote times
until the advent of civilization. We are shown salient features
of the main prehistoric periods: the Lower Palaeolithic, in
15
*
which man Hved from hunting and gathering and had the use
of fire the Middle PalaeoHthic, when artifacts became more
;
speciahzed; and the Upper Palaeohthic, during which man

improved his tools - adding the ability to carve stone, shell, and
ivory - and the origins of art appear in cave paintings. We then
progress to the Mesolithic Age, when man first experiments
with the cultivation of certain plants, and small villages appear;
and the Neolithic period in which agriculture is developed,
pottery begins, animals are domesticated and herding is
practised. All these developments are antecedent to future
civilization.
Objects from various parts of the world are used to illustrate
the achievements made by different ancient civilizations -
among them those of Mesopotamia, the Indus Valley, Egypt,
and Peru - and comparisons are made with Mesoamerica so
that its achievements may be seen in a universal context. By
means of displays, dioramas, drawings, and photographs this
section conveys an idea of the slow cultural development of
man and the progress he has achieved, which is the aim of
archaeology.
In the central part of the hall is a section on linguistics, the
branch of anthropology that investigates the origin and
development of human language, how languages change and
may disappear, how vanished languages can be reconstructed,
how they are classified, and how this study contributes to a
better understanding of man's history. These various aspects
are illustrated with archaeological and ethnographic materials,
maps, and audiovisual equipment. Mention is also made of
other means of communication, namely by gesture, mimicry,
and signalling with banners, fans, horns, and conch shells. Also
included is writing, the principal visual means of communica-
tion among men by which ideas and cultural advances are
' disseminated.
The devoted to social ethnology,
fourth section of this hall is
which studies present-day man and his society by investigating

communities, consulting bibliographies, selecting themes and
i6
informants, preparing questionnaires, and applying modern

techniques to social research. The knowledge thus gained is
classifiedand further elaborated with statistics, graphs, maps,

and charts to facilitate the work.
In this way the ethnologist is able to trace the boundaries of
natural and ethnic areas and define the characteristics of their
economy, technology, and family organization, systems
social
of social control, philosophy, and art - in short, to arrive at the
basic outline of a particular culture. He then goes on to compare
a particular social institution with those found in other parts of
the world, relates their historical antecedents to general history,
determines the level of development attained by the society
under review, and tries to establish social and cultural laws valid
for mankind.
all
By way of illustrating the economic and technological

aspects of various types of cultures, the material evidence pro-
vided by characteristic groups is displayed: the Eskimos as an
example of hunters and gatherers the Sakai, who are prin-
;
cipally gatherers; the Haidas, with a system of specialized

fishing and the Bosquimanos, who thanks to their ingenuity
;
survive in an inhospitable environment; the Hopis, with an

inferior level of agriculture, and the Lapps, who live from their
herds of reindeer. All this demonstrates that man has adequate
means for survival, and that his economy and technology
develop in accordance with his environment.
Aspects of religion and magic are also treated - illustrated by
means of objects from various cultures - as well as science, art,
and social organization. Numerous artifacts of the Eskimos are
used to show the manner in which the ethnologist interprets a
particular culture.
In this hall the visitor is finally shown present-day applica-
tions of anthropology, embracing the reconstruction of
archaeological sites, studies of ancient history, programmes of
health and public assistance, studies of child development, the
planning of modern communities, bilingual primers for
education work, and so on. By way of conclusion the message is
17
conveyed - again illustrated with material from various

cultures - that all peoples have the same capacity for resolving
their needs, and only vary as to resources and procedures. It is
this that defines a particular culture, although culture itself is the
patrimony of all mankind, to w^hich all peoples at all times have
contributed.
Regions and archaeological sites of Mesoamerica
Chalchihuites
La Quemada
Panuco
El Tamuin
Etzatln San Miguel Allende
Tula
El Openoi Chupicuaro
Teotihuacan
Tzintzuntzan isla de Sacrificios
Tlatilco ^ Orizaba\Alyarado
Malinalco Cuicuilco cholula
XochicalcO Cerro de las Mesas,
Mp7r3la .
.
iviezcaia
Vâ Venta
,
Izucar Tehuacan *,
Tres Zapotes
Palenque
San Lorenzo Tikah
Piedras Negras*., ,., ,
jYaxchilan Uaxactun
Monte Albn.
Bonampak ^%
Zaachila .Mitla Juchitn
Tututepec
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HALL 2
Mesoamerca
A general frame of reference for the indigenous culture of

Mexico having been established in the initiatory hall it was
decided to supplement this with another introductory hall
which would coordinate the various elements or cultural traits
common to the peoplesof Mesoamerica, its chronology, and
the main features of its topography. This was considered
necessary not only because various prehispanic cultures de-
veloped in this region, but also to avoid the need for repeating
explanations in each of the halls devoted to specific cultures.
The area of advanced culture called Mesoamerica includes a
large part of the Mexican Republic; its northern border is
formed by the Soto La Marina River in the State of Tamaulipas
and the Sinaloa River, and it extends southward to the Gulf of
Nicoya in Costa Rica and the Motagua River in Honduras.
Within this large territory the Olmecs, Teotihuacanos,
Toltecs, Aztecs, Huastecs, Totonacs, Tarascans, Zapotees,
Mixtees, Maya, and other groups developed and flourished, and
varying numbers of their descendants still live there today. Their
cultures can be recognized by works of art in which the regional
styles or traditions of each period are clearly distinguishable.
A map in colour defines the territory of Mesoamerica and
shows its cultural zones with their most characteristic crafts.
For example, for West Mexico there are polychrome pottery
from Sinaloa hollow figurines from Colima and Nayarit the
; ;
y acatas and pipes from Michoacn; stone carving from Mezcala,

Guerrero, and figurines and pottery from
Chupicuaro,
Guanajuato. The Gulf Coast depicts sculptures and pottery of
the Huastecs; hachas, palmate stones, yokes, and smiling figures
from central Veracruz; and the colossal Olmec heads and jade
figures from southern Veracruz and northern Tabasco.
20
Mesoamerica
Depicted too are Teotihuacn mural paintings and vases

with lids the enormous statues or atlantes of the Toltecs in Tula,
;
Hidalgo, and the twin temples and sculptures of the Aztecs,

which as a group distinguish the region of the Central High-
lands. The same applies to the clay urns of the Zapotees and the
polychrome pottery, metallurgy, and codices of the Mixtees,
who occupied the Oaxaca region. Stelae, buildings, pottery,
and modelling in stucco are characteristic of the Maya, who
occupied Palenque, Bonampak, Yaxchilan, Chichen Itz,
Tulm, and many other sites.
All these cultures evolved in geographic regions that show

many elements in common, and their chronological periods
ran more or less parallel. A specially designed device presents a
clear picture of the progress of the various cultures, and serves
as a chronological-cultural frame of reference. We are shown
the Preclassic horizon and its period of development (1700-
200 B c), during which the Mesoamerican groups were basically
agricultural, produced an advanced pottery, buried their dead,
initiated the construction of temple bases and the worship of
deities, as a priestly caste evolved. All this led to the birth of
civilization during the Classic horizon (200 bc-ad 800), a
period characterized by large ceremonial centres, the develop-
ment of crafts and trades, learning, a complex religion, intensive
agriculture, and many other cultural achievements.
Finally, the same chart shows how, in the Postclassic horizon
(ad 800-1521), the theocratic societies turn militaristic, conquer
other peoples and impose tribute; fortified cities appear,
metallurgy is introduced, as well as new irrigation techniques
in agriculture, and new crafts evolve. The codices appear as the
first historic written sources, their development later being cut
short by the Spanish Conquest.

Displays of archaeological objects, together with drawings,
photographs, models, etc., serve to illustrate various cultural
traits which were common to all the prehispanic peoples. In
reference to agriculture, it is seen that various farming systems
were used such as planting in marshes or in the silt deposited
21
after floodson the banks of rivers and lake shores, milpas or corn
fields which were sown on valley floors and the flanks of
surrounding hills; terracing; artificial irrigation by means of
-
canals, and the chinampas or 'floating' garden beds built into the
lakes. By such methods these peoples cultivated corn, squash,
beans, amaranth, sweet potato, cacao, chia (flax seed),
chilli,
avocado, tobacco, cotton, and many other utilitarian and

medicinal plants which after the Spanish Conquest came into
almost universal use.
In hunting and fishing the Mesoamerican groups used the
atlatl or spear-thrower, the javelin, bow and arrow, blowpipe,
slings, traps, harpoons, fish-hooks, fish spear, canoes, nets, and

even poisons to render the fish insensible. These things enabled
them to catch deer, wild turkeys, wild boar, ducks, armadillos,
rabbits, turtles, white fish, manatees, jaguars, quetzals (macaws),
and many other species of animals for use both as food and as
material for applying to handicrafts.
To distinguish one group from another or to denote rank -
and even to achieve their ideal of beauty - the Mesoamerican
Ills. 3,10 peoples practised cranial deformation, dental mutilation, and
tattooing or scarification; they painted their bodies and faces,
dyed their hair and teeth, and shaved their heads and beards. The
nasal septum, lower lip, and ear lobes were perforated in order
to insert various kinds of plugs. They wore bead necklaces,
bracelets, rings, pectorals, bells, ankle bracelets, mirrors, and
other ornaments, made of many different materials.
The various groups wore simple articles of clothing, the
material and decoration used depending on social status and
occupation. Loin-cloths, short skirts, tunics, hupiles and
quechquemitls (a triangular over-blouse), sashes, long cloaks,
///. 4 sandals, hats, fans, shields, conical hats, and staflfs of office were
among the items used either by the lite or by commoners.
At first the rural or agricultural communities comprised
individuals or groups who were governed by a caste of shamans
or magicians, but later a theocratic type of society developed
with ceremonial centres in which the highest caste or estate was
22
Mesoamerica
composed of merchants, and minor

priests, warriors, nobles,
functionaries. Next came an intermediate class made up of
craftsmen, artists, aides of and other persons of lower
priests,
rank; and on the lowest level were the common people. This
type of organization - based on a social hierarchy and clearly
defmed activities - lasted until the Spanish Conquest, although
by then it was militaristic rather than theocratic.
Pottery, which was produced by all the Mesoamerican
cultures but each one in a style of its own, is given prominence
in this hall. Outstanding are the beautiful zoomorphic forms
from Tlatilco, polychrome vessels of Chupicuaro, bowls and
fresco-decorated vases from Teotihuacn, urns with repre-
sentations of gods of the Zapotees, polychrome vases and plates
made by the Maya, as well as polychrome vessels of the Mixtees
that are painted with motifs like those of the pictorial books.
The use of metals - including gold- and silversmiths' work -
is also shown; in this it was mainly the Mixtees and Tarascans
who excelled. They worked gold, silver, copper, tumbaga - an

alloy of gold, silver, and copper - as well as an alloy of tin and
copper. With these metals and using techniques of cold hammer-
ing, cire-perdue (lost-wax) casting, gilding, filigree work,
soldering, and repousse, they made laminated bracelets, disks
with reliefs, pectorals, rings, bells, tweezers, needles, handles
for fans, and many other items.
Work in wood, stone, and shell is also on view; combs, awls,
needles, handles for fans, staffs of office, benches, canoes, and
musical instruments were all produced from these materials. As
carvers of stone and engravers of precious gems the Olmecs of
Central Veracruz, the Maya, and the Aztecs were outstanding.
Such skills are evidenced by colossal heads and monolithic
altars, yokes and palmate stones, stelae and tablets with hiero-
glyphic inscriptions, as well as imposing statues of gods.

In the Mesoamerican Hall one section is devoted to burials;
here diverse methods adopted by the prehispanic peoples for
disposing of their dead are illustrated. There is also a section
concerned with rehgion, in which some of the principal deities
23

are indicated. This aspect of Mesoamerican culture is evoked by

Raul Anguiano in a mural painting which depicts Mictlante-
cuhtli, god of death Tepeyolotli, god of the inner recesses of
;
'
the earth Chicomecoatl and Coatlicue, who together rule the
;
Underworld; also Tezcatlipoca, Yum Kaax, Xipe, and

Quetzalcoatl, who were gods related to the earth and Tlaloc,
;
Ehecatl, Tonatiuh, Huehueteotl, and Ix Tab, the celestial gods.

The figures portrayed are taken from the codices and archaeo-
logical remains of various groups.
Another important facet of Mesoamerican culture which is
here taken into account concerns the intellectual achievements
of the prehispanic peoples these include hieroglyphic writing
;
and numeration, the invention of zero, the vigesimal system,

the making of codices and maps, astronomical observations
regarding Venus and the sun, the establishment of a calendar of
365 days and the precise length of lunar cycles, as well as know-
ledge of geography, history, and medicinal herbs, literature and
poetry, and architecture.
Finally, visitors to the Museum can see the evolution of the
pyramidal temple base, which was the principal element of the
ceremonial centres and served to define architectural style;
there is a series of models showing successively the simple
platforms of the Cerro del Tepalcate then the superposing of
;
platforms giving rise to stepped bases like that of Cuicuilco

next, the pyramidal base known as the Pyramid of the Sun at
Teotihuacan; and finally, the bases supporting twin temples
like those of Tenochtitlan. Together they elucidate the develop-
ment of religious architecture in the Central Highlands.
For purposes of comparison the pyramidal bases of Tikal,
Palenque, and Chichen Itza - cities that flourished in the Maya
region - are also shown. A model of Teotihuacan is displayed
to give an idea of prehispanic ceremonial centres. Closely
associated with architecture is mural painting, used for embel-
lishing buildings, terraces, statues, codices, and pottery; these
mostly take the form of fragments of frescoes and painted
pottery vessels, from various Mesoamerican cultures.
24
4
t'^****^
4 Polychrome figure wearing hat, perhaps a dancer. Clay. Central Vera-

cruz. Height: 15 cm. Classic
25
head. Clay. Central Veracruz.
5 Seated woman with deformed and shaven
Height: 45 cm. Classic
deity holding the umbihcal cord

of a
6 (mht) Relief showing celestial Chiapas.
god of death. Stone. Izapa,
skilefal individual, possibly the
Height: 1.52 m. Protoclassic
26
27
! !
HALL 3
The Origins
Let there be light

Let the dawn rise over heavens and earth
There can be no glory, no splendour
Until the human being exists,
The fully developed man.
Popol Vuh
As the name indicates, shows the populating of Mexico,

this hall
provides archaeological evidence for prehistoric periods of
development, analyses their cultural components, and makes
comparison wîth similar groups in North America. The settling
of this continent wâs the result of various migrations coming
from Asia, the earliest of v^hich occurred at least 25,000 years
before our era, as the opening exhibits of the hall shov^. The
majority of these people came through the Bering Strait,
although in more recent times others may have crossed the
Pacific Ocean; the latter, howêver, are of minor importance
compared vîth those from the north of Asia.
The first migrations of any consequence took place during
the last glaciation - know^n as the Wisconsin - which affected
the northern part of the American continent. A sort of ice bridge
was formed between Asia and America enabling man to enter
the new continent, and these people subsequently spread in
successive waves over all of North America - including Mexico
- as well as Central and South America.
The newcomers depended for their subsistence on hunting,
fishing, and food-gathering. They had the use of fire, and
hunted large Pleistocene animals that furnished them with meat,
bone, and skins; these pelts were used to protect their bodies
from the cold and as coverings for tents or lean-tos. Their stone
implements were similar to those of the Upper Palaeolithic of
28
The Origins
the Old World, consisting of choppers, scrapers, and elementary

forms of grindstones.
Among the first settlers, the long or dolichocephalic skull
predominated, but people with brachycephalic or wide skulls
arrived later. In time these gave rise to intermediate types. This
is indicated on a distribution map displayed in the hall. It is then
shown how this information, considered in conjunction with
associated tools that reveal the cultural level, enables us to
identify the most ancient inhabitants of any locality.
The first settlers in Mexico had a low level of material
culture; an industry of stone flakes and pebbles together with
certain projectile points which were later refined are evidence
of successive modes of primitive subsistence. These progressive
stages and their principal artifacts are tabulated as a chrono-
logical sequence which - although its nomenclature is not
accepted by all investigators - is perhaps appropriate for
Mexico.
This chronological-cultural sequence begins with the
Archaeolithic period (25,000-12,000 bc) and covers a primitive
stage of food-gatherers using simple tools shaped from rocks or
pebbles. The ensuing Lower Cenolithic (12,000-7000 bc)
corresponds to the first hunters of Pleistocene fauna when the
first projectile points appeared. Next comes the Upper Ceno-
lithic (7000-5000 bc) marking the extinction of the large

animals and the transition of man to a basically food-gathering
existence. Finally, we have the Protoneolithic (5000-2500 bc)
in which agriculture is discovered and the integration of
*
sedentary groups and rural villages begins.
In this connection should be mentioned that artifacts of
it
great antiquity have been found in Mexico, as for example those

from Caada Marfil, Guanajuato; Ro Juchipila, Zacatecas;
and Cerro de las Palmas, Tacubaya, D.F. (dating to the Archaeo-
lithic period). There is much evidence to prove the existence of
hunters of Pleistocene fauna, such as the finds at San Joaquin,
Lower CaHfornia; Puntita Blanca, Sonora; Rancho Weicker,
Durango; Cerro del Tecolote, Jalisco; Santa Isabel Ixtapan and
29
Tcpexpan, Mexico (all from the Lower Cenolithic). Materials

left by groups of gatherers of Upper Cenolithic and Proto-
neolithic times have been found in Cueva Espantosa, Coahuila;

Laguna Chpala, Lower California; Coxcatln, Puebla; Santa
Marta, Chiapas; Chicoloapan, Mexico, and elsewhere.
A large panel painted by Iker Larrauri shows the fauna of the
Pleistocene, among which we find the mastodon, woolly mam-
moth or elephant, long-horned bison, American horse, bear,
sabre-toothed tiger, sloth, giant armadillo, vicua, and others.
In front of this and inside a large pit is to be seen the reconstruc-
tion of a mammoth found at Santa Isabel Ixtapan showing also
the associated tools.
The hunting of mammoth Tepexpan has been recon-
at
structed in a diorama based on data obtained from archaeo-
logical digging, from which it is clear that hunters surrounded
these animals on the marshy shores of lakes in the Valley of
Mexico and then attacked with spears and sharp lances; the
monsters were finished off with maces and the carcass was
cut up.
In this hall is bone carving of Tequis-
also exhibited the fossil
quiac, a site in the north of the Valley of Mexico famous for the
large quantity of fossil remains found there. This fragment of a
vertebra, identified as that of an extinct type of camel, pre-
decessor of the llama of South America, had been roughly
///. 7 carved to give it the appearance of the head of a coyote or some
other canine. It is reckoned to be about 14,000 years old and is
one of the earliest examples of American art.
The period of the nomadic hunters was followed by an era of
food-gatherers who were established mainly in the north of
the Repubhc, but penetrated as far south as Puebla, Oaxaca, and
even Chiapas, as is evidenced by numerous finds in those areas.
It was from these people that the Incipient Agriculturists
developed, and after a long period of experimentation with

certain plants which had previously been gathered they were
able to lead a sedentary existence, with the result that the first
villages were formed.
30
The Origins
On display are stone querns and mullers for grinding seeds

and wild fruits, scrapers, mortars and pestles; stone vessels,
awls, tanged projectile points, nets, bags, etc. corresponding to
the food-gathering stage. Some of the plantswhich were first
gathered wild and later cultivated are also shown - among them
corn, squash, chilli, zapote, avocado, amaranth, gourds, and
cotton. These were already being used around 5000 bc.
Round about 2500 bc more advanced agriculture was intro-
duced in Mexico as well as in many other parts of the American
continent. This brought into existence villages, and led to the
first steps being taken in pottery-making, in flaking and polish-
ing stone implements, in weaving and basketry, as well as to

the introduction of the cult of the dead. On these foundations
the Preclassic cultures were built.
31
7 Fossil vertebra of a llama fashioned to resemble the head of a coyote.
Bone. Tequisquiac, State of Mexico. Height: 13 cm. Lithic: 10,000 to
12,000 BC
32
HALL 4
The Preclassc Period in the Central Highlands
This hall was planned to show the development of the Preclassic

or Formative cultures in the Central Highlands, a region com-
prising the Valley of Mexico and the States of Morelos, Mexico,
Puebla, and Tlaxcala.
In general this horizon in Mesoamerica is characterized by a
completely sedentary existence of agricultural groups, the
introduction and development of pottery, the construction of
dwellings, and a cult of the dead with advanced funerary
practices. The cultural patterns in time led to more skilled crafts-
men, the erection of the first temple bases, and the foundation
of religion and a priestly caste. At the same time there began to
take form a system of numbering, the calendar, hieroglyphic
writing, and a technically advanced art, all of which later
influenced other peoples.
Within the framework of this gradual evolution or cultural
progress the Preclassic horizon has been divided into Lower,
Middle, and Upper periods, to which can be added a transi-
tional or Protoclassic period, with several features that would
later distinguish the emerging civilizations of Mesoamerica.
The Lower Preclassic (i 700-1 300 bc) is characterized by the
predominance of small rural communities comprising a
limited number of huts built of perishable materials, and by the
existence of two distinct types of pottery, consisting of vessels
having round and flat bottoms, respectively. The former are
associated with the Central Highlands, the latter with the Gulf
Coast. At this stage the groups were distributed over an area
extending from the Valley of Mexico and bordering states as
far as the Gulf Coast and Chiapas, inhabiting the sites of El
ArboHllo, Zacatenco, Tlatilco, Ajalpan, Izucar, La Venta, San
Lorenzo, El Trapiche, Chiapa de Corzo, and others.
33
Middle Preclassic period (1300-800 bc) agricultural

In the
communities move in the direction of a more densely populated
type of village or town - made up of huts built over platforms
of earth covered wîth stone, and tamped earth or slab floors -
and develop local variations in both traditions of pottery. On
the Gulf Coast, howêver, Olmec culture wâs by now^ integrated
and had acquired considerable strength, wîth wîdespread
influence, particularly over groups in the Central Highlands.
During this period Copilco, Gualupita, Chalcatzingo, Viejn,
Panuco, Mazatn, Uaxactn, Kaminaljuy, El Opeo, and
other sites appear in addition to those previously mentioned.
The Upper Preclassic (800-200 b c) marked the apogee of the
village groups, w^hen small unplanned ceremonial centres make
their first appearance, characterized by temple bases some of
w^hich contain tombs. The priesthood and a formalized
religion also took shape, there wêre marked advances in scientific
knowledge, principally of an astronomical and mathematical
character, and in technology. Settlements now multiplied
rapidly, among them Cuicuilco, Ticomn, Tlapacoya, Tres
Zapotes, Remojadas, Monte Albn, Izapa, Tikal, Edzn, and
Dzibilchaltn, to mention but a few.
Finally, in the Protoclassic period (200 bc-ad 200) a number
of features which will later distinguish the Maya, Zapotee,
Central Veracruz, and perhaps Huastec and Teotihuacn
civilizations, can already be recognized. Among these are a
precise technique of wôrking stone, the erection of stelae and
altars associated with them; the calendar and a system of
numbering using dots and bars; the god of rain with recog-
nizable attributes; fresco-type painting on vessels and tombs;
tetrapod vessels with mammiform legs; labial and basal
mouldings on pottery.
The first case exhibits pottery and figurines from the Lower
Preclassic in the Valley of Mexico, with pieces from El Arbolillo,
Tlatilco, and Zacatenco. Among the former are large jars for
storing water and seeds, composite-silhouette bowls with
incised decoration, jars with flaring sides, plates and other simple
34
The Preclassic Period in the Central Highlands
forms, with round bottoms; mostly monochrome, they are

painted black, white, dark brown, chestnut-brown, and
reddish brown. The figurines - all representing women - were ///. 8
made with an applique technique; these constitute Tradition C
of the Central Highlands.
The continuity of pottery during the Middle Preclassic
period is shown next, using vessels with a polished surface of red,
or white on red, as examples. At the same time emphasis is
placed on the introduction of the Olmec pottery tradition from
the Gulf Coast, characterized by vases, plates, gourd-shaped
bowls and bottles; the latter have flat bottoms, adorned with ///. 12
feline or geometric motifs, and use decorative techniques of
finger-nail marking, rocker stamping, textile impressions,
excising, etc.
The pottery of the Olmecs - in polished black, grey, white,
black with white spots, or white with black spots, and even
with negative decoration - gradually becomes mixed with the
local ceramic styles, whereby the pottery of some sites in the
Valley of Mexico, principally Tlatilco and Tlapacoya, becomes
enriched. At this stage phytomorphic and zoomorphic bottles,
dishes with spouts, stirrup-spout vessels, anthropomorphic
receptacles, and other forms appear; among the colours and ///. i
5
techniques used are red on white, red on brown, orange and
yellowish lacquer, white with negative painting, and painting
on dry stucco.
With the arrival of the Olmecs a new type of figurine is also
introduced into Central Mexico, characterized by a trapezoidal
and enlarged mouth - resembling that of a child or a jaguar - ///. 9
and facial features formed by incising and punctuation. Other
types continue to develop in the Highlands and become inter-
mixed, resulting in many new types of figurines in the Middle
Preclassic. These give us some indication of what the people of
those times were like, how they dressed and adorned themselves,
and of their daily life. One show-case contains a variety of
figurines men and women who are tall and short, thin or fat,
:
some with special attributes such as cranial deformation, dental
35
Ills. 10, mutilation, a shaven head, tattooing, body and facial painting.
14, 4 The use of loin-cloths, short skirts, sandals, hats, turbans, ear-
plugs, necklaces, pyrite mirrors, and many other items of
clothing and adornment, isevidenced by the pottery.
also
The visitor is next introduced to the economic aspects of these
groups, whose basic sustenance came from the agricultural
production of maize, squash, beans, and chilli, supplemented by
hunting, fishing, and gathering. In support of this are exhibited
cf. III. ^y vessels from the Middle Preclassic, representing squashes,
///. 1^ and other animals.
rabbits, ducks, frogs, turtles, birds,
Thanks to their technology these groups succeeded in
adapting themselves perfectly to their environment. By way of
illustration there are examples of their artifacts, such as stone
mortars and metates for pounding seeds and grinding maize;
projectile points for hunting bone awls and needles for making
;
clothing stone axes for clearing forests and working wood, as

;
well as scrapers and polishers.

