The battle for Tenochtitlan between the Spanish under Cortes and the Mexica under the last Aztec leader Cuauhtemoc is more properly called a siege. Beginning in May of 1521, it lasted well into August of that year. As part of their battle preparation, the Spanish constructed a fleet of small maneuverable ships called brigantines, which would play a central role in their eventual victory. The brigantines, which could hold up to forty men, were outfitted with cannon and they allowed the Spanish to control the lake and blockade the city.

The painting attempts to distill all the excitement, bloodshed, and drama of the siege into a series of key moments. The background is dominated by the main pyramid of Tenochtitlan; the swirling forms of the three causeways and the aqueduct extending out from it almost give it the appearance of a starfish-like creature, curling up its legs in defense. The most prominent figure in the foreground is Cortes, who leads his Spanish armies on horseback across one of the broadest of the causeways, which creates a dramatic diagonal into the city. He is shown in a confident manner, seated on a rearing horse with the baton of command held firmly in his left hand and a rapier held high in his right. A large number of fallen Mexica are pictured on the causeway under the rearing hooves of the Spaniard's horses. In other parts of the canvas, Cortes' most trusted captains also lead their troops towards the center of the city and the main temple compound with the pyramid in its center. Only five brigantines are visible on the lake, here and there defending the Spaniards from the Mexica in canoes. The Indian allies of the Spanish, pictured at the distant ends of the causeways, are not given a central role in the battle as depicted, although their contribution was vital to the success of the siege and they far outnumbered the European participants. Despite the ferocity of the battle, the success of Cortes and his armies has already been assured. Flames emerge from the main pyramid and a Spanish flag has been mounted on the roof of the shrine to Huitzilopochtli.

The paintings are outstanding examples in this genre of history painting because of their early date, fine condition, and the skill of the (unknown) artists involved. Painted in Mexico during the second half of the seventeenth century, the Kislak series is considered the earliest of the three complete cycles of paintings of the Conquest that still exist.

Medium : oil on canvas : 48"x 78"

Artist : Unknown

Created : The second half of the seventeenth century

Caption is courtesy of Arthur Dunkelman, Curator of the Kislak Collection

For more information visit the Early Americas Exhibit

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Product #: kislak236E