The New TenochtiÜan Templo Mayor Coyolxauhqui

H. B. Nicholson
The New TenochtiÜan Templo Mayor
Coyolxauhqui-Chantico Monument
El n u e v o m o n u m e n t o de C o y o l x a u h q u i - C h a n t i c o del T e m p l o M a y o r de T e n o c h t i t l a n c o n s t i t u y e - según a p r e c i a c i ó n general y ' a m p l i o r e c o n o c i m i e n t o — u n o de l o s más b e l l o s relieves
p r e h i s p á n i c o s e n c o n t r a d o s hasta h o y en la capital. Sus m e d i d a s
de 3 . 2 6 X 2 . 9 8 x 0 . 3 5 m e t r o s e x c e d e n en t a m a ñ o las de cualquier o t r o m o n u m e n t o azteoa c o n e x c e p c i ó n del " C a l e n d a r i o " .
Esta figura representa a C o y o l x a u h q u i , la maligna m e d i a
hermana de H u i t z i l o p o c h t l i , asesinada p o r este ú l t i m o en u n o
de los e p i s o d i o s de su n a c i m i e n t o .
February 21, 1978, Mexico City Compañía de Luz workmen excavating
a pit discovered a large carved monument about two meters beneath the
street surface near the corner of Argentina and Guatemala streets, in a
position fronting one stage o f the southern stairway o f the Templo Mayor
o f Huitzilopochtli and Tlaloc, the southwestern portion o f whose foundations, in at least four major superpositions, was exposed in 1913 (Gamio
1917: 129; 1920 — 21). It is a massive oval stone (apparently andesite), 3.26
X 2.98 X 0.35 meters, surrounded by a stucco pavement. The very high relief, on which traces o f red, yellow, and white pigments are visible, is virtually in mint condition. The only significant damage is a narrow crack running diagonally across the left central portion o f the monument. The archaeological context o f the discovery was thoroughly treated in a monograph
by Angel Garcia Cook and Raúl M. Arana A. ( 1 9 7 8 ) o f the Departamento
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de Salvamento Arqueológico, Instituto Nacional de Antropología e Historia, w h o headed the salvage team that excavated the m o n u m e n t . ' In this
paper, dedicated to the memory o f m y old friend and colleague, Gerdt
Kutscher, I will be concerned only with the iconography o f the carved
upper surface o f the stone (Fig. 1
A female is depicted, facing right. She is shown decapitated and dismembered. The torn edges o f her headless trunk and severed limbs are
indicated, as is usual (cf. Fig. 2 and severed human members o n the
" S t o n e o f Itzpapalotl"; Nicholson 1971: fig. 62), by scalloping, with
protruding ends o f the humerus and femur bones clearly represented.
Adjacent to the proximal ends o f the left arm and the legs are pairs o f
bloodstreams tipped by droplets, three o f them decorated with jewel
(chalchihuitl) motifs to indicate the preciousness o f this fluid. She wears
what appears to be a kind o f striated wig or perhaps a headcloth (cf. Figs.
7 - 1 2 ) decorated with numerous circular elements that represent d o w n balls. Draped over it is a snake with sectioned b o d y . Probably a coral
snake was intended, the type usually associated with the terrestrialfertility goddesses and which o f t e n seems to have symbolized b l o o d (Seler
1902 - 0 3 : 143 f.). Its tail is hidden while its head hangs d o w n over the
figure's forehead (cf. Fig. 6, where only t w o portions o f the snake's b o d y
are visible). An elaborate feather device crowns the head, c o m p o s e d o f
three concentric rows o f stylized feathers with a wide panache rising
above and behind this central element. A prominent striped band runs
across the bridge o f the nose and the upper cheek, f r o m which depends
a metal bell, coyolli. Identical ornaments, c o m p o s e d o f circular, trapezoidal, and angular elements, are worn as ear and noseplugs. The large, pendulous breasts are boldly displayed o n the bare upper b o d y , as well as t w o
(post-partem?) creases in the belly area just above the belt. The latter is
c o m p o s e d o f a doubled, sectioned b o d y o f a two-headed serpent. It sup1
T h e e x p l o r a t i o n s o f this salvage team also resulted in the discovery o f five c a c h e s
( o n e o f w h i c h c o n t a i n e d a large o b l o n g green serpentine s t o n e with an engraved
image o f a f e m a l e d e i t y ; L ó p e z Austin 1 9 7 9 ) , a n d , o n a s t u c c o p a v e m e n t 125 c m
b e l o w the p a v e m e n t surrounding the m o n u m e n t , a n o t h e r apparent d e c a p i t a t e d and
d i s m e m b e r e d representation o f C o y o l x a u h q u i , o n l y partially preserved, m o l d e d in
s t u c c o m i x e d with stones. O n the basis o f this r e p o r t , I was able t o m a k e s o m e
m i n o r factual c o r r e c t i o n s and a d d i t i o n s t o the original version o f the article, c o p i e s
o f w h i c h , in manuscript, were circulated t o s o m e o f m y colleagues. Since this
article was written, in April, 1 9 7 8 , various studies o f the m o n u m e n t have been p u b lished, the m o s t i m p o r t a n t o f w h i c h is Aguilera G a r c í a ( 1 9 7 8 ) .
2
I w o u l d like t o thank José Luis F r a n c o , D o r i s H e y d e n , C o n s t a n z a V e g a Sosa, and
A u g u s t o M o l i n a M o n t e s f o r supplying relevant i n f o r m a t i o n c o n c e r n i n g this disc o v e r y - and Sally B o n d , P e a b o d y M u s e u m o f A r c h a e o l o g y and E t h n o l o g y , Harvard University, f o r i n f o r m a t i o n c o n c e r n i n g their Jadeite mask.
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ports a large skull back device (cf. Figs. 8, 10) and is knotted in front with
a prominent upper l o o p in the fashion o f the knots o f the male loincloth, maxtlatl (cf. Fig. 8, w h o wears both a skirt and a loincloth). Similar
knotted two-headed snakes adorn the upper portions o f the arms and the
lower portions o f the legs. Intertwined or arched coral snakes are occasionally encountered in the native tradition pictorials (e. g., Figs. 3, 4),
but knotted examples in the positions depicted o n our monument are
quite unusual. " D e m o n faces", with round eyes, surpraorbital ridges,
and prominent tusks are represented on the knees, elbows, and heels.
These devices are standard on the knees and elbows o f the Tlaltecuhtli,
Earth Monster, figures (Nicholson 1967: Fig. 5), but their presence here
at the heel positions is unusual. Elaborate wristlets are also worn, c o m posed o f l o o p devices and bands with circular elements f r o m which depend metal bells, f o u r o n the right wrist and three o n the left. Lastly, our
figure wears banded anklets and fancy sandals, secured b y large loops at
the insteps, whose heelcaps are decorated with elongated triangular m o tifs, connoting them as itzcactli, "obsidian sandals". These were specified
as a diagnostic o f the insignia o f a goddess, Chiconahui ItzcuintH (9. D o g ) ,
the calendric name o f Chantico, by Fray Bernardino de Sahagún's Tlatelolco informants (Sahagún 1950 — 82, Pt. X : 7 9 ) and is clearly shown in
the "Tonalamatl A u b i n " representation o f this goddess (Fig. 10).
As was immediately recognized b y the Mexican government archaeologists w h o supervised the initial exposure o f the stone and w h o were
quoted in media accounts o f the discovery; this figure represents C o y o l xauhqui, the malevolent half-sister o f Huitzilopochth slaughtered b y the
latter as an episode in the myth o f his birth. The head closely resembles
in its essential features one o f the most famous pre-Hispanic sculptures
found in Mexico City, the colossal green porphritic head discovered in the
foundations o f a colonial building only about a block to the southeast in
March, 1830. T w o years later, Carlos Maria de Bustamante, in his enlarged
re-edition o f A n t o n i o de León y Gama's classic 1792 study o f the "Calendar S t o n e " and other monuments discovered in the subsoil o f M e x i c o
City ( L e ó n y Gama 1832, Part II: 89 f.), in a lengthy f o o t n o t e described
the circumstances o f the discovery o f this head in a yard behind the
church o f Santa Teresa la Antigua in connection with the construction
o f new buildings by the convent o f La C o n c e p c i ó n o n property formerly
constituting the mayorazgo o f the Mota family. This area probably
comprised the southeast sector o f the walled T e m p l o Mayor precinct
( e . g . , Alcocer 1935; Marquina 1960), although some students ( e . g . ,
Maudslay 1912; Caso 1956) would place this zone just to the east. A c cording to Bustamante, with the authorization o f Lucas Alamán, Minister
o f Foreign Relations, he offered to purchase the head f o r Mexico's recent-
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ly established national museum; however, the Abbess freely ceded it, and
it has been ever since one o f the museum's most prized possessions (presently exhibited in the Sala Mexica; catalogue number: 1 1 - 3 3 3 8 ) .