In the section relating to religion we see that the groups in
the Valley of Mexico practised a fertility cult, related to natural
phenomena and fecundity, for which female figurines were
///. 13 modelled in clay with a view to propitiating gods who con-
trolled the harvests. When Central Mexico came under Olmec
influence a jaguar deity related to the rain was adopted there,
soon becoming fused with an aquatic serpent to result in a sort
of celestial dragon that was later to evolve into the god of
water.
In their magico-religious capacity the wizards or magicians
took part wearing masks that depicted
in agricultural festivities
///. 1 1 animals or human beings. Dancers of both sexes, acrobats,
hunchbacks, and ball-players attended these festivals and con-
///. 16 tributed to the entertainment; so did musicians with drums,
rattles, whistles, and so forth, and some of these instruments of
their trade are on view.
Finally, in this same section of the Middle Preclassic there are
choice pieces of pottery and figurines to illustrate the art of the
period. A burial at Tlatilco with its offerings serves to demon-
36
The Preclassic Period in the Central Highlands
strate the cultof the dead. In this connection it is pertinent to

note the custom of wrapping the deceased in mats or blankets
and placing them, in either an extended or a flexed position,
inside pits dug in the ground; the bodies were sprinkled with
red paint or cinnabar and accompanied with offerings of food
and personal objects for use in the hereafter.
The section devoted to the Upper Preclassic begins by
showing the progress which had by then been made in tech-
nology, enabling platforms and temple bases to be built. On
display are planes for levelling floors and walls, plumbs,
hammers, chisels for cutting stone, and stone polishers; all of
which points to the existence of stonecutters, masons, and
others dedicated to the emergent architecture.
Pottery of the period reveals a predominance of polychrome
and negative decoration, fresco-style painting, ornamental ///. 18
supports, painting outlined by incising, and ring bases. The
pottery of Chupicuaro, Guanajuato is outstanding and in-
fluenced the ware of other groups, enriching their forms and
decoration.
Among on brown, white on
the exhibits are vessels in red
red, black and red on cream, polished red, white and red on
brown, polychrome pieces with the addition of negative
decoration, and other variants. Figurines of the period are
displayed together with traditional ones from Western Mexico.
With the appearance of small ceremonial centres and temple
bases the worship of certain deities begins and a priestly caste
emerges; illustrating these religious beliefs are representations
of Huehueteotl - god of fire - conceived as an old hunchback
who carries a brazier on his back, and antecedents of Tlaloc - ///. 1 7
god of rain - whose efligy is modelled on the neck of some
bottles.
Illustrated on a panel is the evolution of architecture during
the Upper Preclassic beginning with the simple
period,
platforms and huts of the Cerro del Tepalcate, followed by the
superposing of platforms - as in the first stepped bases of
Cuicuilco - built on a circular plan, first in clay and later of
37
stone, and developing later into the pyramidal base of Tlapacoya,

which was to serve as an inspiration to the builders of the
Pyramids'of the Sun and of the Moon at Teotihuacn.
Inside the temple base at Tlapacoya three stone tombs with
roofs of basalt slabs were found in which persons of importance
had been buried, accompanied by hundreds of vessels, figurines,
pieces of basketwork, and ornaments. The vessels, whose
diverse shapes and decoration testify to the originality of the
potters of this site, are given special prominence.
Ceramics from other Upper Preclassic and Protoclassic sites
found in Zacatenco, Ticoman, Cuanalan, and Teotihuacn are
to be seen in the last show-case. In general the forms are simple:
red tripod bowls, plates, effigy vessels, and cylindrical vases,
with negative or punctate decoration. Various types of figurines
from sites all over Mesoamerica enable the visitor to distinguish
different regions and Preclassic cultures. The over-all achieve-
ments of these cultures, which were ultimately to lead to the
civilization of Teotihuacn, are also outlined here.
Outside the hall, in the adjoining garden, is set up a scale
model of the small circular structure at Cuicuilco, which was
built by superposing great basalt slabs, forming a sort of cupola
or vaulted enclosure. There can be no doubt that the structure,
which has an entrance passage and whose inner walls are
painted with spiral or serpentine designs in red, was used for
religious ceremonies.
38
8 Woman with
child in her arms.
Clay. Tlapacoya,
State of Mexico.
Height: 17 cm.
Lower Preclassic
39
1
10 (right) Hollow head with featuresof child, shaven and showing muti-
lated teeth. Clay. Tlatilco, State of Mexico. Height: i6 cm. Middle Pre-
classic. Olnaec influence
1 (right, below) Contortionist or acrobat. Clay. Tlatilco, State of Mexico.

Height: 22 cm. Middle Preclassic. Olmec influence
9 Priest wearing tiger skin. Clay. Atlihuayn, Morelos. Height: 21 cm.

Middle Preclassic. Olmec influence
r
T
1/
^
W^W"

^^:1':^^<:2^W "
12 Vase deco-
(left)
rated with jaguar
faces. Clay. Tlapa-
coya, State of Mexico.
Height: 12 cm.
Middle Preclassic.
Olmec influence
13 (left) Vase in form

offish. Clay. Tlatilco,
State of Mexico.
Height: 13 cm.
Middle Preclassic.
Olmec influence
14 Hollow figure
with shaven head
and perhaps
tattooed. Clay.
Tlatilco, State of
Mexico. Height:
31 cm. Middle
Preclassic
43
65
1 Figurines of women with two faces and two heads respectively on a

single body. Clay. Tlatilco, State of Mexico. Height: 6 and ii cm. Middle
Preclassic
1 (right, above) Figurines representing a magician or wizard, a musician

with drum, and dancers. Clay. Tlatilco, State of Mexico. Height: I2, 8, lo
and 10 cm. Middle Preclassic
17 (right) The old god or god of fire (Huehueteotl) with brazier on his back.
Clay. Cuicuilco, D.F. Height: 13 cm. Upper Preclassic
44
45
1 8 Vessels decorated with fresco painting. Clay. Tlapacoya, State of
Mexico. Height: 22 and 14 cm. Upper Preclassic
46
HALL 5
Teotihuacan
In the midstof night

Before the break of Hght and day,
The gods assembled,
Holding council
Yonder in Teotihuacan.
Codex Matritensis
The cultural historyof Teotihuacan dates back to the Upper

Preclassic period, that is, 500 BC or earlier. At that time there
were scattered villages in the Valley of Mexico whose popula-
tions practised agriculture, made pottery, and built crude
temple bases.
At some stage between 200 bc and ad 150, these people
began to concentrate upon a certain spot in the centre of the
Valley. They built the Pyramids of the Sun and Moon, follow-
ing the general lines of Preclassic architecture but on a monu-
mental scale, giving them a stucco veneer and orienting them
by the cardinal points.
With the passage of time, Teotihuacan developed a number
of distinctive attributes that set it apart from other contemporary
cultures. The characteristic talud and tablero (slope-and-panel)
construction began to be used in architecture. The Temple of
Quetzalcoatl (the plumed serpent), whose facade is formed of a
stone mosaic and polychrome stucco was erected, and buildings
such as the so-called Subterrneos and Temple of Agriculture,
in which the first realistic mural paintings appear.
The new priestly caste governed society and promoted
learning; it actively supported the crafts and encouraged wor-
ship of the gods, in particular Tlaloc and Chalchiutlicue who
are related to water, and Huehueteotl, god of fire. At the same
time monumental sculpture and pottery take shape, and trade
47
me Mexican National Museum of Anthropology
relations extend as far asOaxaca and the Gulf Coast. These

developments, occurring between ad 150 and 350, mark the
beginning 'of urbanism, as exemplified by the growth of this
important city of Teotihuacn.
The years between ad 350 and 650 see the floruit of Teoti-
huacn. The ceremonial centre is laid out with a north-south
axis - represented by the Avenue of the Dead - and along its
sides are aligned pyramidal temple bases and palaces for families
of high rank. Great plazas such as that of the Moon and the
Cindadela (Fortress) are built for religious festivals. Residential
zones and others for artisans are established, while near the
periphery of the great city the huts occupied by the common
people multiply.
Mural painting exalts the religious concepts of the Teoti-
huacanos, as the pantheon of deities grows larger. A remarkable
increase in scientific knowledge leads to the invention of the
calendar, hieroglyphic writing, and a system of numbering,
while advances are made in astronomy and herbal medicine.
All this is accompanied by an upsurge in commerce, with the
result that Teotihuacn becomes the dominant cultural site in
the Central Highlands, exerting considerable influence over
neighbouring peoples.
Then around ad 650 Teotihuacn culture begins to decline.
No more buildings of consequence are erected, the arts and
crafts after a period of stagnation grow decadent, the priestly
caste is no longer able to control the economy. It is at this stage
that bands of more primitive people coming from the north,
begin to invade the Valley of Mexico, and Teotihuacn falls
an easy prey.
In the years that follow, these new burn and destroy
arrivals
much of the ceremonial centre, pilfer tombs and loot oflferings,
tear down buildings and ravage the city in other ways. But they
also mingle with the survivors of the former population,
occupying dwellings and adapting buildings to their needs.
Though they have brought with them their own reHgion, these
newcomers assimilate some of the local culture. This accultura-
48
Teotihuacn
tion transforms them into 'artists and scholars' ; word, they

in a
become 'Toltecs', and a new phase in the cultural growth of
prehispanic Mexico is initiated.
A model of the Valley, taking in the ceremonial centre, puts
the visitor in the picture and explains the ecological condition
of the site.
He then passes on to a of show-cases containing Teoti-

set
huacn pottery, which has been the means of establishing
chronological periods corresponding to the various stages of its
culture. First come examples of Teotihuacn I-A or Late
Tzacualli, characterized by vessels shaped like flower vases,
.dishes with button supports, vases with images of Tlaloc, and
other variants, all in brown with stick-polishing.
The Teotihuacn II or Miccaotli phase is represented by Ills. 19, 21
jars, bowls, and cups with button supports; a number of
amphorae with handles; and tripod vases and dish lids, in black
or blackish brown. The next, transitional, phase produces
pottery in red or light brown, red on yellow, and black, in
the shape of bowls with solid conical supports and vases with
flaring sides, often decorated by incising after the vessel was
fired.
The most prominent forms of the ensuing Teotihuacn II-A
or EarlyTlamimilolpan phase include candeleros (candle-
holders), miniature vessels, goblets with spouts, shoe-shaped
vessels, and vases with supports, embelHshed in various ways.
This is followed by the Teotihuacn II-A-II or Late Tlamimi-
lolpan phase, during which Thin Orange pottery attains a high
degree of excellence and fresco painting is first introduced, as
well as champlev decoration principally on tripod vases with
hds.
This leads on to pottery of the Teotihuacn III or Early
Xolalpan phase; the Teotihuacn III-A or Late Xolalpan Ills. 20, 22
period; the Teotihuacn IV-Metepec phase, taking in the Ills. 25, 24
Coyotlatelco period, during which the site was abandoned.
This entire classification lasts from 200 bc to ad 800, during
which time Teotihuacn culture flourishes and declines.
49
Another section of the hall is devoted to the crafts and tech-

nology of the Teotihuacn people, as exemplified by archaeo-
logical objects recovered from the site. For the construction of
their buildings, the stone wâs first hewn from the rock with
wooden wedges and hammers, then cut and dressed with
chisels and polishers. The masons also employed stone plumbs,
polishers or planes for floors and walls, cords, rollers, and earthen
ramps. The structures were generally covered with a finishing
layer of lime plaster or stucco, to which paint and stone
mosaics were also applied.
The Teotihuacanos were in the habit of adorning temples and
the apartments of priests and nobles with frescoes, usually on
religious themes. This was done by preparing the walls with a
layer of stucco or lime plaster, and while it was still damp
applying the colours diluted with water (fresco) sometimes
;
the pigments were mixed with a resin or agglutinate, and used

dry (tempera). Paint was also applied directly to stone, pottery,
and figurines. The pigments were ground in mortars and
mixed on palettes to obtain various tones, and then applied
with fine and broad brushes. The basic colours, obtained from
minerals, included red, blue, yellow, and black.
The lapidaries' tools were chisels made of serpentine,
hammers, stone anvils, drills, borers, and polishers; they used
abrasives such as sand and water to obtain highly polished
surfaces on sculptures, masks, and the like.
From conch and other shells - acquired by trading from both
the Gulf Coast of Mexico and the Pacific Coast - craftsmen
fashioned beads for necklaces, pectorals, ear-plugs, and rings;
large conch shells served as musical instruments. Bone and
wood, though used less, were also worked with great skill.
Pottery was perhaps one of the most important crafts. They
modelled vessels by hand or in moulds, the latter method en-
abling them to obtain series of objects for use in commercial
exchange. In weaving they employed looms, spindles, and
spindle whorls; by the use of needles, bodkins, and dyes, they
produced various items of clothing out of cotton, maguey, and
50
Teotihuacn
perhaps yucca. Out of the bark of the amate (a type of fig tree)
they made paper.
In another part of the hall is to be seen a reproduction of the
mural painting known as the 'Tlalocan' or 'Paradise of the god
Tlaloc', a special heaven for warriors, ball-players, and persons
who died by drowning or from dropsy. In it, the deceased
appear as little 'portrait'-type figures, painted in pinks, blues,
and yellows; they are shown swimming in the water of
lagoons and rivers, chasing dragonflies and butterflies, singing
and playing ball and other games. All are under the protection
of Tlaloc, god of rain, who appears wearing rich apparel, a
quetzal head-dress, and a mask over his face.
To be seen, too, is a replica of a corner of the Temple of
Quetzalcoatl, in its original colours. The main features are
serpents with precious plumes and snails and marine shells,
alternating with huge masks of the rain god, all done in a
polychrome stone mosaic. Near by are reproductions of mural
paintings such as were found in buildings at Teotihuacn.
Among the outstanding pieces of sculpture exhibited is the
stela from La Ventilla, made in four sections that can be taken
apart. They are carved in low relief in the Central Veracruz
style, the whole serving to mark off the field or court where the
ball-game was played - in exactly the manner shown in one
part of the 'Tlalocan'. This game was played with carved and
painted wooden sticks, with which the player tried to propel the
ball through the air from one end of the field to the other.
Another remarkable piece of sculpture is that of Chalchiut-
licue, companion of Tlaloc and goddess of terrestrial waters. ///. 23
This was conceived as a block of stone, in keeping with the
architectural style of Teotihuacn it shows the goddess wearing
;
a huipil (type of blouse) and decorated short skirt, a quech-

quemitl, sandals, head-dress, ear-plugs, a necklace formed of
three strands of beads, and bracelets.
Also on display are carvings of the god of fire, Huehueteotl,
represented as an old man carrying a large brazier upon his ///. 2y
head, and merlons with various decorative elements for the
51
roofs of buildings. There is, too, a carving in the shape of a

double human skull associated with the god of death, Mictlan-
tecuhtli, tlie eyes and nose of which were originally inlaid with
some precious material.
Large photo-murals and drawings of the ground-plans
, underline the architectural achievements of the Teotihuacanos,
among them the Pyramid of the Sun and the Cindadela. The
Pyramid of the Sun was a temple base composed of sloping
tiers with narrow treads, similar to Preclassic structures but on a
monumental scale. It is 225 square metres at ground level and

rises to a height of nearly 65 metres. Another frontage was
added at a later date, using the typical Teotihuacn slope-and-

panel technique.
The Cindadela is 400 metres square, with
a vast enclosure,
small temple bases placed symmetrically upon the bordering
platforms. Almost in the centre rises a large pyramidal base
which was built against the Temple of Quetzalcoatl, practically
covering it; before it stands an altar with four stairways. Both
the enclosure, and the equally large Market, which faced the
Cindadela, were able to accommodate enormous crowds
during religious festivals.
In its heyday Teotihuacn was divided into districts - some
for artisans and some residential - each comprising a number of
buildings with countless rooms and interior patios, but only a
single entrance. That is, they were like apartment houses or
blocks of rooms, containing streets and drainage systems.
The section of the hall devoted to minor sculpture attests the
great technical skill of the stonecutters, who, equipped only
with stone tools, were able to shape the serpentine, quartz,
alabaster, jadeite, and other semi-precious materials into the
desired form. On display are examples of their work such as
///. 28 funerary masks, which perhaps were placed over the deceased's
face; a human figurine with Olmec traits; a head with two
circles, or chalchihuites, on the forehead; a small jaguar with
///. 26 stylized features; a handsome vase with an eifigy of Tlaloc, and
much besides.
52
Teotihuacn
Finally, exhibited in a separate case, are choice examples of

Teotihuacn pottery, outstanding among which are the Thin Ills, zg, ji
Orange ware, anthropomorphic vessels, dogs with legs ex-
tended, whistling jars in the shape of monkeys and other
animals, jars and bowls sometimes decorated with fresco-type
painting, vessels in the shape of a sandalled foot, cups and masks ///. 30
similar to those carved in stone.
53
19 (l'JO Vessel in form
of bird with adorn-
ments of marine
conch and other
shells. Clay. Height:
25 cm. Protoclassic.
Teotihuacn II
\
V- /
<^ %
-'S..;,U^f4.
20 (left) Vase with

panel decorated in
scrolls and inter-
lacings. Clay. Height:
II cm. Classic. Teoti-
huacn III
21 Brazier in form
of temple with
conical roof Clay.
Height: 30 cm.
Protoclassic.
Teotihuacn II
55
23 (right) Tripod vase with lid, decorated with shell disks. Clay. Height:
24 cm. Classic. Teotihuacn III
24 (right, below) Brazier with model of a temple and mask of a god in

the interior. Clay. Height: 60 cm. Classic. Teotihuacn III-IV
22 Tripod with fresco decoration. Designs related to Tlaloc, god of

rain. Clay. Height: 15 cm. Classic. Teotihuacn III
57
'2:%
'ST'**
*>:.:>^Y'fcvr'. ^fU'"^ A\/f.

^.î.- ''''V. f.VM ''iX\m
WS^\'fV'fe-'ll
^/'*''I'- ii,:/y
'\^
'^r& h
^mmi
v^
25 (left) Chalchiutlicue, or
'she of the jade
skirt', goddess
of water. Stone. Height:
3.20 m. Classic. Teoti-
huacn III
26 Vase with eifigy of

Tlaloc, god of rain. Stone.
Height: 25 cm. Classic.
Teotihuacn III
27 Huehueteotl, god of fire,

with the face of an old man
and brazier over his head.
Stone. Height: 36 cm.
Classic. Teotihuacn III
28 Funerary mask.
Stone. Height: i8 cm.
29 (right) Human mask

with circular ear-plugs.
Clay. Height: 10 cm.
30 (below) Thin
Orange jar of which
a seated human figure
forms a part.
Clay. Height: 21 cm.
3 1 below) Thin
{right,
Orange vessel of
which a reclining
human figure forms
a part. Clay.
Height: 12 cm.
Classic.
Teotihuacn III
HALL 6
The Toltecs
In truth the Toltecs were wise,

For they looked deeply into their own hearts.
By the time Teotihuacn had reached the height of its splen-

dour and Monte Albn and El Tajin flourished in Oaxaca and
Central Veracruz, the archaeological city of Xochicalco,
Morelos, began its cultural development, which betrays in-
fluences from those more advanced groups and in which even
elements of the Maya, the mathematical geniuses of Meso-
america, are apparent.
Since theof Xochicalco, 'the house of flowers', was con-
rise
temporary with the end of Teotihuacn and the beginning of
the Toltecs in Tula, visitors to this hall are shown material
from Xochicalco before they are introduced to the true Toltec
culture.
Built on which was artificially reshaped by means
a large hill
of stepped terraces and retaining buttresses, the city of Xochi-
calco was provided wîth moats and various kinds of fortified
structures. Within it are plazas surrounded by temple bases,
altars, ball-courts, colonnades, caves adapted for astronomical
observation, and other structures, many of them now in ruins.
Its principal temple base - known as Pyramid of the Plumed
Serpent - reflects the architectural style of Teotihuacn,
although here the panels have shrunk to cornices and the
distance between them is greater. The decorative motifs -
serpents adorned with plumes and sectioned snail shells - are,
however, the same and the bas-reliefs in no way inferior to
those at Teotihuacn. Within the curves of the serpent's body
appear a series of seated, human figures, in the style of bas-
reliefs on stelae and plaques of the Maya culture. Various
62
The Toltecs
hieroglyphs in Zapotee and Aztec styles also appear, one of

which records the adjustment of the calendar needed at this
site to make it accord with those of other groups.
Maya influence is evident in the ball-court, a structure in the

form of a capital T with stone rings embedded in the wall in a
manner similar to that used at Uxmal and Chichen Itza, Yucatn.
From Xochicalco too comes a wonderful carving in the shape
o guacamaya in which the artist has succeeded in conveying the
2i ///. 54
intrinsic nature of the bird and its solar symbolism by delineat-
ing a few essential features. Apropos the guacamaya (macaw), we
should mention that in the ball-court in Copan, Honduras, these
birds were also used as markers for the field.
Xochicalco is the source of other carvings ; these include the
so-called 'Palace Stone', bearing hieroglyphs and numerals
which here again pertain to a calendar adjustment the sculpture
;
known as 'La Malinche' or 'The Indian Woman', portraying a

goddess of vegetation; the image of a standing woman holding
a disk or round vessel over her stomach; and three handsome
stelae carved on all four sides with effigies of Tlaloc and of ///. 52
Quetzalcoatl, in a style combining Aztec, Zapotee, and Central
Veracruz elements. Several of these pieces are on display.
Even the pottery from Xochicalco shows a connection with
the Maya region, with Teotihuacn, and with the beginnings
of Tula, as the orange, blackish, reddish, and other wares
attest. Plain yokes, Mezcala-type figurines, shells from the
Pacific, an alabaster vase with fresco decoration, and jadeite ///. jj

pectorals or plaques are among the many objects with affinities
with the other groups that point to extensive trading having
been carried on in those days.
The chronicler Fray Bernardino de Sahagn refers to people
who settled in Tamoanchn, 'the place of the bird-serpent',
where they composed the count of the days, of the nights, and
of the years, which continued in use until the times of the
Aztecs or Mexicas. Sahagn also relates how from Tamoanchn
some groups went to Xomiltepec and then to the city of
Teotihuacn, where they elected their respective rulers.
'And once the election of the lords had been held they all left,
each lord being accompanied by the people who spoke his

language, and each group was guided by its god. The Toltecs
went always in front, followed by the Otomis who on arriving
at Coatepec went no further and the other peoples, such
. . .
as the Toltecs and Aztecs and Nahuas continued on their

. . .
way through level country or high barren plains to discover

.'
lands. . .
These historic references seem to indicate that Tomoanchn

could have been Xochicalco, since its principal temple base is
decorated with plumed serpents, and the site called Xomiltepec
or Jumiltepec is between that great centre and Teotihuacn. In
Xochicalco too are found hieroglyphs referring to an adjust-
ment of the Aztec, Maya, Zapotee, and perhaps Central
Veracruz calendars; its sculptures, stelae, and certain other
features also have afFmities with these peoples.
From archaeological evidence and historic sources we know
too that Teotihuacn was occupied by peoples of a lower
cultural level around ad 650 or 700. The celebration of the
Fifth Sun was held there, implying a change in religion, and
the Annals of Cuauhtitlan in speaking of this event say that '. . .
the name of this sun is Nahui Ollin (4 Movement) it is the one ;
in which we live today because the sun fell into the fires, in
. . .
the divine oven of Teotihuacn [and] it was the same sun of

. . .
Topiltzin of Tollan [Tula], of Quetzalcoatl. Before this sun,

his name was Nanahuatl, and he came from Tamoanchn.'
That is to say, with this event the Toltec era began.
It would seem then that, as was the case at the fall of Teoti-
huacn, people arrived there who mingled with the existing

population, imposed a new religion, adopted part of the
culture of this great centre, and qualified as craftsmen, artists,
and scholars. After some time they went to Tulancingo and
later to Tula, Hidalgo, where they founded another city of
which historic sources refer.
'Tollan', to
Pottery found at Tula begins with the Coyotlatelco type -
from the end of Teotihuacn - which is characterized by sirnple
64
The Toltecs
bowls, cups, and tripod dishes painted in red on yellowish ^__, -

brown. From this derives the Mazapn pottery, distinguish^dT"^
by its dishes and bowls in a cream colour and with series of
parallel wavy lines in red, made by using several brushes at
the same time. Vessels in an orange colour were also produced
and painted with broad brush-strokes in black on orange and

brushed white. In addition, pottery was imported, from other ///. j6
sites, including 'plumbate' ware with a hard metallic lustre,
and cloisonne and polychrome ware of the Huasteca.

Figurines were made in moulds and are very flat, often ///. 33
painted in blue, red, yellow, white, and black, with the colour
applied directly to the clay. Women, deities, and high-ranking
individuals are represented, as well as warriors.
The Toltecs followed the urban model of the great city
centres of the Classic, as well as sculptural styles
of that time.
However, they gradually developed features of their own
which in turn influenced other groups.
Toltec buildings use the slope-and-panel system but the
proportions are in inverse ratio to those of Teotihuacn. There
is a ball-court similar to that of Xochicalco. The Toltecs
decorated their temple bases and pillars with bas-reliefs. They
further developed the concept of serpent columns which
originated at Teotihuacn. They also adopted the decoration
in the form of little drums or columns of the Maya Puuc period,
as can be seen in the Palacio Quemado (Burned Palace) which
is illustrated in a painted panel prominently displayed in the
hall there are in addition archaeological specimens by way of

;
example.
Among the buildings in the centre of Tula are : the Temple
of the Sun and the Temple of Tlahuizcalpantecuhtli which
flank two sides of a large ceremonial plaza; a colonnade that
communicates with the Palacio Quemado a wall with serpents
;
and sectioned snail shells; another plaza containing a ball-

court, and remains of rooms and altars. In an adjoining zone
there is a circular temple base dedicated to the god of wind,
and a tzompantli or altar decorated with skulls.
65
The Mexican National Museum oj Anthropology
The Temple of Tlahuizcalpantecuhtli, or god of the dawn,

is the most important at Tula. It is composed of various super-
posed tiers on the slope-and-panel principle, decorated with
friezes in low relief showing coyotes, royal vultures, and
eagles and wearing necklaces, perhaps symbolizing the
tigers
warrior or military orders. Upon a pyramidal base stood the
temple itself, with two serpent columns forming the entrance
and supporting the lintels, as well as four atlantean columns of
stone and various square pillars decorated with warriors, which
carried the roof.
The columns of Tula, one of which is on display in
atlantean
the hall, are 4-60 metres high and are formed of four sections
joined together by a mortise-and-tenon system. They represent
warriors wearing feather head-dresses, head-bands, ear-plugs,
butterfly breastplates, short skirts held up by a belt which has
a large disk at the back associated with the sun, and sandals with
ankle-strap in one hand they carry an atlatl, or spear-thrower,
;
and in the other a sheaf of darts.

