the fair god

Front matter

H

F OlAas7 1314 Wallace, Lew The Pair god, a tale.of the conquest of Mexico.

SCOTTSDALE PUBLIC LIBRARY

Contents

BOOK ONE CHAPTER PAGE I. OUR MOTHER HAS A FORTUNE WAITING US YONDER 8 Il. QUETZAL’, THE FAIR GOD é : : - 5 II Ill. A CHALLENGE . : F d ; ‘ : 19 IV. TENOCHTITLAN AT NIGHT . : : ‘ ~ 2 V. THE CHILD OF THE TEMPLE ‘ : : : 2 VI. THE CU OF QUETZAL’, AND MUALOX, THE PABA. 36 VII. THE PROPHECY ON THE WALL . ; : : 43 VIII. A BUSINESS MAN IN TENOCHTITLAN . : &. “EE IX. THE QUESTIONER OF THE MORNING . : : 65 X. GOING TO THE COMBAT . : ‘ ; : ee O XI. THE COMBAT 3 ; : : , 5 é 82 XII. MUALOX, AND HIS WORLD . ; é ‘ 5 015 XIII. THE SEARCH FOR QUETZAL’ i : ‘ : 103

BOOK TWO I. WHO ARE THE STRANGERS? . ; 5 é any, II. A TEZCUCAN LOVER . ‘ : : : : 125 III. THE BANISHMENT OF GUATAMOZIN A : 5 Mey IV. GUATAMOZIN AT HOME : : j < : 145 V. NIGHT AT THE CHALCAN’S . : : : ee Ly, VI. THE CHINAMPA . ‘ j , : ‘ : 168 VII. COURT GOSSIP . ; ; F : bs ‘ A DAD VIII. GUATAMOZIN AND MUALOX ; . : : 182 IX. A KING’S BANQUET . 4 : : : . . 189 X. THE *TZIN’S LOVE ; c : 3 é . 197 xii CONTENTS ,

Book Three

I. THE FIRST COMBAT . : : 2 4 A 225 Il. THE SECOND COMBAT . : - 5 . ERY? III. THE PORTRAIT . : : : 5 - A 248 IV. THE TRIAL ; : : : ; ; : 6 8 DR)

Book Four

I. THE KING GIVES A TRUST TO HUALPA . : 267 Il. THE KING AND THE ’TZIN . : F A 24270) Ill. LOVE ON THE LAKE . js ‘ 3 - - 288 IV. THE KING DEMANDS A SIGN OF MUALOX . = Ny) Vv. THE MASSACRE. IN CHOLULA A 2 e ‘ 306 VI. THE CONQUEROR WILL COME : : ‘ » 319 VII. MONTEZUMA GOES TO MEET CORTES . s ‘ 331

VIII. THE ENTRY . . . . . . . - 339

IPEUSTRATIONS

QUETZAL AND SUNFLOWER . : : . Cover design

“The Quetzal (Kwetsal) [native name]. The Paradise Trogan, the most magnificent of the Trogans, of a golden green, long airy tail feathers and spray-like wings.

“ Vhe bird is about the size of a pigeon, but the long feathers project beyond the tail for two feet or more, forming a graceful spray-like train.”

It was the sacred bird of the ancient tribes of Anahuac, worshiped by them as the Scarabzeus was by the Egyptians. The supreme god of the Aztecs was also called Quetzal’. Page

HALF-TITLE . . . . . . : ° : . 1 Design after an ancient Mexican temple door decoration. “DID I NOT TELL YOU SO, 0 TULA?” (p. 251) /rontispiece BILE « 5 5 0 9 : 5 : : ‘ til The initial is a hieroglyph ; the sweeping feathers were ornaments of the Aztecs. The symbolic design represents the Aztec eagle, the sun, moon, and stars, the clouds and lightning, all of which played an important part in the religious beliefs of the Aztec Mexicans.

HEADPIECE . . . . . . . . . . Vv Design taken from a spinning-whirl of Tezcuco. INITIAL . . . . . . . . . . . Vv Design after some Aztec gold ornaments, xiv ILLUSTRATIONS

HALF-TITLE . : é d : : i ; c . vil Hieroglyphic signs and figure, combined in one design, after an ancient Mexican mural decoration. INITIAL . - : ‘ : : : : : : eax Design after a gold crown found in southern Mexico, — suggesting enamel.

