To the antiquary and student of ethnology on this continent there are few subjects more interesting than those early industrial arts, which, better than any thing else, illustrate the civilization of the Aztecs, and their rude neighbors, the aborigines of the more northern parts of the country. An attempt is made in the following pages to define, in certain respects, the extent, and justly to represent the character, of those efforts, made before the Discovery, and repeated, with more or less uniformity, by portions of the American races until the present time. I have copied from the great work of Lord Kingsborough on Mexican Antiquities, four uncouth figures, of which the originals are native drawings sent to Spain by Antonio de Mendoza, the successor of Cortes, and first viceroy of New Spain. It will be confessed that few things could give us a more correct impression of the condition and character of the peoples subdued by Cortes and Pizarro than we may derive from these pictures.
Aztec Goldsmith at work. From Mendoza's Collection.
In this drawing the artist has represented a workman in the act of soldering or annealing a piece of plate. Except the rude style in which the native limners portrayed the human figure, the cut is a fac-simile of Pharaonic profiles of the same class of workmen, and of modern goldsmiths of Africa, Hindustan, Java, Sumatra, Ceylon, and Asia generally. The small portable furnace, the blowpipe, the position of the operator, the scantiness of his apparel, and the absence of any bench, are common to all; the only observable difference is in the apron (suspended by long shoulder-straps) of the American, who, in this respect, seems to have advanced beyond his brethren of the other hemisphere. Had the draughtsman possessed the skill of a modern artist, and painted the tools and processes used, in fusing the metal, in spreading it out into plates, working it into shape, and chasing in the ornaments, in drawing wire, and fabricating the famous old Panama chains, &c., many other problems of Aztec economy and art would have been solved. The smiths of Mexico, Central America, and Peru, were expert in the use of the blowpipe; and this is not to be wondered at, if, as early Spanish writers report, the bellows was unknown among them. In specimens of their industry which are extant the soldering rivals any thing executed in modern workshops, and seams often challenge and sometimes defy the keenest scrutiny to detect them. Native smiths still use the pipe.
Every enlightened worker in metals must feel interested in thus beholding an ancient red man in the actual use of the blowpipe, to say nothing of the illustration the figure affords of the state of the arts in ante-Columbian epochs, and of ancient life in this part of the world. The use of the blowpipe has been inferred from metalline remains discovered in sepulchral tumuli of the Mississippi valley. In Caleb Atwater's Antiquities of the West, (Columbus, 1833, pages 92-3,) mention is made of sixty copper beads, found in one of the mounds at Grave Creek, near Wheeling. "They were made of a coarse wire, which appeared to have been hammered out, not drawn, and were cut off at unequal lengths; they were soldered together in an awkward manner, the centres of some of them uniting with the edges of others; they were incrusted with verdigris, but the inside of them was pure copper; which fact shows that the ancient inhabitants were not wholly unacquainted with the use of metals." As it is admitted that brass was not known to the mound-builders, an analysis of the alloy that constituted the brazen solder here alluded to would be a positive addition to the little knowledge we have gleaned of these early native workers and of their arts.
No matter how far man is separated from his fellows, either on the earth's surface or by time, the general uniformity of his nature is stamped on all his normal devices. Primitive inventions are universally similar. Under agreeing circumstances and conditions, the same means are hit upon to produce the same ends. Kindred trains of thought, of resources and results, characterize the origin and early progress of the arts every where. They begin in the same wants, and suggest the same ideas, which are carried out in substantially the same ways. Still, when a primitive people is found shut from communion with others—isolated from the rest of the world and deriving no suggestions from it—some shades of difference, more or less strongly defined, often mark means they discover, in common with others, and this whether occupiers of small islands or of widespread continents. But after all, this is only what may be called a variety of expression, the same general idea being differently brought out, just as in speech the same thoughts are displayed in various idioms. All arts and all machines are but dialects of one language—reasonings and conclusions in tangible forms and figures—a universal speech, understood by all men.
Of the diverse exhibitions of a primitive and common suggestion, a more interesting example cannot well be adduced than the processes for the fabrication of thread, which have been disclosed on this half of the globe. They appear so different from others, and so remarkable, if not unique, that it may safely be said, if the first spinsters were foreigners, their mode of spinning was indigenous, however difficult, if not impossible, it may be to reconcile one suggestion with the other.
Spinning lies at the threshold of human culture. It was the first or among the first born of the arts, and was doubtless the offspring of woman's ingenuity. Through all the past ages it was within the peculiar province of the sex. In it queens and even goddesses sought to excel; one of the earliest of useful efforts, it was one of the best; till it was introduced, man was a houseless wanderer, and where it is unknown, he is still a vagabond, roaming the forest. Home and its softening and soothing influences had no existence, till woman began to twirl the spindle. Till then the fount of the arts was unopened, unthought of, undreamt of. A universal acquirement, it is one in which little variation in details could be looked for among uncultivated tribes. It is, however, singular, that the thread-making idea has been less skilfully developed by the red race than perhaps any other of their mechanical conceptions. This is a striking fact, in peoples so far advanced as were the Mexicans, Peruvians, and others.
The distaff has been identified with spinning in the eastern world from the earliest times. It dates far behind historic and was a common thing in heroic epochs. It pervades the most ancient legends, and plays a part in the remotest myths. No other instrument of domestic economy is seen through the semi-historic clouds that are about the infancy of human progress; few others could be named as belonging to lower strata of time. Common in the other hemisphere through unknown periods, it was utterly a stranger in this.
Of the offices assigned to the fates, that of Clotho was to hold the distaff, while Lachesis twirled the spindle, and Atropos determined the length of the thread. Then there was Hercules, who was playfully rapped over the head by Omphale, for his awkwardness in this service. Sardanapalus, too, endeavored to rival the son of Jupiter, by spinning among his maids. Ancient Egyptian spindles and distaffs have been recovered from the tombs; and how common they both were among the Hebrews appears in Solomon's portrait of a virtuous woman: "She seeketh wool and flax—she layeth her hands to the spindle, and her hands hold the distaff." Both spindle and distaff were frequently dedicated to Minerva, the patroness of spinning and of the arts connected with it. The goddess was herself rudely sculptured with them in the Trojan Palladium.