Professor Valentini ("Maya Archyeol.," p. 23) describe an Aztec picture in the work of Gemelli ("Il giro del mondo," vol. vi.) of the migration of the Aztecs from Aztlan:
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| calendar stone. |
"Out of a sheet of water there projects the peak of a mountain; on it stands a tree, and on the tree a bird spreads its wings. At the foot of the mountain-peak there comes out of the water the heads of a man and a woman. The one wears on his head the symbol of his name, Coxcox, a pheasant. The other head bears that of a hand with a bouquet (xochitl, a flower, and quetzal, shining in green gold). In the foreground is a boat, out of which a naked man stretches out his hand imploringly to heaven. Now turn to the sculpture in the Flood tablet (on the great Calendar stone). There you will find represented the Flood, and with great emphasis, by the accumulation of all those symbols with which the ancient Mexicans conveyed the idea of water: a tub of standing water, drops springing out—not two, as heretofore in the symbol for Atl, water—but four drops; the picture for moisture, a snail; above, a crocodile, the king of the rivers. In the midst of these symbols you notice the profile of a man with a fillet, and a smaller one of a woman. There can be no doubt these are the Mexican Noah, Coxcox, and his wife, Xochiquetzal; and at the same time it is evident (the Calendar stone, we know, was made in a.d., 1478) that the story of them, and the pictures representing the story, have not been invented by the Catholic clergy, but really existed among these nations long before the Conquest."
The above figure represents the Flood tablet on the great Calendar stone.
When we turn to the uncivilized Indians of America, while we still find legends referring to the Deluge, they are, with one exception, in such garbled and uncouth forms that we can only see glimpses of the truth shining through a mass of fable.
The following tradition was current among the Indians of the Great Lakes:
