It is related by Tezozomoc that after the death of Netzahualpilli, king of Texcoco, Montezuma assembled the senate of Aculhuacan in order to select a new king. The choice fell on the fifth son, Quetzalacxoyatl. In the ceremony of investiture they placed on him “the blue crown or forehead-band decorated with stone mosaic-work.”[73]
The Anonymous Conqueror writes:
To guard the head, they carry things like the heads of serpents, tigers, lions, or wolves with open jaws, and the head of the man is inside the head of the creature as if it was being devoured. They are of wood covered over with feathers and with jewels of gold and precious stones, which is a wonderful sight.[74]
From Alonso de Molina’s Vocabulario Mexicano (Mexico, 1555, reprinted 1571) we are able to interpret the Nahuan words which occur in the chronicles in connection with the use of turquois in the decoration of various objects. The following are some of the more common: nacochtli, ear-plugs; tentetl, labret; yacaxuitl, nose-ornament; copilli, crown; xiuhxayacatl, mask of turquois mosaic; xayacatl, mask; cactli, sandal; tilmatl, mantle; amaneahapantli, mantle for lords richly wrought; teopixcatla-quemitl, vestment of priests; ecaceuaztli, fan; chimalli, shield; teteotl, stone idol; tequacuilli, large stone idol or statue; xiuitl, turquois; tlaquauac xiuitl, hard turquois; xiuhtomolli, turquois; omichicauaztli, bone musical instrument; ayacachtli, rattle.
PL. XV
MASK OF WOOD (FRAGMENT) WITH MOSAIC DECORATION
MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK
EXISTING SPECIMENS OF MOSAIC
We will now consider the existing specimens of mosaic-work. It has been demonstrated, by the extended quotations from the old chronicles and codices, that this art was considerably employed in adorning objects of a special nature in connection with the dress of kings, nobles, warriors, and priests, and the paraphernalia of the gods. We have at present no actual examples of many of the objects which we have learned were thus ornamented, consequently whatever conception we may gain by a study of existing specimens will give us an inadequate idea of the art. It is evident that the most elaborate works in stone mosaic sent to Europe, as noted in the inventories, have not been preserved, a fact borne out by the descriptions in the early accounts of the discovery and “things” of Mexico. Moreover, many of the pieces now in European museums are either in a poor state of preservation or are incomplete.