Principally because he believed the head displayed on its cheeks " c o m o
un parche redondo de ulli o goma negra" and wore "una gorra de manta
revuelta y añudada," Bustamante identified it with a goddess described in
Chapter 8 o f Book I o f Sahagún's "Historia General de las Cosas de Nueva
España", Temazcalteci, "la abuela de los baños", an aspect o f Teteoinnan,
"Mother of the G o d s " . In 1840 he published a short article concerning
this monument, providing further details on its discovery and now adding
"Centeotl" (erroneously equating this deity with Temazcalteci) as a label
for it. The article was accompanied by three lithographs: frontal and back
views o f the head and the complex rehef on the under-surface. Although
not entirely accurate, they provided the first basically adequate illustrations o f this remarkable monument.
A more stylized frontview engraving was pubhshed four years later by
Brantz Mayer (1844: 85). After giving the erroneous date o f 1837 for its
discovery, he cites the opinion o f Bustamante that it represented "the god
o f Baths". He then mentioned a diverse opinion, that o f Isidro Gondra,
director o f the Mexican National Museum, that it represented rather " t h e
god o f Night - the half shut eyes, and sealed mouth, bearing him out in
his hypothesis". Some years later, in 1882, a leading Mexican scholar o f
the Porfirian period, Alfredo Chavero, preferred to label the mysterious
head " T o t e e , que es una de las manifestaciones mas esplendidas del sol"
(Chavero 1882: 4 8 3 ; cf. Chavero 1882 - 1903: 426 f.; 1887: 319, 391 393), and it was so classified in the first reasonably comprehensive catalogue, in Spanish, of the major monuments o f the Museo Nacional (Gahndo y Villa 1895: 31 f.). Also, as illustrations to Chavero's 1882 1903 "Piedra del S o l " series o f articles, cited above, the first really accurate illustrations o f the head were published, three excellent pencil drawings by the distinguished Mexican artist, José María Velasco (front, side,
and angle views; the first two are illustrated in Fig. 6).
Finally, in 1900, the correct identification o f the head was first made
by the leading European Mexicanist o f the day, Eduard Seier, in his
commentary to the "Tonalamatl A u b i n " (English edition, 1 9 0 0 - 0 1 :
117). He identified the motifs on both cheeks as bells, with the upper
circular elements bearing the well-recognized cruciform symbols for gold
- thus, Coyolxauhqui, "Painted with Bells". He was also the first clearly
to recognize that the head displays various features iconographically diagnostic o f the goddess Chantico as she is represented in the Codices "Borbonicus" (Fig. 7), "Telleriano-Remensis" (Fig. 8) / "Vaticanus A " ,
"Borgia" (Fig. 11), "Vaticanus B " (Fig. 12), "Tonalamatl A u b i n " (Fig.
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10), and Sahagún's "Primeros Memoriales" (Fig. 9), particularly the
distinctive headcloth, and, on some, the ear and nose ornaments and
the associated atl tlachinolli, "sacred war", symbols.
The following year, in his article o n the major archaeological discoveries
in and adjacent to the Tenochititlan Templo Mayor, Seler ( 1 9 0 1 : 129 f . )
identified the head more definitely as Coyolxauhqui - not mentioning
Chantico in this context - and suggested that it had originally stood o n
the summit o f the Huitzilopochtli-Tlaloc temple, in c o n f o r m i t y with the
myth wherein, after her slaughter and dismemberment by Huitzilopochtli, her head remained on the Coatepetl, the "Serpent Mountain", precisely the name applied to this structure. Surprisingly, although he cited
Alvarado T e z o z o m o c for the latter fact, he failed to note that b o t h this
Indian chronicler (Alvarado T e z o z o m o c 1944: 3 0 0 ) and the Dominican
missionary Durán ( 1 9 6 7 , II: 3 3 3 ) — drawing f r o m a c o m m o n source, the
"Crónica X " - explicitly state that a representation o f Coyolxauhqui
was set up o n the Huitzilopochtli-Tlaloc temple in connection with the
dedication o f its final, 1487, renovation by Ahuitzotl. In the enlarged
version o f this article published three years later (Seler 1 9 0 2 - 2 3 , II:
767 — 9 0 4 ) , Seler added a drawing o f the central portion o f the carving
on the underside o f the head (the remainder was obscured b y the museum's mountings) and correctly identified it as the atl tlachinolli symbol
intertwined with an aztamecatl, the downball-adorned sacrificial cord,
and a two-headed coral snake. The complete drawing o f this surface published by Bustamante, which revealed t w o additional motifs not visible
in the Seler drawing, the date 1. Tochtli in a square cartouche and a
spider (to be discussed below), was apparently not available to him.