The Toltecs were in fact competent sculptors, both in low
relief and in the round, as is evidenced by the so-called Chac-
///. 57 Mools - statues of reclining figures with raised head who bear
a receptacle upon the stomach in which the sacrificial offering
was placed. They symbolize the 'divine messenger' who
carried the offering to the sun god. These figures were usually
placed in front of altars.
Ills. j8, To be seen also are: several characteristic examples of
3g, 41 atlantean figures, carved in basalt and used to support stone
tables or altars tablets from the Coatepantli carved in low relief
;
and depicting serpents devouring skeletal human beings,

perhaps alluding to the disappearance of Venus as morning
star and her transformation into the evening star and the repro-
;
duction of a bench decorated with a procession of richly attired

warriors and priests. This latter was originally stuccoed and
painted in various colours.
At Tula the Toltecs worshipped Quetzalcoatl, god of the
planet Venus in both its morning and evening aspects, and the
66
The To he es
priests were named after this deity and wore his attributes. For
this reason one of the important rulers of Tula was called Ce
Acatl Topiltzin Quetzalcoatl; though he became a civilizing
god-hero, he must not be confused with the god after whom he
was named. The city had other rulers, including Huemac,
under whom the floruit of the ceremonial centre came to an end.
As such, the Toltec period had lasted from ad 900 to 1200.
In Tula's final stage, according to historic sources, some of
its people scattered through Puebla and Tlaxcala, occupied
Cholula, and conquered the Olmec-Xicalancas, who emigrated

towards the Gulf Coast. The surviving population of Tula saw
new groups of Chichimecs arrive, among them the hordes of
Xolotl and later the Aztecs, who were the last to inherit a
measure of their cultural knowledge and who gave them the
name of 'Toltecs', meaning craftsmen and scholars.
Towards the far end of the hall are exhibited materials from
Cholula, Puebla, whose history begins with the settlement
there in the Preclassic of peoples who erected platforms, basic-
ally of mud and stone; it then came under the influence of, or
was colonized by, a Teotihuacn group, who left temple bases
of the slope-and-panel type, one of them painted with frescoes
showing grasshoppers.
All these structures were used as fill for subsequent building
done by other groups; that is to say, they were covered over to
erect the great pyramid of Cholula, a model of which is on
exhibit. This imposing edifice was more than 400 metres square
at the base and had at least three tiers whose total height was
more than 60 metres. The church of Los Remedios was built
over the pyramid in the early days after the Spanish Conquest.
In Cholula a beautiful polychrome ware was produced
known as Cholultec or Mixtec-Puebla on account of its strong
resemblance to the Mixte: pottery. Its forms include dishes,
goblets with ring base, jars and bowls embellished with floral
motifs, frets, skulls, human shin-bones, hieroglyphs, and geo-
metric designs. Black, wine-red, grey, orange, and white were
the favoured colours, which were used in various combinations.
67
32 Stela with face of Tlaloc, god
of rain. Stone. Xochicalco,
Morelos. Height: 1.49 m. Late
Classic.
33 iî^ht) Alabaster vase with

fresco decoration forming a
panel. Stone. Xochicalco,
Morelos. Height: 1.49 m.
Late Classic
34 (right) Head of guacamaya

(macaw). Stone.
Xochicalco, Morelos. Height:
55 cm. Late Classic
MX....!. ., ii.imiiiliri,
.t\
V.t.
://
N
^-vi*'
^
35 Figurines with paint
appHcd directly to clay.
Tlaloc priest, with a
woman on either side.
Clay. Height: i8, 20 and
15 cm. Early Postclassic
36 (left, below) Zoomorphic

vesselof 'Tohil plumbate'
type. Clay. Height: 16 cm.
Early Postclassic
37 Chac-Mool. It
represents the 'divine

messenger' who received
and carried to the Sun the
offering of human
sacrifice. Stone. Height:
66 cm. Early Postclassic
MtiKt--.
38, 39 Atlantean figure in the form of a warrior. Stone. Height: 1.15 m.
Early Postclassic

40 (right) Figure holding a banner. Stone. Height: i.io m. Early Postclassic
72
y^
42 Human face with coyote head-dress. Clay and shell mosaic.
Height: 14 cm. Early Postclassic
41 (left) Atlantean figure, 'Colossus of Tula', in the form of a

warrior. Stone. Height: 4.60 m. Early Postclassic
75
44 Tablet with effigy of the god
Quetzalcoatl (the plumed serpent) or the
planet Venus. Stone. Height: 6i cm.
Early Postclassic
43 Tablet with reHef of dancing jaguar.

Stone. Height: 1.26 m. Early Postclassic
HALL 7
The Mexica
As long as the world exists

The fame and glory of Mexico-Tenochtitln
Will have no end.
Memorials of Culhuacn
This hall, on the far side of the Museum's big was con-
patio,
ceived on a large scale so as to provide a proper background for
the culture of the Mexica, or Aztecs, w^ho founded Tenochtitlan,
today Mexico City.
The Mexica wêre originally know^n as 'Chichimecs', on
account of their nomadic habits; they emigrated from a
legendary place called Aztlan or Tlace of Herons' - perhaps in
the Bajo of Guanajuato - finally reaching the Valley of
Mexico. During their wanderings they passed through Tula,
at a time when the Toltec culture had come to an end, and
later entered and settled other sites of the Valley of Mexico
before reaching the environs of Chapultepec, today a wooded
park within Mexico City.
At the outset the Mexica were subjugated by the Lords of
Culhuacn - a neighbouring kingdom of Toltecs; after re-
gaining their freedom, they wandered from place to place until
they found refuge on a small barren island surrounded by water
and reeds or cat's-tails. Here the prophecy of their god Huitzi-
lopochtli was fulfilled, for on this island they saw an eagle
devouring a serpent just as the deity had foretold. Accordingly,
in 1325 they founded on this spot a modest town, destined to
become the great Tenochtitlan.
At this time the Aztecs were under the rulership of Azca-
potzalco, but their leaders Acamapichtli, Huitzilihuitl, and
Chimalpopoca (i 376-1427) began to develop the city, dividing
77
it and organizing its society. Sometime

into districts or calpullis
later Itzcoatl, a great ruler and conqueror (1427-40) freed them
from the* yoke of Azcapotzalco, in which struggle he was
aided by Netzahualcyotl, Lord of Texcoco.
A period of maximum expansion and prosperity, particularly
. under the leadership of Moctezuma Ilhuicamina, Axayacatl,
Tzoc, and Ahuizotl, ensued; Moctezuma Xocoyotzin was
the ruler of this empire when the Spaniards arrived in 15 19.
After months of tenacious resistance against their assault,
Tenochtitln at last succumbed; in this, both the superiority of
European arms and the help given to the Spaniards by certain
indigenous groups - in their desire to throw off the Aztec yoke -
played their part. Cuauhtemoc was the last Aztec ruler.
The first exhibits in this hall are three choice and represen-
///. 46 tative pieces of the Mexica culture: the great Ocelocuauhxi-
calli, a sculptured jaguar with a hollow place for depositing
///. 60 the hearts of sacrificial victims; the head of an Eagle Knight,

symbolizing the military orders; and the Teocalli de la Guerra
///. 47 Sagrada (the Sacred War was an institution by which victims
wêre obtained for sacrifice in the temples). These carvings
symbolize the character of Aztec society, which was profoundly
religious as well as militaristic.
Next, antecedents of this group are shown, in particular
the settlement of the Xolotl Chichimecs in Tenayuca, where
the architectural feature of twin temples - later adopted by the
Aztecs - had its origin. The 'Tira de la Peregrinacin' indicates
the places where the Aztecs stayed on their travels from the
time they left Aztln until their arrival at Chapultepec.
There are panels showing how the Mexica culture spread,
and giving information concerning the language they spoke,
its relation to other languages, its geographic distribution, and
so forth. Various realistic sculptures, both jnale and female,

give a good idea of what these people looked like and the
clothing they wore.
///. 48 The so-called 'Stone of Tizoc', monolith 2-65
a circular
metres in diameter, commemorates the conquests of this ruler.
78
:
The Mexica
On it are carved fifteen scenes, each portraying two figures

the conqueror Tizoc and the leader of the vanquished people,
w^ho held by the hair as a symbol of subjugation. A replica of
is
the Head-dress of Moctezuma, made of precious quetzal

feathers and embellished wîth gold, is also exhibited.
At the height of the Mexicas' prosperity the city of Tenoch-
titln made great progress in urbanization. The
was island
connected with the lake shores by wide avenues: that of
Ixtapalapa on the south, Tepeyac on the north, and Tacuba on
the west side. A network of canals allowed the passage of canoes,
and there were boulevards for pedestrians; sidewalks or dikes
adjoined the buildings. An kept the saline
earthen wall or dam
water of Texcoco from mixing with the potable water of
Xochimilco and Chalco; at the same time an aqueduct coming
from Chapultepec supplied drinking water to the city, which
also had public fountains, a drainage system, and other important
urban works.
was the ceremonial precinct, guarded
In the centre of the city
by a wall or coatepantli ornamented with large serpents access ;
to it was limited to three avenues. Within this area rose the

Great Temple with its twin shrines dedicated to Tlaloc and
Huitzilopochtli ; the Temple of Quetzalcoatl, with its circular
plan; the tlachtli or ball-court; the tzompantli; the temalacatl,
an altar where gladiatorial combats were held, and other
temples and civil and religious structures.
Around were located the palaces or
the ceremonial precinct
dwellings of nobles and functionaries, mostly of masonry and
surrounded by orchards and gardens. In this area there were also
other buildings such as the Tlacochcalli or arsenal, the Cuicacalli
or house of song, the Calmecac or school for sons of noblemen,
and the Telpochcalli or school for sons of plebeians. This
imposing urban complex was greatly admired by the Spaniards.
A large model and a mural in colour vividly convey what the
great city of Tenochtitln looked like in its heyday.
Another section of the hall illustrates the economy of the
Mexica, which was based on agriculture, hunting, fishing, and
79
gathering, although was war, the exaction of tributes, and

it
trade, that made it possible to maintain the evergrowing popula-

tion. Owing to the shallowness of the lake, the Mexica were
forced to create chinampas - often called 'floating gardens' -
platforms supported by piles and covered with mud from the
lake bottom. These eventually took root, thus adding more
territory where the Mexica could live and plant crops which,
thanks to the fertility of the mud and constant irrigation from
the lake waters, produced more than one crop a year.
Tributes from subject peoples in countless territories furnished
Tenochtitlan with food and manufactured articles, including
highly prized feathers, gold, turquoise, skins, copal, tobacco,
honey, jade, salt, banners, arrows, and cacao. Through trade
they also acquired both raw materials and luxury items of an
exotic character, greatly esteemed by and nobles. Thus
ruler
from tropical regions Tenochtitlan imported fruits and animals,
jaguar and deer skins, quetzal feathers from the Highlands of
Guatemala and Chiapas; cacao from Soconusco; gold and
silver from Central America, jade from Guerrero and the
Usumacinta region; woven cloth from the Huasteca, and
liquidambar. The greater part was brought by pochtecas or
merchants, and sold or exchanged in the city's markets.
A diorama shows the market of Tlatelolco; this was one of
the most important of its time, although examples were to be
found also in Azcapotzalco, Tacuba, and Tenochtitlan. In these
markets, or tianguis, judges or officials were charged with
maintaining order, setting prices, attending to complaints, and
preventing robberies. Vendors occupied permanent pitches,
exhibiting their wares in rows of stalls arranged like streets. As
currency they used gold-dust, cacao beans, copper axes, shells,
precious feathers, and other items. Another part of the hall
contains reproductions of drawings from the Florentine and
Mendocine Codices, illustrating Mexica customs, such as
those surrounding birth, family education, marriage, and
death.
In the social and of the Aztecs a State
political organization
Council was made up of nobles and members of the ruling
80
The Mexica
family; next came the Tlacatecuhtli or Tlatoani, who was the

principal lord and military and political chief of the Empire.
Below him was the Cihuacoatl, or general of the military forces,
who at times also held the position of High Priest. Next in line
came the pillis or nobles, who had administrative duties and
served as judges, magistrates, priests, merchants, mayors, etc.
The lowest social strata comprised the macehualli, mayeques,
tamemes, and others. The macehualli or commoners devoted
themselves to the crafts mayeques were from conquered groups
;
and held a position similar to that of serfs in feudal Europe, and

the tamemes or carriers were slaves.
From here the visitor passes on to the section devoted to
religion; this was and recognized both local gods
polytheistic
and deities adopted from conquered peoples. Prominent in the
Aztec pantheon were the gods Huitzilopochtli, 'Lord of the
Universe'; Tezcatlipoca, god of night; Huehueteotl, god of
fire; Tlazolteotl, goddess of fertility; Macuilxchitl, god of
games Coatlicue, mother of the gods and earth goddess and
; ;
Mictlantecuhtli, god of death.

These deities had well-defined attributes and governed or
presided over special regions of the universe; they were
associated with certain colours and symbolic numbers, cardinal
points, and various heavens. Great celebrations were held in their
honour on dates established by the religious calendar, accom-
panied by sacrifices, music, dances, games, and other diversions.
A number of gods upon whom agriculture was dependent
are portrayed Tlaloc, god of rain, and Xilonen, goddess of
:
corn; Ehecatl, god of wind, with his buccal mask in the shape
of a duck's bill; Quetzalcoatl, associated with the planet Venus;
and Tonatiuh, god of the sun. Also shown are replicas of
sacrificial knives adorned with mosaics of shell and turquoise,
the stone on which the victim was laid for sacrifice, and the
cuauhxicalli or stone box in which the heart of the sacrificial
victim was placed.
Occupying a privileged place near the centre of the hall is the
statue of the goddess Coatlicue, of the serpent skirt, mother of ///. 5^
81
gods and of man. She is portrayed as a beheaded woman from

whose neck two large serpent-heads emerge. She wears a
necklace *made up of human hearts, two hands with palms
turned outwards, and a skull containing lifelike eyes. Her petti-
coat or skirt is a mass of serpents whose bodies are interlaced like
a rhomboidal keyboard. She wears a sash made of two serpents
knotted in front; serpents that resemble enormous claws take
the place of hands. Her feet are like eagle's talons with the nails
grasping the earth.
This awesome statue represents an abstraction of the religious
creed of the Mexica, since Coatlicue was the goddess of birth
and death, she who gave and took away life, personifying the
duality of the human being. Hence the two large serpent-heads
that emerge from the neck, facing each other. Her necklace
symbolizes life and death for the sacrificial victim, the giving
and taking away of existence as an offering to the gods so as to
conserve order in the universe. Her petticoat symbolizes the
earth, and her talons or feet penetrate the world of the dead -
represented below in the form of a relief of Tlaltecuhtli, the
god and water.
associated with death, the earth,
///. 43 There is too a statue of Coyolxauhqui, the moon goddess,
who is beheaded by her brother the sun as he rises triumphant
each morning. The goddess is represented with her hair
covered in balls of down, and on her cheeks she wears golden
bells from which her name in Nhuatl is derived; solar ear-
plugs adorn her ears and a dangler is suspended from her nose.
Her eyes are half open as in death.
Also exhibited are two monumental clay braziers from
Tlatelolco, which were placed on top of the pyramidal bases
and in front of the temples for burning copal likewise two
;
cf. III. 40 flagpole-holders sculptured in stone in which banners or

insignia were placed to indicate the month and announce
festivities in honour of the presiding god.
///. 30 Upon a marble platform is the Sun Stone, commonly known
as the 'Aztec Calendar'. This carving in the form of a disk is a
votive monument to the sun, since the face of Tonatiuh appears
82
The Mexica
in the centre, surrounded by the symbol for Nahui OlHn (4

Movement). Inside this are shown the four suns or cosmogonic
worlds which had preceded Aztec times, namely Nahui
Ehecatl (4 Wind), Nahui Ocelotl (4 Tiger), Nahui Atl (4
Water), and Nahui Quiahuitl (4 Rain of Fire). EncircHng these
is a band containing the hieroglyphs of the twenty days that
comprised the indigenous month. Other bands show the solar

rays, precious stones, symbols for blood, flowers, and elements
related to the cult of the sun, as well as the two fire-serpents which
indicate the cyclic and cosmic order.
The hall also contains the great statue of Xiuhcoatl, the star- 111. 49
crowned fire-serpent who led the sun in its path through the
celestial vault. A statue of the Cihuateteos, who are patron
goddesses of women who die in labour, and a tzompantli or
altar adorned with skulls are among the monuments associated
with the theme of death.
Religion and learning at this period were in the hands of the
priestly caste, a hierarchy in which each individual had his
specific function. Thus there were priests in charge of worship
and ceremonies, festivals, sacrificial rites, marriages and bap-
tisms others to predict the future for
; new-born babies, to teach
and promote learning, including mathematics, the calendar,
astronomical observations, astrology, botany and herbal medi-
cine, and the arts of hieroglyphic writing, literature and poetry,
architecture, making of codices, and so forth.
In the field of the arts, the Mexica produced their own codices
painted on leather or paper made of maguey and containing
religious, calendrical, historic, geographic, and sometimes
genealogical data; they developed feather- work carved wood
; ///. 3g
and hard materials such as obsidian, rock-crystal, and alabaster; ///. 32
modelled clay figurines and pottery vessels; and produced
excellent sculpture, above all in the form of deities and animals. ///. 31
One show-case contains pieces of minor sculpture including ///. 57
obsidian masks, stone boxes with fresco painting and figures of
gods and animals; another shows ceramic ware produced by
the Mexica potters, mainly in black on orange, black on
83
;
III 53 wine-red, and polychrome using black, red, white, and yellow,
together with Mixtee pottery - patronized by this group - with
motifs sirftilar to those of the codices.
On display also are musical instruments, such as beautifully
///. 58 carved teponaxtlis (horizontal wooden drums with two
tongues cut into the sounding-board) ocarinas conch shells
; ;
flutes; and turtle-carapace drums. Jewellery, obsidian carvings,

and feather-work make up other exhibits.
Before leaving this hall the visitor will come to the statue of
///. 33 the god Xochipilli, god of flowers and song, of love and poetry,
wearing a mask over his face and seated on a throne decorated
with flowers and chalchihuites (jade disks) the god Macuilxchitl
;
or 5 Flower, god of games, represented as a man emerging from

///. 36 a turtle carapace; and the drum from Malinalco, made of wood
and ornamented with carvings in low relief featuring an eagle and
other decorative elements.
84
L-
V
\s^
\,
45 Coyolxauhqui, the moon goddess, beheaded by her brother the Sun.

Stone. Height: 72 cm. Late Postclassic
85
,'>-
*î'
w.
46 (left, above) Receptacle

shaped like a jaguar
(Ocelocuauhxicalli), in
which hearts of sacrificial
victims were placed. Stone.
Height: 93 cm. Late Post-
classic
47 {centre, above)
Commemorative
monument known as
'Teocalli de la Guerra
Sagrada' (Temple of the
Sacred War). Stone.
Height: 1.23 m.
Late Postclassic
48 (right, above) Detail of

the 'Stone of Tizoc',
which depicts that ruler's
conquests. Stone. Height:
93 cm. Late Postclassic
49 (left) Xiuhcoatl, the

fire-serpent, whose crest is
adorned with stars. Stone.

Height: 2.15 m. Late Post-
classic
~^w }:\
^ S V
(i) /-
.r1 l
50 Sun Stone or 'Aztec Calendar', with hieroglyphs

of days, months and suns or cosmogonic
periods. Stone. Diameter 3.60
Late Postclassic
51 Sculpture in form
of grasshopper. Stone.
Length: 48 cm. Late
Postclassic
52 Vase shaped in
part like a monkey.
Obsidian.
Height: 14 cm.
Late Postclassic
88
53 Pitcher decorated in green on dark brown. Clay. Height: 28 cm. Late
Postclassic
89
; I
y
s
:
o
}
\
i I
/ ?>
'i
\ <
(>. 1
v
1.1
-s\
^L .iJ^^
'^m,- ^ '
S>J !
W\
li
^^^^^^^HLr \^''
* /
hI
JH[
i' '^^l^p . w
55 Xochipilli ('Prince of Flowers'), 56 Huehuetl (musical drum),
god of music, song and love, seated decorated with carved eagles.
cross-legged on his throne. Stone. Wood. Malinalco. State of Mexico.
Height: 77 cm. Late Postclassic Height: 88 cm. Late Postclassic
54 (left) Coatlicue, or 'she of the serpent skirt', goddess of the earth and
creator of man, patron of life and death. Stone. Height: 2.57 m. Late
Postclassic
91

57 Sculpture representing a squash. Stone. Length: 31 cm. Late Postclassic
58 Teponaxtle, or horizontal drum, decorated with human figure carved in

relief. Wood. Height: 15 cm. Length: 60 cm Late Postclassic
m.^ --"
iiiiin ,
f_ "-i
.#0:^^C
iPI'Kv^:^
;.Mfi^';,'?'->V
'
t/nJ
59 Figure of a young woman. Wood. Height: 50 cm. Late Postclassic
93
-"{d '^4
j
60 Head of 'Eagle Knight'. Stone. Height: 31 cm. Late Postclassic
94
:
HALL 8
The Cultures of Oaxaca
Unlike the devoted to particular cultures of the Central

halls
Highlands, this one was planned to show the cultural develop-
ment of a region, in this case Oaxaca. It is divided into two
sections, one concerned with the Zapotees the other with the
Mixtees - whose descendants still inhabit this area.
Zapotee culture reached its peak in the central valleys of the
State of Oaxaca - in Etla, Tlacolula, and Zimatln in particular
- while that of the Mixtees evolved in the high mountain
ranges or 'cloud country', as their name in the Nhuatl or Aztec
language implies.
The initial exhibit in this hall museographic display
is a
showing the most characteristic aspects of these two cultures
the Zapotees' elaboration of clay urns with representation of
gods. A beautiful urn showing the goddess 13 Serpent illustrates
this. A fragment of frieze adorned with frets from Mitla, a
Mixtee site, shows the stone mosaics which the Mixtees used
for decorating the facades of buildings.
A topographical map of the State of Oaxaca shows the
regional features which influenced the evolution of these two
cultures, and on it are marked many of their archaeological
sites.
Effigies of the rain godhe was depicted in various periods

as
give the visitor a good idea of the cultural evolution of the
Zapotees. In a similar way the pottery is set out in chronological
order, based on archaeological typology.
It should be mentioned in this connection that the origin of
of the Zapotees is linked with the Olmec culture of the Gulf

Coast as well as with groups in southern Chiapas - the proto-
Maya. This is perhaps why historic sources tell us the Zapotees
were descended from lions and tigers, animals closely related
95
to the jaguar, the favourite animal of the Olmecs which served

both as a deity and
totem for these people.
a
From archaeological evidence we know^ that around 900 BC
the Olmecs of the Gulf Coast began to spread through the
region of the Tehuantepec Isthmus occupying such places as
- Juchitn and Zope Lagune; at the same time others moved
gradually towârds Puerto Angel, Huamelulpan, and Monte
Alban. These first cultural manifestations therefore show a
strong Olmec influence, to be seen in the building known as
'Los Danzantes' (The Dancers) in murals, hieroglyphs, ceramics,
,
and other artistic works.

The pottery of the Monte Alban I period (900-300 bc),
which occupies a large show-case, is characteristically mono-
chrome, that is to say the vessels are basically in tones of black,
white, and grey. To the fore are receptacles showing swimmers
///. 6j and human or animal representations with Olmec traits, often
with a simple spout. Also displayed are shoe-shaped vessels,
///. 62 dishes, bottles, braziers with typically Olmec faces, and minia-
ture vessels representing a variety of animals including fish,
frogs and snails.
Next, the visitor is shown a reproduction of part of the wall
from 'Los Danzantes' at Monte Alban, as well as original
panels from this building, in which Olmec influence is marked;
the beginnings of architecture in this ceremonial centre can here
be studied. The two tiers of the structure were covered with a
series of large panels arranged both vertically and horizontally,
the former engraved with figures in dynamic postures - the so-
called 'Danzantes' - and the latter showing swimmers.
Hieroglyphs and numerals appear on the majority of the
panels and it is therefore assumed that a calendar had already
been invented and that arithmetic was among their accom-
plishments. From these same panels, too, can be deduced the
customs of the group, such as shaving the head or leaving large
locks of hair; wearing scanty or no clothing, but adorning
themselves with ear-plugs and other ornaments and indulging;
in tattooing or scarification.
96
The Cultures ofOaxaca
Another show-case contains pottery from Monte Albn II

(300-100 Bc) in which certain influences from the South are
apparent in the mammiform supports, labial and basal mould-
ings, fresco decoration, negative painting, spool pot-stands,
and tetrapod - all frequently found also at sites in the
vessels
Maya region. Genuine urns are introduced and various new
pottery shapes. Among the more arresting exhibits are boxes
with lidsand incised and painted decoration; a spool pot-
stand in the form of a spinal column; and a model of a temple ///. 63
with columns and a guacamaya (macaw) in the centre, symbol-
izing the sun.
During this period the structure known as Mound J at
Monte Albn was built; used for astronomical observations, it
was decorated with panels which recall those of the 'Danzantes'
building. Funerary architecture too was developed; the dead,
accompanied by offerings, were placed inside box tombs and
tombs with antechambers and vaulted ceilings. Clay urns
showing deities became common, and through these we know
that Cocijo, god of rain, Huehueteotl, god of fire, a god wearing
a bird mask over his face, and a bat god related to death were
already being worshipped.
The bat god is exquisitely rendered on a jade mask composed ///. 61
of various pieces expertly joined together. Here great technical
skill in the carving of this material has produced a work of art
whose high quality adds to its religious significance. There

are examples of clay sculpture including an enormous jaguar
with fresco decoration and necklace, and an urn with a deity ///. 64
wearing a kind of helmet shaped like a broad-billed bird.
The ensuing period at Monte Albn really represents a
transitional stage on the way to the Zapotee culture (100 bc-
A D 200), and some influence from Teotihuacn is apparent in the
pottery; it is characterized by flower vases and candeleros
(candle-holders), stirrup-spouted jars, incense-burners, and
urns of various types, some depicting Tlaloc.
Separate show-cases contain pottery frorn the floruit of the
Zapotees - Monte Albn periods III A and IIIB (ad 200-800).
97
Quite outstanding are vases in the shape of a tiger's or bat's

claw, bowls and vases with panels of hieroglyphs, figures of
///. 6g women bearing quechquemitls, enredos (shawls which have been
///. 66 twisted to form a head-covering), lids for braziers and urns
///. 68 depicting gods. One of these shows Xipe Totee carrying a stick
in one hand and a human head in the other.
It is through such urns that we have come to know the
principal Zapotee gods, among them Quetzalcoatl, god of

wind; Xipe, god of springtime and patron of jewellers;
///. 67 Xochipilli, god of flowers and song; the goddess 13 Serpent;
Cocijo, god of rain, and the companion gods. The polytheistic
religion they represented was organized by a hierarchy with
the Huijatoo or High Priest at its head.
It was during this period too that the architecture of Monte
Albn reached its peak, the ground being levelled wherever

necessary to erect its complex structures. The
was ball-court
built, as well as temple bases decorated with panels having two
superimposed bands, sunken patios with altars in the middle,
and buildings with columns. Houses built of stone were
occupied by the aristocracy, while the common people lived
on adjoining lands, lodged in houses or huts made of perishable
materials.
The cult of the dead assumed a more complex character in
this period : the tombs in which
and priests were' buried
rulers
comprised a staircase, antechamber, and funeral chamber, with
niches along the inner walls and urns placed in the front of the
facade; this was some-times adorned with mural paintings. A
reconstruction of Tomb 104 from Monte Albn shows these
architectural features. A panel with two superimposed bands
in the Monte Albn style adorns the facade, and a niche in the
central section contains an urn of the Young God who wears
the head-dress of Cocijo, god of rain. Within the chamber,
which is rectangular and has a flat ceiling, can be seen the fresco
paintings which decorate its walls. Prominent on the wall to
the left is the figure of a priest holding a bag of copal in one hand
- a symbolic gesture associated with the deity Xipe Totee - as
98
The Cultures ojOaxaca
well as a large yellow bird and a serpent with open jaws, both
resting on kind of box.
a
On the back wall appears the head of the God with a Bow in
his Head-dress and the hieroglyph '5 Turquoise'; on the right-
hand wall is a figure wearing a plumed serpent head-dress and a
snake mask, associated with Quetzalcoatl. The skeleton of a
person buried in an extended position lies on the ground with
funerary offerings surrounding it and in the niches, just as when
first excavated.
Between the years 800 and 1200 Zapotee culture declined,
due largely of Mixtees who descended from
to the penetration
near-by hills and mountains to conquer various Zapotee
centres, such as Yagul, Teotitln, and Monte Albn. Important
dominions were subsequently founded - Teozacoalco, Tilan-
tongo, Coixtlahuaca, Yanhuitln, Tututepec, Mitla, and others
- where Mixtee culture flourished.
In the section devoted to the Mixtees are displayed replicas
of their codices, which were made of deer skin and took the
form of long strips folded like accordions and were painted
in a wide range of colours. These constitute one of the salient
features of this group and represent an exceptional pictorial
tradition. Among them are the Selden, Bodley,
Nuttall,
Vindobonensis, and Colombino Codices, which record genea-
logies, historic events, calendrical and religious themes, and
conquests.
The of the Mixtees is well exemplified in the
artistic style
adornment of the facades of their buildings. To the Zapotee use

of a panel with two superimposed bands they added stone
mosaics in which the geometric design projects from the back-
ground. These were made of small stones, cut and assembled
with precision, as seen at Mitla, Teotitln, Yagul, and other
sites. Their well-developed aesthetic sense is also evident in the
pottery, which is characterized by its attractive colours and

graceful shapes.
Wonderful specimens of ceramic work are on display,
mainly polychrome vessels in shiny or matte finish and bearing
99
motifs of frets, flowers, human shin-bones, skulls, hieroglyphs,