TAILPIECE ° . . ° . . . . . : x

Design taken from the upper portion of a carved wooden altar panel in the Temple of the Sun at Tikal. This greatly resembles the winged disk and Scarabzeus (horns) carved over the doors of the temples of Upper Egypt.

HEADPIECE . ; : : : : : . : Snel Feather ornament. From a Toltec temple. TAILPIECE . : : : : : ; : c > ox

Design from an ancient Mexican bas-relief, cut upon a rough stone, representing a shield and banner of the chieftain. A bird’s head (Quetzal) and another hieroglyphic sign are above the shield, and five javelins support the whole.

HEADPIECE . : : : ; : é : : mexiar Eagle and serpent combined. From the ruins of Oaxaca. TAILPIECE . : : . 2 5 : ‘ 5 e.8.H

An Aztec decorative design.

‘HALF-TITLE . : ‘ : : : 5 2 ‘ -Xxill

An ancient Mexican mural decoration.

Bas-relief from Palenque, —a very fine example of barbaric sculpture. In the National Mexican Museum.

TAILPIECE . - : : : : - -Xxviii Hieroglyphs from an ancient Mexican temple. HALF-TITLE (THE FAIR GOD) : ‘ : P.88B'e This design is based on several of the finest examples of Mexican sculpture. The figure or central portion of the design is after a bas-relief from the Palenque ruins. (An adaption of this design is embossed on the leather cover of the Limited edition of this book.)

HALF-TITLE (BOOK ONE)

. I Aztec design found on a spinning-whitl. HEADPIECE . . . 5 F . . . . . 3

“Far across the plain he caught a view of the fresh waters of Lake Chalco.”

ILLUSTRATIONS

INITIAL . . . . .

Ancient Mexican hieroglyph.

NOT WITHOUT A CERTAIN PICTURESQUENESS AS IT CROSSED THE STREAM (Photogravure) . 4 : A TAILPIECE

An ocelot’s head carved in rough stone. From Yucatan. HEADPIECE . . 5 . : . . .

Branch from the mango-tree.

INITIAL . : . . : e . . ° ° .

An Alcohuan deity. Figure taken from the blade of a porphyry battle-axe.

TAILPIECE . . ° A . 5 5 . . .

Ancient Mexican bow and arrow.

HEADPIECE . * 5 - . . . e . .

Headdress and staff of an Aztec chieftain.

INITIAL . . . ° . 5 . . . .

An owl (hieroglyph) and Mexican onyx.

TAILPIECE . . “ 9 - : < e . .

Jasper necklace from the Valley of Mexico.

HEADPIECE . . ‘ . ‘ A 3 . 5 .

War clubs and lance, used in various parts of ancient Mex-

ico.

INITIAL . ° 5 . : . ° 5

The Mexican coat of arms. Aztecdecoration. Eagle taken from a monument. ‘In the southwestern border of Tezcuco one morning in 1300 a wandering tribe of Aztecs saw an eagle perched with outspread wings upon a cactus, and holding a serpent in its talons.”

TAILPIECE . . ° e 5 . : . . .

-Terra-cotta urn used for sacred fires in the temples of ancient Mexico.

HEADPIECE ae Os We is Dn

View of an Aztec palace and garden. This drawing is based on ancient ruins.

Design after an Aztec textile fabric, consisting of a border of small figures with head and fringe attached.

THE CHILD OF THE TEMPLE (Photogravure) . , xv ite)

II If xvi ILLUSTRATIONS

TAILPIECE . . . . . . . . . .

Stone mask from Copan. Now in British Museum. HEADPIECE . . . . . . . . .

“ Mualox the paba.”

INITIAL .

A terra-cotta mask with open mouth and large white collar and an Aztec border, taken from a sculptural ornament surrounding the central design.

A CLANG OF SANDALED FEET (Photogravure) . ; : TAILPIECE . . ° . : .

Portrait head of an Aztec king in very hard polished stone. The lower portion is missing.