Although Chavero ( 1 9 0 3 : 4 3 2 — 4 3 6 ) rejected Seler's interpretation,
countering with a new identification o f his o w n , TIahuizcalpantecuhth,
the Venus deity, nearly all scholars subsequently have accepted the Seler
interpretation (e.g., Beyer 1921 [ 1 9 6 5 ] ; Caso 1938: 93 - 9 5 ; Bernal
1969: n. p.). A generally adequate photograph o f the piece was published
in Gahndo y Villa 1902 (PI. 14), and it has since b e c o m e o n e o f the most
frequently illustrated A z t e c sculptures. A g o o d c o l o r photograph was
featured on the cover o f a recent catalogue o f the Museo Nacional de
Antropología (Cervantes 1976). A photograph o f the complete underside
has been published by Fernández ( 1 9 6 3 : fig. 4 ; our Fig. 13).
Another very relevant piece is a jadeite mask in the collection o f the
Peabody Museum o f Archaeology and Ethnology, Harvard University
(acquired apparently in 1928 but o f unknown provenience; catalogue
number: 2 8 - 4 0 - 2 0 / C 1 0 1 0 8 ) , which also represents CoyolxauhquiChantico. It was first illustrated by Cahill ( 1 9 3 3 : PI. 5 9 ; our Fig. 14)
and variously since ( e . g . , Pijoán 1958: fig. 2 1 3 ; T h o m s o n 1971: PI. 88).
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Basically, it is quite similar to the colossal head, but the nose ornament is
absent, the bells are simpler and more stylized and lack the upper circular
elements with the gold symbols, and they depend f r o m a narrow band
which bridges the nose. In these latter features the new carving obviously
more closely resembles the mask than the famous head.^
The fullest version o f the myth o f the birth o f Huitzilopochtli, featuring Coyolxauhqui as his hostile half-sibling, was recorded by Sahagún, in
Nahuatl, in Tlatelolco probably in 1561 - 1565. It survives in t w o versions, virtually identical, in the " C ó d i c e Matritense del Real Palacio"
(fols. 1 3 2 r - 134v) and the "Florentine C o d e x " ( B o o k III: fols. 1 - 7).
Paso y T r o n c o s o ( 1 9 0 6 : 205 f . ) published the first in a photographic reproduction; paleographies o f the second have been published b y Seler
( 1 9 2 7 : 253 - 2 5 8 ) and Dibble and Anderson (Sahagún 1 9 5 0 - 8 2 , Pt. IV:
1 — 5 ) with direct translations into German and English, respectively.
Sahagún himself made a paraphrastic Spanish translation, which constitutes the left-hand column o f the "Florentine C o d e x " version - and
which is also preserved in the T o losa manuscript (Real Academia de la
Historia, Madrid; fols. 1 7 4 - 1 7 7 ) version o f the "Historia General"
( B o o k III, Chapter I, Paragraph 1), from which all published versions
( e . g . , Sahagún 1975: 191 f . ) are derived.
