The article discusses the 1473 civil war between the two polities that formed the capital of the Aztec empire, Tenochtitlan and Tlatelolco, as presented in the Codex Durán. I argue that the literal, European-style rendition of the events of the war includes remnants of the pre-Conquest symbolic thought behind those events' original choreography. The remnants indicate that the war was staged to follow the outlines of the story of the battle between the god Huitzilopochtli (“Hummingbird, Left”) and his sister Coyolxauhqui (“Bells, Painted”) at the mountain site of Coatepetl (“Serpent Mountain”), an allegory for the rise and fall of powerful rulers. I also suggest that the enemy king and his second in command, after being thrown from the Tlatelolco Templo Mayor, were buried in the funerary vessels beside the Great Coyolxauhqui Stone discovered in 1978 at the base of the Tenochtitlan Templo Mayor, proved by the war to be the “true” and only Coatepetl.
This article studies the sculptural corpus of the Matlatzinca state before it was conquered in the mid-1470s by the Aztec Empire. Previously, Matlatzinco had been an independent polity in the northern part of the Valley of Toluca surrounding the traditional center of government, which was also called Matlatzinco. After invading the area, the Aztecs renamed this city Calixtlahuaca and established their own provincial capital at nearby Tollocan (modern Toluca). Making Calixtlahuaca a symbol of control over the area, the Aztecs raised new architecture phases in the ancient city center and installed Aztec-style deity images.
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