Hidden musicians strike, and the dance begins. Joining the priests, the consecrated women and the tyros whirl round a large brazier, while two shield-bearers with blackened faces direct their motions. A conspicuous figure is the ixteocale, the living representative of the god, for whom he is fated to die, like the more prominent proxy of Tezcatlipoca. Dressed like a warrior ready for the fray, and prepared to lead in the chief dances as is his duty, he seems to impersonate the omen of evil which hovers over the scene.
Presently the Spaniards are conducted to a separate court, wherein are assembled several hundred nobles and leading men, arrayed in rich costumes glittering with gold and precious stones. The centre of attraction is the new image of Huitzilopochtli, of tzoalli dough, its jacket wrought with human bones. Before this image the mazehualiztli dance now begins.29
Rings are formed round the music-stand, where two leaders direct the movements, the highest nobles and the most aged composing the inner circles, and the younger men the outer. When all is ready the music strikes up lightly to a well known tune, and the dancers move off, chanting a song bearing on the event of the day, and on gods and kings.30 Forewarned as the Spaniards are, they see treason in every act and word, and many who understand somewhat the Aztec language declare that the songs bear distinct allusions to the intended uprising.
As the dance progresses a few of the soldiers, together with a number of Tlascaltecs, take possession of the different entrances, while the rest distribute themselves in suitable positions and watch for the signal.31 Instructed by his native allies, Alvarado waits the time when the Indians shall install the war-god image in the chapel. And now the sanguinary moment has come. Falling on the assembly with pike and sword, some strike the idol and some its worshippers. They hew down the priests and drive the cruel