In concise summary, Coatlicue, "Serpents-her-Skirt", while performing
penitential exercises at Coatepec, is impregnated b y a floating feather ball
which she places in her bosom. Her eldest child, Coyolxauhqui, and
her 4 0 0 ( " i n n u m e r a b l e " ) sons, the Centzon Huitznahua, resolve to kill her
for her shameful sexual transgression, but her unborn child, Huitzilopochtli, consoles his mother f r o m the w o m b . Warned b y a renegade among the
approaching host with matricide their aim, he bursts forth, fully armed,
and with the xiuhcoatl, the "turquoise snake", decapitates and dismembers his half-sister and destroys most o f his half-brothers, the survivors
fleeing to the South.'*
3
4
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Chavero ( 1 9 0 0 : Plate facing p. 4 5 7 ) illustrated a small silver head o b v i o u s l y based
closely o n the colossal C o y o l x a u h q u i - C h a n t i c o h e a d , plus a silver ring with a head
seemingly based m o r e l o o s e l y o n it. He published t h e m in the belief that t h e y were
authentic pre-Hispanic artifacts, but they appear, f r o m his illustrations, t o be
almost certain falsifications. Chavero ( 1 9 0 0 : 4 5 7 ) also stated that he k n e w o f
a n o t h e r head similar t o the colossal o n e ; he described it as being o f red p o r p h y r y ,
15 c m in diameter. H o w e v e r , he did n o t illustrate this p i e c e , w h i c h is apparently
o t h e r w i s e u n r e p o r t e d , so it is impossible t o j u d g e w h e t h e r this was an authentic
pre-Hispanic o b j e c t .
This climactic scene is illustrated in the " F l o r e n t i n e C o d e x " (Sahagún 1 9 5 0 - 8 2 ,
Pt. I V : fig. 2 ; o u r Fig. 15), including the d e c a p i t a t i o n and d i s m e m b e r m e n t o f
C o y o l x a u h q u i , but in such a s k e t c h y f a s h i o n that it is n o t i c o n o g r a p h i c a l l y o f
m u c h significance.
A significant variant o f this narrative is contained in Alvarado T e z o z o m o c ( 1 9 4 4 : 9 - 1 1 ) and Durán ( 1 9 6 7 , II: 30 - 3 2 ) , derived f r o m the
"Crónica X " . In this version Huitzilopochtli decapitates and extracts the
heart o f " C o y o l x a u h " , not explicitly identified as his sister, and does
likewise to the Centzon Huitznahua in the sacred ballcourt, the T e o tlachco, at Coatepec, which is specified as a stopping place o n the AztecaMexica migration route from Aztlan to the Basin o f M e x i c o - where
they had angered their patron deity by their intention o f remaining in
the artificial lake-surrounded c o m m u n i t y they had created there. Alvarado
T e z o z o m o c ' s version is somewhat more detailed than the rather sketchy
account in Durán but is garbled and at times almost unintelligible (see
discussion and analysis in Seler 1 9 0 2 - 2 3 , III: 325 - 3 3 1 ) . Both chroniclers earlier described Huitzilopochtli's sister under another name, Malinalxoch(itl), a malevolent sorceress, w h o is abandoned, o n her brother's
orders, at or just after leaving Patzcuaro, in Michoacan. With a faithful
band o f followers, she settles at Texcaltepec-Malinalco (named after her),
giving birth to an equally hostile son, Copil, w h o later plays a significant
role in events surrounding the foundation o f M e x i c o Tenochtitlan.
Another version o f the Malinalxochitl-Copil and Coyolxauhqui-Centzon Huitznahua episodes is recounted in the early part o f the "Crónica
Mexicayotl" ( 1 9 7 5 : 27 - 36), apparently also attributable to Alvarado
T e z o z o m o c . The former is also very briefly mentioned in Chimalpahin's
"Tercera Relación" (Chimalpahin 1963: 10), undoubtedly derived f r o m
Alvarado T e z o z o m o c . Interestingly, in the "Crónica M e x i c a y o t l " his
female antagonist at Coatepec is called " C o y o l x a u h c i h u a t l " and is described as his mother. Alvarado T e z o z o m o c 0 9 4 4 : 3 0 0 ) also seems to
merge or confuse Malinalxochitl and Coyolxauhqui, for, in referring to the
image o f the latter set up on the top o f the Tenochtitlan HuitzilopochtliTlaloc temple adjacent to the sacrificial stone, he describes her as " p o b l a dora de los de Michoacan", which actually refers to Malinalxochitl. A n other very summary account o f Huitzilopochtli's birth at Coatepec during
the Mexica migration is included in the "Historia de los mexicanos p o r sus
pinturas" ( 1 9 6 5 : 43 f.); his slaughter o f the Centzon Huitznahua (not,
however, named as such) is described, but Coyolxauhqui is not mentioned. It is also made explicit that the Panquetzaliztli veintena ceremony was
in c o m m e m o r a t i o n o f Huitzilopochtli's birth and victory over his enemies.