HEADPIECE . . . . ° . . . . 5 Bas-relief. Signs for days of the month. Ancient Mexico. INITIAL . . . ° . . . ° . .

The Aztec war-god, Huitzilopuchtli. Upon his head is a crown composed chiefly of feathers, and in one hand the maquahuitl; in the other, feather ornament, quiver, and shield.

“BEHOLD!” sAID MUALOX (Photogravure) 5 TAILPIECE .

An eagle cut in low relief upona rough stone. Found in Mexico.

HEADPIECE . . . . ° . 5 Terra-cotta plates from the Valley of Mexico. INITIAL . ‘ .

Aztec decorative border with small rosettes. “T CAN FIND YOU ENOUGH SUCH HERE” (Photogravure) . TAILPIECE . .

Terra-cotta vase of fine workmanship. Now in the National Mexican Museum.

HEADPIECE Canal scene.

INITIAL .

. . .

Design after an Aztec textile fabric. TAILPIECE

Hieroglyphics of the symbol of fire — Xochicalco. HEADPIECE

Aztec lance with feather ornamentation.

52 54 55

62 64

65 65 69

ILLUSTRATIONS xvii

INITIAL . : ; : ; ; . 4 j : 70 Hieroglyphic ornament. From a Toltec temple. THE TAMBOUR IN THE TEMPLE SOUNDED THE SIGNAL

(Photogravure) . ; : . : ¢ : ‘ a 9 TAILPIECE . : ; : : 4 ; : ; > Bi Ancient Mexican quiver.

‘HEADPIECE . ; : : 5 : 4 : : 5 ee The maquahuitl, the deadliest weapon of ancient Mexico. INITIAL . : : : : 5 : : 3 : 5 OB

Hieroglyph cut in stone, consisting of arrows and feather ornament.

THE FORTUNATE HERO, STANDING SO CALMLY BEFORE THEM (Photogravure) : : A : . : 5 oy (ROR OTATGNS, | got Ea A Ae See. aay Mexican wild flower.

ERIS, 6 SBE cal temetey4 Hieroglyphic design suggested by an ancient Mexican bas-relief.

HIS FACE WAS FULL OF HOLY AFFECTION (Photogravure) 100

TAILPIECE . . . ° . Po! ° . ° - 102 Stone mask from Copan. Now in British Museum. A full-face view of this mask is shown on page 35. HEADPIECE .. Mea a Se. BAe, Me? he TOR Tropical flowers, from neighborhood of Orizaba. INITIAL . 3 6 . . . . . 5 4 + 103 Design suggested by a hieroglyphic sign on one of the large monoliths found at Copan.

HALF-TITLE (BOOK TWO) . ; 5 : : : . 115 Decorative flower and leaves from an ancient Mexican vase.

HEADPIECE . . . . ° . . . . okt? Cortes’s fleet.

INITIAL . 5 . . G ‘ . ° . . SAG) A Spanish initial with an Aztec scroll design as central ornament, TAILPIECE . : : : : ‘ : pone . 124

Colored terra-cotta vase in National Mexican Museum.

HEADPIECE . é ; : : 5 : : : 2 1S “Half nude were they, and flashing with ornaments and

XVili ILLUSTRATIONS aerial with gauzes and flying ribbons, and on their heads were flowers.”

INITIAL . : : : : : : ;

Design suggested by a Toltec sculptural ornament representing wings and feathers of a bird.

. 125

HEADPIECE . : ; é : . S : . - 134 Air-plant from Monte Alban, near Oaxaca. INITIAL . . : : < ° . ° . ° - 134 Design suggested by a niche in the palace at Palenque, with a bas-relief ornament above representing a bird with neck and head of the feathered serpent.

TAILPIECE : . 5 . . 5 ° - 144 Polychrome vase from the Valley of Mexico. HEADPIECE . ° : ° ° . ° . . - 145 Guatamozin and Hualpa.

INITIAL . . 5 : . . . . . : . 145 A scroll design suggested by an Aztec terra-cotta mould in the collection of the Mexican Museum of Antiquities. DREW THE GRACEFUL WEAPON ARM LENGTH BACKWARD (Photogravure) . : : ; : ad TAILPIECE Dae : : : - 156 Aztec maquahuitl and ancient stone sling. HEADPIECE . . . . . 5 . . . - 157 Sprays from the coffee plant.