///. 72 and gods, similar in style to the codices. Among the more note-
worthy exhibits are pitchers with handles, tripod vases and jars,
large earthen jars for funerary use, incense-burners with handles,
///. yi vases with models of skeletons associated with the god of death,
- goblets, and zoomorphic vessels representing birds and deer.
Another craft in which the Mixtees excelled was metal-
working; they employed techniques of hammering, soldering,
cire-perdue (lost-wax) casting, gilding, and filigree, mainly for
working gold, silver, and copper. By these means they pro-
duced laminated bracelets, repousse disks, ear-plugs, pectorals,
nose-plugs, bead necklaces, rings, bells, pendants, handles for
fans, needles, and many other articles, out of a highly creative
imagination.
In the OaxacaRoom there is a partial reconstruction of the
contents of Tomb 7 at Monte Albn, in which nine skeletons
were found, accompanied by remarkable grave goods. The
Mixtee objects include delicate jewellery such as rings with
pendant ornaments, composite pectorals, bracelets, pendants,
necklaces, pearls, and bone objects.
///. y4 Outstanding pieces ofjewellery are the famous pectoral from
Yanhuitlan, which is in the shape of a shield crossed by a sheaf of
arrows worked in gold with a mosaic of turquoise; the pectoral
from Zaachila with a large bell upon which the figure of a
human being or a god appears to be seated and another extra-
;
ordinary pectoral from Oaxaca depicting the god Xiuhtecuhtli,

who is associated with fire.
The Mixtees were highly skilled in the working of semi-

precious stones; from onyx and alabaster they made vases of
elegant forms, usually with supports; from rock-crystal they
fashioned beads for necklaces, lip-plugs, and skulls; jade was
shaped into plaques with engraved figures of gods (penates).
They also worked in wood, from which they carved masks
covered with turquoise and shell mosaics, drums, spear-
throwers beautifully ornamented in low relief, and handles for
sacrificial knives. Choice examples of all these are exhibited.
100
The Cultures ofOaxaca
Bone too was used, for carving tablets with calendrical and
religious motifs in low relief- comparable to the ivory minia-
tures of Old World cultures.
To sum up, the Zapotees were great potters, architects,
astronomers, and mathematicians, intellectually advanced and
with profound feeling for religion, while the Mixtees were
a
great painters of codices, ceramists, lapidaries, and gold- and
silversmiths, whose meticulous works of art were the expression
of an acute sensibility.
lOI
i (left, above) Mask repre-
senting the bat god. Stone.
Zapotee. Height: 19 cm.
Protoclassic. Monte Albn II
62 (above) Brazier with Olmec

face. Clay. Zapotee.
Height: 17 cm. Upper Pre-
classic. Monte Albn I
63 (left) Vessel with human

figure and long spout on
opposite sides. Clay. Zapo-
tee. Height: 23 cm. Upper
Preclassic. Monte Albn I
64 (right) Jaguar with

necklace, decorated with
fresco painting. Clay.
Protoclassic. Monte
Albn II
'^-,,
103
65 (left) Model of pillared
temple containing a parrot,
associated with the Sun. Clay.
Protoclassic. Monte Albn II
.ft^
66 ('r^/zfj Pair of figures known

as 'Xantiles', which are lids for
braziers with attributes of gods.
Clay. Mixtee.
Height: 39 and 42 cm. Postclassic.
Monte Albn IV
6j (right) Urn in the form of a
goddess. Clay. Zapotee. Height:
25 cm. Classic. Monte
Albn IIIA
68 (right, centre) The god Xipe

Totee, 'our lord the flayed one',
patron'of springtime and jewel-
lers. Clay. Zapotee. Height: 51
cm. Classic. Monte Albn IIB
69 below) Figure of
(far right,
woman wearing twisted shawl
as head covering, skirt and quech-
quemitl. Clay. Zapotee. Height:
34 cm. Classic. Monte Albn IIIB
104
/ --^.>..4
yo Polychrome
goblet with hum-
ming-bird on rim.
Clay. Mixtee.
Height: 7 cm. Post-
classic. Monte
Albn V
71 Tripod vase with
Mictlantecuhtli, god
of death attached.
Clay. Mixtee.
Height: 32 cm. Post-
classic. Monte
Albn V
72 (right) Poly-
chrome tripod vase
with codex-type
decoration. Clay.
Mixtee. Height: 15
cm. Postclassic.
Monte Albn V
107
73 Polychrome
vase representing
the head oGa deer.
Clay. Mixtee.
Height: lo cm.
Postclassic. Monte
Albn V
74 Gold pectoral
from Zaachila, gold
and turquoise pec-
toral from Yanhuit-
lan, and gold pec-
toral with figure of
the god Xiuhtecuhtli.
Mixtee. Height: lo,
Postclassic. Monte
Albn V
.<*pil|
~'*^"-^'^''
^v, .
.-
.^:
HALL 9
The Gulf Coast Cultures
The region of the Gulf Coast extending from the Soto La

Marina River in TamauHpas to the Grijalva River in Tabasco
saw the development of a series of cultures that can be separated
into zones. The Olmecs lived in the north of Tabasco and the
south of Veracruz; the Remojadas and Totonac peoples
occupied Central Veracruz; and the Huastecs settled principally
in the north of Veracruz and Tamaulipas. This hall is therefore
divided into three corresponding sections.
By way of introduction the visitor is shown a statue or stela
from Castillo de Teayo depicting the god Quetzalcoatl wearing ///. j^
a handsome pectoral in the shape of a sectioned conch shell as
symbol of the wind, which we have come to associate with the
Huastec culture. Next is a photo-mural of one of the panels that
decorate the ball-court at El Tajin, typifying the cultures of
Central Veracruz. The statue known as 'The Wrestler' is in ///. jj
characteristic Olmec style.
The section that follows, devoted to Olmec culture as a
w^hole, starts with some fine stone statues including the Alvarado
Stela, which shows a figure in profile facing a seated person
whose hands are tied, evidently a captive; and the Izapa Tablet
which has carved on it a ceremonial scene showing a beheaded
ball-player and the priest who has performed the sacrifice.
In separate show-cases are to be seen a number of extra-
ordinary Olmec sculptures of humans, both in clay and stone.
These suggest that the Olmecs were usually of small stature
with a tendency towards obesity, had slanting eyes, flat noses,
and mouths with thick lips and turned-down corners, all of
which makes them resemble new-born babies or gives them a ///. j6
feline appearance. There are evident signs of cranial defor- ///. 8i
mation, as well as of head shaving and dental mutilation.
109
On display are examples of pottery, which was principally

black, white, or grey, and variously decorated; the forms
///. 78 include cfishes, vases with a flat bottom, gourd-shaped or
narrow-necked bowls, and zoomorphic vessels of great beauty.
Stone-carving played an important role among the Olmecs,
. and their tools included chisels, hammers, awls, and drills made
of hard stone, such as serpentine and quartz; abrasives of water
and sand were used to obtain highly polished, shiny surfaces.
Olmec lapidaries produced delicate ornaments and splendid
statues and figurines, all carved in semi-precious stones, green-
coloured ones being favoured. Among the exhibits are bead
necklaces, plain or engraved ear-plugs, pectorals or plaques to
be hung round the neck, pendants in the form of jaguar teeth,
as well as mirrors carved from magnetite with a certain con-
vexity which enlarges the image.
That the Olmecs had acquired knowledge of the calendar, of
numeration, and hieroglyphic writing is evident from monu-
ments at La Venta, Tres Zapotes, Cerro de las Mesas, and Monte
Albn. By way of illustration there is a replica of the Tuxtla
Statuette which represents a man with a duck-billed mask and
bears the date ad 162 also Stela C from. Tres Zapotes, Veracruz
;
with the date 31 b c on one side and on the other a jaguar mask
in low relief.
The art of the Olmecs found inspiration in the jaguar, treated
both as a deity related to rain and as a totemic animal. It was
///. 82 customary for votive axes, masks and statues, plaques, figurines,
and other objects to bear his image, as is shown by a number of
///. 80 the exhibits, for example, an axe with the face of the jaguar god.
Other noteworthy objects include a carving of a human head
from Tenango del Valle; models of hunchbacks, dwarfs, and
other misshapen diseased beings, as well as delicate jade or
serpentine figurines conveying the physical type of these people,
although in somewhat idealized form.
///. jg Our Olmec legacy includes human masks of great beauty,
votive axes such as the one from Simojovel with a human face
///. 83 engraved on it, and a hollow jade canoe. The section concludes
no
with a monolithic stone box with designs carved in low relief,
a tablet from La Venta depicting a priest seated on a rattlesnake, ///. 84

and a colossal head from Tres Zapotes, Veracruz, placed on a
slight rise in the garden outside the hall.
It is now established that Olmec culture originated and

evolved somewhere south of Veracruz and north of Tabasco
over a period extending from at least as far back as 1500 BC to
the time of Christ. It was these people who laid the foundations
on which civilization was built, and with justification they have
been called the mother culture of Mesoamerica. Their most
noteworthy accomplishments are their remarkable work in
stone - an inspiration to later cultures - and the invention of the
calendar, numeration, and hieroglyphic writing, which were
subsequently further developed, mostly by the Maya.
The second section of this hall is devoted to the cultures that
emerged and developed at diverse times in various parts of
Central Veracruz, at places such as Alvarado, Nautla, Orizaba,
and Papaloapan. Remojadas, Nopiloa, Cerro de las Mesas,
Paso de Ovejas, El Tajn, and other Preclassic and Classic sites
are represented, as well as the Isla de Sacrificios, Zempoala,
Quiahuiztlan, and others of the Postclassic Totonac culture.
The first exhibit is a handsome clay statue representing the
old god of fire - Huehueteotl - with a large brazier on his head. ///. 83
From the figures contained in a near-by sequence of show-cases
it is evident that the people were of short stature, had straight
hair and aquiline noses, that they practised cranial deformation,
dental mutilation, and scarification on the chest and shoulders,
and often blackened their teeth with tar and painted their hair
and cheeks with the same substance; other figures again have
shaven heads. They were fond of dressing in braids and showy
head-dresses, decorative turbans with motifs of herons, scrolls,
bows and frets, plumes, helmets with descending or stylized
birds, and tall conical caps; items of clothing included the
quechquemitl, short skirts, sashes, the hupil, loin-cloths, hats, and
sandals. Personal appearance was enhanced by necklaces, nose-
plugs, ear-plugs, bracelets, lip-plugs, and other ornaments.
Ill
There is of pottery from Central Veracruz,

a fine display
///. 86 including various anthropomorphic vessels of the Remojadas
culture in which tar is used as decoration. Other exhibits include
///. 8g a handsome globular seed jar wîth a centipede painted in red
over orange, a vessel with the figure of an old man, another in
///. 87 . the shape of an armadillo. Also lovely Smiling Head figurines,
mould-made figures from Nopiloa and Lirios, toys in the form
of little jaguars or dogs on wheels, and models of deer painted
with tar from Paso de Ovejas.
The polytheistic nature of religion in the zone can be advanced
from effigies of gods such as Tlaloc, Xipe, Huehueteotl,
///. 88 Mictlantecuhtli, Xilonen, Ehecatl, Xochiquetzal, Xochipilli,
many of whom were introduced during the period of Mexica
conquests. Sun, moon, vînd, fire, and fertility were also objects
of worship. Festivals in homage to the gods were accompanied
by dances and music, pantomimes, and ball-games. One of the
dances was the famous Danza de los Voladores, which is per-
formed to this day it had a religious solar symbolism because
;
the four 'flying' dancers, dressed as eagles and suspended by

ropes, have to descend from a tall pole round which they
revolve thirteen times before touching the ground, thereby
symbolizing the cycle of fifty-two years.
During the Preclassic horizon the various groups lived in
rural villages, inhabiting huts built upon platforms as time went
;
on they began to build temple bases, ball-courts, palaces, etc.,

and so important centres or cities of a ceremonial character
arose. Among the more arresting buildings at El Tajin are the
pyramid known Los Nichos (The Niches) on account of the
as
many niches that run all round the diminishing tiers, and a
ball-court adorned with panels carved in low relief and show-
ing scenes related to this sport. A model of the ceremonial
centre of Tajin illustrates the appearance of towns and archi-
tecture in Central Veracruz.
The next exhibits are choice exampl'es of the sculpture and
lapidary work of this zone; these include the Tablet of Huilo-
cintla on which a priest beautifully tattooed is shown piercing
112
his tongue with a stick - a form of auto-sacrifice - and the Tablet

of Tepetlaxco depicting a player attired in a wide belt to protect ///. go
the stomach, knee-guards, and other clothing needed for the
ball-game. Also related to this game are handsome yugos (yokes)
carved in stone which were funerary replicas of the protective
belts palmas, which seem to represent in stone a kind of plastron
;
or breastplate that was worn over the chest and held in place by
a belt; and votive hachas (axes) usually in the shape of human or
animal heads, which have perhaps some connection with the
beheading of players who lost. These are here exemplified by a
yoke in the form of a frog or feline animal and another in the ///. g2
shape of an owl; palmas, one anthropomorphic, another in the ///. gi
shape of an alligator, and a third depicting two hands placed
side by side; and various hachas, one of them showing a human
head wearing a dolphin head-dress. ///. 94
Towards the end of the Classic horizon the Totonacs began
to spread over the area from the mountains of Puebla to the
Gulf Coast; in their path they occupied sites such as Papantla,
Misantla, Isla de Sacrificios, Quiahuiztlan, Zempoala, and
Cerro Montoso, which they were still occupying on the arrival
of the Spaniards early in the sixteenth century.
Various pieces of pottery of theirs are on display - character-
istically painted ware in red and brown over cream, or in an
orange colour with panels of gods and hieroglyphs - as well as
some with carvings of monkeys and other
alabaster vases ///. gj
animals executed with great precision and skill.
Another exhibit is a model of the ceremonial centre of
Zempoala, noted for such buildings as the so-called 'Templo
Mayor', Temple of the Chimneys, and Temple of Quetzal-
coatl. All these have stairways with low balustrades, whose
initial steep slant becomes almost vertical towards the top,
giving the structure the cube-like appearance characteristic of

Totonac architecture.
The last section is devoted to the Huastec culture, which
occupied the territory from the Soto La Marina River in
Tamaulipas to the Cazones River in Veracruz, with infiltrations
113
into San Luis Potos and Quertaro. The neighbouring

Totonacs influenced the culture of the Huastecs, and ince versa.
The visitor is introduced to the statue known as the
first
///. 93, 96 'Huastec Adolescent'. Found on a ranch called El Consuelo on

the outskirts of El Tamuin, San Luis Potos, it portrays a young
. priest of the god Quetzalcoatl, or perhaps the god himself, since
he carries on his back a child symbolizing the sun. His body is
wonderfully tattooed with motifs of flowers, blades of corn,
suns, heads of lizards, and other signs or hieroglyphs. He wears
ear-plugs and the fmgers of his right hand form a hollow,
perhaps for inserting an offering.
Some further Huastec figurines show that these people were
///. gy well built with muscular legs and narrow waists, and had
artificiallydeformed heads. They wore little clothing, painted
their hair and their bodies, shaved the head or left individual
locks of hair, had themselves tattooed, and used nose- and
ear-plugs.
Sahagn tells us that the Huastecs had
heads and pierced
flat
their noses to insert tubular nose-plugs, to the ends of which

they fixed plumes he adds that they filed their teeth into points
;
or dyed them black, painted their hair yellow or red, and wore
feather haloes on their heads, disks of plumes on their backs,
knee-length socks made of feathers, and bracelets on their arms.
That the Huastecs were able potters is evident from the
///. g8 ceramic ware here exhibited: effigy vessels with spouts, vessels
cf. III. 3J in the form of baskets with ribbon handles, anthropomorphic
\s. gg, 100 jars, and zoomorphic and phytomorphic vessels, all in a cream
or white colour with motifs painted in dark red, black, orange,
and dark brown.
Another craft in which this group excelled was the carving of
marine conch and other shells, from which they fashioned rings,
///. 101 ear-plugs, pectorals cut in spirals to symbolize the wind or
beautifully sculptured in low relief, beads for necklaces in the
form of skulls, plaques for sewing to and many
their clothing,
other objects. They also carved bone, wood, obsidian, jade, and
other semi-precious stones.
114
The sculpture is Huastecs and reveals

in a style peculiar to the
aspects of their religion; most of it represents gods such as
Quetzalcoatl, Tlazolteotl, Xilonen, Xipe, Tlaloc, Mictlante-
cuhtli, and Xochiquetzal, of which the first two were the most
important. Quetzalcoatl is usually shown wearing a conical ///. 102
cap, hook-shaped ear-plugs, and a pectoral made of a sectioned
snail; Tlazolteotl, who carries a spindle and spindle whorl,
wears a band of unspun cotton, a black streak on her mouth,
and a tubular nose-plug.
These two gods were adopted into the Aztec pantheon and
venerated in a special way, Tlazolteotl in particular. Historic
sources tell us that the feast of this deity was celebrated in the
month Ochpaniztli, in harvest-time, when Huastec servants,
carrying huge phallic symbols bore the goddess in procession.
A statue from Ajalpan represents a young man dressed in an
apron loin-cloth; others portray the god Mictlantecuhtli, god
of death, and Xilonen, goddess of corn, dressed in a quech-
quemitl and paper head-dress with a bow and decorated with
ears of corn. A male figure wears a conical cap and turban
adorned with a skull. All are indicative of the Huastec style in
which the figure of a female earth goddess with arms crossed
over her breast and wearing a head-dress or halo on the back of
her head is dominant, but male figures with conical caps and
clothing - sometimes showing the concept of life on one side
and that of death on the other - also appear.
The Huastecs, in short, were good sculptors and lapidaries,
and were skilled in carving shells; erected circular buildings
over mounds or earth foundations; developed a handsome
polychrome pottery; made a name for themselves as magicians
or visionaries; and excelled in weaving blankets and stuffs.
Today still they perpetuate certain customs, beliefs, and a
language which have their origins in prehispanic times.
115
y, '."til
L
m
75 (llfO Stela representing the
god Quetzalcoatl as lord of the
wind. He wears a pectoral of
conch-shell sections and a conical
cap. Stone. Huastec. Height:
3.07 m. Early Postclassic
76 (right)Figurine with features

of child, a type referred to as
'baby face'. Clay. Olmec.
Height: 18 cm. Middle
Preclassic
77 (below) 'The Wrestler'. Stone.

Olmec. Height: 66 cm. Proto-
classic
117
78 Flaring vase with
rlobular base, decorated
with designs in
reUef. Clay. Olmec.
Height: 20 cm.
Upper Preclassic
79Mask with the

mouth of a feline or
of a new-born baby.
Stone. Olmec.
Height: 10 cm.
Upper Preclassic
118
:A^
.1
80 Ceremonial axe representing 81 Head showing cranial deforma-

a child-jaguar deity, associated tion,and characterized by the jaguar
with rain. Stone. Olmec. mouth. Stone. Olmec. Height: 19 cm.
Height: 22 cm. Upper Preclassic Protoclassic
119
82 Figure related to the jaguar cult, with deformed shaven head. Stone.
Olmec. Height: i8 cm. Upper Preclassic
84 Colossal head from Tres Zapotes. It is deformed and shaven

(right)
and there are indications of a turban on the forehead. Stone. Olmec.
Height: 2.27 m. Upper Preclassic
83 Model of canoe with incised designs. Stone. Olmec. Length: 20 cm.

Upper Preclassic
.1 wy
V i*^
r^
^/'*'*
85 Representation of Huehueteotl, old god of fire, with brazier on his
head. Clay. Central Veracruz. Height: 84 cm. Classic
86 Anthropomorphic vessel with spout, painted with tar. Clay. Central

Veracruz. Height: 27 cm. Middle Preclassic
87 (right, above) Smiling figurine. Clay. Central Veracruz. Height: 28 cm.

Classic
88 (far right, above) Mictlantecuhtli, god of death. Clay. Central Veracruz.

Height: 26 cm. Late Classic
89 (right) Vessel decorated with a centipede. Clay. Central Veracruz.

122
I ) V ) I T
^k^'
90 (far left) Tablet showing
a priest performing auto-
sacrifice. Related to the
god Quetzalcoatl. Stone.
Huastec influence. Height:
2.00 m. Late Classic
91 Palmate stone in the

form of a human figure in
profile. Stone. Central
Veracruz. Height: 58 cm.
Classic
92 Yoke representing
monster of the earth and
of death. Stone. Central
Veracruz. Length: 41 cm.
Classic
93 (left) Vase shaped in part like a
monkey (cf. pi. 52). Alabaster.
Central Veracruz. Height: 23 cm.
Postclassic
94 Votive hacha in the shape of a

human head with dolphin
head-dress. Stone. Central
Veracruz. Height: 28 cm. Classic
95, 96 (left) The 'Huastec Adoles-

cent.' Believed to represent a young
priestof the god Quetzalcoatl.
Stone. Huastec. Height: 1.17 m.
Late Classic
97 Woman wearing turban. Clay.

Huastec. Height: 33 cm. Classic
98 Spouted polychrome vessel with human face on the neck. Clay.
Huastec. Height: 29 cm. Postclassic
99 (right, above) Anthropomorphic vessel with spout. Clay. Huastec.

Height: 20 cm. Postclassic
100 (right) Vessel in the shape of a monkey-like creature. Clay. Huastec.