In accordance with various other sources, the event is assigned here to the
New Fire year, 2 Acatl, which, in the chronology employed in this source,
would equate with 1143. The " C ó d i c e Azcatitlan" ( 1 9 4 9 : PI. V ) , on the
other hand, may indicate the previous year, 1 Tochtii (equated here with
1194). Perhaps significantly, this latter date, as mentioned, is carved on
the underside o f the colossal head (Fig. 13). Ce Tochtii, the date o f the
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creation of the present universe, is sometimes carved on the undersides o f
Aztec monuments ( e . g . , Seler 1 9 0 2 - 2 3 , II: Abb. 6), but here it might
signify the date o f Coyolxauhqui's death at the hands o f Huitzilopochtli —
although, as indicated, the following year, Ome Acatl, is that more frequently given for this event.'
The Huitzilopochtli birth myth, particularly the detailed Sahagúntine
version, has given rise to diverse interpretations. The most popular has
been the solar-lunar-astral interpretation of Eduard Seler (first adumbrated in Seler 1 9 0 1 - 0 2 : 112; most fully developed in Seler 1 9 0 2 23, III: 327 f.; IV: 157 — 167), wherein Huitzilopochtli is the sun, who,
at the moment o f his birth-rising from the earth (Coatlicue), conquers and
disperses the moon (Coyolxauhqui) and the host o f stars o f the southern
firmament (Centzon Huitznahua). Hvidfeldt (1958: 133), on the other
hand, characteristically interprets it as "a fantasia inspired by motifs from
the ritual", i. e., Panquetzaliztli. At the other extreme is an essentially
historical-euhemeristic explanation which interprets the HuitzilopochtliCentzon Huitznahua conflict as a political-military struggle between two
factions o f the migrating Mexica (González de Lesur 1966) or between the
latter and the Toltecs o f the Tollan-Coatepec zone (Jiménez Moreno and
Fernández 1963: 116). The Seler hypothesis is seductive and "logical",
which probably explains its wide acceptance, but, with regard to Coyolxauhqui at least, there seems to be little or nothing in her iconography
which is specifically lunar. On the other hand, she does share various features with other female fertility deities whose lunar associations, among
others, have long been generally accepted, particularly Xochiquetzal (see
Thompson 1939).
As Seler himself recognized, however, the colossal head he identified,
undoubtedly correctly, as Coyolxauhqui, is iconographically essentially
equivalent to representations of a goddess concerning whom relatively
little is known, Chantico ("In the House">Cuaxolotl ( " X o l o t l - H e a d " ;
perhaps also connoting " D o u b l e - " or "Split-Head" [Seler]?). Seler (e. g.,
1 9 0 0 - 0 1 : 1 1 4 - 118; 1 9 0 2 - 0 3 : 272 - 2 7 8 ; 1963, II: 2 2 4 - 228) ably
summarized nearly all o f the extant data on this deity - although I would
not agree with all o f his interpretations. He concluded that Chantico was
basically "the fire goddess o f Xochimilco". Her igneous associations seem
undeniable, but she probably also connoted various other concepts
c o m m o n to the highly important cluster o f intimately interrelated female
5
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Caso ( 1 9 5 9 : 8 6 ) read this d a m a g e d date as 2 T o c h t l i , w h i c h usually c o n n o t e d the
octli ( p u l q u e ) deities. On the right side o f this undersurface is t h e representation
o f a spider ( c f . Fig. 16), a f e a r e d , l o a t h s o m e creature related t o the earth, darkness, and sorcery — and w h i c h , in Alvarado T e z o z o m o c ' s a c c o u n t o f Malinalxochitl,
is expUcitly m e n t i o n e d in c o n n e c t i o n with her m a l e v o l e n t e n c h a n t m e n t s .
fertility deities (Nicholson 1963). In particular, in my view Seier insufficiently recognized (cf. Nicholson 1971a: 4 1 3 f.) Chantico's apparent
partial merger with Xochiquetzal and, probably, with the whole c o m p l e x
o f youthful deities o f sensuality o f which she was the principal female
embodiment. Her special association with X o c h i m i l c o , which Seler may
have overstressed, he based o n Sahagún's ( 1 9 5 0 - 8 2 , Pt. X : 79 f.) inclusion o f her calendric name (9 Itzcuintli) among the deities especially
worshipped by the tlatecque, the lapidaries o f Tenochtitlan-Tlatelolco,
whose roots lay in X o c h i m i l c o , and his belief that Durán's ( 1 9 6 7 , I:
125 - 133) account o f Cihuacoatl, specified by him as the patroness o f
X o c h i m i l c o , really referred to Chantico - a view which I would regard as
somewhat dubious, although some confusion between the two deities b y
Durán is certainly a possibility.