INITIAL . 5 ° . . - 157 Composition after a Palenque bas-relief representing a parrot ; the same placed here in three different positions. TAILPIECE , ; ; : : 3 : 5 - 167 Vase from Huexotla. Collection of Dr. Antonio Penafiel HEADPIECE . é : : 3 : : é - 168 Mexican water-grass and flowers.

INITIAL . : : : : ; : : : - 168 Design after a border of long-beaked birds painted on an

Aztec jug.

IN A HAMMOCK THAT SWUNG TO AND FRO (Photogravure) 170

TAILPIECE : : : a LUG Aztec canoe paddles.

HEADPIECE ; : . 176

Mexican belt and pouches.

ILLUSTRATIONS X1x

Border composed after a beautiful gold filigree ornament with enameled rosettes in corners. In National Mexican Museum.

TAILPIECE . : : F ; ‘ ; ; : 5 sin Vase from the ruins of Teotihuacan.

HEADPIECE . : : : é é : : : . 182 View from the royal palace, old Cfi in middle distance.

INITIAL . : : ; : ; : ¢ : c WELOg Hieroglyphs from a large monolith found at Copan.

HEADPIECE . : : : ; - : . é . 189 Berries.

Design from a very fine Toltec vase with ornamentation in the shape of a butterfly. The vase is in the National Mexican Museum,

WHOSE BEAUTY WAS WORTHY THE TRIBUTE (Photogra-

HEADPIECE . é : : ; - : : : G7 Yeteve.

INITIAL . : : ; : 5 Cy

Toltec decorative design, with lotus flower and bud. This greatly resembles the art of the ancient Egyptians.

TAILPIECE «. : ; F : : : : a . 208 Aztec terra-cotta flute with small shell rattles attached.

HEADPIECE . . a * ° . . . 6 + 209 Tropical vine, from Mitla.

INITIAL . : : : : ; : j Neds . 209

Aztec terra-cotta flute of serpentine design. In the New York Metropolitan Museum Collection of Instruments.

THE MONARCH’S FACE CHANGED VISIBLY (Photogravure) 218

HALF-TITLE (BOOK THREE) . ; : : ‘ : « BES Ancient Mexican decorative rosette.

HEADPIECE . 6 4 : 3 2 5 0 5 225 Aztec arms.

Bronze battle-axe with hieroglyphs and a mosaic suggesting a Greek pattern.

IZTLIL’? STAGGERED (Photogravure) . + + « . 232

XX ILLUSTRATIONS HEADPIECE . . . . . . . . . + 234 Palm-tree.

INITIAL . . . . ° . . . ° - 234 Design composed of arrows and javelin and flint arrow heads. | HEADPIECE . : ; : : : 2 - ‘ - 248 ; Aztec manuscripts.

INITIAL + 0 we Greek pattern with disks inserted, met with in the borders sculptured on the temples and palaces of ancient Mexican cities.

TAILPIECE . . . . . . . . . + 252 Bas-relief from Xochicalco.

HEADPIECE . . : . . . . . . + 253 Arrow and atlatls.

ING UAee ann : i ae Oe aT. 2es Design vas by the decorative painting of a beautiful example of polychrome pottery made by the Teotihuacans, very closely resembling the lotus designs on ancient Egyptian vases.

TAILPIECE : : : - 263 Ancient Mexican gold bracelet.

HALF-TITLE (BOOK FOUR) s 208) Design taken from a spinning-whirl from Huexotla. HEADPIECE . é : : : : . 267 View of lake at Ixtapalapa.

INITIAL ; : 5 5 5 : 4 3 2267, Head with the feathered tiger-head often worn by the military chiefs and guards.

TAILPIECE ; ; 27 Aztec arrows and unstrung bow.

HEADPIECE ‘ ; : é : ; : 276 Tropical plant from the neighborhood of Jalapa. INITIAL . A 276

One of two bas-reliefs forming supports to the altar of a Toltec temple, representing a deity magnificently arrayed. He is supposed to personify the god of eee of spring, verdure, and water.

EACH MET THE OTHER’S GAZE (Photogravure) .