128
loi Pectoral with relief showing
people and a plumed serpent.
Shell. Huastec. Height: i6 cm.
Postclassic
102 Deity related to death,

wearing a high conical cap and
hook-shaped ear-plugs. Stone.
Huastec. Height: 1.40 m.
Postclassic
130
;
HALL 10
The Maya
Let them not fall in climbing

Or descending the slopes,
Let no obstacle beset their path
To the fore or from behind
Letthem suffer no evil.
Grant them a good journey
Over beautiful smooth roads.
Popol Vuh
The by the Maya stretches from the Grijalva

territory occupied
River in Tabasco to the Ulua Valley in Honduras and the Lempa
River in El Salvador. That is to say, it includes parts of Tabasco,
Chiapas, Campeche, Yucatn, and Quintana Roo in Mexico,
as well as Guatemala, Honduras, El Salvador, and Belice,
British Honduras in Central America.
Physiographically and ecologically the Maya region can be
divided into three large zones. The northern zone is a semi-arid
plain embracing the Yucatn Peninsula, the maize fields of
Campeche, and part of Quintana Roo, where such cities as
Uxmal, Chichen Itz, Kabh, Labn, Mayapn, Edzn,
Hochob, Coba, and Tulm were located. The central zone,
predominantly humid tropical forest intersected by numerous
rivers, reaches from Tabasco to Honduras, and here the cere-
monial centres of Palenque, Bonampak, Yaxchiln, Calakmul,
LJaxactn, Tikal, and Piedras Negras once flourished. The
southern zone takes in the Highlands of Chiapas and Guatemala,
where sites such as Chinkultic, Tonina, Kaminaljuy, Chama,
Nebaj, and Zaculeu prospered.
All this is clearly shown in a large map just inside the entrance
to this hall. In addition, the various' topographical features of
131
the region are illustrated bymeans of colour photographs. There

is also a diagram of the terrain in the form of an ideal cross-
section running from the highlands to the coastal plains, and

showing the changing vegetation encountered.
The physical aspect of the Maya and the clothing they wore
.are evident from stelae and Jaina figurines, as well as from
photographs. These also illustrate certain customs practised by
the Maya with the purpose of beautifying or distinguishing
them from other peoples: cranial deformation, dental mutila-
tion, tattooing or scarification, body painting, and induced
cross-eyes. Other features which can still be observed in the
Maya of today are pointed out, such as short stature, wide heads,
dark skin, aquiline noses, high cheek-bones, slanting eyes with
epicanthic fold, and the mongolian spot.
Where clothing and adornment are concerned, the clay
figurines from Jaina run the gamut from the simple breech-
clout of the common people to the rich garments and elaborate
attire of the lords, priests, and women of high status. They
enable the visitor to examine the exact nature of skirts, blouses,
mantles or capes, sandals, belts, fans, animal helmets, hats, staffs
of office, as well as of pectorals, bracelets, necklaces, ear-plugs,
and other ornaments which reflect the rank and occupation of
the individual in question.
There are figurines showing lords and noblemen seated on
///. 1 03 their thrones or benches priests and priestesses, usually carry-
;
ing bags of incense; ball-players, warriors, musicians, weavers,

and many other types. This indicates that Maya society was
organized into well-defined classes or castes, with specialized
activities. It is evident that there were two estates the higher,
:
formed of people in charge of the government, the priesthood,

justice, and public administration; and the lower, composed of
artisans, farmers, and the common people.
The practice of placing stelae and altars in front of pyramidal
bases or buildings was a distinctive feature of the Maya culture.
Its antecedents date back to the Protoclassic period from 200 b c
to AD 200, when there was already this association of stela and
132
;
The Maya
altar at such of Izapa, Chiapas. Carved on Stela i

sites as that
from Izapa is a figure standing above a stream, wearing a kind
of mask with serpent-like features and carrying a net, while the
altar takes the form of a mythological animal - something
between a jaguar and a frog - which is either crouching or ready
to spring.
A show-case containing clay figurines and musical instru-
ments gives some idea of the religious festivities of the Maya. In
this regard it should be mentioned that music played quite an
important role in their lives; there are flutes, whistles, ocarinas,
rattles, drums, conch-shell trumpets, turtle-carapace drums,
and other instruments, for the encouragement of the dancers,

who wore masked costume. Among the other types of enter-
tainment was the ball-game, which was played by the nobility
and professional players.
Ritual feasts were governed by the religious calendar and
were in honour of the gods, who had specific functions. For
example, the Maya believed in a god, Hunab Ku, who was
creator of all things; he in turn was father of Itzamn, god of the
heavens and day and night. They also worshipped Kukulkn,
god of wind Chac, god of rain Yum Kaax, young god of corn
; ;
Ek Chuah, patron of merchants; Ix Tab, god of suicides; Ix

Chel, the moon goddess; Ah Puch, god of death, Ix Asal Uo,
patroness of weaving, among others.
According to the Maya, the universe was divided into
thirteen superior heavens where the Oxlahuntik resided, and
nine inferior heavens inhabited by the Bolontij. The world
was supported by the four Bacabs, related to the cardinal points,
to four colours, and to four Chaqus and four Iques, who
helped the gods of rain and wind respectively. They also wor-
shipped the great ceiba, sacred tree of life which sent its roots
down into the earth, penetrating the world of death, and
reached upward towards the thirteen superior heavens.
In thissame section of the hall various stelae, lintels, hiero-
glyphs in stucco, and reproductions from the Tro-Cortesian
Codex are exhibited; they underline the intellectual feats
133
achieved by the ancient Maya, who can claim to have been

the scholars and mathematicians of the New World by virtue
of their astronomical observations, know^ledge of the calendar,
mathematics, and hieroglyphic writing.
The Maya used a vigesimal system based on position, which
- led to their inventing zero. They wrote the numbers i to 19 by
means of dots and bars, while zero was represented by a sort of
shell. With these elements they could set down figures of almost
any magnitude, placing the numerals in a horizontally ascend-
ing order; each successive position implied multiplying by 20,
400, 8000, etc. In their inscriptions they also used heads or
figures as numerical symbols; stelae, lintels, staircases, and so on
show that these were applied also to the calendar.
The religious calendar was composed of 20 day-names which
were combined with 13 numbers to form a cycle of 260 days.
The days were expressed in hieroglyphs and bore the names
of Imix, Ik, Akbal, Kan, Chicchan, Cimi, Manik, Lamat,
Muluc, Oc, Chuen, Eb, Ben, Ix, Men, Cib, Caban, Eznab,
Cauac, and Ahau. The solar calendar was made up of 18 months
of 20 days each, plus 5 additional days called Uayeb, making
365 days. The names of the months were Pop, Uo, Zip, Zotz,
Tzec, Xul, Yaxkin, Mol, Chen, Yax, Zac, Ceh, Mac, Kankin,
Muan, Pax, Kayab, Cumhu, and the Uayeb.
These two calendars were combined to form the 'Calendar
Round' or cycle of 52 years, the minimum time in which any
one date could be repeated. That is to say, if the religious
calendar began with the day i Imix and the solar calendar with
the month o Pop, the date i Imix o Pop could only recur after
18,980 days or 52 years had elapsed. The absolute date was fixed
in Maya terms by counting from a legendary year the signi-
ficance of which we have no means of assessing. This method of
reckoning is known as the 'Long Count' and was expressed in
Baktuns, Katuns, Tuns, Uinals, and Kins - units of time, as
recorded on the stelae.
Besides a precise solar or civil calendar - allowing for the
fraction of time left over and the leap years - the Maya calcu-
134
The Maya
lated the length of the lunar cycles, the seasons, the equinoxes
and solstices, and the Venus cycle of 584 days, as well as making
observations about other planets and constellations. They also
left tablets on which the predicted dates of future eclipses were
recorded, as can be seen in the Dresden Codex. Their hiero-

glyphic writing, which has not yet been completely deciphered,
was also a great aid to learning.
Prominence is given to the evolution of pottery, the changing
shapes and types of which correspond to the successive phases.
Thus the pottery of the Early Preclassic phase (1300-800 Bc) is
distinguished by all-over colouring in cream, red, orange, or
black, with white rims. The shapes include jars marked in
sections like a squash, composite-profile vessels, dishes with flat
base, goblets with ring base, and jars with simple spout.
The next phase of the Preclassic, known as the Chicanel and
lasting from 800 to 200 bc, produced vessels in two colours,
such as black on red, red on brown, red on white, and orange
on cream. The forms resemble those of the previous phase.
There follows the Matzanel or Protoclassic period (200 BC-
AD 200) in which ceramic elements highly characteristic of the
Maya are introduced, such as tetrapod vessels, mammiform
supports, spool pot-stands, painted decoration over dry stucco, ///. 106
labial and basal flanges, spouts connected by a bridge, and other
variations usually applied to polychrome ware.
During the flowering of Maya culture in the Classic period
(ad 200-900), polychrome decoration predominates, first on
vessels embellished with geometric or animal motifs, and later
on vases which resemble codices in that they depict ceremonies,
hunts, scenes of war, and other subjects. At this time slate- Ills. 10 j, 11
coloured ware was being made in the Yucatn Peninsula and ///. 104
some Teotihuacn influence can be seen in the pottery.
The Postclassic (ad 900-1519) represents a decadent stage in
ceramics, since there is domestic type of pottery and
a return to a
to the representation of figures of gods and priests, especially on Ills. 107, 11
urns and braziers which are sometimes painted in colours mixed
with water. However, there was also a certain commercial
135
interchange with other regions, as the presence of Fine Orange

and 'plurabate' ware shows.
The skill and aesthetic refinement of the Maya craftsmen
manifests itself also in minor arts. To show how delicately they
///. 110 worked bone and jade, for example, the exhibits include a
'
jaguar's bone, carved in the shape of a priest, several examples
of pectorals or plaques fashioned in jade and serpentine,
a small tablet from Palenque showing Chac, god of rain,
and beads for necklaces and ear-plugs, all exquisitely
carved.
Proceeding, the visitor encounters the section on architecture
and sculpture, arts that reached their zenith during the Classic
period. The first shows part of the stucco decoration
exhibit
///. 112 from a building in Campeche, composed of a large central
grotesque mask - an effigy of the solar god Kinich Ahau - and
two smaller ones that portray the old god of fire, a feature
reminiscent of Teotihuacan.
Mock-ups and photomurals of Uaxactn, Guatemala, illus-
trate the development of this important ceremonial centre.
Models of Piedras Negras, Guatemala, and of Copan, Honduras,
display temple bases, ball-courts, plazas, altars, dwellings for the
noble and priestly class, and other minor
oratories, patios,
structures; grouped together these units formed the civil-
religious or ceremonial centre, which was surrounded by
numerous huts for the populace. Also on view is the mock-up
of a Rio Bee building characterized by ornamental towers and
beginnings of the grotesque masks that ^vere used to frame
doorways. During the Classic period styles from Usumacinta,
El Peten, Palenque and Ro Bee were in vogue; the latter region
gave rise to the Chenes and Puuc styles that flourished in the
Yucatn Peninsula.
Is. 108, log Maya sculpture is represented by beautiful lintels and stelae
///. 116 from Yaxchilan, a statue from Tonina, the Jonuta Tablet, a disk
///. Ill from Chinkultic, stelae from Calakmul, and other excellent
examples. Of particular interest is the panel of the Foliated
Cross from Palenque in which twô priests - shown in profile
136
The Maya
make offerings to a deified corn plant which takes the form of a

cross; carved in the upper section is a quetzal.
A stairway leads down to the section of the hall devoted to
burials and funerary practices. Direct burial in the ground
accompanied by offerings, burial in large earthenware jars, and
fmally a full-size replica of the burial chamber at Palenque
show the progression from the simplest to the most complex.
This leads on naturally to a model of the ceremonial centre of
Palenque with its group of temples and buildings erected upon
pyramidal bases; here are to be seen the Temple of the Sun, the
Temple of the Foliated Cross, the Palace, the Temple of
the Count, the Aqueduct, and, of particular interest, the
Temple of the Inscriptions, where an interior chamber
was found containing the sarcophagus of one of the rulers of
the site.
Near by which accompanied the occupant of

are the jewels
the tomb two masks worked in a jade mosaic, necklaces of the
: ///. 113
same material, rings, ear-plugs, pearls, and brooches, or objects
to hang from the belt. Also on view are heads modelled in
stucco which were found with the stone sarcophagus, and a ///. 114
of the royal chamber, with the tablet,
full-scale reconstruction
sarcophagus, and burial of the deceased, just as it was found in
the archaeological excavation.
Returning to ground level the visitor passes on to objects of
the Postclassic horizon in which Central Mexican influence is
frequently seen; this influence reached as far as the Puuc or
mountain cities in the Yucatn Peninsula. Among the pieces of
sculpture they yielded are the head of a ruler with tattooing on ///. 118
his cheek, and a mask of Chac, the rain god, worked in stone
mosaic, both from Kabh; and the sculpture known as the
'Queen of Uxmal', which actually portrays a young priest
inside the jaws of a serpent, related to the god Kukulkn. ///. 120
The atlantes of Chichen Itza take the form of sculptured ///. 122
warriors dressed in feather capes, short skirts, pectorals, ear-
plugs,and sandals; there too a characteristic Chac-Mool was
found outside the Temple of the Warriors. Minor sculptures
137
from various other sites of the Yucatn Peninsula also show

Central Mexican influence.
The architecture of this period is represented by a model of
the Castillo at Chichen Itz, a structure comprising a pyramidal
base with nine tiers, on each side of which is a great stairway
. whose low balustrades are shaped like serpents their heads are
:
at the bottom and their bodies ascend to form serpentine

columns for the temple. There is too a model of the walled
ceremonial sanctuary of Tulm on the shores of the Caribbean
Sea - showing such impressive buildings as the Palace, the
Temple of the Descending God, and the Temple of the Frescoes
- whose paintings have a certain Mixtee flavour.
Among the objects in the show-cases are: examples of
'plumbate' ware; animals or vases carved in onyx or alabaster;
Fine Orange with decorated panels; disks with a mosaic
vessels
///. iij overlay of turquoise, shell, and pyrite found in the substructure
///. 121 of the Castillo at Chichen Itz; and eccentric flint axes which
were part of the staffs of office carried by the nobility.
Metalworking was introduced into the Maya region through
trade with Central America, principally from Costa Rica and
Panama. Among the gold objects on display are figurines, bells,
repousse disks, small containers, and other items recovered from
the Sacred Cenote of Chichen Itz, where the Maya made
sacrifices and offerings to the water god.
In the garden outside this hall the following are to be seen:
replicas of stelae from Quiriga, Piedras Negras, and Copan; a
scale model of a building at Hochob, Campeche, whose facade
is in the typical Chenes style with a large mask of the rain god
framing the doorway; and a replica of the Temple of Paintings

at Bonampak, with its three rooms decorated with frescoes. On
the walls of the first of these rooms is painted a scene showing a
retinue of lords and nobles at the ceremonial presentation of the
heir to the throne of Bonampak. Several richly attired priests
and the celebration ends with a dance accom-
are in attendance,
panied by musicians playing drums made of turtle carapaces or
with leather drum-heads, rattles, and large trumpets. The
138
The Maya
dancers are disguised as crabs and alligators, or wear masks

adorned with plant motifs.
In the second room is to be seen a battle, full of action and
colour, bristling with spears and shields, trophy heads, animal
masks, and painted warriors. Another scene shows the trial and
punishment of the prisoners by the chief of Bonampak, who
wears a jaguar skin vest and sandals and carries in his hand a
royal lance.
The frescoes on the walls of the third room extol the victory
won by Bonampak - great celebrations being held in the open
and on the steps of a principal building. Taking part are dancers
wearing quetzal-feather head-dresses and short skirts - move-
ment is indicated by the billowing skirts - acrobats, musicians,
and a retinue of lords and nobles including the royal family and
heir to the throne.
The civilizationof the Maya, culturally refmed and dis-
tinguished by a singular aptitude for the arts and crafts and by a
high degree of scholarship, was still flourishing at the time of the
Spanish Conquest of Mexico in 15 19.
139
103 Vase in form of
jaguar-head. Clay. Height:
23 cm. Late Classic. Tepeu
104 (right, above) Vase of

'Yucatecan Slate' type.
Clay. Height: 12 cm. Late
Classic. Puuc period
105 Important personage

seated on a throne or
circular bench. Clay.
140
io6 Dish with basal
moulding and mam-
miform supports. Clay.
Height: 14 cm. Early
Classic. Tzakol
107 Polychrome plate

showing a person of
importance, surrounded
by a band of
hieroglyphs. Clay.
Diameter: 35 cm.
Late Classic, Tepeu
1 08 (left) Stela i o of Yaxchiln, Chiapas. Stone. Height :1.93 m. Late Classic. A d 766
109 Lintel 53 from Yaxchiln, Chiapas. Stone. Height: 1.60 m. Late Classic
110 Illustrious personage wearing rich
apparel. Bone. Height: 7 cm. Classic
111 (right) Plaque or pectoral in the form

of a human figure in relief. Stone.
Length: 9 cm. Classic
112 (below) Detail of large stucco mask

representing the Maya sun god Kinich
Ahau. Late Classic
113 (right, below) Disk with mosaic of

turquoise, shell and flint. Chichen Itz,
Yucatn. Diameter: 24 cm. Postclassic
i'fihSi^
iU ^jr.'?^.,
1 14 Human head, modelled in
the typical Palenque style.
Stucco. Height: 28 cm. Classic
116 Tablet fromjonuta,

{right)
Tabasco, showing a priest
making offerings to a cacao
plant. Stone. Height: 1.03 m.
Classic
115 Jade mask composed

of several parts. Stone. Height:
8cm. Classic. Palenque, Chiapas
146
'^::^-j^t
117 Polychrome vase showing a
person of importance. Clay.
119 (n/z) Priest presenting

offering of incense. Polychrome
clay. Mayapn, Yucatn.
118 Fragment of sculp-

ture known as the 'King of
Kabh'. The face is scarified.
Stone. Height: 48 cm. Late
Classic. Puuc period
148
v^
y
"^'
^";?..>4pw.
l^!'tL .i V.
120 Priest emerging from the
jaws of a serpent. Associated
with Kukulkn, civilizing god-
hero. Stone. Height: 80 cm.
Late Classic. Puuc period
122 {right) Atlante in the form

of a warrior. Stone. Height:
88 cm. Postclassic. Toltec
influence
121 Eccentric axe with

human silhouettes. Flint.
Height: 32 cm. Late
Classic
150
><-v
HALL II
The North of Mexico
In the northern border areas of Mesoamerica individual cultures

also developed, although the peoples here came under influence
of the advanced cultures of the Central Highlands and West
Mexico, and still more of the United States Southwêst. This
hall is concerned with Guanajuato, San Luis Potos, Zacatecas,
Durango, and Chihuahua - those parts of w^hat may be termed
Marginal Mesoamerica w^here a sedentary life wâs possible.
Actually, owing to its diversity of climates and restricting
ecological factors, the north of Mexico vâs shared by different
groups at different times. Thus there were nomadic hunters of
large Pleistocene mammals who reached the Central Highlands
w^hen climatic conditions were more favourable than they are
today; groups of food-gatherers who lived in woody and even
arid zones, similar to those who occupied the United States
Southwest and are now known as Desert Cultures; groups who
derived from these but who settled in the north-west of
Mexico and practised riparian agriculture; and mobile groups
of seasonal hunters and gatherers who made incursions into the
sedentary sites having a higher cultural niveau, and who still
subsisted at the time of the Spanish Conquest.
In order to make this plain, the first thing to be seen in this
hall is a coloured map showing the cultural zones of North
Mexico those occupied by the Desert Culture and by the Plains
:
Culture of Marginal Mesoamerica, and that of Oasis-America.

A second map shows the progressive colonization of Northern
Mexico by Spain and its eflfect on the groups living there at the
time of the Conquest.
Artifacts of the Plains and Desert Cultures respectively are
exhibited in separate show-cases, thus differentiating those of
the hunters from those of the gatherers. Projectile points used
152
1 he North oj Mexico
by the Plains people in hunting mammoths, and

horses, bison,
other animals, on the one hand; nets, baskets, sandals, and
wooden objects on the other. A third map shows the location of
the principal sites at which such artifacts and other material of
archaeological interest have been found. There are also repro-
ductions of rock paintings.
Although the groups of the marginal zone have character-
istics of their own, trade and interchange of ideas with Meso-
america are apparent. This contact of the North with the South
meant that what each produced in the way of pottery, weaving,
architecture, and metalworking had much in common with
the other.
Materials from Marginal Mesoamerica, as represented by the
Guanajuato, San Luis Potos, and Zacatecas groups, are next
exhibited. There are examples of pottery from San Miguel
Allende and El Cporo characterized by vessels in brushed white Ills. i2j, 128
and red on brown with human-effigy brazier covers used for ///. 124
burning copal, clay pipes, polychrome vessels derived from the
Chupicuaro type, shell ornaments, and other items. Among the
objects from the several sites of San Luis Potos are vessels
painted black on red.
The Preclassic culture of Chupicuaro engendered other
Guanajuato groups which gradually migrated towards Michoa-
cn, Zacatecas, and Durango; Querndaro, Lago de Cuitzeo,
Schil, Chalchihuites, and even La Quemada show this ///. ijo
influence, as does the Hohokam culture, thus forming a corridor
of reciprocal influences between Mesoamerica and the United
States Southwest.
The section of the hall devoted to Zacatecas contains
examples of pottery - the black type with cloisonne or scraped
decoration and a red type on cream, using motifs of small
animals such as scorpions, snakes, and squirrels is particularly
arresting - decorated spindle whorls, metal objects, and other
items in which contact with other groups is evident. A good
idea of the architecture of this region, which employed adobe
and stone slabs in its structures and combined Mesoamerican
153
features with those of the United States Southwest can be

obtained from photo-murals of La Quemada.
La Quemada is situated on the spurs of the Palomas mountain
range, and the ceremonial centre - whose builders took
advantage of the terrain and used walls up to lo metres high on
. different levels - gives the appearance of a fortified city. A wide
avenue can be seen leading to the centre proper, where stands a
truncated pyramid with a steep staircase; surrounding it are
structures with columns made of slabs, rooms around sunken
patios, and pyramidal bases of small dimensions.
The section on Chihuahua is the most extensive and focuses
on the culture of Casas Grandes in particular. Photo-murals
show the principal features of this site: adobe houses of one or
more storeys, similar to those of Mesa Verde and other places
in the United States Southwest, and an oval ball-court; irriga-
tion canals and cisterns for storage of water; ovens for cooking
mezcal, mud cages for parakeets, and much besides.
The pottery produced by the people of Casas Grandes was
very striking; something similar is still being made by the
Pueblo, Pima, and Ppago Indians. Coloured black, dark red,
and dark brown over cream or ivory, it takes the form of simple
///. 126 bowls and jars, with stylized animals or geometric drawings, or
///. i2y vessels with human and animal effigies.
On display too are objects made of shell, necklaces with
///. 1 23 turquoise and shell beads, a copper bell in the shape of a turtle
///. 1 2g made by casting and applied wire, grooved axes, and a number
of other articles, many of them imported.
It took almost four hundred years to conquer and pacify the
North, a process in which Spanish, French, British, and other

nationals participated. This is largely explained by the fact that
most of this region was inhabited by nomadic hunting-gather-
ing groups who loved their liberty and tenaciously opposed
subjugation. This aspect too receives visual elucidation by
means of maps of the period and explanatory pictures.
154
123 J^r of 'brushed white' type.
Clay. San Miguel Allende,
Guanajuato. Height: 39 cm.
Late Classic. (Private
collection)
124 Brazier covers in the form of

human busts. Clay. San Miguel
Allende, Guanajuato. Height: 19
and 18 cm. Early Postclassic.
(Private collection)
M'
156
125 (l^fO Turquoise mosaic
pectoral from shell neck-
lace. Casas Grandes, Chi-
huahua. Height: 26 cm.
Postclassic
126 Polychrome vessel

with geometric
decoration. Clay. Casas
Grandes, Chihuahua.
127 Polychrome
vesselswith human faces
and geometric decoration.
Clay. Casas Grandes, Chi-
huahua. Height: 14 and
16.5 cm. Postclassic
157
128 Whistling vessel incorporating
seatedhuman figure. Clay. El
Cporo, Guanajuato. Height: 28
cm. Late Classic
129 Model turtle made by casting

in amould, then applying filigree.
Copper. Casas Grandes, Chihuahua.
Length: 10 cm. Postclassic
130 Polychrome jars of La Que-

mada style. Clay. Zacatecas. Height:
15 and II cm. Early Postclassic
HALL 12
Western Mexico
All the moons, all the years,

All the days and all winds
the
Run their course and have an end.
All living creatures also reach
Their time of repose.
Chilam Balam de Chumayel
The last of the devoted to cultures that flourished in

halls is
Sinaloa, Nayarit, Colima, Jalisco, Michoacan, and part of

Guerrero and Guanajuato, thus covering a vast region of
Western Mexico from the Guasave River to the Balsas Valley.
Over a long period of time groups of settlers came here to
occupy the littoral, the mountains and volcanic plateaux, the
lake valleys and the broad plains as a result a number of local
;
cultures evolved which are distinguished for their unique and

original wôrks of art.
On entering, the visitor encounters a large map in colour,
showing not only the topography, flora and fauna of the
region, but some of the distinctive cultural achievements of
these peoples. Thus Chupicuaro is characterized by its delightful
little figurines and elegant pottery; Colima, Jalisco, and Nayarit
are noted for their realistic and expressive clay figures Mezcala ;
excelled in stone-carving, Sinaloa in working shell; while the

Tarascans developed feather-work and were skilled gold- and
silversmiths.
A second map, in metal, illustrating the region's cultural
evolution, shows that Western Mexico was a kind of channel
through which influences from other cultures flowed at dif-
ferent periods. Thus the United States Southwest introduced
grooved axes, clay and stone pipes, disks or mirrors with pyrite
159
mosaics, bracelets of cut conch and other shells while shaft-

;
tombs, metallurgy, vessels with a stirrup spout, stone maces,

effigy milling-stones, and much besides came by way of the
Pacific from Central America. At the same time, Mesoamerica
made its own cultural contributions northward and southward
- to those areas.
The occupants of Western Mexico lived in rural
earliest
villages, cultivating corn, beans, and squash. Their huts were
made of perishable materials, they venerated their dead, and
///. 1J4 produced pottery and figurines of refined elegance such as
those from El Opeo and Chupicuaro.
At this latter site the dead were inhumed usually close to the
houses and accompanied by plentiful grave goods, as the
collective burial here reproduced shows. Clay vessels, mono-
chrome, dichrome, and polychrome, take many different
forms: tripod dishes with tall supports, bowls shaped like a
squash, vessels with basket handles, goblets, and containers with
human faces near the rim. Black, red, and dark brown upon
a cream or white background were mainly used for the
polychrome ware.
The figurines from both Chupicuaro and El Opeo on dis-
play tell us much about these peoples. There are babies in
cradles, musicians with flutes, men with merchandise on their
backs, women with children, and so on. The great majority are
///. 1^2 flat in shape, and some of them are painted in blue and black;
but a few larger figures, for which black and cream on red
were used, are hollow.
During the Classic horizon the population increased and more
sites in Western Mexico were settled some of these grew into
;
simple ceremonial centres where various crafts were developed

and a theocratic government evolved. It was at this time that
the cultures of Cohma, Jalisco, and Nayarit flourished, each
producing its own readily recognizable clay figurines and
pottery.
The Colima produced vessels mainly in polished
potters of
red or brown ware others simulate plants and fruits or are in
;
1 60
Western Mexico
the shape of a human There are models of fattened dogs,

figure. ///. ij6
squirrels, snakes, parrots, woodpeckers, crabs, chameleons, and
other animals, while some take the form of squashes held up by
supports shaped like dwarfs or birds, carriers of benches,
water-carriers, and women.
The Colima figurines, both solid and hollow, likewise reveal
many facets of the daily life of the people: chiefs seated on ///. 1^3
benches or on litters, priests, dancers, musicians, warriors, and ///. 133
water-carriers are among the characters represented, and their
clothing and adornments - loin-cloths, shirts or vests, trousers,
capes, chin-straps, helmets, quechquemitls, necklaces, and ear-
plugs - are easily recognizable. The non-figural pieces even give
us information about architecture, since there are models of
huts and temples set on pyramidal bases.
The potters of Nayarit specialized in the production of
hollow figures - many of them quite large - in a style approach-
ing caricature, for which they always used white, yellow, and
brown paint over the reddish or brownish clay. Worthy of
note are models of diseased or misshapen individuals, as well
as of men and women engaged in various activities. Their legs ///. Jjp
and arms are usually disproportionate and they wear nose- and ///. ij8
ear-plugs made of a string of hoops or rings. In the same way the
solid figurines throw light on various aspects of the times, for
there are models of houses, ball-courts and players, groups of ///. iji
dancers and musicians, and even burial scenes.
The figurines from Jalisco, finished in a burnished cream-
coloured clay, depict both men and women, and some show that
body painting was used. One of the most striking of these takes ///. 1 42
the form of an old man who carries a cane walking-stick and ///. ijy
stands on a fish; in style it is reminiscent of Colima, whose
direct influence is evident.
The majority of the pieces from these three States represent
mortuary offerings found in shaft-tombs - vaulted funerary
chambers to which access was gained through a shaft or chimney
- similar to those found in Colombia and Ecuador in South
America. Among the exhibits is a replica of a tomb at Etzatln.
161
The State of Guerrero is represented by many objects from