Chantico's cult was definitely o f some significance. She was included in
Sahagún's "Primeros Memoriales" deity list ( e . g . , Seler 1 9 0 3 - 0 3 , II:
501 f.). A temple and sacerdotal dormitory (Tetlanman, Tetlanman Calmecac) were dedicated to her in the T e m p l o Mayor precinct o f Tenochtitlan (Sahagún 1 9 5 0 - 8 2 , Pt. Ill: 170). Seler failed to mention that another
Chantico-Cuaxolotl temple was stated by Torquemada ( 1 9 7 5 : 2 3 9 ) as
having been built by Moquihuix, ruler o f Tlatelolco, "para solo engañara
los tenochcas", just before his disastrous attempt in 1473 to conquer
Tenochtitlan.® An unusual idol representing her, with a detachable leg
believed to be efficacious in promoting military victory when the earth was
pounded with it and which was employed b y Motecuhzoma in an unsuccessful effort to hex the Cortesian advance toward Mexico, was described
in an inquisitorial proceeding in Mexico City in 1539 (Archivo General de
la Nación 1912: 179 f., 183). Precisely why Coyolxauhqui was equated
with Chantico poses a certain problem. In the few references to the former, cited above, no mention is made o f Chantico. Her igneous and,
apparently, aggressive, militaristic connotations — particularly if the evidence o f the idol just described be taken into account — might have
seemed particularly suitable f o r the malevolent half-sister o f their national
god. Chantico's association with the black magic arts (see Seler 1 9 0 0 6
A c c o r d i n g t o T o r q u e m a d a ( 1 9 7 5 : 2 4 5 - 2 4 6 ) , " a l o s diez días del m e s T e c u i l huitl ( q u e era el p o s t r e r o del a ñ o de los m e x i c a n o s ) f u e r o n m u e r t o s l o s c a u t i v o s
q u e representaban la figura de los dioses C h a n t i c o n y C o h u a c o l o t l ( s i c ) y les ayunaron su c e l e b r a c i ó n y m u e r t e y c a n t a r o n sus f u n e s t o s c a n t o s " , a significant ritual
event just p r e c e d i n g the M e x i c a " c i v i l w a r " . His a c c o u n t o f the incidents leading
up t o this fratricidal struggle also includes a d e s c r i p t i o n , t o e x e m p l i f y his brutality
and depravity, o f M o q u i h u i x ' rape o f s o m e o f the w o m e n " d e las q u e servían de
tejer l o s o r n a m e n t o s y vestiduras de la diosa C h a n t i c o n . . . c o n q u e c a u s ó grandísim o escándalo en la r e p ú b l i c a " .
85
Ol: 116) might also have been a factor. Or there may have been deeper
conceptual connections concerning which we can only speculate in the
face o f the limited amount of data available concerning these two deities.
Whatever the precise reasons, Coyolxauhqui was apparently considered to
have been a manifestation o f Chantico. The hyphenated title which Beyer
(1921 [ 1 9 6 5 ] ) first applied to the Templo Mayor colossal head (cf.
Nicholson 1971a: caption to fig. 12), therefore, seems quite justified.
Finally, some brief remarks on the esthetic-stylistic and temporal
aspects o f the monument might be in order. As has been widely recognized, it constitutes one o f the finest large pre-Hispanic carvings yet
found in the capital. It is sculpted in unusually deep reUef, which conveys an especially bold, powerful effect that is heightened by Coyolxauhqui's shattered figure being conceived somewhat simpler, less cluttered than many Aztec rehefs representing supernatural personages.
