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The extreme value placed upon chalchihuitl is patent from the above excerpts. The Spanish could not understand the Mexican evaluation of chalchihuitl as more precious than gold, nor did they appreciate the sacrifice of Montezuma in bestowing these carved stones upon them. Other writers mention the great esteem in which the chalchihuitl was held in Mexico and note many facts and beliefs connected with it. The reader has probably deduced already, from the change in topic from jade to chalchihuitl, that the latter is, or was, the Aztec name for the former. Such deduction is probably correct and is generally accepted today, but is not absolutely certain and was formerly the cause of some discussion. The probability is that the word chalchihuitl was a generic term applied to any hard, translucent, greenish stone capable of being worked and referred not only to jadeite and nephrite but also to chloromelanite, quartzite, amazon-stone and similar stones, and possibly even to the softer stones agalmatolite, steatite and serpentine.

The distinction between turquoise and chalchihuitl has been even more of a problem, the present consensus of opinion being that in the north of Mexico and in New Mexico where turquoise is mined it also was known as chalchihuitl, but in the south where it is not native it was known as xihuitl. So it was with many or most of the native natural species of Mexico, animal, vegetable and mineral, but in most cases these are still known by their native names and have since been scientifically studied and identified ; jade is no longer worked in Mexico and the name chalchihuitl has gone out of use.

The fact that jade has never been reported as found in situ, to scientific notice, from Mexico and Central America is one of the most surprising and inexplicable phases of the question and would certainly indicate that chalchihuitl was another mineral were it not that many worked objects of jade, carved in the style of art and motives native to their respective localities, have been found from southern Mexico to Colombia. This theory has since been universally discarded, having been overthrown mainly by the discovery of two facts.

It was first shown that American jades are of a mineralogical composition distinct from those of the Asiatic jades. Nuttall, 11 by a study of the tribute rolls of Montezuma, generally known as the Mendoza Codex, the original of which is still preserved in the Bodleian Library at Oxford University, 12 demonstrated that tribute of beads and similar ornaments made of chalchihuitl was paid to Montezuma, as chief of the Aztec confederacy, by many towns in the southeastern states of Mexico: Vera Cruz, Puebla, Guerrero, Oaxaca and Chiapas.

These payments of tribute originated, of course, from the military conquest of territory by the allied cities of the Valley of Mexico. We have one circumstantial account of the conquest of the country around Tehuantepec by the Aztec leader Ahuitzotl in We will pay you tribute of all that is produced and yielded on these coasts, which will be chalchihuitl of all kinds and shades, other small precious stones named teoxihuitl lit. This offer of tribute, together with the definiteness of the region from which jade was paid as tribute, indicates clearly that jade must have been a natural product of those districts. These again are the very places in which jade objects are found today in the greatest abundance in archeological excavations, generally on the Pacific Coast, from Guerrero in southern Mexico to Costa Rica.

It is probable that, in their search for the precious stone, the aboriginal populations had practically exhausted the available supply, both of boulders and of exposed seams. Doubtless, in future mining or grading operations, some of these veins will be bared. The word has, of course, come to us through the French modification of ijada: jade. Two stones, rather distinct mineralogically but very similar in appearance, jadeite and nephrite, are included under the name jade.

Nephrite is a calcium-magnesium silicate with parallel felted fibers somewhat like asbestos. Mineralogists term it an amphibole. Nephrite has been found native in Alaska, British Columbia and Brazil, and the majority of the jades from these regions, as well as from Venezuela, Colombia and Central America, are nephrites. Jadeite, according to the mineralogists, is an aluminium-sodium silicate and a pyroxene rather than an amphibole. Apparently it is jadeite which was known as chalchihuitl, which is found so frequently in southern Mexico and Guatemala and which is the main topic of our discussion today.

Chalchihuitl, he says, was found as pebbles and boulders and was not quarried. The scarcity of the material in Aztec days may be realized from his account of the methods of securing it. According to him, certain persons were experts, trained in the art of discovering such stones on or beneath the surface. Stationing himself at a favorable location at sunrise, the expert would scan the neighborhood and endeavor to descry the faint emanation which, like a dim haze, arose from the stones at such times.

Another sign, supposed to be infallible, was the patch of green verdure which overlay every boulder of jade. Needless to say, the cynical, incredulous modern mineralogist discredits both of these indicative phenomena. The jades are among the hardest of stones, having a grade of about 6 on the scale, and, on account of their tough, dense, fibrous nature, are exceedingly difficult to work. Add to their intrinsic beauty the great rarity of the material and the incredible amount of skilled labor needed to engrave them without the aid of metal tools, and one can understand why only the powerful could command the requisite man-power and wealth. According to him, the hardest stones were shaped by means of emery and an instrument of tempered copper, carved with flint implements, drilled with hollow tubes of copper and then polished.