Mezcala^ whose special style of stone-carving is to be seen in
lis. 14^,140 models of temples, masks, axes with human figures in outline,
plaques, and other ornaments, usually made of green stone.
There are also examples of pottery decorated in a lacquered
-
style using blue, green, pink, and yellow.
Next in order come the cultures that flourished during the
Postclassic horizon, when there were many new developments
such as the introduction of metallurgy, pipes and tobacco, the
art of feather- working, the construction o y acatas, and the first
written sources. Tribal wars were a feature of this time, which
saw the emergence of the Guasave, Culiacan, Ixtlan groups and
of the Tarascans of Michoacn.
Now, too, the inhabitants of Sinaloa evolved the so-called
Aztatln Complex, whose impressive burial customs are a
salient feature the dead were wrapped in petates (reed mats) or
:
blankets - which were bound with cords - and buried with

numerous offerings, or they were placed in large earthen jars
///. 141 or urns. The Aztatln Complex has yielded clay masks,
grooved axes, pipes, shell bracelets, metal objects, mirrors in
pyrite mosaic, gourds decorated in lacquer, vases carved in
tecali or alabaster, and polychrome pottery in which areas of
colour are outlined with incising.
The rest of the devoted to the Tarascan culture which
hall is
developed in Uayameo, Ptzcuaro, Tzintzuntzan, Ihuatzio, and

many other sites that in time became dominions of importance.
They spread over a vast territory, imposing their language and
customs on other groups; that is to say, their society was
imperialistic like that of their contemporaries the Mexicas.
The Tarascans cultivated a variety of plants, including
tobacco, cotton and chia (flax seed), the last-named providing
both a beverage and oil. In the lake regions they fished from
canoes using nets, fish-hooks, harpoons, and spear-throwers.
They used cotton as well as down produced by the ceiba tree,
maguey fibres, rabbit fur, and feathers to make distinctive
garments.
162
Western Mexico
They were producing such things as stirrup-

skilled potters, ///. 144
spouted, shoe-shaped, and miniature vessels, bowls with sec-
tions like a pumpkin and with basket handles, polychrome
vessels with negative decoration, as well as clay pipes. They also
excelled in feather-work, using the feathers in mosaic form to
fashion shields, blankets, fans, figures, and other articles.
Striking examples of obsidian carving are on view, among
them highly polished mirrors, ear-plugs as delicate as glass -
sometimes embellished with turquoise and gold mosaics - and
lip-plugs; also various choice pieces of metalwork, principally
bells, rings, bracelets, tweezers, disks, pins, masks, and lip-
plugs. In working metals the Tarascans applied techniques of
cold-forging, casting in moulds or by the cire-perdue (lost-wax)
process, filigree work, soldering and gilding, using copper, gold, ///. 1 43
and silver as well as alloys of these.
'Michoacan is the richest in metals of all New Spain - in
copper and tin as well as gold and wrote Motolinia in
silver,'
the sixteenth century, and his statement is confirmed by the

existence of placer mines and gold-bearing sand pits in rivers
such as the Zacatula and Balsas; by and
deposits of gold, silver,
copper at Motines del Oro, Ostutla, Morcillo, Pomaro, and
other sites; and by the so-called 'Canvas ofjucutacato', painted
in his day, which describes in pictorial form the movement of
people in search of mines across various parts of the Tarascan
kingdom.
This last section of the hall contains a mural devoted to the
religion of the Tarascans and to the semi-divine character of
the Cazonci, principal ruler of their kingdom. He personified
the god Curicaveri, god of fire, of the sun, and of the sky, and
was the only person whose body could be cremated when he
died.
Besides the god Curicaveri the Tarascans worshipped the
goddess Cueravaperi, and mother of the gods;
creatress
Taricuri, god of wind; Xaratanga, goddess of subsistence;
Uinturpati, goddess of corn, and other deities. They conceived
of the universe as being divided into three superposed realms,
163
each one with its four cardinal points, four special deities, and
four distinctive
#
colours.
Then there model of the ceremonial centre of Tzintzunt-
is a
zan, which was the ancient capital of the Tarascan kingdom. It
is located on the lower spurs of the Cerro Yahuarato facing
- Lake Patzcuaro within the purlieus of the present-day town of

Tzintzuntzan.
This ceremonial centre comprises a large artificial terrace
with stepped tiers adapted to natural irregularities of the
terrain. Near the middle are remnants of a staircase which gave
access to this terrace. Occupying this terrace, which is 400 metres
wide at the front, are five temple bases or yacatas, so arranged as
to juxtapose rectangular and circular floor plans in regular
alignment. From the Relacin (Chronicle) of Michoacn we
know that on these circular bases stood round temples made of
tree-trunks and straw.
Near by lay the great ceremonial Plaza flanked by dwellings
for priests and nobles; the various districts also had their own
yacatas arranged in the manner of main temples. Important
persons were usually interred in front of the yacatas, and many
burials with offerings have been found under the terrace
floor; there were also holes which had been used for cremation.
The of Tarascan sculpture, carved mostly in
final exhibits are
///. J 47 volcanic stone; for example the great Chac-Mool of Ihuatzio,
which shows Toltec influence; a throne or bench in the shape
of a coyote; a human couple, seated; and what appears to be a
///. 146 dancing coyote.
Over a period of close on 300 years the Tarascans, like the
Mexica, succeeded in consolidating a vast empire and imposing
their language and customs on various peoples but the Spanish
;
Conquest brought their hegemony to an end, though their

descendants still live on in Michoacn.
131 (right) Model of house with figures on a platform. Clay. Nayarit.

164
.;V'fiN;^-. ;;,
^v
*"
'"'-im^ffgf.r^tî i^.,..^**jnfiii)i^raiff^'^^''
132 Hollow figures in black and
red on cream. Clay. Chupicuaro,
Guanajuato. Height: 17 cm. Upper
Preclassic
134 Figurine with head partially

shaven. Clay. El Opeo,
Michoacn. Height: 12 cm.
Middle Preclassic
166
^
^^^
133 Two musicians,

one whistling, the other
playing a drum. Clay.
Colima. Height: 13 cm.
Classic
135 Hollow seated

Colima.
figure. Clay.
136 (left) Vessel in the
form of a reclining dog.
Clay. Colima. Height:
14 cm. Classic
1 3 7 (far left) Hunch-

backed old man with
cane staff, standing on a
two-headed fish. Clay.
Jalisco. Height: 42 cm.
Classic
138 (left) Nude woman

kneeling. She has thin
arms and a disfigured
face. Clay. Nayarit.
139 Woman seated on

bench. She has a
misshapen head. Clay.
Nayarit. Height: 56 cm.
Classic
169
140 Mask with human
features in outhne. Stone.
Mezcala. Height: i8 cm.
Classic
141 (right) Mask in the

form of a parakeet's head.
Clay. Sinaloa. Height:
15 cm. Postclassic
142 Woman with scari-

fication on her shoulders.
Clay. Jalisco. Height: 40
cm. Classic
143 (right) Schematic

models of temples. Stone.
Mezcala. Height: 12 and
15 cm. Classic
170
\
171
144 (far left) Vessel with stirrup
handle and spout. Clay. Tzin-
tzuntzan, Michoacn. Height:
22 cm. Postclassic. Tarasco
145 Mask of the god Xipe Totee.

Copper. Tzintzuntzan, Michoa-
cn. Height: 13 cm. Postclassic.
Tarasco
146 (far left, below) Sculpture re-

presenting a coyote. Stone. Tzin-
tzuntzan, Michoacn. Height:
53 cm. Postclassic. Tarasco
147 (below) Chac-Mool of

Ihuatzio, Michoacn. Stone.
Tarasco. Length: 1.57 m.
Postclassic
-aA3>.-<.
JP^fc
THE ETHNOGRAPHICAL SECTION
Some four million indigenous people live an isolated existence

in small villagesand rancheras of Mexico, forming part of the
rural population of the country. They still cultivate small plots
of land planted with corn, chilli, beans, and squash, while
weavers and potters pursue their crafts. The government is in
the hands of elders or progressive young men; other aspects of
their life are more closely linked to the past and to the
supernatural.
As a resultof the Spanish Conquest and colonization, the
New World acquired swords and crosses, saints and machetes,
along with sugar-cane, wheat, and the plough. Introduced at
the same time were sheep and pigs, as well as baptism and the
compadrazgo system (a fictitious kinship based on relationships
between godparents and godchildren). In many cases these
cultural elements became fundamental components of in-
digenous life and have persisted down to the present day.
The ethnographical section of the Museum occupies the upper
storey of the building. There are ten large halls, each varying in
size and design according to the quantity and nature of the
materials to be exhibited.
Even so, not all the indigenous peoples of Mexico are repre-
sented in planning the Museum it was necessary to concentrate
;
on the most representative groups of certain natural and

cultural areas. The absence of a hall devoted to the modern
Aztecs or Mexicans had, however, another reason; namely, that
to present the ethnography of the most widespread element of
the community, numbering almost a million people scattered
throughout twelve States, would have been virtually impossible.
As will be evident from the descriptions that follow, two or
more groups which are ethnically and linguistically related, or
174
The Ethnographical Section
share the same region or even the same geographic environ-

ment, occupy each hall. The material on display takes the form
of maps and photographs showîng the physical types, geo-
graphic location and environment of the groups; brief descrip-
tions of historical antecedents; and the indication of certain
socio-economic factors w^hich distinguish the aboriginal cul-
tures. By accompanying these wîth a representative selection of
their material possessions a clear picture of each ethnic or
Indian group emerges.
Since century the commercialization of agricultural
last
crops, the provision of educational institutions, the construc-

tion of highwâys, and increased social interchange have been
transforming the cultural patterns of the indigenous population,
making them participate more and more in the life of the
nation.
Today the Indians have come to accept a political, social, and
ceremonial centre - the municipal capital - in w^hich are
located the church, one or more stores, the houses of the
mestizos, a school, a market-place, their political and religious
leaders' humble dwêllings, and offices for public services.
The various aboriginal peoples have many physical features in
common, such as the dark, yellowish colour of their skin;
straight black hair; dark eyes with slanting eyelids; thick lips,
wide noses, and strong white teeth. Yet they have their indi-
vidual traits as well. For instance, the Seris and Yaquis in the
North-west are tall and long-legged, the Maya and the peoples
of Oaxaca are characterized by a broad head and short limbs,
while the Nahuas and Otomis are of a short stature and have a
well-developed torso.
Introductory Hall
This introductory hall provides an over-all picture of what is
presented in more detail in the various halls devoted to the
individual cultures of Mexico. With the aid of materials and
brief written explanations, the similarities and differences
175
between the numerous indigenous cultures of Mexico are

brought out, and their habits and customs compared.
The visitor is first introduced to photographs showing the
variety of physical types at the same time maps, mural paintings,
;
and recorded commentaries serve to locate the cultures geo-

. graphically and to render cultural and linguistic identification
more readily understandable.
He then passes on to ample show-cases displaying examples
of and adornments currently in use,
textiles, clothing, dyes,
together with drawings which illustrate types of apparel worn
at different times during the Colonial period and also since
Independence.
Next he is shown of museographic units -
a colourful series
for example, a group of women spinning and weaving, models
of various types of huts, houses, and ground plots, and a huge
granary - all meticulously and skilfully reconstructed. Around
these are grouped further show-cases containing tools used in
agriculture and the crafts, besides clay vessels of every shape and
colour. Cooking utensils, the food prepared with them, as well
as items of furniture are to be seen either in the original or
reproduced in photographs.
A reliable picture of aboriginal and Colonial traditions can be
formed from an examination of these utensils and tools and the
end-products that resulted from their use. They include belt
looms, spindles, spindle whorls, and distaffs; ploughs, machetes,
and coas (digging sticks); the quechquemitl, hupiles (blouses),
wrap-around and plain skirts; the three-stone hearth, spoons,
plates, bowls, and the comal or clay disk for baking the maize
tortillas.
Customs and have survived from prehispanic

beliefs that
times are also exemplified there are tableaux showing distinc-
:
tively attired persons engaged in magical, religious, and political

activities. A display of feathers, votive disks, necklaces, sacred
arrows, crosses and other objects, staffs of office, and various
musical instruments enable the visitor to appreciate how
certain human beliefs endured, while others underwent a
176
transformation or fused. To fill in the background, there are

numerous sketches and photographs.
Celebrations in honour of Catholic saints and festivities
which have been held since Pre-Columbian times in memory of
deceased relatives also receive attention. The extent to w^hich the
material has in the course of time impinged on the spiritual in the
life of the people is show^n in a group of exhibits that include
gow^ns, embroidered capes, incense, candles, crosses, pictures,

and a variety of offerings - in particular panes de muertos (bread
baked in a special form and eaten on the Day of the Dead).
Here again, photographs taken on the spot add to the
authenticity of the ethnographic exhibits.
The Cora and Huichol Indians

Near the border betwêen the of Jalisco and Nayarit live
States
some 15,000 descendants of the ancient Cora and Huichol
Indians. The wild and inhospitable character of this region has
allowed thousands of them to continue with their ancestral
customs. Of the two groups, it is the Huichols who have re-
tained the more prehispanic practices, particularly those
connected with magic and religion which are surrounded by
much secrecy.
While both groups devote themselves to agriculture, pro-
ducing maize for sustenance, the Coras also have grazing lands
for cattle and wool-producing animals, and grow fruit trees as
well as agave or century plants for making textiles and pre-
paring mezcal; this provides them with a cash income. Thereby
the Coras have more contact with mestizos, can engage in
itinerant commerce, and their integration into the rural life of
the nation has been facilitated. By contrast, the Huichols are
more isolated geographically and socially, their contacts with
mestizos are rare, and so form a closed type of community. The
habitat, geographic location, types of settlement, and terri-
torial organization of both groups are illustrated by means of
photographs and coloured maps.
177
For the most part the small Cora and Huichol communities
have settled on the plains but a few occupy the valleys; their
places of worship are still up in the mountains, where are to be
found caves dedicated in particular to the cult of natural
phenomena, animals, their bows and arrows and votive disks -
.primary symbols of their magico-religious cults.
The most usual type of dwelling is a hut with walls of clay and
zacate roof, though among the Coras a rectangular house with
stone or adobe walls is also quite common. Among the Huichols
the kitchen and the granary for storing maize stand apart from
the house, as can be seen from full-sized replicas in the hall.
A feature of Huichol clothing is its gorgeous colouring. The
women wear wrap-around skirts and cotton shirts profusely
embroidered with yarn of various colours; their woollen skirts
are also embroidered, while ear-rings and necklaces made of
small beads serve as ornaments. The men wear white cotton
shirts and loose trousers, also embroidered with red and blue
yarn; the indispensable morral (a bag worn over the shoulder)
may be of wool or cotton but it is always embroidered with frets
or stylized figures of animals. A straw hat with adornments of
///. 1^6 feathers and coloured ribbons completes the masculine attire.
The dress of the curanderos (native doctors) is similar, except that
they sport a large number of feathers and ribbons on their hats.
Huichol garments of various kinds and a great number of their
adornments can be seen both as exhibits in the show-cases and
in the apparel worn by the life-size model figures.
///. 1S3 Some Huichol families live near the pagan oratory (riquiri) or
in larger settlements containing the ceremonial centre {calhiwey) .
Their social and political organization is intimately bound up

with their magico-religious cults and practices. The curanderos -
soothsayers, and profoundly mystic individuals - are responsible
for electing new political authorities, after entering a state of
trance induced by consuming abundant peyote, mezcal, and
sotol (an intoxicating beverage). Their distinctly religious life
revolves round the calhiwey and the Catholic church, and their
comparison of the morning star (Venus) with Jesus Christ, and
178
the Sun and Moon with certain CathoHc images, is evidence of a

high degree of syncretism. Besides, the Huichols regard almost
all natural phenomena as sacred. Arrows, shields, disks, and
gourd bowls are believed to possess great supernatural power,

and act as intermediaries between men and gods. An impression
of this magico-religious world of the Huichols is vividly con-
veyed by means of a specially constructed device, with sound
installations providing a background of prayers, sacred songs,
and litanies.
The ceremonies connected with the peyote are the most

important of the Huichol rituals. This cactus - metaphorically
'flower' - is traditionally a deer which converted itself into a
grain of maize. Since maize is the staple of their diet, the Huichol
believe the peyote to be an indispensable factor in obtaining a
good harvest.
Tarascan Hall
Michuaque - place of fishes - is the name the Aztecs gave to the
territory inhabited by the Tarascans. This is an upland area in
the extensive central zone of what is now the State of Michoacn
and takes in mountains and valleys and lakes.
The mountainous part, where conifers prevail, is the most
extensive; the lake region occupies the centre of the plateau and
includes Lake Patzcuaro and its picturesque islands. The geo-
graphy and topography of these regions and the various types
of settlements to be found there are illustrated by means of
maps, charts, and large-scale photographs.
The indigenous population totals some 60,000 inhabitants
most of whom are bilingual, speaking Tarascan and Spanish.
There are variations in the physical appearance of the inhabi-
tants, and these too are brought out in a series of photographs.
The precise origin of this group is not certain, but we know
that in prehispanic times the Tarascans controlled a powerful
dominion upon which the Aztecs repeatedly waged war,
without being able to subjugate them.
179
Don Vasco de Quiroga, first Bishop of Patzcuaro, was a

dominant, force in the Hfe of the Tarascans; he organized the
towns around the 'hospitals' - institutions which in addition to
attending the sick functioned as centres of various communal
activities. Don Vasco in fact encouraged existing crafts and
'
introduced new ones in his efforts to supply the natives with
greater social and economic facilities. Brief explanatory labels
describe the extra-ordinary course of colonial history in this
part of Mexico.
At the present time agriculture is the most important
economic activity of the Tarascans but even though those who
live by or near the lakes also engage in fishing, they are not self-
supporting. They therefore make articles for sale, which
cf. III. 130 include lacquer ware from Quiroga, guitars from Paracho,
ceramics from Eronguaricuaro, copper objects from Santa
Clara, wooden utensils from Pichataro, and leather articles
from Chilchotla, as well as producing straw hats, woollen
sarapes, rebozos, fishing-nets, roof tiles, etc. There are numerous
family workshops and some have installations that require
master craftsmen, trained workmen, and apprentices. Almost all
these crafts are exemplified in the hall, a wonderful piece of
///. 131 feather-work, an art no longer practised, being among the
more fascinating exhibits.
Tarascans living in the highlands also take advantage of the
resources of the forest. The picturesque troje -zs their mountain
dwellings are called - is made entirely of wood from its
foundations up to the roof; it has a porch with artistically
carved and columns which serves as an antechamber to
lintels
the main room. A full-size troje is on display. Elsewhere in the
Tarascan zone the houses are built of stone or adobe with tile
roofs.
The social and political organization of the Tarascans had
their origin in forms introduced by the religious Orders in the
sixteenth century. Thus in many mountain towns the tradi-
tional ^W|)er or centre for directing and planning communal
works still operate. Here the legal and traditional authorities
180
together with the principal people of the town assemble to

discuss problems and their possible solutions, social gatherings
and festivities take place, and justice is administered. More
recently this institution has been fortified by the Comisarios
Ejidales (delegates of collectively owned lands) and the
Municipal Agencies.
Tarascan religious observance and practice are characterized
by a merging of Christian ritual and native cult. ///. i
49
On the Island of Janitzio for instance a mixture of Catholic
and pagan rites is evident in the ceremonies commemorating
the dead. The dance of the Viejitos (Old Men) and of the
Pescadores (Fishermen),no less than accompanying music,
express in tangible form the physical and socio-economic
world of the Tarascans.
Otomi Hall
Legends and myths of prehispanic Mexico refer to the Otomis
as hunters and gatherers. The Nhuatl word otomitl means
foreign or nomadic; but it has been established linguistically
that various groups who spoke - and still speak - Otomangue
languages, which are interrelated, must have led a sedentary
existence since ancient times.
Approximately 160,000 Otomis inhabit the plateaux and
mountain ranges in the State of Hidalgo; 5,000 Chichimec-
Jonaz and Pames the mountainous regions of San Luis Potos and
Guanajuato; some 70,000 Mazahuas and 30,000 Otomis are
in the valleys and highlands of the State of Mexico, and about
10,000 others in Quertaro. Those of the Sierra Norte de
Puebla are represented in another hall. These habitats of the
principal Otomangue groups are shown in a series of
photographs.
The museographic unit is a tableau demonstrating the
first
remarkable - almost dramatic - way in which the Otomis of the

Valley of the Mezquital adapted themselves to a harsh environ-
ment. Here cultivation is limited owing to the pronounced
181
aridity of the soil consequently the maguey plant is exhaustively

;
exploited^ Its juice is used as agua miel ('sweet water') and

pulque, parts of the pulpy leaves and stalk, as food; the leaves are
used in the construction of huts and and the fibres (ixtle)
as fuel,
spun to produce many and varied kinds of yarns and fabrics.
In further illustration of this, there are show-cases containing
tools used in the manufacture of ayates or bags, blankets,
blouses, twine and rope, together with examples of these
products, in all their various forms, finishes, and colours. Tools
used in the production of woollen fabrics {sarapes, shirts, sashes,
etc.), pottery jars, pitchers, and other vessels, as well as wicker
baskets and other objects woven of reeds, are also on view,

together with photographs of craftsmen at work and men and
women engaged in domestic activities.
The Pames of San Luis Potos are represented only by their
coarse pottery and simple furniture, some wooden objects and
implements. This ethnic group is in the process of losing its
distinctive cultural characteristics.
The next section of the hall introduces the Mazahuas, who
inhabit valleys and mountains of Ixtlahuaca and Atlacomulco.
The visitor first sees a replica of one of their family adoratories,
or shrines. These are generally erected amid the cultivated fields
and are favoured sites for religious worship. Models of women
wearing such garments as skirts made of coarse cotton muslin or
taffeta, wrap-around skirts of woven wool, poplin blouses, and
///. 1^4 exquisite woollen quechquemitl illustrate the clothing of the
Mazahuas and Otomis of these zones. Other figures are shown
spinning and weaving. In addition, there are show-cases on the
walls containing many colourful quechquemitl, woollen sashes
or belts, musical instruments, tools, and examples of Mazahua
and Otomi ceramics (jars, pitchers, and basins).
To illustrate fishing, which the Mazahuas and Otomis
engage in at certain times of the year in lagoons and ponds, a
circular net made of ixtle and a long harpoon with sharp point,
used to catch charales (small lake fish) and trout respectively,
are on view.
182
The closing section of the hall devoted to the Otomis living

is
in the mountains of Quertaro. Show^n here, among other

items, are beautiful quechquemitl\ unfortunately these are going
out of use since this ethnic-linguistic group is rapidly becoming
integrated into the national culture.
The Northern Sierra of Puebla

Scattered over some fifty municipalities in the region know^n as
the Sierra Norte de Puebla about 150,000 indigenes v^ho

live
speak four different languages Nhuatl (and a dialect of this
:
know^n as Nahuat), Totonac, Otomi, and Tepehua.

Nahuas (some 70,000) and Totonacs (40,000) make up most
of this total. Since up to three of the above-mentioned lin-
guistic groups are to be found in any one municipality, there is
a certain degree of cultural homogeneity in the region as a
w^hole. Much of the zone used to be part of the ancient
Totonacapan kingdom which after its disintegration wâs
invaded by the Mexica, conquerors from the Central Highlands.
There is a concentration of the indigenous population in a
region of the Sierra Madre Oriental. High up in these moun-
tains the group of Nhuatl origin predominates; these people
maintain themselves mainly by cultivating maize, and working
on the land; they also make a certain amount of pottery, grow
some fruit - peaches, apples, pears - and raise sheep, using the
wool to make clothing.
Most of the Indians live in subtropical zones at altitudes
roughly between 300 and 1,400 metres above sea-level. Fre-
quent rains and a high degree of humidity keep the country-
side green most of the year round, enabling them to grow two
annual crops of maize, beans, and squash, and to produce and
sell coffee, sugar-cane, and peanuts as well as tropical fruits.
The four ethnic groups have many cultural traits in common.

All build huts with tree-trunks and mud, using zacate or clay
tiles for roofmg, and houses made of stone and tile; they store
crops in tapamos (lofts) and small granaries, and use the temazcal
183
(steam bath of prehispanic origin) for hygienic, ritual, and

therapeutic purposes. The women wear costume and adorn-
///. i^y ments of non-Western origin, such as enredos (wrap-around
///. 133 skirts), quechquemitl, sashes, embroidered shirts, and tochomites
(multicoloured cords for braiding into the hair) made on belt

looms; the men, ponchos and loose white trousers of coarse
unbleached cotton. In the fields the coa or digging stick is used.
The way of life of these peoples receives ample coverage,
either in the form of actual objects, or by means of photographs.
The four groups also have many customs in common, such
as the manufacture of bark paper {amate) for ritualistic purposes
and witchcraft (particularly distinctive of the Otomis) the ;
employment of topiles (superintendents responsible for en-

forcing communal labour) the retention of the mayordomia for
;
organizing religious duties, and the use of shamanistic tech-

niques both to effect cures and to inflict harm (witchcraft).
One of the more esoteric beliefs they share concerns a soul or
double - shadow, tona, spirit - as well as the ability of a person to
convert himself into a nocturnal bird and feed on human blood.
They also believe in 'airs' or 'winds' being owners of hills or
having the power to cause injury to the living, so that they must
be placated with offerings placed on hills, in caves, and ravines;
and in many other manifestations pertaining to both prehispanic
and European folk-lore, including the Dances of the Flyers
(Pole Dance), Quetzal Birds, and Bull Fighters.
Oaxaca Hall
Oaxaca is characterized by a number of social and cultural
traits peculiar to the inhabitants of this region. For geographical
and linguistic reasons, this large hall is divided into three main
'cultural areas': those of the Zapotees and Huaves; of the
Northern groups (Chinantecs and Mazatecs) and of the Mixtee
;
region. These can, in turn, be subdivided.

