On December 4, 1914, Emiliano Zapata met Francisco "Pancho" Villa in a school building at Xochimilco, in Mexico's Federal District, to firm up an alliance against the revolutionary faction led by Venustiano Carranza. It was one of the pivotal moments of the Mexican Revolution's decade of fighting (1910-1920), and Zapata dressed for the occasion.Wearing a black jacket and tight black pants with large silver buttons along the outside of each leg, a loosely knotted, light blue silk tie, and a lavender shirt, Zapata as charro embodied country elegance as it was understood in his south-central Mexican world.1 His dress reflected success, and it was meant to leave an impression. This it certainly did, combined as it was with his dark, penetrating gaze and his enormous moustache. Zapata and Villa complained of Carranza and spoke of the challenge of running the country, something neither of these relatively unschooled men professed the ability to do. Villa had more to say than Zapata on most subjects, but when they came to the issue of land Zapata was less reserved: "They [the villagers of his region] have a great deal of love for the land. They still don't believe it when you tell them, 'This land is yours.' They think it's a dream." The two men talked of their individual struggles, Zapata tracing his rebellion back to his teenage years and promising to fight until death if necessary. Indeed, there was plenty of machismo in the air. "I fulfill a duty," Zapata bragged, "in killing traitors." They also spoke of hat styles, of Zapata's broad sombrero and Villa's pith helmet. Zapata indicated that "he wouldn't be found in a hat other than the kind he wore."2 Two days later, side by side, the two men, the people's revolutionaries, rode into Mexico City at the head of 50,000 troops to establish a national government. Spectators lined the streets and hung from the balconies, throwing confetti and streamers. When the procession reached the National Palace, Zapata and Villa posed for what is probably the revolution's most famous photograph: Villa in the president's chair, grinning broadly; Zapata beside him, staring into the camera, his sombrero on his knee. Zapata refused to sit in the chair that Villa occupied. Some say he suggested it be burned, "to put an end to ambitions."3 This was not high political theater on Zapata's part, but he was projecting an image-or perhaps two. In the triumphant ride into Mexico City and the photographs that were taken there he was symbolically placing himself, his movement, and his program on the national stage and making the claim that they belonged there. This was crucial, because the revolution had become a tangle of competing interests, and many of the key participants did not see the land reform and the local liberties that Zapata championed as priorities. That was particularly true of leaders from the upper and middle classes, men such as Francisco Madero and Carranza, who were more interested in such issues as democracy, deepening capitalist development, and increasing the power of the central government. Their programs would have to be challenged at the national level. But Zapata always denied that he was a politician. He shared with most of the villagers of his home state of Morelos, which was just south of the capital, a distrust of politicians, from whom they had learned to expect little but the betrayal of their interests. It is not, therefore, surprising that the declaration of national power in which he was engaged was full of signs- The general reserve, the charro outfit, the discussion of land reform, the refusal to occupy the presidential seat-that this power would not bewitch him into forgetting his home constituency. The limits to the political theater, in other words, were politics themselves, and it was this balancing of the need to compete for national power and to hold local and regional support that was the biggest challenge of Zapata's revolutionary career. In fact, a counterpoint of local and national perspectives would continue to shape his image long after he was dead.