Tour the National Museum's South East Range After the First Fifty Years

Valuable and interesting reproductions of some of the archaeological, historical, and artistic antiquities of Mexico, taken from originals belonging to the Mexican Government, are now to be seen in the Museum. The work of reproduction is the result of the efforts of Señor Eufemio Abadiano.

THE AZTEC CALENDAR STONE

The most attractive and important specimen in the collection is the calendar stone of the Aztecs, which is about twelve feet in diameter. Tile weight of the original is about 21 tons. This wonderful stone is rich in decorations and hieroglyphics, and is circular in shape. In the center of the stone is the figure of a head with the tongue protruding, representing the sun. Within a larger circle, at equal distance from each other, are four smaller square figures representing the seasons, with the features of each wrought in the hieroglyphs of the race, and also un'doubtedly making reference to the four fatal epochs, called the four cosmogonical suns. The Aztecs believed that there had been four suns, and that each had ended in a universal cataclysm, and that the sun which still lighted them was the fifth. Outside the circle representing the suns are figures representing the twenty days of the month. And in another circle surrounding these are figures representing the 36 days of the year.

Beginning at the rim of the stone are eight large angles in the shape of a "HA," which mark the divisions of the day. Running around the outer rim with their tails entwined at the top are the figures of two serpents, which meet with open mouths at the bottom. In the mouth of each appears a human face of grotesque expression, which represents "time destroying humanity." The calendar stone, or "time table," as it is sometimes called, gave the Aztecs the hours of the day with astronomical accuracy. Strings were stretched above it, as it lay horizontally exposed to the sun, and by the shadows of the strings tne priests of the tribe could call the worshippers of "old Sol" to their devotion at regular intervals.

THE SACRIFICIAL STONE

Another remarkable reproduction is the "cuauhxicalli of Tizoc," or sacrificial stone. It is a historical-religious monument, about six feet in diameter and four feet high. This stone is supposed to have been erected to commemorate the victories of Tizoc over the other tribes, and was afterwards used for sacrificial purposes. On the face of the stone is the image of the sun, grotesque, but realistic in design, to whom it is dedicated. On the convex surface are fifteen groups of two persons each, Tizoc being one of them. The figures seem to the ordinary observer to be the same throughout, but the different tribes are identified by some peculiarify in dress or feature, which is clearly brought out in bold relief. There are two figures of women, which the most learned of Mexican mythological students cannot interpret, but which have been accepted as being Amazon rulers captured by Tizoc. In the centre of the stone is an inverted circle, with a narrow gutter or canal leading to the edge of the stone. This represents the canal of blood left by Tizoc in his path. The names of the tribes are represented by symbolical figures above them.

"CHAC MOOL" is a specimen of Maya workmanship, and is the figure of a native in a reclining position. This specimen represents the king of the Atzaes, and is supposed to have been erected by his wife. It is of great antiquity, being probably 1,200 years old-the figures on the covering of the ears corroborating this theory. Other statues of similar form which have been discovered-have given rise to the supposition that they all represent one divinity, worshipped in Mexico and Yucatan. The original of this figure was unearthed by Dr. A. Le Plongeon in the ruins of Chichen-Itza, Yucatan, and is exhibited in the Mexican museum. On the breast of the figure is an inverted circle where incense was burned.

A most interesting study is the TEOYOAMIQUI or "Goddess of Death." The figure is a large one, and represents a woman, her face being substituted by the heads of two snakes, whose bodies twine about her form. Her skirts are composed of serpents, in which'way they represent the eternity of time. The goddess Teoyoamiqui's office was to gather in the souls of those killed in battle which went to the mansion of the sun in heaven, they being transformed after a time to humming-birds.

The MEXICAN CYCLE, represented by a bundle of reeds tied by cords, illustrates the century of the Aztecs, which was fifty-two years. From superstitious causes the Aztecs feared the destruction of the world at the end of the century. The populace spent the last night in the greatest consternation, and at exactly midnight a human sacrifice was offered up and over the victim's still-palpitating heart the priests, with the aid of two dry sticks, ignited new fires, which were carried about, signifying that the world would exist for another century.

The GIGANTIC HEAD is a remarkable piece of sculpture, resembling Egyptian work, and is supposed to have occupied a place in the Aztec temple. Some archaeologists believe it to represent the lost Atlantis. The head-dress of water dotted with shells suggests her position in the midst of the sea, while the top piece, beautifully ornamented, symbolizes her sunken condition, and the closed and covered mouth her unknown history and silence.

The CROSS OF PALENQUE is also a rare bit of skill, as the figures are intricate and difficult to reproduce. It is a flat stone with the sculpture well brought out, and represents the worship of the cross. The figure of a priest with fantastic head-dress is seen offering up a child to the sacred bird perched on top of the cross. The cross terminates at the bottom with a large face, the mouth being opened, and a peculiar adornment hanging from the nose.

Another figure of Maya execution is the PAIXENQUE DIVINITY. Tile specimen is that of a god of grotesque feature, in a squatting position, with peculiar head-dress. The hands of the god meet in front and hold a dish or cup, representing the "horn of plenty." In the head-dress are seen ears of corn and the figure of a serpent, denoting harvest time.

Not the least interesting specimen of the collection is the FEATHERED SERPENTS representing, in the mythology of the Aztecs, the existence of a white man, whom tradition holds to have come to their country. This piece marks the invasion of civilization, and the feathers represent the white beard which the man wore.

The "YORE OF ORIZABA," called so after the place it came from, is an original. It is of very hard stone, and the sculpturing is artistic and fantastic, while the stone is highly polished. The yoke was used in human sacrifice, being put over the head of the victim preparatory to taking out his heart. A small statue represents a woman dressed and adorned in the style of the Aztec nobility. It is very peculiar, but not very unlike some of the toilets seen at the seashore.

The GODDESS OF WATER is represented by the figure of a female, with characteristic and symbolical head-dress.

The MONOLITH OF TENANGO is a monument showing the four cosmo Conical suns, which represent the four fatal epochs in nature: first, water; second, wind; third, fire; and fourth, earth.

There are many more pieces in the exhibit which afford no end of interest, and altogether it is one of the most complete and artistic collections of Mexican and early American antiquities to be seen in any Museum.

Return to start of the South East Range of the National Museum in 1886