At the present time Oaxaca contains some 800,000 in-
habitants who speak native languages. The Mixtee element is
184
the largest, with nearly 300,000; next comes the Zapotee, with
some 250,000; then Mazatec, with around 100,000; Chinantec Ills. 161,13
and Mixe account for about 50,000 each; the balance being
made up by folk speaking other languages again.
Among the Indians of Oaxaca, when houses and huts are
being built, the help of neighbours and relatives is always
expected and received. These huts are sparsely furnished.
Rustic wooden benches, nets of ixtle for storing things, palm
fibre tenates and other baskets, cantaros (water-jars) in various
shapes and sizes, tapextles and petates (woven reed mats) for
sleeping make up the household furnishings; in addition there
are stone metates for grinding, stone bowls, clay griddles and
jars; ^nd jicaras and calabazos (gourd bowls).
The men are for the most part agriculturists, maize being the
principal crop and staple of their diet. However, some of the
Indians - when better lands become available, or through the
influence of the mestizo population and other nationals - plant
sugar-cane and wheat, which they sell. Coffee plantations are
common in the Zapotee mountainous regions, among the
Mazatecs, and in parts of the Chinantla, where tobacco and
rice are also cultivated. In the small valleys wheat is grown;
during much of the Colonial period these zones were regarded
as the grain-producing region of Oaxaca. Large quantities of
chillipeppers are cultivated in the Sierra Zapoteca del Norte
and in the Mixteca Baja, while in Tehuantepec the economy is
supported by fishing, the growing of cacao, and cattle-raising, ///. 163
including a certain amount of trading in home-produced crops
and goods.
With reference to commerce, the Zapotees use a system based
on territorial zones for their tianguis or markets. This allows for
a constant interchange of agricultural products and of local
and regional manufactured articles, besides offering opportuni-
ties for closer social relations and various forms of recreation.
The skill of the ancient inhabitants of Oaxaca in making

spectacular head-dresses and garments has been inherited by ///. 148
their present-day descendants. Deserving of our admiration
185
^. III. 132 are the unique dresses of the Yalalag and Tehuantepec women,
and the t>i*ilhantly coloured embroidered sashes and blouses
from Jalieza and San Antonino. That the Zapotees have a well-
developed aesthetic sense is attested by the handsome sarapes
and woollen blankets made by the men of Teotitln del Valle,
which fmd a ready market. Where clay crafts are concerned,
the vitreous ceramics of Atzompa and the grey and black
pottery of Coyotepec are internationally famous. Examples of
all these local products, and many more besides, are on display.
The indigenous families of Oaxaca now recognize both

matrilineal and patrilineal descent, though the latter has
priority. It is customary for a girl to live near the house of her
in-laws, and the young husband must also render certain
services to close relatives of his wife and reside with them for
some months. Asking for a girl's hand in marriage is a very
serious matter and 'petitioners' {Huehuetlacas or Chigoles) take
charge of this. Marriages between blood relatives, and between
those 'spiritually' related (godparents and godchildren) alone
are proscribed. The guelaguetza, or system of reciprocal aid in
money or in kind, is a well-established institution among the
Zapotees and provides whatever is needed for the celebration
of marriages, wakes, and mayordomias.
The criterion in choosing a child's godparents is that they
must be respectable people, whether or not they are relatives.
So great is the mutual respect in which the relationship between
the child's parents and these adopted relatives (the godparents)
is held, that in the Chinantec region for example they perform a
special ceremony known as 'washing the hands of the compadre' .
In some regions children are provided with eight or ten god-

parents, and conversely there are seniors - usually men - with
fifty or sixty godchildren.
Members of religious and political institutions regularly
perform public and private ceremonies and rites in which
music, dances, and disguises are virtually indispensable. Special
importance is attached to such events as taking office. Cambio de
Varas (Change of Staff of Office) or Aseguramiento de las
186
Autoridades (Confirming the Authorities) ; to annual festivals in

honour of patron and other images of the Catholic
saints'
Church, as well as to the performance of pagan rites, par-

ticularly in agriculture. They all make for solidarity and
enhance the individual Indian's sense of belonging to his group
and maintaining his cultural tradition.

The - Huastecs, Nahuas,
three groups represented in this hall
and Totonacs - have inhabited the area of the Gulf Coast of
Mexico since Pre-Columbian times. The Huastecs have be-
queathed us numerous sculptures portraying gods and persons
of importance, the Totonacs their representative yokes and
palmas - not to mention the magnificent and strange pyramid
ofElTajin.
It is estimated that currently some 90,000 people speak the
Totonac language, including groups in the Sierra de Puebla.
This hall is devoted to the culture of the inhabitants of El Tajin
and Papantla.
Their economy is based mainly on the cultivation of vanilla,
sugar-cane, maize, and a small quantity of fruit trees. They also
engage in fishing, although on a small scale; among the fishing
tackle shown are two different types of nets made by these
people a casting net and a 'spoon' or dipper-type net. This has
:
been in use a very long time, for pictures of it appear in the

ancient codices.
Totonac women excel at making certain textiles. They know
how to spin cotton, which they use weave cloth napkins on
to
the ancient belt loom. The clothing on view shows the most
characteristic garments of the women: the gauze quechquemitl,
and a skirt embroidered in cross-stitch with brilliantly coloured
thread.
Totonac dwellings are made of local materials. The huts are
usually rectangular in shape with floors of tamped earth and
with planks or bamboo for walls. There is always an altar with
187
saints, candles, and flowers; on the Day of the Dead this altar is
replete with offerings {tamales, brandy, clothing, etc.) for the

souls who come to visit their kindred. All these aspects are
covered by the exhibits, as are other important features of
present-day Totonac culture such music and the dance. In El
as
Tajin and Papantla they perform dances known as 'Moors and
Christians', 'Negritos', 'Santiagueros', and the 'Dance of the
Flyers' or 'Pole Dance'; the last-named originates from an
ancient solar cult.
Some characteristicsof the Nahua and Huastec cultures are
treated in the second section of the hall. Here for example are
///. 162 to be found objects made from the zapupe, an agave plant
from w^hose pulpy leaves a fine fibre is extracted for making
morrales (shoulder bags), belts, and rope, a craft which the
Huastecs of Veracruz have been practising for centuries.
III. 159 Their pottery, for the making of which very primitive tech-
niques have been retained, is also represented. In Chililico, a
town of Nahua-speakers tucked away in the mountainous
///. 1 60 Huastec district of Veracruz, a very individual type of pottery
is produced, modelled by hand, painted a light colour, and
decorated with floral motifs in brown.

The Huastecs make use of a variety of musical instruments of
European and Pre-Columbian origin. There are examples here
of harps, guitars, and violins to illustrate the former; the latter
include small drums, rattles, reed flutes, and a teponaxtle (a
horizontal wooden drum with two longitudinal tongues cut
into the sounding-board).
Both in their dances and in their dress the Huastecs are
traditionalists. The women wear beautiful clothing consisting
of a wrap-around skirt tied to the waist and a quechquemitl with
coloured embroidery they complete their attire with a strange
;
coiffure, formed by interweaving thick strands of yarn with

their hair, which they wear like a head-dress.
The final exhibit in this hall is a small altar with flowers and
food, representing part of a Huastec ceremony performed in
///. 1 63 thanksgiving for the new maize.
188
The Maya Halls

One of the largest indigenous groups of the American con-
tinent is that made up of peoples speaking the Maya language.
All of them in one way or another are descendants of the
creators of the extraordinary Maya civilization.
As in the prehispanic period, the Maya of today inhabit two
large natural regions: the Lowlands and the Highlands.
Occupying the Lowland region are approximately 30,000
Chontals of Tabasco, 200 to 300 Lacandon Indians, 40,000
Chols of Chiapas, and some 400,000 Maya of Yucatn, Cam-
peche, and Quintana Roo; in the Highlands of Chiapas 100,000
Tzotzils, 60,000 Tzeltals, 30,000 Mames, and 15,000 Tojolabals,
in round numbers, constitute the largest elements.
Each of these two main regions has a hall devoted to it,
where photographs and mural paintings, show-cases, dioramas
and tableaux serve to illustrate the more significant cultural
features of its Maya inhabitants. Exhibited are their charac-
teristic dwellings, their clothing, and their tools, as well as
important aspects of their religious cult and magical practices.

In addition, brief labels provide historical, demographic, social,
economic, and political facts.
The initial unit shows something of the Chontals, and
includes one of their characteristic huts made of wooden poles
covered by a thatched roof, with its sparse furnishings and few
domestic utensils. There are examples of ceremonial masks, and
a typical fishing site is illustrated by means of photographs.
The visitor is next introduced to the Lacandon Indians, who
are probably the most primitive element in Mexico. Tribally
organized and peripheral to national life, they live in the tropical
forests and woods, constantly moving their simple huts and
strips of cultivation from one site to another. Two life-size
models wearing dresses made of majagua bark and robes of
coarse unbleached muslin show how they clothe themselves. Ill- 1^7
Their agricultural activities are more or less confined to the
growing of corn and tobacco, and these products, as well as
domestic utensils, farming equipment, bows, arrows, and
189
musical instruments peculiar to the Lacandon Indians, are

exhibited in a number of show-cases.
ceremony is reproduced as a separate dis-
Part of the balche
play, accompanied by a recording of songs and prayers con-
nected with the ritual. Balche is an intoxicating beverage
believed to possess magical properties.
The coverage of the Choi culture, about which little is known
either past or present, has had to be confined to a few exhibits,
mostly items of clothing.
The visitor then passes on to the Maya of Yucatn and Cam-
peche. Here he will find a full-sized replica of a typical house,
made of stones and with thatched roof, containing numerous
utensils, as well of designs and colours.
as hupiles in a variety
///. 168 The model of a woman is shown weaving fibres of henequn or
hemp near by appears a specimen of the plant itself, accom-
;
panied by photographs of the now-mechanized operations

used to process it and the end-products thereby obtained -
bags, shoulder bags, threads, twine, cords, handkerchiefs, and
slippers. There are also several unique pieces of gold jewellery.
A diorama presenting in detail a pagan ceremony in which the
rain god, Cha-Chac, is invoked in order to ensure a good crop of
maize reveals the anxiety manifest in much of Mayan life.
The next hall is concerned with the Maya of the Highlands of
Chiapas. Tzotzils and Tzeltals are grouped together since their
social and cultural forms fall into a general pattern common to
the w^hole area. Apart from subtle local variations, articles made
of clay and wood, headgear, clothing, and adornments are
alike, so these form a composite exhibit, with an indication of
the provenance of each item.
The tianguis are represented by a charming scene in which 16
III. 1 JO figures dressed in a variety of present-day garments representing
16 different municipalities appear.
A model illustrating a Chamula ground plot provides a
synthesis of the domestic life of this group. A group of nine
appropriately attired figures serve to illustrate wedding apparel,
as well as the clothing and disguises worn on special occasions
190
such as the of reHgious and poHtical officials,

investiture
Carnival festivities, and ceremonies in honour of Catholic saints. ///. 1 71
In conclusion there are exhibits relating to the cult of the
cross, a mural painting which interprets the magic world of the
Highland Maya, and a domestic altar used by Mames and
Tojolabals. At present no ethnographic materials are available
two last-mentioned groups, but a salvage programme
for these
has been instituted by the Museum, and this should provide
new acquisitions to make up the deficiency.
North-western Mexico
Politically and geographically North-western Mexico com-
prises the Peninsula of Lower California, the State of Sonora,
the central and western parts of Chihuahua, and northern
Sinaloa. Desert, coastal plains, and mountains characterize this
extensive region, and at the same time lend indigenous cultures
an individual aspect.
Of the various groups inhabiting this area three - the Seris,
Tarahumaras, and Yaquis - are represented in this hall. These
peoples remained marginal to Mesoamerican civilization and
lived mainly by hunting, gathering, and fishing, although the
Yaquis later learned to practise agriculture and pottery. War
and extermination characterized their first contacts with the
white man, but Jesuit and Franciscan missions left an indelible
impression on cultural forms which still persist.
The Seris, inhabiting two small localities in Sonora, constitute
one of the smallest groups; they number scarcely 300. Some
important aspects of their culture are a barter economy based
on catching sea-turtles; basketwork similar to that of groups in ///. 166
the United States Southwest facial painting by the women and
; ;
ceremonies invoking magic such as puberty rites and ritual

games with sticks. The most typical designs of facial painting
are among the exhibits.
The Tarahumaras, numbering approximately 50,000, in-
habit the region known as the Sierra Tarahumara. In the high
191
valleys they practise slash-and-burn agriculture, put wood to a

variety of uses, and make woollen garments. However, in the
winter, when they move to the deep ravines, using natural
caves as dwellings, they engage in crafts employing palm fibres
and live on a modified diet that includes chilli, onions, and
-
tomatoes.
Of particular importance where the ceremonial side of
Tarahumaran life is concerned are native doctors who specialize
in the peyote cult and ritual sacrifice of large cattle. These events
are accompanied by songs and dances, some of Colonial origin
and others prehispanic. These aspects are illustrated by means of
colour photographs, supplemented by a variety of objects used
on these occasions.
That leaves the Yaquis, who represent the coastal plains
culture and number some 12,000 souls. They are congregated in
eight towns scattered over an area of approximately 540,000
hectares, and their principal characteristic is the high regard they
have for the land. They regard it as having been a divine gift,
and their habits and customs are intelligible only within this
context.
The social, political, and religious organization of the Yaquis
derives from the framework established by the Jesuits during
the period when these people were under tutelage.
Music and the dance constitute another important aspect of
///. 164 their culture. The Deer Dance and that performed by the
Pasclas are especially noteworthy, in that they are artistically
conceived and dramatically rendered by singularly agile
performers. Sculptures in natural size, as well as musical
instruments, masks, and unusual adornments used on clothing
occupy this last section of the hall devoted to the Yaquis.
192
:
Modern Autochthonous Mexico

The last hall of the Ethnographical Section presents a synthesis of
the process of social and cultural change taking place in Mexico
today. On view at the entrance is a photographic mosaic
illustrating various projects (economic, educational, health,
etc.) calling for the participation of the native peoples, through
v^^hich the National Indigenist Institute is trying to integrate the
various ethnic groups into Mexican national life.
Facing this mosaic another unit w^hich expresses in a clear

is
and dignified manner the juridical and philosophic principle of

Benito Juarez, v^ho as President of the Mexican Republic set the
country on the road to progress Respect for the rights of others
:
signifies peace.
By means of photographs, paintings, and products of native
crafts, the next section of the hall show^s changes that have
occurred in Mexican culture and society through the centuries

prehispanic ceremonial centres, the ancient Cathedral of
Mexico City from Colonial days, as wêll as the superb archi-
tecture of the present National University of Mexico. In
addition, there are reproductions of prehispanic paintings
pertaining to food, music, the dance, and feats of vvâr; and
these are offset by photographs of today's National Symphonic
Orchestra and Modern Ballet, together with paintings by
contemporary artists, notably Diego Rivera.
Next, works of prehispanic poets are contrasted with excerpts
from the writings of outstanding present-day Mexican poets.
To conclude, a cross-section of the popular crafts of Mexico is
presented in the shape of objects made of ceramic, copper, tin,
palm fibre, and wood.
193
Quiroga
Ptzcuaro
Janitzio
Pichtaro
Patacho
Eronguaricuaro Yalalag
Atzompa
Coyotepec
Jalieza
Teotitin del Valle
Main cultural areas of Mexico
194
148 Costume worn by dancers in the
famous Feather Dance, performed
regularly by the Zapotees of the
Valley of Oaxaca.
149 Wooden mask used for certain
festivals by the Tarascans
151 (right) Small altarpiece made of

showing a Catholic Virgin.
feathers,
Example of ancient craft practised by
Tarascans
150 Pieces of early lacquer ware from

Uruapan, Michoacan
196
197
-Z"r
.1 MM-iiij
'
m Aij^ m til T^
M ma^ saw f
152 Four costumes from Oaxaca: from left
to right as usedby the Triqui from Cpala,
the Zapotees from the Isthmus (ancient
costumes), the Mixe from Cotzocon and the
Cinantecs of Ojitln
1 53 Domestic shrine of
the Huichols
199
154 Quechquemitl and bag
used by the Otomi peoples.
They are of prehispanic
origin
155 (far ri^ht) Hand-

embroidered blouse, used
by Nahua women of Tla-
comulco, Sierra de Puebla
156 Clothing worn

by Huichol shaman
157 i^^^ht) Costume

worn by Nahua
women from the
Sierra de Puebla
|iiiiiflit
ijb 1
^
i
i '
','HV.
158 (above, left) Vessels from
the Mixtee region of Acatln,
Puebla
159 (above) Huastec vessel

from Tantobal, Valles, San
Luis Potos
160 Nahua potters of Chi-

lilico, Huejutla, Hidalgo.The
type of ware made by them
is in common use in the
Huastec region
/4: ^ 203
i6i Chinantec woman (standing) and a Mazatec woman from Jalapa de
Daz carding cotton to prepare it for spinning
162 (r/jeÔ Woman weaving zapupe fibre, Tantoyuca, Veracruz
163 (right, belong) Scene fi-om the Huastec Ceremony for the New Maize
^<*-,-.^^î*as^^
m
.îL^-rxr^
104 Stag and human masks. The Deer Dance and the Pascla are the most
representative dances of the Yaquis and Mayos of Sonora
167 Lacandon woman with items of domestic equipment: loom, gourd

bowls, low bench for making tortillas, coarse clay vessel and shoulder-bag
containing various clay vessels and gourd bowls
166 Seri baskets, called coritas,

woven with spiral bands, are quite
similar to those made in the United
States Southwest
105 Net, basket and three-pronged harpoon used for fishing in
and streams of the Chinantec region in Oaxaca
rivers
1 68 Maya woman of Yucatn wearing a huipil, weaving henequn

fibre to manufacture morrales (shoulder-bags)
[
^pfi ;
I.
'"
:
-ir
N,
i >
^^m^mimm^
i69 (left) Popular clay crafts: the 'arbol de la vida' (tree of life) and the
mermaid from Metepec, State of Mexico; vessels from Tzintzuntzan and
Patamban (Michoacn) and copper articles from Santa Clara, Michoacn
170 (eft, Scene showing the different styles of Indian costume that
belotp)
distinguish the inhabitants of the Chiapas Highlands
171 Pair o mayordomos, who

supervise the veneration of Catholic images,
wearing clothing characteristic of Tenejapa in the Chiapas Highlands
J .'ttttj
9.
If
single piece of wood and usually
wider at the mouth than at the
base.
Coatepantli Wall of serpents.
Glossary Coatlicue 'She of the serpent skirt', goddess
of the earth, mother of the gods.
Cocijo 'Lightning', Zapotee god of rain.
Including Nahua and Spanish terms used in Text Codex Book in the form of a folding
screen, made of deerskin or bark
Acamapichtli First Mexica ruler, ad 1376-96 paper, and painted with hiero-
'Acatlaxqui' Dance performed in some Nahua glyphs and figures.
and Otomi towns in the region of Comisariado Group of authorities in charge
Pahuatln, Puebla. ejidal of administering and directing
Aguamiel Juice from the heart of the century agricultural work and enforcing
plant (Agave americana), a member agrarian laws on the ejido {q.f.).
of the Amaryllis family, from Copal Aromatic resin used as incense in
which pulque (q.v.) is made. religious ceremonies.
Ah Puch Maya god of death, lord of dark- Coyolxauhqui Lunar goddess; sister of Huitzilo-
ness and of drought. pochtli- the sun.
Ahuizotl Eighth ruler of Tenochtitln, ad Cuauhtemoc 'Eagle who fell.' Last ruler of the
1486-1502. Mexica who tenaciously defended
Alcalde Indian civil functionary in the Tenochtitln against the Spaniards
older traditional town govern- (ad 1521).
ment, which has been supplanted Cuauhxicalli Vase or container for holding
by the municipal government. human sacrificial offerings.
Atarraya Round, easily cast net with Cueravperi Creator goddess, mother of the
weights, used for fishing. deities; feminine principle in the
Atlatl Dart- or spear-thrower. creation.
Axayacatl Sixth ruler of Tenochtitln, ad Cuitlahuac Tenth ruler of Tenochtitln, a d
1469-81. 1520.
Bacabes, Among the Maya, beings stationed Curicaveri The most important god of the
or Bacabs in the four directions or cardinal Tarascans; the sun and fire and
points who supported the world. all that related to these elements.
They were also year-bearers. Eccentric axes Objects carved of flint or obsidian
Baktn Period of 144,000 days, used in in whimsical forms, including
the Maya Long Count. human figures in silhouette. They
Balche A fermented beverage prepared were common in the Maya region.
by the Maya by soaking skins of Ehecatl Mexica god of wind. He is repre-
various fruits with bark of the sented wearing a duck-billed buc-
Lonchocarpus tree and honey. calmask.
Cabecera Town in which the government Ejido Collectively-owned agricultural
of a municipio {q.v.) is established. and' pasture lands of a village,
Calmecac 'Row of houses.' School where recognized by law.
sons ofnoblemen were educated. Encomendero In Colonial times a Spaniard to
Chac Among the Maya, the god of rain whom Indian settlements were
and related phenomena, such as entrusted.
thunder, lightning, etc. He had Grooved axe Stone implement of petaloid shape
four assistants called Chaqus. with a groove for tying or fasten-
Chac-Mool Sculpture of a reclining individual ing it to a handle. The groove may
with a receptacle upon his stomach encircle the entire axe or only
for hearts of sacrificial victims. three-quarters of it.
Chalchiuhtlicue 'She of the jade skirt', goddess of 'Guaguas' Dance in which a cross made of
the waters, companion of Tlaloc. four poles is erected high in the
Chicomecoatl '7 serpent', Aztec earth goddess. air on which four men climb to
Chimalpopoca Third ruler of Tenochtitln, ad make it revolve. Of ancient origin,
1417-27. this dance is performed in the
Charola (batea Receptacle of circular or quad- region of Pahuatln, Puebla, and
de madera) rangular shape carved from a Papantla, Veracruz.
210
Glossary
Huchuetcotl 'Old God.' Deity of fire and god Municipo The smallest administrative sub-
of the centre of the earth. division of the State.
Huipil A long sleeveless shirt frequently Nawal Term for witch-doctors in whom
worn by the prehispanic Maya. specificpowers are vested.
Huitzilihuitl Second Mexica ruler, son of 'Negritos' Dance performed by a group of
Acamapichtli, A 1 396-1417. men one of whom is dressed as a
Huitzilopochtli 'Hummingbird of the south.' God woman and represents Malinche
of war who occupied the seventh (the Indian slave-girl who became
heaven;his colour was blue. mistress and wiUing helper of
Hunab K Supreme god of the Maya. Crea- Cortes); others wear masks and
tor of all existing things. play the role of buffoons.
Ik Maya god of wind and one of the Novena A ritual recitation of CathoHc
days of the calendar. He had four prayers, in church or at home, on
helpers called Iques. one night or on a series of nights.
Itzamn 'Dew from Heaven.' Maya god Padrinos The sponsors or god-parents of a
related to celestial phenomena. child at baptism or marriage.
Itzcoatl Fourth ruler of Tenochtitln, ad Palma Sculpture carved in stone for
1427-40. Famous reformer of the funerary purposes. It is related to
Mexica Empire. the ball-game and may repre-
Jicara Bowl made from a gourd. sent a plastron worn by the
Katun Period of 7200 days, used in the players.
Maya Long Count. Patojo Vessel shaped Hke a foot or shoe.
Kin Unit of time (a day), used in the Patolli Game similar to Royal Goose. It
Maya Long Count. Sun or lord. was played with beans or sticks
Kukulkn Bird-serpent. Deified culture marked with spots like dice, and
hero, equivalent of the Mexica on a reed mat painted with a
Quetzalcoatl (^.t^.) cross-shaped design.
Labret Ornament which was inserted in Peyote A cactus rich in peyotine and
the lower lip. It was usually mezcaline used by several Indian
cylindrical and had lateral wings. groups in magic ceremonies.
Macuilxchitl 'Five Flower.' God of games and Pinole A seasoned drink or gruel made
recreation. He was usually shown of maize ground and toasted.
emerging from a turtle carapace. Pizarra Yucateca Yucatecan slate ware. Pottery with
Majagua Carib word designating a tree of soapy, lustrous appearance, made
the Malvacean family. The timber in the Yucatn Peninsula during
obtained from it is very hard. the Puuc period, ad 600-1000.
Matachines Dance of Colonial origin adopted Plumbate ware Partially vitrified pottery, the sur-
by the Yaqui, Mayo, and Tara- face of which has a metallic lustre.
humara Indians. Posle An unfermented beverage of
Maxtlatl or Item of clothing similar to a maize and water.
Maxtle loin-cloth. 'Principales' Group of highly respected persons
Mayordomo Church official who is custodian who have acquired vast experi-
of the image of a saint or virgin ence through services rendered to
and hence responsible for seeing the town in administrative, politi-
that their cult is observed. cal, and religious offices.
Mictlantecuhtli Lord of the dead and of hell. Promesa A vow or sacred promise.
Mixcoatl 'Cloud Serpent.' The Milky Way Pueblo A legally recognized category of
and god of the hunt. municipal settlement having a
Moctezuma I Fifth ruler of Tenochtitln, ad government organization which
1440-69. includes a commissary and other
Moctezuma II Ninth ruler of Tenochtitln, ad officials.
I502-20. Pulque Beverage with low alcoholic con-
'Moros y Dance re-enarting a battle be- tent prepared from fermented
Cristianos' tween Catholic Spaniards and the ajûamicl (</.('.).
infidels or Moors. Today this is Quecholli 'Bird of rich plumage.' Month of

the surviving form of a dance the Mexica year dedicated to
introduced a few years after the Mixcoatl, god of the hunt.
Conquest. Quechqucmitl Shawl covering the breast and
211
Glossary
back, worn like a triangular over- Teocalli 'House of god', temple.