. 278

ILLUSTRATIONS xxi TAILPIECE . : : : ; é 287 Aztec knives, with mosaic and jeweled handles of fine workmanship. The one with crouching figure belongs to the Christy collection.

HEADPIECE . : : : ‘ : ¢ : : . 288 Aztec shield and lance.

INITIAL . : : : : : e : : : . 288 Tile-shaped bas-reliefs representing turtles, with a background suggesting water.

TAILPIECE . : : : ; - 296 Vase from Valley of Mexico. In National Mexican Museum. HEADPIECE . . . 297 Bust of an ancient deity cut in soft white stone. MAT kt . 207 Border found on Aztec terra-cotta ornaments and vases. MAILPIECE . . : : Ra Ws : : SOS Statue of Xochiquetzal from se a: Collection of Dr. Antonio Penafiel.

HEADPIECE . 5 5 5 : ; ; : c - 306 Aztec water-god.

INITIAL . : : , : 306 An ancient Mexican ornament and conventionalized lotus. HEADPIECE . . . 319

Aztec water-carrier.

SeGUGUATMOM A ES See Ss es 319 Design after an ancient Mexican terra-cotta. In thé Metropolitan Museum, New York.

CRAFTSMEN ENTERTAINED AND FRIGHTENED EACH OTHER WITH STORIES (Photogravure) . : : : : . 320 FROM THE AZOTEAS HE SAW THEM ENTER THE CITY (Photogravure) . , 4 : c 2 “ 5 326 TAILPIECE . : ; : : P 1 : j 330 Ancient Mexican vases from various sections of the country. [PPADPIBCE 50 «© = = - BE Aztec flute and belt.

INITIAL . : : : . » 331

Ancient Viste Spee ceroil The whole design is left entirely as in the original.

Xxli ILLUSTRATIONS

TULA DREW THE CURTAIN QUICKLY (Photogravure) . c AT A PALACE NEAR THE EDGE OF THE CITY THE ES- CORT HALTED (Photogravure) .

HEADPIECE Spanish armor, sword, and battle-axes. INITIAL . : é . c : : : In the style used during the sixteenth century. “OUT OF THE WAY, DOG!” SHOUTED SANDOVAL (Photogravure) . : : A 3 ; : = “ ‘ TAILPIECE

Design from a decoration over the entrance to an ancient Mexican temple.

IE

INTRODUCTORY cWidee

ce bw ERNANDO DE ALVA,!a noble f. = Tezcucan, flourished, we are told, in the beginning of the sixteenth century. Hewas a man of great i’ Jearning, familiar with the Mexican and 1 Spanish languages, and the hieroglyphics of Anahuac. Ambitious to rescue his race from oblivion, and inspired by love of learning, he collected a library, availed himself of his knowledge of picture-writing, became master of the songs and traditions, and, in the Castilian language, composed books of merit.

It was scarcely possible that his labors should escape the researches of Mr. Prescott, who, with such incomparable genius, has given the world a history of the Conquest of Mexico. From him we have a criticism upon the labors of the learned Fernando, from which the following paragraph is extracted.

“Tztlilzochitl’s writings have many of the defects belonging to his age. He often crowds the

1 Fernando De Alva Iztlilzochitl.

XXV1 INTRODUCTORY page with incidents of a trivial and sometimes improbable character. The improbability increases with the distance of the period; for distance, which diminishes objects to the natural eye, exaggerates them to the mental. His chronology, as I have more than once noticed, is inextricably entangled. He has often lent a too willing ear to traditions and reports which would startle the more skeptical criticism of the present time. Yet there is an ‘appearance of good faith and simplicity in his writings, which may convince the reader that, when he errs, it is from no worse cause than the national partiality. And surely such partiality is excusable in the descendant of a proud line, shorn of its ancient splendors, which it was soothing to his own feelings to revive again —though with something more than their legitimate lustre — on the canvas of history. It should also be considered that, if his narrative is sometimes startling, his researches penetrate into the mysterious depths of antiquity, where light and darkness meet and melt into each other ; and where everything is still further liable to distortion, as seen through the misty medium of hieroglyphics.”

Besides his “ Relaciones ” and “ Historia Chichemeca,” De Alva composed works of a lighter nature, though equally based upon history. Some

INTRODUCTORY XXVll were lost ; others fell into the hands of persons ignorant of their value; a few only were rescued and given to the press. For a considerable period he served as interpreter to the Spanish Viceroy. His duties as such were trifling ; he, had ample time for literary pursuits; his enthusiasm as a scholar permitted him no relaxation or idleness. Thus favored, it is believed he composed the books now for the first time given to the world. The MSS. were found among a heap of old dispatches from the Viceroy Mendoza to the Emperor. It is quite probable that they became mixed with the State papers through accident ; if, however, they were purposely addressed to His Majesty, it must have been to give him a completer idea of the Aztecan people and their civilization, or to lighten the burdens of royalty by an amusement to which, it is known, Charles V. was not averse. Besides, Mendoza, in his difficulty with the Marquess of the Valley (Cortes), failed not to avail himself of every means likely to propitiate his cause with the court, and especially with the Royal Council af the Indies. It is not altogether improbable, therefore, that the MSS. were forwarded for the entertainment of the members of the Council and the lordly personages of the court, who not only devoured with avidity, but, as the wily Mendoza well knew,

XXVili INTRODUCTORY were vastly obliged for, everything relative to the New World, and particularly the dazzling conquest of Mexico.

In the translation, certain liberties have been taken, for which, if wrong has been done, pardon is besought both from the public and the shade of the author. Thus, The Books in the original are unbroken narratives; but, with infinite care and trouble, they have all been brought out of the confusion, and arranged into chapters. So, there were names, some of which have been altogether changed; while others, for the sake of euphony, have been abbreviated, though without sacrificing the identity of the heroes who wore them so proudly.

And thus beginneth the Frrst Book.

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BOOK ONE aOUR MOTHER HAS A FORTUNE WAITING US YONDER

ILE Spanish Calendar is simpler than the Aztecan. In fact, Christian methods, of whatever nature, are better than heathen.

So, then, by the Spanish Calendar, March, 1519, had about half spent itself in the valley of Anahuac, which was as yet untrodden by gold-seeker, with cross-hilted sword at his side, and on his lips a Catholic oath. Near noon of one of its fairest days a traveler came descending the western slope of the Sierra de Ahualco. Since the dawn his path had been amongst hills and crags; at times traversing bald rocks that towered to where the winds blew chill, then dipping into warm valleys, where were grass, flowers, and streamlets, and sometimes forests of cedar and fir, —labyrinths in which there reigned a perpetual twilight.

Toilsome as was the way, the traveler, young and strong, marched lightly. His dress, of the kind prevalent in his country, was provincial, and with few signs of rank. He had sandals of buffalo-hide, fitted for climbing rocks and threading pathless woods; a sort of white tunic, covering his body from the neck to the knees, leaving bare the arms from the shoulder; maxtlat/ and Zilmatli — sash and mantle — of cotton, blue tinted, and void of ornament; on the wrist of his left arm he wore a substantial golden bracelet, and in both ears jeweled pendants; while an ebony band, encircling his head, kept his straight black locks in place, and permitted a snow-white bird’swing for decoration. There was a shield on his left arm, framed of wood, and covered with padded cloth, and in the left hand a javelin barbed with 'z/z/z,; at his back swung a maquahuztl, anda quiver filled with arrows ; an unstrung bow in his right hand completed his equipments, and served him in lieu of staff. An ocelot, trudging stealthily behind him, was his sole companion.

In the course of his journey he came to a crag that sank bluffly down several hundred feet, commanding a fine prospect. Though the air was cold, he halted. Away to the northwest stretched the beautiful valley of Anahuac, dotted with hamlets and farmhouses, and marked with the silver sil

OUR MOTHER HAS A FORTUNE 5 tracery of streams. Far across the plain, he caught a view of the fresh waters of Lake Chalco, and beyond that, blue in the distance and faintly relieved against the sky, the royal hill of Chapultepec, with its palaces and cypress forests. In all -the New World there was no scene comparable with that he looked upon, — none its rival for beauty, none where the heavens seemed so perfectly melted into earth. There were the most renowned cities of the Empire; from that plain went the armies whose marches were all triumphs ; in that air hovered the gods awaiting sacrifices ; into that sky rose the smoke of the inextinguishable fires; there shone the brightest suns, and lingered the longest summers; and yonder dwelt that king —in youth a priest, then a warrior, now the terror of all nations — whose signet on the hand of a slave could fill the land with rustling of banners.

