These pinturas, as the Spanish conquerors designated them, offer no very great difficulty in their elucidation to modern experts, at least so far as the general trend of their contents is concerned. In this they are unlike the manuscripts of the Maya of Central America with which we shall make acquaintance further on. Their interpretation was largely traditional, and was learned by rote, being passed on by one generation of amamatini (readers) to another, and was by no means capable of elucidation by all and sundry.
Native Manuscripts
The pinturas or native manuscripts which remain to us are but few in number. Priestly fanaticism, which ordained their wholesale destruction, and the still more potent passage of time have so reduced them that each separate example is known to bibliophiles and Americanists the world over. In such as still exist we can observe great fullness of detail, representing for the most part festivals, sacrifices, tributes, and natural phenomena, such as eclipses and floods, and the death and accession of monarchs. These events, and the supernatural beings who were supposed to control them, were depicted in brilliant colours, executed by means of a brush of feathers.
The Interpretative Codices
Luckily for future students of Mexican history, the blind zeal which destroyed the majority of the Mexican manuscripts was frustrated by the enlightenment of certain European scholars, who regarded the wholesale destruction of the native records as little short of a calamity, and who took steps to seek out the few remaining native artists, from whom they procured copies of the more important paintings, the details of which were, of course, quite familiar to them. To those were added interpretations taken down from the lips of the native scribes themselves, so that no doubt might remain regarding the contents of the manuscripts. These are known as the “Interpretative Codices,” and are of considerable assistance to the student of Mexican history and customs. Three only are in existence. The Oxford Codex, treasured in the Bodleian Library, is of a historical nature, and contains a full list of the lesser cities which were subservient to Mexico in its palmy days. The Paris or Tellerio-Remensis Codex, so called from having once been the property of Le Tellier, Archbishop of Rheims, embodies many facts concerning the early settlement of the various Nahua city-states. The Vatican MSS. deal chiefly with mythology and the intricacies of the Mexican calendar system. Such Mexican paintings as were unassisted by an interpretation are naturally of less value to present-day students of the lore of the Nahua. They are principally concerned with calendric matter, ritualistic data, and astrological computations or horoscopes.
The Mexican “Book of the Dead”
Perhaps the most remarkable and interesting manuscript in the Vatican collection is one the last pages of which represent the journey of the soul after death through the gloomy dangers of the Other-world. This has been called the Mexican “Book of the Dead.” The corpse is depicted dressed for burial, the soul escaping from its earthly tenement by way of the mouth. The spirit is ushered into the presence of Tezcatlipoca, the Jupiter of the Aztec pantheon, by an attendant dressed in an ocelot skin, and stands naked with a wooden yoke round the neck before the deity, to receive sentence. The dead person is given over to the tests which precede entrance to the abode of the dead, the realm of Mictlan, and so that he may not have to meet the perils of the journey in a defenceless condition a sheaf of javelins is bestowed upon him. He first passes between two lofty peaks, which may fall and crush him if he cannot skilfully escape them. A terrible serpent then intercepts his path, and, if he succeeds in defeating this monster, the fierce alligator Xochitonal awaits him. Eight deserts and a corresponding number of mountains have then to be negotiated by the hapless spirit, and a whirlwind sharp as a sword, which cuts even through solid rocks, must be withstood. Accompanied by the shade of his favourite dog, the harassed ghost at length encounters the fierce Izpuzteque, a demon with the backward-bent legs of a cock, the evil Nextepehua, the fiend who scatters clouds of ashes, and many another grisly foe, until at last he wins to the gates of the Lord of Hell, before whom he does reverence, after which he is free to greet his friends who have gone before.