No copper or bronze objects are known from ancient America of a greater degree of hardness than can be secured by such simple methods as hammering and annealing. These consist, in the Mexican and Mayan regions at least, mainly of beads and amulets. The beads are generally plain and undecorated, regular in shape, spherical, cylindrical or barrel-shaped, and drilled for stringing. The amulets are sometimes carved in the full round, but more often in low relief on one side of a rather thin slab of jade, the back being plain. These amulets also invariably have suspension holes, but these are generally two short drillings meeting at an angle.

Axes, celts and other objects of jade are less usual. One of the principal methods of working jade was by sawing, this being the means by which the piece of raw stone was first roughly shaped. This is especially true of the thin slabs of jade from which the relief amulets were made, these frequently showing a perfectly straight, flat back except in the center where there is a slightly raised ridge with a rough surface. Obviously they were sawn from both sides until only a thin septum remained which was then broken through. The labor was accomplished mainly by means of a hard sand or emery abrasive, the actual saw being probably a cord made of some one of the stiff Mexican agave fibers, or possibly a leather thong, though thin slabs of tough stone may also have been employed.

The engraving of curved lines on such a material, practically as hard as the tools employed, was a task of the greatest difficulty and was avoided, straight incised lines being used whenever possible. In all places there was doubtless a progressive development throughout the history of jade working, both in art and in technique, but this topic has not yet been well studied. In most regions the types tended to become standardized and stylicized so that it is generally not difficult to determine the general culture from which a jade ornament comes, though the period is not so obvious.

The discovery of easier technical methods tended, naturally, to increase this stylicism. Thus the use of the tubular drill for perforating the specimen for suspension soon suggested its use in making the incised circles which generally represent the ear ornaments, and from this point the discovery was soon made that by turning the drill at an angle, semicircles and other arcs could be quickly made.

This discovery was then applied to the making of eyes and eyebrows, ears, mouth, nostrils and other facial features and ornaments. In certain regions, such as the Mixtec, this process was utilized to such an extent that the figures became stylicized and conventionalized almost beyond recognition. The next step in the manufacture of jade ornaments was the drilling of suspension holes. In one Mexican stone specimen which has been reported upon, 16 a fragment of such a drill, made of the leg bone of a large bird, was discovered in the shaft. Smaller holes were probably made by a solid drill. The length of some of these drillings is remarkable, many specimens being drilled from end to end. A jade bead in the possession of the Museum Fig. The difficulty of such hand drilling without the use of a lathe can be appreciated only by a mechanic.

Such lengthy holes are drilled from both ends, the perforations meeting in the center, and the same process is utilized in many of the smaller specimens, the suspension holes being drilled from two adjacent sides, the drillings meeting at an angle beneath the surface. In few instances was the drilling carried straight through from side to side. Since in practically every case the drill used tapered considerably, the orifice at the point of entry is rather larger than that at the terminus.

Most of the jade objects found in museums today bear a high polish, or at any rate evidences of having once been highly polished. The jade ornaments from the various cultures of middle America, from Venezuela and Colombia, Panama and Costa Rica, Guatemala and southern Mexico, can all be distinguished by their character of art, but our present discussion will be limited to the latter region, Guatemala and Mexico. Here three main types are found, from the regions which were probably the richest in jade.

Aztec jades are not common, inasmuch as the raw material was secured only as tribute, but jades from, and of artistic styles characteristic of, the Mixtec and Zapotec tribes of Oaxaca, Guerrero and Chiapas and of the Mayan tribes of highland Guatemala and Chiapas are well known. Most of the jades found in museums are of uncertain proveniences and lacking in data, and the best of those in the University Museum are no exception to this rule. Fifteen of the best specimens of jade, or of stones closely resembling jade—for none has been accurately analyzed—which are in the University Museum are shown on pages 46, 54 and The provenience of none is known but the style of art, in the majority of cases, permits the culture to be assigned with a reasonable degree of certainty.

The four figures shown on page 46 are very definitely of the type known as Mixtec and can be ascribed with practical certainty to the region known as the Mixteca in eastern Guerrero and western Oaxaca in southern Mexico. Small figurines of this nature are the most typical Mixtecan objects, but only a small proportion of them are made of jade, the majority being of marble or other stones. The art and technique, however, are apparently identical. Thus in the largest of these specimens No. Of the latter type, made with a tubular drill, are the eyes, pupils, nostrils and ears, while arms, legs, fingers and toes and all other elements were made by the sawing process, probably by a sharp edged stone working in sand.

