MANUFACTURE OF POTTERY.
At Cholula the best pottery was made, but throughout the whole country nearly all the dishes used were of clay. Pots, kettles, vases, plates for domestic use, as well as censers and other utensils for the temple service, also idols, beads, and various ornaments were modeled from this material. The early Spaniards were enthusiastic in praising the native potters' skill, but beyond the statement that vessels of earthen ware were glazed and often tastefully decorated, they give no definite information respecting this branch of manufactures. Many small earthen trumpets, or flageolets, capable of producing various sounds, and of imitating the cries of different birds, have been found in different parts of the Mexican Republic. Fortunately relics of pottery in every form are of frequent occurrence in the museums, and from the description of such relics in another volume the excellence of Aztec pottery may be estimated. Besides the earthen dishes, and vessels of metal and carved wood, some baskets were made, and drinking-cups or bowls of different sizes and shapes were formed from the hollow shells of gourds. These were known as xicalli, later jicaras, and tecomatl.[602] Seashells were also used as dishes to some extent.[603]
The finer kinds of cloth were made of cotton, of rabbit-hair, of the two mixed, or of cotton mixed with feathers. The rabbit-hair fabrics were pronounced equal in finish and texture to silk, and cotton cloths were also fine and white. Fabrics of this better class were used for articles of dress by the rich, nobles, and priests; they were both woven and dyed in variegated colors. The cloths in the manufacture of which feathers were employed often served for carpets, tapestry, and bed-coverings. Maguey-fibre, and that of the palm-leaves icxotl and izhuatl were woven into coarse cloths, the maguey-cloth being known as nequen. This nequen and the coarser kinds of cotton were the materials with which the poorer classes clothed themselves. The palm and maguey fibres were prepared for use in the same manner as flax in other countries, being soaked in water, pounded, and dried. The same material served also for cords, ropes, and mats. A coarser kind of matting was, however, made of different varieties of reeds. All the work of spinning and weaving was performed by the women, forming indeed their chief employment. The spindle used in spinning, shown in many of the Aztec manuscripts, was like a top, which was set whirling in a shallow dish, the fibre being applied to its pointed upper extremity until the impetus was exhausted. All we know of the native process of weaving is derived from the native paintings, a sample of which from the Mendoza Collection, showing a woman engaged in weaving, may be seen in [chapter xvii.] of this volume.[604]
MAKING OF CLOTH AND PAPER.
Paper, in Aztec amatl, used chiefly as a material on which to paint the hieroglyphic records to be described in a future chapter, was made for the most part of maguey-fibre, although the other fibres used in the manufacture of cloth were occasionally mixed with those of this plant. The material must have been pressed together when wet, and the product was generally very thick, more like a soft paste-board than our paper. The surface was smooth and well adapted to the painting which it was to bear. Certain gums are said to have been used for the more perfect coherence of the fibre, and the amatl was made in long narrow sheets suitable for rolling or folding. Humboldt describes certain bags of oval form, the work of a species of caterpillars, on the trees in Michoacan. They are white and may be separated into thin layers, which, as the author states, were used by the ancient inhabitants in the manufacture of a superior kind of paper.[605]
The skins of animals killed by the Nahua hunters were tanned both with and without the hair, by a process of which the authorities say nothing, although universally praising its results. The leather was used in some cases as a sort of parchment for hieroglyphic writings, but oftener for articles of dress, ornament, or armor.[606]
DYEING AND PAINTING.
In the preparation of dyes and paints, both mineral, animal, and vegetable colors were employed, the latter extracted from woods, barks, leaves, flowers, and fruits. In the art of dyeing they probably excelled the Europeans, and many of their dyes have since the conquest been introduced throughout the world. Chief among these was the cochineal, nochiztli, an insect fed by the Nahuas on the leaves of the nopal, from which they obtained beautiful and permanent red and purple colors for their cotton fabrics. The flower of the matlalxihuitl supplied blue shades; indigo was the sediment of water in which branches of the xiuhquilipitzahuac had been soaked; seeds of the achiotl boiled in water yielded a red, the French roucou; ochre, or tecozahuitl, furnished yellow, as did also the plant xochipalli, the latter being changed to orange by the use of nitre; other shades were produced by the use of alum; the stones chimaltizatl and tizatlalli being calcined, produced something like Spanish white; black was obtained from a stinking mineral, tlaliac, or from the soot of a pine called ocotl. In mixing paints they used chian-oil, or sometimes the glutinous juice of the tzauhtli. The numerous dye-woods of the tierra caliente, now the chief exports from that region, were all employed by the native dyers. It is probable that many of the secrets of this branch of Nahua art were never learned by the Spaniards.[607]
The Nahua paintings showed no great artistic merit, being chiefly noticeable for the excellence of the colors. Very few specimens have been preserved for modern examination, except the hieroglyphic paintings in which most of the figures are hideously and, as it is supposed, purposely distorted, and consequently no criterion of the artist's skill. It is not known that the Nahuas ever attempted to paint natural scenery, except that they prepared maps of sections of their territory on which they rudely represented the mountains, rivers, and forests, indicating the lands of different owners or lords by the use of different colors. They sometimes made portraits of the kings and nobles, but the Spanish chroniclers admit that they exhibited much less skill in picturing the human form and face than in drawing animals, birds, trees, and flowers. Some modern critics of lively imagination have, however, detected indications of great artistic genius in the awkward figures of the picture-writings. Native painters, when Cortés arrived on the coast, painted his ships, men, horses, cannon, in fact everything new and strange in the white men's equipment, and hurried with the canvas to Montezuma at the capital. Very little is known of ornamental painting on the walls of private dwellings, but that on the temples naturally partook to a great extent of a hieroglyphic character. The durability of the paintings on cloth and paper, especially when rubbed occasionally with oil, was remarked by many observers, as was also the skill displayed by the natives later under Spanish instruction.[608]
FEATHER-MOSAIC.