other hand, the instruments of the Mexicans were of the other
extreme, all kinds of drums, copper gongs, rattles, musical
stones, cymbals, bells, etc., thus completing the resemblance
to Chinese art. In Prescott's "Conquest of Peru" we may read
of the beautiful festival of Raymi, or adoration of the sun,
held at the period of the summer solstice. It describes how the
Inca and his court, followed by the whole population of the
city, assembled at early dawn in the great square of Cuzco,
and how, at the appearance of the first rays of the sun,
a great shout would go up, and thousands of wind instruments
would break forth into a majestic song of adoration. That the
Peruvians were a gentler nation than the Mexicans can be seen
from their principal instrument, the pipe.

While it has been strenuously denied that on such occasions
human sacrifices were offered in Peru, the Mexicans, that race
whose principal instruments were drums and brass trumpets,
not only held such sacrifices, but, strange to say, held
them in honour of a kind of god of music, Tezcatlipoca. This
festival was the most important in Mexico, and took place
at the temple or "teocalli," a gigantic, pyramid-like mass
of stone, rising in terraces to a height of eighty-six feet
above the city, and culminating in a small summit platform
upon which the long procession of priests and victims could
be seen from all parts of the city. Once a year the sacrifice
was given additional importance, for then the most beautiful
youth in Mexico was chosen to represent the god himself. For
a year before the sacrifice he was dressed as Tezcatlipoca,
in royal robes and white linen, with a helmet-like crown of
sea shells with white cocks' plumes, and with an anklet hung