It is obvious that these technical labor-saving devices denote a late stage in the development of the art of this culture. As in most examples of stylicized primitive art, the parts of the figure are decidedly out of natural proportion, the head being unduly large, the forearms short and close against the body, and the legs vestigial and flexed close against the body. Suspension holes are drilled in the back. The shorter angular specimen No. Figure 2 No. The proportions of all these figurines are conditioned and limited by the shape of the original piece of jade, and since the present specimen was carved from a slightly ovoid pebble, the legs and lower body are unduly constricted and vestigial.

As in the preceding instances, the major part of the carving was performed by means of the saw and the tubular drill. The hair is represented by a number of parallel incised lines and a row of small relief circles crosses the forehead like a coronet. The last specimen No. The use of the tubular drill is seen, indeed, in the corners of the eyes and the forehead decoration, and three biconical drilled perforations are found in the back, one, certainly, for suspension, the other two most probably for the attachment of ear ornaments to the figurine.

The sawing technique was well utilized in making the groove between the legs, the fingers and toes and similar details but is not so omnipresent as in the other specimens. But little is known of the Mixtec culture, and the use made of these figurines is quite problematical. They probably represented one of the gods of the aboriginal pantheon and presumably were carried on the person during life as talismans and protecting amulets and were buried with the deceased. On page 54 are shown five jade figurines and ornaments of types quite different from those of the Mixtec. Their exact provenience is likewise unknown, but they are not of so definite a type as the former and their assignment to their proper cultures is therefore a matter of much greater difficulty.

The first three specimens, Figs. The first No. The face is rather negroid in appearance, with broad flat nose and thick lips. At this point I cannot forbear to sound a note of warning and caution against those who discover in aboriginal America traces of all the peoples of the globe because, forsooth, they find figurines, sculptures, carvings which, to their eyes, show the physiognomies of Negroes, Chinese, Egyptians or men of other races. Primitive art in America was, for the greater part, too non-pictorial, and our popular conceptions of racial characteristics are too inexact to permit any acceptable deductions to be made on such grounds.

The carving of the face, however, is quite admirable. The oval eyes are deeply incised and may have been filled originally with other materials. A drill, apparently a solid one, was employed to finish the corners of the eyes and mouth and to show the nostrils, but no trace of the tubular drill technique can be observed. A biconical drilled perforation extends through the head between the temples, by which the figurine was doubtless suspended. The next specimen No. The upper surface is carved and incised with a round human face in low relief.

Here also the nose and mouth are flat and broad, but this is probably required by the lowness of the relief. A band of incised decoration, for the greater part of fine lines and now practically eroded, surrounds the face. As with the preceding specimen, it is pierced from side to side with biconical drillings for suspension. While the general effect of the art is Mexican, it is not a typical specimen. The jade human figurine No. In addition to the kneeling pose which characterizes this aspect and which may be of esoteric significance, all of the most striking of the phenomena of death are shown, the deep vacant orbit, the fleshless nose and mouth with prominent teeth, the bare ribs and the sunken abdomen—a perfect semblance of Death.

This aspect of the face, the peculiar hat and especially the kneeling posture, unusual in Mexico, are all characteristic of a class of pottery vessels from the Chimu culture of the northern coast of Peru. It is not impossible that this figurine may be of the same provenience. While the figurine is most probably a representation of a deity in two phases, or of twin deities, it bears no characteristic insignia which might identify it with any of the gods of the various American pantheons. The technique is excellent without a trace of either the tubular drill or of the sawing techniques which are so important in the late Mixtec figurines.

It bears three drilled perforations, one at each elbow and one transversely through the neck, the latter being doubtless the main suspension orifice. The foregoing three specimens are all of blue green stones, differing noticeably from the more typical pea green jades of the majority of the specimens. The art is also decidedly different, being largely naturalistic with slight stylicization and conventionalization and little or no ornamentation and decoration.

They doubtless belong to cultures distinct either in place or time from the other jades here described. The last two specimens on page 54 may with some hesitation be assigned to the Zapotec civilization of the state of Oaxaca in southern Mexico. Figure 4 No. The art is decidedly stiff, symmetrical and stylicized, carved in low relief on the obverse face and representing a goddess with the usual disproportionately large head, small body and vestigial legs. Judging by the serrations on the lower edge of the pendant, which could hardly represent anything other than the toes, the goddess is kneeling.

The four-fingered hands are pressed against the abdomen above which are large breasts with prominent nipples. The face is expressionless although the downturned mouth gives it a sinister cast; the ears are shown by the usual large circular ear ornament, and the headdress is elaborate. The twin small drilled holes are on one side edge so that the pendant must have hung on its side. The technique, like the art, gives evidence of an advanced stage of development, but the dependence on the saw and the tubular drill is not great, although the latter was almost certainly employed for the delineation of the ear ornaments and the breasts.

