Music was not highly developed, and there was but little variety in the musical instruments throughout the valley. Rattles of gourd or pottery were common, but the principal instrument of percussion was the gong, teponaztli, formed of a hollow cylinder of wood with two tongues, each of a different note, which were struck with beaters, sometimes headed with rubber. The teponaztli was often beautifully carved, and played an important part in religious ceremonies and dances (Fig. 31). Drums, ueuetl, with skin membranes were also in common use, while instruments of a rather special nature consisted of tortoise carapaces (or their facsimiles in gold), struck with a stick, and serrated bones rubbed with short rods (see p. 103). Wind instruments appear to have been few in variety; conches, provided apparently with a wooden mouthpiece, like those of the New Zealanders, were sounded in most religious ceremonies, and quantities of whistles and ocarinas have been discovered. The finger-holes do not exceed four in number, and are frequently less in the case of instruments of the flageolet type. Whistles were of frequent use in war, for the purpose of giving signals. Whether the Mexicans, like the tribes of the north-west coast of America, were acquainted with reed instruments is uncertain, at any rate none are known to exist; it is quite possible that they were known, but that the reeds, constructed of perishable materials, have not survived until our time. Singing was another important accompaniment of religious ceremonies, and there were specially trained temple choirs under the control of responsible officials. Many of the hymns have been preserved, and illustrate well the poetical cast of Mexican thought. A species of primitive drama was said to exist, recited on a terrace in the market-place or temple-court. Dancing was highly developed, and every feast had its ceremonial dance which was carried out with great solemnity and decorum. In some cases the dancers formed large circles, the members of each belonging to one sex and rank. In others, the sexes mingled, and in others again the dancers performed in pairs, with their arms round one another’s waists or necks. The last method seems to have been the privilege of the upper classes. In combined figures a long garlanded rope was held by the dancers, who moved their bodies and limbs in unison, as in Peru, while occasionally they danced in threes, two women and one man or two men and one woman. [Illustration: _PLATE XII_ _Photo. C. B. Waite_ MEXICO MOUNDS AT SAN JUAN TEOTIHUACAN, SEEN FROM THE “PYRAMID OF THE MOON”] CHAPTER VII--MEXICO: ARCHITECTURAL REMAINS AND POTTERY