Barbara_E._Mundy]_The_Death_of_Aztec_Tenochtitlan

62 • The deaTh of azTec TenochTiTLan, The Life of mexico ciTy

Tetzcoco for engineering know-how. 40 After the end of the
famine and the completion of the aqueduct, Moteuczoma
I had himself memorialized by the carving of his portrait
onto the live rocks of Chapultepec hill, probably one of the
first such sculptural portraits the Mexica created. 41 The
Moteuczoma portrait exists today only as an illustration
in Durán’s Historia, the original long since destroyed. As
envisioned by a sixteenth-century indigenous artist who
illustrated the work, the seated ruler appears at right, his
distinctive name glyph (the turquoise miter, or xiuhhuit-
zolli), in the air in front of his face (figure 3.4). The cloak
he wears is similar to the turquoise-patterned cloak worn
by his cousin Nezahualpilli in his portrait in the Codex
Ixtlilxochitl (figure 3.3). Moteuczoma points with his
upturned hand, a particular gesture showing command.
Four sculptors cluster around the rock face at left; that it
is the hill of Chapultepec is signaled by the grasshopper at
the top and the stream of springwater that flows copiously
from its base. The four sculptors work with a variety of
stones and tools for chiseling and grinding. Emerging out
of their labors is the portrait of the ruler, shown frontally,
with his elegant patterned tilmatli and xiuhhuitzolli, captur-
ing the image of the living ruler who watches on the right.
Durán also recounts that the portrait of Tlacaelel

was created alongside that of his brother Moteuczoma I,

although he does not represent it in his manuscript. This

important figure in Mexica history served as co-ruler with

Moteuczoma, upon whose accession he had been named

as atempanecatl, or “field or lagoon marshal.” 42 He also

enjoyed the title “cihuacoatl” (woman serpent), a title that

would survive into the colonial period. Tlacaelel’s presence

at Chapultepec marks his importance to Tenochtitlan, and

bearing the title “atempanecatl,” he was likely in charge of

the functioning of the vast and growing system of water-

works. Other actions attributed to Tlacaelel reveal more

of his role as a majordomo in the functioning of the city,

negotiating with ward leaders, for instance, in preparing

the city for the coronation rites of Ahuitzotl. 43 The portrait

thus linked Moteuczoma and his brother to the source

of Tenochtitlan’s freshwater, adding a new layer to the

already-existing associations of the site of Chapultepec.

These portraits focused attention on the Mexica rulers,

eclipsing the extraordinary feats of their engineers, which

figuRe 3.4. Unknown creator, Moteuczoma I’s portrait being carved

on Chapultepec hill, from Diego Durán, Historia de las indias de

Nueva España e islas de la tierra firme, bk. 3, fol. 19v, ca. 1570.

Biblioteca Nacional de España, Madrid.