A SELECTION OF IMPORTANT EXHIBITS
Feather head-dress
Mexico, Aztec, early 16th century
Quetzal, Cotinga, roseate spoonbill, Piaya feathers; wood, fibres, Amate paper, cotton, gold,
gilded brass
In the early 16th century the Spaniards sent examples of Mexican craftsmanship back to
Europe: gold and silver objects, featherwork artifacts, wood carvings, mosaics etc. The
Spaniards compiled detailed lists of these official consignments. The most famous was the
first shipment dispatched to Charles I (V) in 1519. However, none of the feather headdresses mentioned in the packing lists for this shipment can be identified beyond any doubt
as the one now in Vienna.
Its flat presentation is the result of the erroneous assumption that the object had originally
served as a standard. Many of the feathers were added during the restoration carried out in
1878. The long green Quetzal feathers, the red and brown feathers, and some of the blue
ones at the bottom are original. Of the small metal pates c. 75 % are original.
The Resplendent Quetzal (Pharomachrus mocinno)
The Resplendent Quetzal(Pharomachrus mocinno) lives in the montane cloud forests of
Central America where it is found at c. 900 – 3.000 metres above sea level. The tail covers of
breeding males can grow to 80 cm; these feathers played a seminal role in Pre-Columbian
civilizations and were used in ritual headdresses. Both deforestation and hunting have greatly
decimated the Resplendent Quetzal population, making the bird an endangered species.
Quetzalcoatl
Mexico, Atztec, 15th or early 16th century
stone
The sculpture of a feathered rattlesnake depicts Quetzalcoatl, one of the most important
deities in Central America. The name comprises two parts: “Quetzal”, a reference to the
Respelendent Quetzal that is generally translated as “feathered” but can also mean “shining”
or “precious”. “Coatl” is generally translated as “serpent” but can also mean “close ties” or
“twin”.
In the feathered serpent heaven and earth are combined. Quetzalcoatl was also venerated as
the god of fertility, or the Creator Deity.
Fan or standard
st
th
Central Mexico, 1 half of the 16 century, Blue-and-Yellow-Macaw and Scarlet Macaw
feathers, Amate paper, reeds
In the inventory of the collection at Ambras compiled in 1596 the artifact is described as „Mer
ain grosser runder Windtmacher mit langen stil, ist durchsichtig. vmb die runde mit Plawen
federn in der mitte mit roten Federn, oben am stil angheft etliche grien federn hangen.“ (more
a large round fan with a long handle; it is transparent, with concentric circles of blue and red
feathers, a number of green feathers are suspended from the handle). In 1799, it was listed
as a sun shade, after 1818 as an “Indian” fan, and in 1882 as “Mexican?”.
The mosaic comprises feathers - some of them dyed - glued onto bark paper. One side is
decorated with a butterfly, the other with a flower. The European handling suggests it was
made during the colonial period. In Mexican illustrated manuscripts such objects are
identified as badges of rank or symbols of deities, messengers, ambassadors or travelers. It
is the only extant Mexican featherwork object of its kind in the world.
Shield
Central Mexico, early 16th century
Roseate spoonbill, Cotinga, Quetzal, Black-necked Aracari, Great-Tailed Grackle (?)
feathers; gold, reed weaving, leather, cotton, hare skin,
In the inventory of the collection at Ambras compiled in 1596 the artifact is described as “Mer
ain Rundell von Roten federn, darynnen ist gestückht von grober Arbait, ain Plawer Drackh.
mit gulden Plech versezt“ (more a circular object with red feathers, inside a coarsely-made
blue dragon, set with gold foil). All later inventories identify it as a shield, except the one
compiled in 1788; in the latter it is called a “Chinese sun shade”. In 1818 it was assumed to
be of “Indian”, in 1882 of “early Mexican” origins.
This shield was probably sent by Cortés in 1522 to the Bishop of Palencia; it then passed into
the possession of Ferdinand I and later entered the collections at Ambras. Only four feather
shields have survived worldwide. Two of them are now at Stuttgart, one was dispatched from
Mexico to Vienna by Maximilian of Mexico in 1865.
The shield is probably decorated with the picture of a coyote. Note in front of the creature’s
mouth the symbols for water and fire, a reference to war. The shield comprises a number of
materials: the base are made of reeds covered with cotton fleece; to this feathers of various
birds were attached with glue made of orchids. The gold appliqués are sown on with strong
thread.
A Bishop’s Mitre
Mexico, Spain, Purépecha?, c. 1550 AD
Hummingbird, Scarlet Macaw, Military Macaw, flamingo, roseate spoonbill, Red-crowned
Amazon (?)
Montezuma oropendola (?), Great-Tailed Grackle (?) feathers
In the inventory of the collection at Ambras compiled in 1596 the artifact is described as „Mer
ain Bischofsinnfl. von federn auf der ain seiten der Stammen Israhell, auf der andern seiten
Cristus am Creüz. mit seinen Apostlen vnd Euangelisten. mit Roten Carmesin Atlas
gefuetert, in den zwen stollen sein gleiche wappen gemacht, mit Cardinalhuet” (more a
bishop’s mitre with feathers on one side with the tribes of Israel and the crucified Christ on
the other, with His Apostles and Evangelists; lined with red carmine atlas, the same coats of
arms in the two bands, with a cardinal’s hat).
The colonial period marked the end of the pre-Columbian tradition of creating ritual
featherwork garments and objects used for human sacrifices, deities, priests, rulers and
warriors. The ritual traditions evolved to produce bishop’s mitres, liturgical vestments and
images of Christ, the Virgin and Christian saints.
The Virgin and Child
Mexico, 16th century
Hummingbird, Scarlet Macaw, Military Macaw, flamingo, Great Egret (?), roseate spoonbill
(?), Montezuma oeopendola (?), Great-Tailed Grackle (?) feathers, paper, wood, gilded
In the inventory of the collections at Ambras compiled in 1596 this artifact is described as
„Mer ain Täfele darinnen unser liebe Frau mit dem Kindl Ihesu gemacht, von Paradeißvögel“.
(more a panel with the Virgin and Child, made of birds of paradise). The Virgin played a
pivotal role in the missionaries’ Iberian-Catholic tradition.
The featherwork picture is executed on a base of agave paper that was then attached to a
wooden panel and set in a wooden frame with glass. The red and yellow colours of the
feathers in the upper part of the image are original; the iridescent colours of the hummingbird
feathers in the lower part have probably suffered greatly from being touched by the faithful.
Today they are but a dull brown. The Virgin’s robe was originally a vivid yellow, her upper
garment bright green.