blousc# Tepeyolohtli 'Heart of the mountain'. Jaguar.
Quetzalcoatl 'Plumed Serpent.' Both a Nahua Tequila Intoxicating liquor distilled from
god and a culture hero. He is the roasted stems of the Agave
related to the planet Venus, the of century plant.
tequilana, a type
wind, and also has other aspects. Thin Orange Teotihuacn pottery having very
'Quetzales' Dance probably of prehispanic thin walls and an orange slip.
origin which is famous today It was used for commerce.
among the Nahuat people of Tianguis Native market held every week on
Cuetzalan, Puebla. Its distinctive a certain day at established sites.
feature is an enormous head-dress Tzoc Seventh ruler of Tenochtitln and
adorned with ribbons and feathers famous conqueror, ad 1481-86.
in brilliant colours. Tlachtemalacatl Ring of wood or stone used in the
Ranchera Small unincorporated settlement. ball-game. If of stone, it was
Rebozo Shawl covering the head and attached to the side wall of the
shoulders, traditionally worn by court and the players had to try
women. to pass the ball through it.
Red de Cucharn Small circular net tied to a pole, Tlachtli Field for the ball-game which had
for catching fish. the form of a capital I.
Regidor Elected town council official. Tlahuizcalpante- 'Lord of the House of Dawn.' The
Rezadora Woman adept at reciting Catholic cuhtli planet Venus as Morning Star.
prayers who serves at novenas Tlaloc God of rain and lightning.
iq.i'.) and other ceremonies. Tlalocan Paradise of Tlaloc, abode of those
'Santiagueros' Dance representing the struggle of whose death was attributed to
the Spaniards against the Moors. water (drowning, dropsy, etc.).
The principal character rides a Tlazolteotl Goddess associated with fertility
wooden horse and holds a sword and birth. Mother of Centeotl,
in his hand. god of maize.
Sarape Blanket worn male attire.
as 'Tocotines' Dance performed by Tepehua
Shaft-tomb Burial comprising a
structure and Totonac men of the Puebla
chimney or descent shaft and one Mountains, wearing crowns and
or more intercommunicating capes and carrying rattles. In
rooms. certain towns the dance is pre-
Stirrup-spout Handle formed by a curved hol- sented by a group of girls who
handle low tube with a short neck or wear crowns of flowers and carry
spout in the middle where liquid rattles.
can be poured in or out. Tonalpohualli Mexica religious calendar of 260
Tamal A dish made from maize dough days.
with a great many alternate fla- Tonatiuh Solar god of the Mexica.
vourings, including chilli pepper Topiles Young men employed by the
sauce and sweetened cinnamon. municipio (q.u.). They on the
are
Tapextle Crude bed, consisting of a frame- first rung of the ladder in the muni-
work of wood, strengthened with cipal government or in the reli-
rods or canes and supported on gious structure. They are also
four forked sticks. called 'semaneros'.
Taricuri Tarascan god and culture hero, ti'Toreadores' Dance simulating a bull-fight,
similar to the Mexican Quetzal- with the animal represented by a
coatl (q.u.) dancer wearing a bull's head and
Tecomate Globular jar without neck or a framework covered with the
rim; the term also refers to a animal's skin. In the Puebla Moun-
vessel shaped like a gourd-bowl. tains a drum and flute provide
Telar de cintura Belt or back-strap loom, one end accompaniment.
of which is fastened to a post, the Totonacapan In ancient times the land of the
other tied to the weaver's waist. Totonacs, comprising part of the
Telpochcalli Popular school where boys were Gulf Coast and extending as far
trained for war. as the Puebla Mountains. Its main
Temalacatl Circular stone where gladiatorial centre was Cempoala.
combat took place before sacrifice. Tun Period of 360 days, almost a solar
212
I 7
32
Glossary
year, used in the Maya Long Xochipilli Prince of flowers, patron of the
Count. dance, games and love.
Lî'iiil Period of 20 days, used in the Xochiquetzal Cioddcss of love and beauty.
Maya Long Count. Patroness of domestic work and
Voladores Name for participants in the 'Pole of flowers.
Dance'. Ycata Temple base combining rect-
Xipe Totee 'Our lord the flayed one.' Ciod of angular and circular elements,
spring-time and of jewellers. typical of Tarascan architecture.
Xiuhcoatl The fire serpent. He accompanied Yerbatero, -a Spanish term for a shaman, and
the sun in its journey through the more a person who
generally
firmament. with herbs.
treats illness
Xiuhtecuhtli Lord of the year, of grass, of Yoke Sculpture carved in stone for
turquoise, and of fire. funerary purposes in the form of
Xocotlhuetzi Month of Aztec calendar in which a horseshoe and representing the
the ceremony of the falling fruit wide protective belts worn by
was celebrated. ball-players.
Museum Catnlogue Numbers oj Items Illustrated
4 4-751 43 15-103 81 1-3331 121 5-1005

5 4-1776 44 15-199 82 13-456 122 5-1 1
6 13-784 45 11-3330 83 13-428 125 12-945

7 20-730 46 11-3225 84 13-419 126 1 2-6 1
8 1-2390 47 11-3224 85 4-1887 127 12-608, 12-614
9 1-3364 48 11-3425 86 4-1090 128 12-682
10 1-3363 49 11-3295 87 4-998 129 12-978
II 1-3365 50 11-3290 88 4-183 I 130 12-537, 12-561
12 1-2298 51 11-2767 89 4-1002 131 2-4849
13 1-2578 52 11-3291 90 4-1889 132 2-4843, 2-4894
14 1-2342 53 11-2774 91 4-984 133 2-5616, 2-6148
15 1-2705, 1-2703 54 11-3729 92 4-988 134 2-1666
16 1-2472, 1-2469, 55 11-3015 93 4-1009 135 2-3465
1-2270, 1-2484 56 11-3426 94 4-1006 136 2-5447
17 1-557 57 11-2765 95,963-588 137 2-1345
18 1-1321, 1-1322 58 11-2606 97 3-531 138 2-5866
19 9-2548 59 11-2916 98 4-1926 139 2-4932
20 9-2557 60 11-2759 99 3-402 140 2-4996
21 9-2859 61 6-4681 100 3-541 141 2-6123
22 9-2498 62 6-5311 loi 3-391 142 2-4816
23 9-686 63 6-29 102 3-590 143 2-4992, 2-4993
24 9-2407 64 6-607 103 5-75 144 2-6 1 1
25 9-2566 65 6-6001 104 5-1 2 10 145 2-4263
26 9-1697 66 7-1695, 7-1696 105 5-1411 146 2-6466
27 9-3283 67 6-4846 106 5-1037 147 2-6465
28 9-1700 68 6-6439 107 5-564 149 28377(63)20.29-492
29 9-500 69 6-55 108 5-1636 150 25455(63)20. 56g- 1 80,1
30 9-759 70 7-2342 109 5-1763 25667(61)20. 56g-388 1
31 9-2847 71 7-2345 no 5-1651 154 25lo8(6i)i4.38c-l95,

32 14-10 72 7-2337 III 5-1644 24813(61)13. 38C-38
33 14-9 73 7-2539 112 5-1637 155 6463 5(64)9. 1 3g 1 0-850
34 14-2 74 7-2687, 7-2685, 113 5-1676 158 28596(63)9.3731-527,
3 5 15-62, I 5-68, 15-65 7-2313 114 5-1761 28674(63)9.3731-545
36 15-35 75 3-587 115 5-1473 159 67292(64)14.3631-497
37 15-151 76 13-621 116 5-1762 1
64 26679(63)30.3 f7c-64, I
38, 39 15-1 96 77 13-659 117 5-1083 33308(63)30.3 f7c-i66 I
40 15-169 78 4-1007 118 5-1638 166 34869(64)30.0863-40,

41 15-104 79 13-533 119 5-1060 34872(64)30.o8b3-43,
42 15-27 80 13-420 120 5-1764 34887(64)30.o8b3-58
213
4
Chinkultic 131, 136 El Tamuin 1 14

Chols 189, 190 El Trapiche 33
Cholula 67; Los Reme- Eronguarcuaro 180
dios, church of 67 Etla 95
Index of Names Cholultec 67 Etzatln 161
Chontals 189
Fine Orange ware 136,
Chupcuaro 20, 23, 37,
138
153, 159, 160 Codex 80
Florentine
Cihuateteos 83
Flyers, dance of the see
Cihuacoatl 81
Voladores
Acamapichtli 77 24, 33if., 48, 95, 152, Coahuila 30
Foliated Cross panel 136
Ah Puch'133 183 Coatepantli, coatepantli
Ahuizotl 78 Central Veracruz civi- 66, 79 God with a Bow in his
Ajalpan 33, "S lization 34, 62, 63, 64, Coatepec 64 Head-dress 99
Alamn, Lucas 8 109, III, 112; style 51, CoatUcue 8, 24, 81 Grijalva River 109, 131
Alvarado iii 112 Coba 131 Gualupita 34
Alvarado Stela 109 Cerro de las Mesas no, Cocijo 97, 98 Guanajuato 20, 29, 37,
Anguiano, Raul 24 III Coixtlahuaca 99 77, 152, 153, 159, 181
Atlacomulco 182 Cerro de las Palmas 29 Colima 20, 159, 160, 161 Guasa ve group 162;
Atzompa 186 Cerro del Tecolote 29 Cporo see El Cporo River 159
Axayacatl 78 Cerro del Tepalcate 24, Colombino Codex 99 Guatemala 80, 131, 136
Azcapotzalco 77, 78, 80 38 Copan 63, 136, 138 Guerrero 20, 80, 1 59, 162
Aztatln Complex 162 Cerro Montoso 113 Copilco 34 GulfCoast20, 33,34, 35,
Aztec(s), Azteca 10, 20, Cerro Yohuarato 164 Cora Indians 177 if. 48, 50, 67, 95, 96, 113;
21,23,63,64,67,77,78, Cha-Chac, Chac 133, Costa Rica 20 cultures 109 if., i87f.
80, 81, 82, 83, 95, 115, 136, 137, 190 Coxcatln 30
Hidalgo 21, 64, 181
179; 'Aztec Calendar' Chac-Mool 66, 137, 164 Coyolxauhqui 82
Hochob 131, 138
see Sun Stone Chalcatzingo 34 Coyotepec 186
Hohokam culture 153
Aztln 77, 78 Chalchihuites 153 Coyotlatelco period 50;
Honduras 20, 63, 131,
Chalchiutlicue 48, 51 pottery 64
Bacabs 133 136
Chalco 79 Cuanaln 38
Balsas Valley, River 159, Huamelulpan 96
Chama 131 Cuauhtemoc 78
163 Huasteca, Huastec(s) 20,
Chamula 190 Cuauhtitln, Annals of
Belice 131 34, 65, 80, 109, 112,
Chapultepec 10, 77, 78, 64
Bodley Codex 99 114, 115, 187, 188
79; Park 10 Cueravperi 163
Bolontij 133 'Huastec Adolescent' 1 1
Chaqus 133 Cueva Espantosa 30
Bonampak 21, 131, 138, Huaves 184
CharlesIII of Spain 8 Cuicacalli 79
139; Temple of Paint- Huehueteotl 24, 37, 48,
Chenes style 138 Cuicuilco 24, 34, 38
ings 138 52, 81, 97, III, 112
Chiapa de Corzo 33 Culhuacn 77
British Honduras 131 Huemac 67
Chiapas 30, 33, 80, 95, Culiacan group 162
Bull Fighters, Dance of Huichol Indians 177 ff.
131, 133, 189, 190 Curicaveri 163
the 184 Huijatoo 98
Chicanel phase 134
Deer Dance 192 Huitzilihuitl 77
Calakmul 131, 136 Chichen Itz 21, 24, 63,
Desert Cultures 1 52 Huitzilipochtli 77, 79, 81
'Calendar Round' 131, 137; Castillo 138;
Dresden Codex 135 Hunab K 133
(Maya) 134 Sacred Cenote 138;
Durango 29, 152, 153
Calmecac 79 Temple of the War- Ihuatzio 162, 164
Dzibilchaltn 34
Campeche 131, 138, 189, riors 137 Iques 133
190 Chichimec-Jonaz 181 Eagle Knight 78 Isla de Sacrificios in,
Caada Marfil 29 Chichimecs 67, 77 Edzn 34, 131 113
'Canvas of Jucutacato' Chicoloapan 30 Ehecatl 81, 112 Itzamn 133
163 Chicomecoatl 24 Ek Chuah 133 Itzcoatl 78
Casas Grandes 154 Chihuahua 152, 154, 191 El Arbolillo 33, 35 Ix Asal Uo133
Castillo de Teayo 109 Chilchotla 180 El Cporo 153 Ix Chel 133
Cazonci 163 Chihlico 188 El Opeo 34,160 Ix Tab 24, 133
Cazones River 114 Chimalpopoca 77 El Salvador 131 Ixtapalapa 79
Ce Acatl Topiltzin Que- Chinantec(s) 184, 185, El Tajn 62, 109, ni, Ixtlahuaca 182
tzalcoatl 67 186 112, 113, 187, 188; Los Ixtln group 162
Central Highlands 21, Chinantla 185 Nichos pyramid 112 Izapa 34, 133
214
1 , 1 11 2
Index
Mexico, State of 29, 33, Orizaba 1 1 Quiroga 80 1 ; Don Vasco

Izapa Tablet 109
Ostutla 163 de 180
Izcar 33 131, 181
Mezcala 20, 63, 159, 162 Otoinangue 1 8
Jaina 132
Rancho Weicker 29
Mezquital, Valley of the Otomis 64, 174, 181 fif.,
Jalicza 186
Remojadas 34, 109, in;
181 183
Jalisco 29, 159, 160, 161,
culture 1 1
Miccaotli phase 49 Oxlahuntik 133

177
Rio Juchipila 29
Michoacn 20, 153, I59, Pacific Coast 50 Rivera, Diego 193
Janitzio, Island of 181
Jonuta Tablet 136
162, 163, 164, 179 Palacio Quemado see
Mictlantecuhtli 24, 52,
Tula, 'Burned Palace' Sahagn, Fray Bernard-
Juarez, Benito 193
81, 112, 115 Palenque 21, 24, 131, ino de 7, 63, 114
Juchitn 96 Michuaque 179 136, 137; Aqueduct San Antonio 186
Juniiltepec 64
Misantla 1 13 San Joaquin 29
137; Palace 137; Tem-
Kabh 131, 137 Mitla 95, 99 ple of the Count 137; San Lorenzo 33
Kaminaljuy 34, 131 Mixe 185 Temple of the Foliated San Luis Potos 114, 152,
Kukulkn 133, 137 Mixteca, Mixtec(s) 20,
Cross 136, 137; Temple 153, 181, 182
21, 23, 67, 95, 99, 100,
of the Inscriptions 137; San Miguel Allende 153
Labn 131 loi, 138, 184, 185
Temple of the Sun 137 Santa Clara 180
Lacandon Indians 189,
Mixtec-Puebla 67 Pames 181, 182 Santa Isabel Ixtapan 29,
190 Moctezuma, Head-dress Panuco 34 30
Lago de Cuitzeo 153 Santa Marta 30
of 79 Ppago Indians 154
Laguna Chpala 30 Moctezuma Ilhuicamina 'Santiagueros', dance
Larrauri, Iker 30
Papaloapan 1 1
Papantla 113, 187, 188 188

La Quemada 153, 154 Moctezuma Xocoyotzin Selden Codex 99
'La Malinche' (Xochi- Paracho 180
78 Pasclas 192 Seris 174, 191
calco) 63
Monte Albn 34, 62, 96, Paso de Ovejas in, 112 Sierra Madre Oriental
La Venta 33, no, ni 100, no;
97, 98, 99, Ptzcuaro 162, 180; Lake 183
La Ventilla 5 1 Los Danzantes 96, 97
164, 179
Simojovel 1 10
Lempa River 1 3 1 'Moors and Christians', Sinaloa20, 159, 162, 191;
Pescadores, dance of the
Leon y Gama, Antonio dance 188 River 20
181
de 8 con-
Morcillo 163 Pichtaro 180 slope-and-panel
Lirios 1 12
Morelos 33, 62 Piedras Negras 131, 138 struction 47, 52, 65
'Long Count' (Maya)
Motagua River 20 Pima Indians 154 Smiling Head figurines
134 Motines del Oro 163 12
'Los Danzantes' see Plains Culture 152 1
Motolinia, Toribio de plumed serpent see Que- Soconusco 80

Monte Albn
163 tzalcoatl Sonora 29, 191
Lower California 29, 30,
'Pole Dance' see Vola- Soto la Marina River 20,
191 Nahuas64, 174, 187, 188
dance of the 109, 114
Nahuat, Nhuatl 82, 95, dores,
Macuilxchitl 81, 84 Pomaro 163 Spaniards, Spanish Con-
181, 183
Malinalco 84 Puebla 33, 67, 113, quest 7, 21, 22, 23, 67,
Nanahuatl 64 30,
Mames 189, 191
National Indigenist In- 181, i83f., 187 78, 79, 113, 139, 152,
Mateos, Lopez 9 Pueblo Indians 154 164, 174
stitute 193
Matzanel period 135 Subterrneos (Teotihua-
Nautla 1 1 Puerto Angel 96
Maximilian, Emperor 8
Nayarit 20, 60, 61 Puntita Blanca 29 cn) 47
1 59, 1 1
Maya 10, 20, 21, 23, 34, Puuc, period, style 65, Schil 153
177
62, 63, 64, 97, III, Sun Stone (Mexica) 8, 82
Nebaj 131 137
131 if., 174, l89ff. 'Negritos', dance 188
'Queen of Uxmal' sculp- Tabasco 20, 109, ni,
Mayapn 131
Netzahualcyotl 78 ture 137 131, 189
Mazahuas 181, 182
Nicoya, Gulf of 20 Querndaro 153 Tablet of Huilocintla 113
Mazapn 65 Nopiloa in, 112 Querctaro 114, 181, 183 Tablet of Tcpetlaxco 113
Mazatn 34
Nuttall Codex 99 'Quetzal Birds', dance Tacuba 79, 80
Mzateos 184, 185
Oaxaca of the 184 Tacubaya 29
Mcndocine Codex 80 10, 21, 30, 48, 62,
Quetzalcoatl 24, 63, 64, Tajn see El Tajn
Mesa Verde 54 i 95 ff, 174, i84ff.
Ocelocuauhxicalli 78 66, 81, 98, 99, 109, 14, talud and tablero see slope-
Metepec phase 50 1
Ochpanitzli 15 115 and-panel construction

Mexica 63, 77 ff-. 1^- 1 1
Olmec(s) 20, 23, 35, J6, Quiahuiztlan in, 113 Tamahumaras 191, 192
162, 164, 183; see also
Quintana Roo 131, 189 Tamaulipas 20, 101, 114
Aztec(s) 95, 9^^ 09, 1 10, II'
Mexico City 77 Olmec-Xicalancas 67 Quiriga 138 Tamoanchn 63, 64
215
1 1
Index
Tarascans 20, 23, 159, Tilantongo 99 calpantecuhtli 65, 66 Xochicalco 62, 63, 64,
162, 163, 164, I79ff. de la Peregrinacin'
^ 'Tira Tulacingo 64 65; 'The Indian
Taricuri 163 78 Tulm 21, 131, 138; Woman' 63; 'Palace
Tehuantepcc96, 185, 186 Tzoc 8, 78, 79; Stone of Palace 138; Temple Stone' 63 Temple of
;
Telpochcalli 79 78 of the Descending the Plumed Serpent 62

Tenango del Valle 110 TlacatecuhtH 81 God 138; Temple of Xochimjlco 79
Tenayuca 78 Tlacochcalli 79 the Frescoes 138 XochipiUi 84, 98, 112
Tenochtitln 24, 77, 78, Tlacolula 95 Tututepcc 99 Xochiquetzal 112, 115
79, 80; Great Temple Tlaloc 24, 37, 48, 49, 51, Tuxtla Statuette no Xolalpan period, phase
79; Temple of Que- 53, 63, 79, 81, 97, 112, Tzacualli culture 49 50
tzalcoatl 79 115 Tzeltals 189, 190 Xolotl (Chichimec) 67,
Teocalli de la Guerra 'Tlalocan' 51 Tzintzuntzan 162, 164 78
Sagrada 78 Tlaltecuhth 82 Tzotzils 189, 190 Xomiltepec 63, 64
Teotihuacn 10, 21, 23, Tlamimilolpan 49
Uaxactn 34, 131, 136 Yagul 99
24, 38, 47ff., 62, 63, 64, Tlapacoya 34, 35, 38
Uayameo 162 Yalalag 186
65, 97; civilization 20, Tlatelolco 80, 82
Uinturpati 163 Yanhuitln 99, 100
34, 67, 135; pottery Tlatilco 23, 33, 35, 37
Ulua Valley 131 Yaquis 174, 191, 192
49-50; Avenue of the Tlatoani 81
Usumacinta 80, 136 Yaxchiln 21, 131, 136
Dead 48 Cuidadela 48,
; Tlaxcala .33, 67
Uxmal Young God
63, 131 98
52; Market 52; Pyra- Tlazolteotl 81, 115
Yucatn 63,189, 190;
mid of the Moon 38, Tojolabals 189, 191 Valley of Mexico 10, 30,
peninsula 131, 135, 137
47; Pyramid of the Sun Tollan see Tula 33, 35, 36, 48, 77
Yum Kaax 24, 133
24, 38, 47, 52; Temple Toltec(s) 10, 20, 21, 49, Veracruz 10, 20, 23, 109,
of Agriculture 47; 62 ff., 77, 164 no, III, 114, 188 Zarxhila 100
Temple of Quetzal- Tonatiuh 24, 81, 82 Viejitos, dance of the 181 Zacatecas 29, 152, 153
coatl 47, 51, 52 Tonina 131, 136 Viejn 34 Zacatenco 33, 35, 38
Teotitln 99 Topiltzin 64 Vindobonensis Codex Zacatula River 163
Teotitlndel Valle 186 Totonac(s) 20, 109, iii, 99 Zaculeu 13
Teozacoalco 99 112, 113, 114, 183, 187, Voladores, dance of the Zapotec(s), Zapoteca 20,
Tepehua 183 188 112 21,23,34,63,64,95,97,
Tepexpan 29, 30 Totonacapan kingdom 98, 99, loi, 184, 185,
Wisconsin glaciation 28
Tepeyac 79 183 186
'Wrestler, The' 109
Tepeyoyotli 24 Tres Zapotes 34, 1 10, 1 1 Zempoala in, 113;
Tequisquiac 30 Tro-Cortesian Codex Xaratanga 163 Temple of the Chim-
Texcoco 78, 79 133 Xilonen 81, 112, 115 neys 113; Temple of
Tezcatlipoca 24, 81 Tula 21, 63, 64, 65, 66, Xipe, Xipe Totee 24, 98, Quetzalcoatl 113;
Thin Orange ware 49, 53 67, 77;'Burned Palace' 112, 115 Temple Mayor 113
Ticomn 34 38 65; Temple of the Sun Xiuhcoatl 83 Zimatln 95
Tikal 24, 34, 131, 136 65 Temple of Tlahuiz-
; Xiuhtecuhtli 100 Zope Lagune 96
216
t
75-2a
$3-95 Ri6
This edition for sale only in the USA, its dependencies, and the Philippines
A I)|-||j4-
^ÛVIUL f-Kic
LI 1
Three thousand years of art and life are superbly displayed in
19 'pi^g National Museum
of Anthropology, in Chapultepec Park,
qqq|# Mexico City. Opened in 1964, it embodies entirely new concepts
of museum design. Years of planning were devoted to ensuring
that the collection (the richest accumulation of Mexican artifacts
in the world) would be rehoused in a building specially designed
for it, and providing ample space for future acquisitions.
Specialists in many fields participated: anthropologists photo-
graphed Mexican tribes; archaeologists excavated sites in order
to fill gaps in the collection; craftsmen executed reconstructions
of vanished civilizations. The outcome is a comprehensive and
scientifically ordered panorama of the ancient cultures of
Mesoamerica, from prehistory to the Spanish conquest, and their
still continuing heritage. The plan of this book (written by the
museum's director, and by two of the curators) follows that of

the museum. After the opening chapter by Ignacio Bernal, who
surveys the history of the museum and its collection, Romn
Pia-Chan describes the archaeological section of the building,
in which the history and artistic achievements of the ancient
Mexican civilizations are displayed. The ethnographical section
(surveyed here by Fernando Cmara-Barbachano) presents the
indigenous peoples of Mexico as they have survived to this day:
their dwellings, costume, languages, customs, occupations, and
environment. The text is lavishly accompanied by illustrations
of the museum's varied riches, from the gold ornaments of the
Mixtees to the dance masks of the Yaquis; from the strange
ritual objects of the Aztecs to the traditional costumes which are
still among the splendors of Mexican folk art.
Ignacio Bernal, born in 1910, received his doctor's degree in archaeology from
the National University of Mexico. He was Director of the
Department of Anthropology, Mexico City College, 1948-59,
and has been a professor at the National University of Mexico
since 1948. From 1962 to 1968 he was Director of the National
Museum of Anthropology, Mexico, and since February, 1968,
has been Director of the National Institute of Anthropology and
History, which supervises all the museums and research connected
with these subjects in Mexico. His many publications on antliro-^
pological and archaeological subjects include Ancient Mexico
in Colour; Mesoamerica; Mexican Wall Paintings of the Maya and
A^tec Periods; Mexico before Corte':(^; and Mexican Art.
jji illustrations^ including 26 in full color -
Write for a complete catalogue 0/ ABRAMS ARTBOOKS
HARRY N. ABRAMS, INC. no East SQth Street, New York, N.Y. 10022
Distributed by New American Library

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"'

The National Museum of Anthropology, Mexico City

PHOTOGRAPHS BY IRMGARD GROTH

HARRY N. ABRAMS, INC. PUBLISHERS NEW YORK

Abrams Deluxe Art Paperbacks are published by

Standard Book Number: 8109-2037-9

THE ORIGINS, AIMS AND ACHIEVEMENTS OF THE MUSEUM

THE ARCHAEOLOGICAL SECTION Roman Pia-Chn

2 View from the Vestibule across the central patio

The study of anthropology - although not under this name -

of recalling past glories and sometimes of obtaining advantages

the sites of most of the native cities arose new, European-style

historian Lucas Alamn. Gradually, although with no definite

and natural science collections. It was not until 1940 that -

must fulfil its destiny by a proud affirmation of this hybrid

history. The fact that many of the objects are masterpieces of

together they form a single civihzation. Styles co-ordinated by

of objects from the past will only present a true picture of

in the Valley where the Aztecs first chose to settle.

beneath it the Orientation Room containing a small amphi-

roof measuring 82 by 84 metres with only one central support,

(Above right) First-floor plan of Museum

3 View of main entrance to the Museum

The diverse indigenous cultures of Mexico, both those which

study of man. There are four interrelated sections corresponding

archaeology, linguistics, and ethnography.

process of evolution - through genetic and morphological

deceased or living individuals, for demographic purposes;

speciahzed; and the Upper Palaeohthic, during which man

which studies present-day man and his society by investigating

informants, preparing questionnaires, and applying modern

classifiedand further elaborated with statistics, graphs, maps,

By way of illustrating the economic and technological

cipally gatherers; the Haidas, with a system of specialized

survive in an inhospitable environment; the Hopis, with an

conveyed - again illustrated with material from various

Regions and archaeological sites of Mesoamerica

Etzatln San Miguel Allende

A general frame of reference for the indigenous culture of

y acatas and pipes from Michoacn; stone carving from Mezcala,

Depicted too are Teotihuacn mural paintings and vases

Hidalgo, and the twin temples and sculptures of the Aztecs,

All these cultures evolved in geographic regions that show

short by the Spanish Conquest.

avocado, tobacco, cotton, and many other utilitarian and

slings, traps, harpoons, fish-hooks, fish spear, canoes, nets, and

composed of merchants, and minor

who excelled. They worked gold, silver, copper, tumbaga - an

glyphic inscriptions, as well as imposing statues of gods.

are indicated. This aspect of Mesoamerican culture is evoked by

Underworld; also Tezcatlipoca, Yum Kaax, Xipe, and

Ehecatl, Tonatiuh, Huehueteotl, and Ix Tab, the celestial gods.

and numeration, the invention of zero, the vigesimal system,

platforms giving rise to stepped bases like that of Cuicuilco

4 Polychrome figure wearing hat, perhaps a dancer. Clay. Central Vera-

deity holding the umbihcal cord

Let there be light

As the name indicates, shows the populating of Mexico,

the Old World, consisting of choppers, scrapers, and elementary