Gage, in a pretty fair translation of Herrera, describes this god with Tezcatlipoca. He says:—
"The gods of Mexico (as the Indians reported to the first Spaniards) were two thousand in number; the chiefest were Vitzilopuchtli, and Tezcatlipoca, whose images stood highest in the temple upon the altars. They were made of stone in full proportion as big as a giant. They were covered with a lawn called Nacar; they were beset with pearls, precious stones, and pieces of gold, wrought like birds, beasts, fishes, and flowers, adorned with emeralds, turquies, chalcedons, and other little fine stones, so that when the lawn was taken away, the images seemed very beautiful and glorious to behold. These two Indian idols had for a girdle great snakes of gold, and for collars or chains about their necks ten hearts of men made of gold; and each of them had a counterfeit visor with eyes of glass, and in their necks Death painted. These two gods were brethren, for Tezcatlipoca was the god of providence, and Vitzilopuchtli, god of the wars, who was worshiped and feared more than all the rest."[VIII-6]
Torquemada goes to some length into the legend and description of this god of war, Huitzilopochtli, or Mexitl:[VIII-7]—
Huitzilopochtli, the ancient god and guide of the Mexicans, is a name variously derived. Some say it is composed of two words: huitzilin, 'a humming-bird', and tlahuipuchtli, 'a sorcerer that spits fire.' Others say that the second part of the name comes not from tlahuipuchtli, but from opuchtli, that is, 'the left hand;' so that the whole name, Huitzilopochtli, would mean 'the shining-feathered left hand.' For this idol was decorated with rich and resplendent feathers on the left arm. And this god it was that led out the Mexicans from their own land and brought them into Anáhuac.
Some held him to be a purely spiritual being, others affirmed that he had been born of a woman, and related his history after the following fashion: Near the city of Tulla there is a mountain called Coatepec, that is to say the Mountain of the Snake, where a woman lived, named Coatlicue, or Snake-petticoat. She was the mother of many sons called Centzunhuitznahua, and of a daughter whose name was Coyolxauhqui. Coatlicue was very devout and careful in the service of the gods, and she occupied herself ordinarily in sweeping and cleaning the sacred places of that mountain. It happened that one day, occupied with these duties, she saw a little ball of feathers floating down to her through the air, which she taking, as we have already related, found herself in a short time pregnant.[VIII-8]
DOUGH STATUE OF HUITZILOPOCHTLI.
Upon this all her children conspired against her to slay her, and came armed against her, the daughter Coyolxauhqui being the ringleader and most violent of all. Then, immediately, Huitzilopochtli was born, fully armed, having a shield called teuehueli in his left hand, in his right a dart, or long blue pole, and all his face barred over with lines of the same color. His forehead was decorated with a great tuft of green feathers, his left leg was lean and feathered, and both thighs and the arms barred with blue. He then caused to appear a serpent made of torches, teas, called xiuhcoatl; and he ordered a soldier named Tochaucalqui to light this serpent, and taking it with him, to embrace Coyolxauhqui. From this embrace the matricidal daughter immediately died, and Huitzilopochtli himself slew all her brethren and took their spoil, enriching his mother therewith. After this he was surnamed Tetzahuitl, that is to say, Fright, or Amazement, and held as a god, born of a mother, without a father—as the great god of battles, for in these his worshipers found him very favorable to them. Besides the ordinary image of this god, permanently set up in the great temple of Mexico, there was another, renewed every year, made of grains and seeds of various kinds. In one of the halls in the neighborhood of the temple the priests collected and ground up with great devotion a mass of seeds, of the amaranth and other plants, moistening the same with the blood of children, and making a dough thereof, which they shaped into a statue of the form and stature of a man. The priests carried this image to the temple and the altar, previously arranged for its reception, playing trumpets and other instruments, and making much noise and ado with dancing and singing at the head of the procession. All this during the night; in the morning the high-priest and the other priests blessed and consecrated the image, with such blessing and consecration as were in use among them. This done, and the people assembled, every person that could come at the image touched it wherever he could, as Christians touch a relic, and made offerings thereto, of jewels of gold and precious stones, each according to his means and devotion, sticking the said offerings into the soft fresh dough of which the idol was confected. After this ceremony no one was allowed to touch the image any more, nor to enter the place where it was, save only the high-priest. After that they brought out the image of the god Paynalton,[VIII-9]—who is also a war god, being vicar or sub-captain of the said Huitzilopochtli—an image made of wood. It was carried in the arms of a priest who represented the god Quetzalcoatl, and who was decorated with ornaments rich and curious. Before this priest there marched another carrying [the image of] a great snake, large and thick, twisted and of many coils. The procession filed along at great length, and here and there at various temples and altars the priests offered up sacrifices, immolating human captives and quails. The first station, or stopping-place, was at the ward of Teotlachco. Thence the cortège passed to Tlatelulco (where I, Torquemada, am now writing this history); then to Popotlan; then to Chapultepec—nearly a league from, the city of Mexico; then to Tepetoca; then to Acachinanco; then back again to the temple whence it had set out; and then the image of Paynalton was put on the altar where stood that of Huitzilopochtli, being left there with the banner, called ezpaniztli, that had been carried before it during the march: only the great snake, mentioned above, was carried away and put in another place, to which it belonged. And at all these places where the procession appeared, it was received with incensings, sacrifices, and other ceremonies.
This procession finished, it having occupied the greater part of the day, all was prepared for a sacrifice. The king himself acted the part of priest; taking a censer, he put incense therein with certain ceremonies and incensed the image of the god. This done, they took down again the idol, Paynalton, and set out in march, those going in front that had to be sacrificed, together with all things pertaining to the fatal rite. Two or three times they made the circle of the temple, moving in horrid cortège, and then ascended to the top, where they slew the victims; beginning with the prisoners of war, and finishing with the fattened slaves, purchased for the occasion, rending out their hearts and casting the same at the feet of the idol.
SYMBOLIC DEATH OF HUITZILOPOCHTLI.
All through this day the festivities and the rejoicings continued, and all the day and night the priests watched vigilantly the dough statue of Huitzilopochtli, so that no oversight or carelessness should interfere with the veneration and service due thereto. Early next day they took down said statue and set it on its feet in a hall. Into this hall there entered the priest, called after Quetzalcoatl, who had carried the image of Paynalton in his arms in the procession, as before related; there entered also the king, with one of the most intimate servants, called Tehua, of the god Huitzilopochtli, four other great priests, and four of the principal youths, called Telpochtlatoque, out of the number of those that had charge of the other youths of the temple. These mentioned, and these alone, being assembled, the priest named after Quetzalcoatl took a dart tipped with flint and hurled it into the breast of the statue of dough, which fell on receiving the stroke. This ceremony was styled, 'killing the god Huitzilopochtli so that his body might be eaten.' Upon this the priests advanced to the fallen image and one of them pulled the heart out of it, and gave the same to the king. The other priests cut the pasty body into two halves. One half was given to the people of Tlatelulco, who parted it out in crumbs among all their wards, and specially to the young soldiers—no woman being allowed to taste a morsel. The other half was allotted to the people of that part of Mexico called Tenochtlitlan; it was divided among the four wards, Teopan, Atzaqualco, Quepopan, and Moyotlan; and given to the men, to both small and great, even to the men-children in the cradle. All this ceremony was called teoqualo, that is to say, 'god is eaten,' and this making of the dough statue and eating of it was renewed once every year.[VIII-10]