The mixture of feathers with cotton and other fibres in the manufacture of clothing, tapestry, carpets, and bed-coverings has already been mentioned. For such fabrics plain colors from ducks and other aquatic birds were generally employed, brighter hues being occasionally introduced for ornamental purposes. Feathers also played an important part in the decoration of warriors' armor, the tail-feathers of the bright-hued quetzal being the favorites. These were formed into brilliant plumes, often tipped with gold and set in precious stones. Beautiful fans were made of the same material. But the art which of all those practiced by the Nahuas most delighted and astonished the Europeans, was the use of feathers in the making of what has been called feather-mosaic. The myriads of tropical birds in which the forests of the tierra caliente abounded, chief among which were the quetzal, many varieties of the parrot kind, and the huitzilin, or humming-bird, supplied feathers, fine and coarse, of every desired color and shade. It was for this use chiefly that the royal and other collections of birds, already described, were so carefully kept. These captive birds were plucked each year at the proper season, and their plumage sorted according to color and quality. Some shades only to be obtained from the rarest birds, were for ordinary feather-work artificially produced by dyeing the white plumage of more common birds.
To prepare for work the amanteca, or artist, arranged his colors in small earthen dishes within easy reach of his hand, stretched a piece of cloth on a board before him, and provided himself with a pot of glue—called by Clavigero tzauhtli,—and a pair of very delicate pincers. The design he wished to execute was first sketched roughly on the cloth, and then with the aid of the pincers feather after feather was taken from its dish and glued to the canvas. The Spanish writers marvel at the care with which this work was done; sometimes, they say, a whole day was consumed in properly choosing and adjusting one delicate feather, the artist patiently experimenting until the hue and position of the feather, viewed from different points and under different lights, became satisfactory to his eye. When a large piece was to be done, many workmen assembled, a part of the work was given to each, and so skillfully was the task performed that the parts rarely failed at the end to blend into an harmonious whole; but if the effect of any part was unsatisfactory it must be commenced anew. By this method a great variety of graceful patterns were wrought, either fanciful, or taken from natural objects, flowers, animals, and even the human face, which latter the native artists are said to have successfully portrayed. Las Casas tells us they made these feather-fabrics so skillfully that they appeared of different colors according to the direction from which they were viewed. The Spaniards declare that the feather-pictures were fully equal to the best works of European painters, and are at a loss for words to express their admiration of this wonderful Nahua invention; specimens of great beauty have also been preserved and are to be seen in the museums. Besides mantles and other garments, tapestry, bed-coverings, and other ornamental fabrics for the use of the noble and wealthy classes, to which this art was applied, the feather-mosaic was a favorite covering for the shields and armor of noted warriors. By the same process masks were made representing in a manner true to nature the faces of fierce animals; and even the whole bodies of such animals were sometimes counterfeited, as Zuazo says, so faithfully as to deceive the ignorant observer. The Tarascos of Michoacan were reputed to be the most skillful in feather-work.[609]
The feather-workers were called amantecas from Amantla, the name of the ward of Mexico in which they chiefly lived. This ward adjoined that of Pochtlan, where lived the chief merchants called pochtecas, and the shrine of the amantecas' god Ciotliahuatl, was also joined to that of the merchants' god Iyacatecutli. The feather-workers and merchants were closely united, there was great similarity in all their idolatrous rites, and they often sat together at the same banquet.[610]
Another art, similar in its nature to that of the feather-mosaics, was that of pasting leaves and flowers upon mats so as to form attractive designs for temporary use on the occasion of special festivals. The natives made great use of these flower-pictures after the conquest in the decoration of the churches for Catholic holidays.[611]
The Nahuas kindled a fire like their more savage brethren by friction between two pieces of wood, achiotl being the kind of wood preferred for this purpose. Boturini, followed by later writers, states that the use of the flint was also known. Once kindled, the flames were fanned by the use of a blow-pipe. For lights, torches of resinous wood were employed, especially the ocotl, which emitted a pleasing odor. The use of wicks with oil or wax was apparently unknown until after the coming of Europeans. Substitutes for soap were found in the fruit of the copalxocotl and root of the amolli.
THE COUNCIL OF ARTS IN TEZCUCO.
All the branches of art among the Nahuas were placed under the control of a council or academy which was instituted to favor the development of poetry, oratory, history, painting, and also to some extent of sculpture and work in gold, precious stones, and feathers. Tezcuco was the centre of all high art and refinement during the palmy days of the Chichimec empire, and retained its preëminence to a great extent down to the coming of the Spaniards; consequently its school of arts is better known than others that probably existed in other cities. It was called the Council of Music, although taking cognizance of other arts and sciences, chiefly by controlling the education of the young, since no teacher of arts could exercise his profession without a certificate of his qualifications from the council. Before the same body all pupils must be brought for examination. The greatest care was taken that no defective work of lapidary, goldsmith, or worker in feathers should be exposed for sale in the markets, and that no imperfectly instructed artists should be allowed to vitiate the public taste. But it was above all with literary arts, poetry, oratory, and historical paintings, that this tribunal, composed of the best talent and culture of the kingdom, had to do, and every literary work was subject to its revision. The members, nominated by the emperor of Tezcuco, held daily meetings, and seats of honor were reserved for the kings of the three allied kingdoms, although a presiding officer was elected from the nobility with reference to his literary acquirements. At certain sessions of the council, poems and historical essays were read by their authors, and new inventions were exhibited for inspection, rich prizes being awarded for excellence in any branch of learning.[612]
ORATORY AND POESY.
Speech-making is a prominent feature in the life of most aboriginal tribes, and in their fondness for oratory the Nahuas were no exceptions to the rule. Many and long addresses accompanied the installation of kings and all public officers; all diplomatic correspondence between different nations was carried on by orators; prayers to the gods were in aboriginal as in modern times elaborate elocutionary efforts; the departing and returning traveler was dismissed and welcomed with a speech; condolence for misfortune and congratulation for success were expressed in public and private by the friends most skillful in the art of speaking; social intercourse in feasts and banquets was but a succession of speeches; and parents even employed long discourses to impart to their children instruction and advice. Consequently children were instructed at an early age in the art of public speaking; some were even specially educated as orators. They were obliged to commit to memory, and taught to repeat as declamations, the speeches of their most famous ancestors, handed down from father to son for many generations. Specimens of the orations delivered by Nahua speakers on different occasions are so numerous in this and the following volume, that the reader may judge for himself respecting their merit. It is impossible, however, to decide how far these compositions have been modified in passing through Spanish hands, although it is probable, according to the judgment of the best critics, that they retain much of the original spirit of their reputed authors.[613]
Poets, if somewhat less numerous, were no less honored than orators. Their compositions were also recited, or sung, before the Council of Music in Tezcuco, and the most talented bards were honored with prizes. The heroic deeds of warlike ancestors, national annals and traditions, praise of the gods, moral lessons drawn from actual events, allegorical productions with illustrations drawn from the beauties of nature, and even love and the charms of woman were the common themes. The emperor Nezahualcoyotl, the protector and promoter of all the arts and sciences, was himself a poet of great renown. Several of his compositions, or fragments of such, have been preserved; that is, the poems were written from memory in Aztec with Roman letters after the conquest, and translated into Spanish by Ixtlilxochitl, a lineal descendant of the royal poet. They have also been translated into other languages by various authors. The following will serve as specimens.[614]