Its great size is also noteworthy; in diameter it exceeds any other Aztec
monument except the "Calendar Stone". As for its chronological position
within the sequence of major sculptured monuments of Tenochtitlan,
Matos Moctezuma (1981: 37, 90) has assigned it to his Templo Mayor
constructional stage IVb, which he tentatively assigns, on the basis o f a
stone plaque displaying the date 3. Calh, 1469, set into the side o f the
platform belonging to this stage, to the first year o f the reign o f Axayacatl
(1469 - 1481). However, the extant ethnohistorical accounts do not
mention any significant construction on the Templo Mayor during his
rule, although at least two major renovations are ascribed to his grandfather, Motecuhzoma I ( 1 4 4 0 — 1469). In any case, this magnificent
monument was certainly carved and set in place some time before 1487,
the date assigned by all o f the ethnohistorical sources to the last major
renovation o f the Templo Mayor, early in the reign o f Ahuitzotl (1486 —
1502). Its esthetic sophistication and expert craftsmanship indicate that
Aztec monumental sculpture had definitely come o f age by the middle
decades o f the fifteenth century.
86
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Fig. 1: S c u l p t u r e d m o n u m e n t discovered in F e b r u a r y , 1 9 7 8 , near the c o r n e r o f A r g e n tina and Guatemala Street, M e x i c o City ( P h o t o : Instituto N a c i o n a l de A n t r o p o l o g í a
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Fig. 2: Severed, bleeding snake. Codex Borbonicus,
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6 ( f r o m Seier 1 9 6 3 , II: fig. 2 1 7 ) .
Cospi,
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Fig. 5; Tlaltecuhtli, Earth M o n s t e r , representation o n underside o f s t o n e b o x . E x H a c k m a c k C o l l e c t i o n , Hamburgisches M u s e u m für V ö l k e r k u n d e ( f r o m Seler 1 9 0 2 —
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94
Fig. 6 : F r o n t a l and rear views o f C o y o l x a u h q u i - C h a n t i c o colossal head. Pencil drawings b y
José María V e l a s c o ( f r o m C h a v e r o 1 8 8 7 : 3 9 1 ) .
Fig. 7 : C h a n t i c o : R e g e n t o f eighteenth i o n a / pohualli
trecena c o m m e n c i n g
1. Ehecatl.
Codex
Borbonicus,
18 ( f r o m Seler 1 9 6 3 ,
II: fig. 2 8 1 ) .
Fig. 8 : C h a n t i c o : R e g e n t o f eighteenth tonalpohualli
trecena c o m m e n c i n g
1. Ehecatl.
Codex
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21v ( f r o m Seler
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95
10
ttVlTi-i'i'iV^'-'^
96
Fig. 9: C h a n t i c o . Fray Bern a r d i n o de Sahagún,
Primeros
Memoriales
{Códice
Matritense del Real Palacio,
fol. 266v;
f r o m Seier 1 9 6 3 , 1 1 : fig. 2 7 8 ) .
Fig. 10: C h a n t i c o : R e g e n t o f
eighteenth tonalpohualli
trecena c o m m e n c i n g 1. Ehecatl.
Tonalamatl
Aubin,
18 ( f r o m
Seier 1 9 6 3 , 1 1 : fig. 2 8 2 ) .
Fig. 11: C h a n t i c o : R e g e n t o f
eighteenth tonalpohualli
trecena c o m m e n c i n g 1. Ehecatl.
Codex
Borgia,
6 3 ( f r o m Seier
1 9 0 2 - 0 3 : fig. 5 3 3 ) .
Fig. 12: C h a n t i c o : R e g e n t o f eighteenth
tonalpohualli
trecena c o m m e n c i n g 1.
Ehecatl. Codex
Vaticanus
B, 6 6 ( f r o m
Seier 1 9 6 3 , 1 1 : fig. 2 7 9 ) .
Fig. 13: Underside o f colossal C o y o l x a u h q u i - C h a n t i c o head ( P h o t o : Institut o N a c i o n a l de A n t r o p o l o g í a e Historia,
México).
97
14
Fig. 14: Jadeite mask o f C o y o l x a u h q u i Chantico. Peabody Museum o f Archaeo l o g y and E t h n o l o g y , Harvard University ( f r o m C a h m 1 9 3 3 : pi. 5 9 ) .
Fig. 15: H u i t z i l o p o c h t l i v i c t o r i o u s o v e r
C o y o l x a u h q u i and the C e n t z o n Huitznahua. Fray Bernardino de Sahagún,
Florentine
Codex,
B o o k III, f o l . 3
( f r o m Sahagún 1 9 5 9 - 8 2 , Pt. I V : fig.
2).
15
98
Fig. 16: Spider. Codex
Borbonicus,
( f r o m Seler 1 9 0 2 - 2 3 , I V : 7 4 1 ,
955).
19
fig.