quarter, how much more charmed were they with this, "which has not its equal in Spain," exclaims Cortés.
The exterior presented an irregular pile of low buildings of tetzontli, raised upon high foundations, and communicating with the square by twenty doors, over which were sculptured the coat of arms of the kings of Mexico. The buildings were so arranged as to inclose three public squares, and contained an immense number of rooms and halls, one of them large enough to hold three thousand men, it is said. Several suites were reserved for royal visitors, envoys, and courtiers, while others were assigned for the emperor'z private use, for his harem and his attendants. Large monoliths adorned the halls or supported marble balconies and porticos, and polished slabs of different kinds of stone filled the intervening spaces or formed the floors. Everywhere, on projections and supports, in niches and corners, were evidences of the artist's skill in carvings and sculptures, incised and in relief.
After being conducted through a number of courts, passages, and rooms, partly for effect, the Spaniards were ushered into the audience-chamber, and removed their hats as Montezuma advanced to receive them. Leading Cortés to the throne, he seated him at his right hand, the rest being offered seats by the attendants. Around stood with downcast eyes a number of courtiers, who in accordance with etiquette had covered their rich attire with a coarse mantle and left their sandals outside the room.[1] The conversation fell chiefly on religious topics, the favorite theme with Cortés, who aside from his bigotry was not averse to use the faith as a means to obtain a secure hold on the people. In any case it afforded a shield for other objects. He explained at length the mysteries of Christianity, and contrasted its gentle and
- ↑ The Spaniards were also 'costretti a scalzarsi, ed a coprirsi gli abiti sfarzosi con vesti grossolane,' says Clavigero, Storia Mess., iii. 83, but that is unlikely.