No traveler, I ween, could look unmoved on the picture ; ours sat down, and gazed with brimful eyes and a beating heart. For the first time he was beholding the matchless vale so overhung with loveliness and full of the monuments of a strange civilization. So rapt was he that he did “not observe the ocelot come and lay its head in his lap, like a dog seeking caresses. “ Come, boy!” he said, at last rousing himself ; “let us on. Our Mother?! has a fortune waiting us yonder.”

And they resumed the journey. Half an hour’s

1 The goddess Cioacoatl, called “Our Lady and Mother.” Sahagun, Hist. de Nueva Esp.

brisk walk brought them to the foot of the moun- ‘tain. Suddenly they came upon company.

It was on the bank of a considerable stream, which, pouring in noisy torrent over a rocky bed, appeared to rush with a song forward into the valley. A clump of giant oaks shaded a level sward. Under them a crowd of ¢amanes,! tawny, half-clad, broad-shouldered men, devoured loaves of cold maize bread. Near the roots of the trees their masters reclined comfortably on fezates, or mats, without which an Aztec trader’s outfit was incomplete. Our traveler understood at a glance the character of the strangers ; so that, as his road led directly to them, he went on without hesitation. As he came near, some of them sat up to observe him.

“A warrior going to the city,” said one.

“Or rather a king’s courier,” suggested an- | other.

“Ts not that an ocelot at his heels?” asked a third.

“That it is. Bring me my javelin!”

“And mine! And mine!” cried several of them at once, all springing to their feet.

By the time the young man came up, the whole party stood ready to give him an armed welcome.

“T am very sorry to have disturbed you,” he said quietly, finding himself obliged to stop.

“You seem friendly enough,” answered one of the older men; “but your comrade there, — what of him?”

1 Carrier slaves, or porters.

OUR MOTHER HAS A FORTUNE 7

The traveler smiled. ‘See, he is muzzled.”

The party laughed at their own fears. The old merchant, however, stepped forward to the young stranger.

“TI confess you have greatly relieved me. I feared the brute might set on and wound somebody. Come up, and sit down with us.”

The traveler was nowise disinclined, being tempted by the prospect of cheer from the provision-baskets lying around.

“ Bring a mat for the warrior,” said the friendly trader. “Now give him bread and meat.”

From an abundance of bread, fowl, and fruit the wayfarer helped himself. A running conversation was meantime maintained.

“My ocelot? The story is simple; for your sakes, good friends, I wish it were better. I killed his mother, and took him when a whelp. Now he does me good service hunting. You should see him in pursuit of an antelope!”

“Then you are not a warrior?”

“To bea warrior,” replied the hunter modestly, “is to have been in many battles, and taken many captives. I have practiced arms, and, at times, boasted of skill, — foolishly, perhaps ; yet, I con- - fess, I never marched a day under the banner of the great king.”

« Ah!” said the old man quizzically, “I understand you. You have served some free-trading company like our own.”

“You are shrewd. My father is a merchant. At times he has traveled with strong trains, and even attacked cities that have refused him admission to their market.”

“Indeed! He must be of renown. In what province does he live, my son?”

“Tn Tihuanco.”

“Tepaja! old Tepaja, of Tihuanco! Are you son of his?” The good man grasped the young one’s hand enthusiastically. “I knew him well; many years ago we were as brothers together ; we traveled and traded through many provinces. That was the day of the elder Montezuma, when the Empire was not as large as now; when, in fact, most gates were closed against us, because our king was an Aztec, and we had to storm a town, then turn its square into a market for the sale of our wares. Sometimes we marched an army, each of us carrying a thousand slaves ; and yet our tasks were not always easy. I remember once, down on the bank of the Great River, we were beaten back from a walied town, and succeeded only after a four days’ fight. Ah, but we made it win! We led three thousand slaves back to Tenochtitlan, besides five hundred captives, — a present for the gods.”