The final specimen No. Apparently the natural shape of the stone was utilized with as little modification as possible, but the entire surface, although retaining its natural irregularities, bears a high polish, possibly from long wear against clothing. Except for the carved upper surface it is the rudest of all the jades in the Museum collections. The art is distinctly Zapotecan, far more than that of the preceding specimen, though it also shows strong affinities with the Toltec art of the Valley of Mexico and the Mayan art of Guatemala. This is exclusively curvilinear, in strong contradistinction to the art of the Mixtec figurines, and consists mainly of scrolls and semicircles.

The same artistic tendency is seen in the Zapotecan pottery. The motive of this specimen is one of the greatest frequency in southern Mexican art, a human face emerging from between the jaws of a beast. The animals most often utilized in this connection are the snake and the jaguar, but both are so conventionalized in a convergent direction that it is frequently difficult to distinguish between them.

The device probably has some esoteric or mythological background, but it was apparently favored for its terrifying aspect by warriors who saw in it an emblem of bravery and courage. In the present specimen the snake seems to be represented, though the identification is by no means certain. The double scroll beneath the chin of the human face can hardly be anything but the forked tongue of the serpent, but the nose with its scrolled nostrils at the top appears more feline.

The eyes of the animal are recognizable, but the rest of the features are conventionalized practically beyond recognition. Technically, most of the carving seems to have been done with graving tools, the absence of the saw being noticeable. The holes in the center of the ear ornaments were made by a tiny tubular drill, as a slight inner core is seen, and possibly the circles of these ornaments and of the human eyes were made by larger drills. Certain other arcs of circles give the impression of having been made by the inclined edge of a rotating tubular drill, but this is uncertain. The amulet is pierced from side to side by conical drilled perforations which meet in the interior of the stone. The finest, most typical, and best known of all the American jades are those of Mayan art from Guatemala and the contiguous lands, the southern Mexican states of Chiapas, Tabasco, Campeche and Yucatan; Salvador, Belize or British Honduras, and western Honduras.

Of these, Campeche and Yucatan are limestone countries exclusively and could have produced no jade, but there, and throughout a large part of the Middle American region, jade ornaments of highland Mayan manufacture were carried in trade. Specimens of Mayan jades are shown on the four plates on pages 59, 63, 66 and The first of these on page 59 contains six jade amulets carved with the human face or form which are the finest American jades in the possession of the University Museum.

Like the jades already described, however, they are of unknown provenience, although almost certainly of Mayan art and origin. The other three plates consist, with three exceptions, of jade objects from graves in the highlands of Guatemala, and are therefore of scientific reliability. The most typical Mayan jades, such as those illustrated on page 59, are nearly unmistakable, although certain of the more regular, symmetrical and conventionalized figures approach closely the Zapotecan type. It is probable that the earliest art of the Mayan and the Zapotecan peoples was practically identical, but that at the terminus of their development, they had naturally diverged and become differentiated, each with its specific traits.

The Maya art exemplified on the carved jades is readily recognizable as practically identical with Maya art elsewhere. The more formal, symmetrical, and regular faces, such as Figs. Three of these specimens are so similar that there can be little doubt of their approximate identity of origin as regards place, time and culture. All are well shaped and of relatively thin pieces of beautiful pea green jade and all are quite similar in motive and in detail. Figure 1 No. The tubular drill was apparently employed in making the large ear ornaments and other circular objects, but the use of the inclined drill for making arcs of circles is uncertain and certainly not obvious.

Along the lower border at the back are four small biconical orifices, undoubtedly for the attachment of other pendent ornaments, probably of gold. The perforation for suspension runs the complete width of the specimen, a feat of drilling by no means easy in view of the slight thickness of the plate. Figures 3 and 4 are very similar indeed in almost every respect, the principal difference being that Fig. Apparently the amulet had originally been twice as thick and pierced by a perpendicular suspension orifice, but, as jade became rarer and more valuable, it was sawn in half and the reverse side probably employed for another amulet.

Both specimens possess, like the preceding one, a number of small suspension holes at the lower edge from which other pendent ornaments, probably of gold, were hung. The thicker specimen is pierced from side to side with drilled holes by which it was suspended, while the other, too thin for such a technique, was suspended by means of small holes at the upper edge. Both of these specimens show a full face carved in relatively high relief, especially that of Fig. Both, moreover, display, in common with the preceding specimen, the very conventionalized animal face and head above the human face. That of Fig. In other respects also it resembles Fig.

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