{"collection":"Mesoamerican Mythology","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/archive_org_bub_gb_M2x6AAAAMAAJ/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/archive_org_bub_gb_M2x6AAAAMAAJ","id":"archive_org_bub_gb_M2x6AAAAMAAJ","license":"http://creativecommons.org/publicdomain/mark/1.0/","rights_basis":"archive_org_open:open_license:http://creativecommons.org/publicdomain/mark/1.0/","source":"archive_org","source_url":"https://archive.org/details/bub_gb_M2x6AAAAMAAJ","summary":"Codex vaticanus nr. 3773 \n( codex vaticanus B) \n\n\nEduard Seler \n\n\nDigitized by Google \n\n\n\n\n\nDigitized by Google \n\n\n\nCodex Vaticanus Nr. 3773 \n\n\n(Codex Vaticanus B) \n\n\nEine altmexikanische Bilderschrift der Vatikanischen Bibliothek \n\n\nHeransgegeben auf Kosten Seiner Excellenz des Herzogs von Lonbat, \n\nCorrespondirenden Mitgliedes des Institut de France \n\n\nErl\u00e4utert \n\n\nOr.","tags":["Aztec calendar","Aztec mythology","Biblioteca apostolica vaticana","Indians of Mexico","Manuscripts, Mexican","Nahuatl language","bub_upload","needs_translation:German"],"text":"Codex vaticanus nr. 3773 \n( codex vaticanus B) \n\n\nEduard Seler \n\n\nDigitized by Google \n\n\n\n\n\nDigitized by Google \n\n\n\nCodex Vaticanus Nr. 3773 \n\n\n(Codex Vaticanus B) \n\n\nEine altmexikanische Bilderschrift der Vatikanischen Bibliothek \n\n\nHeransgegeben auf Kosten Seiner Excellenz des Herzogs von Lonbat, \n\nCorrespondirenden Mitgliedes des Institut de France \n\n\nErl\u00e4utert \n\n\nOr. Eduard Seler \n\nl'rofi'Mtur f\u00fcr aiiiorikuiiinrlic Sprach-, Volk\u00bb- und Altcrthuuitfkuudf \nnn der UnivrmitiU in Berlin \n\n\nZweite H\u00e4lfte. \n\nText der l(IU-k\u00bbeitc und erl\u00e4uternde Tafeln. \n\n\nBERLIN \n\n\nMDCCCQ1L \n\n\n\ni'eber reicht vom \n\n\nHERZOG VON LOUBAT \n\nEmpfangsbest\u00e4tigung erbittet man an ihn \n\n53, rue Dumont-d'lJrville, Paris (France). \n\n\nF \n\nI Zfi \n,M3 \n1 / 3 / \n\n\nAvec les Hommages du \n\n\nDUC DE LOUBAT \n\n\nauqufl vous etes prie et en accnser receptton \n\n53, rue I)utnoni>d'L*rvillc, Pari\u00bb \u00bbFrance). \n\n\n\n-j der Gottheit \ndes Morgensterns, antrefTon werden, und um dun Hals eiuuu Riemen mit weisscn Schneckengeh\u00e4usen. In \nden betreffenden Abschriften der eigentlich mexikanischen Handschriften, dem Codex Telloriano-Remensis \nund im Codex Borbonicus, ist dieser Gott, \u2014 wie ich in meiner Erl\u00e4uterung des Tonalamatl'n der Aubin\u2019schen \nSammlung n\u00e4her nachgewiosen habe, als Verkleidung Tezcatlipoca s und mit Abzeichen dieses Gottes dnr- \ngoatollt. Im Codex Borhonicus (rgl. Abb. 501) tr\u00e4gt er ebenfalls den Kriegertotenschmuck, den yacaztuitl \nin den Nasenfl\u00fcgeln. Neben dem Gotte sind in unseren beiden Handschriften offenbar zur Kennzeichnung \nseiner Natur die Werkzeuge des Krieges angegeben. Dabei in beiden Handschriften eine merkw\u00fcrdige \nSchlag- und Stosswaffe, die wie ein Schwortfischschwert anssieht, dem man am Ende eine Steinspitzo \nangef\u00fcgt hat. \n\nDie G\u00f6ttin ihm gegen\u00fcber ist im Codex Borgia in der typischen Art der Tla^olteotl gezeichnet, \nmit ihrer schwarzen Kautschukbemalung um den Mund, dem goldenen Niuenhalbmond, deu Binden aus \nungespouuener Baumwolle im Haar und im Ohr, der Spindel und dem Nackenschinuck aus Wachtol- \nfedern, und der mit Halbmonden gemusterten Enagua. Unter ihr endlich die rothe Kurallcnsehlange, \nihre st\u00e4ndige Begleiterin. \u2014 Ein etwas sonderbares Ansehen hat die G\u00f6ttin in unserer Handschrift. Die \nweiase (gelbgestreifte) K\u00f6rper- und Gesichtsfarbe, die schwarze Kautschukbemalung um den Mund, die \nBinde aus ungosponnoner Baumwolle im Haar und im Ohr, und der Schmuck aus Wach telfedurn auf dem \nScheitel, uus dom ein Busch grosser, gelber poyafZ-Federn heraush\u00e4ngt, lassen unschwer die G\u00f6ttin auch \nhier erkennen. Aber sie tr\u00e4gt, statt des goldenen Nasenhalbmondoe, die blaue Nasenplatte der Xochiqnetzal \nin der durchbohrten Nasenschuidowaud. Ihre Pelerine (qtuchqwmitl) und ihre Eiingun, von weisser Farbe, \nsind jede mit einem grossen Blutfleck gezeichnet. Am Kreuz tr\u00e4gt sie oinen Totensch\u00e4del, und daran \nbefestigt ein sonderbare* Gebilde, das aber zweifellos nicht in dieser aufrechten, sondern in queror Stellung \nzudenken ist Es stellt das sogenannte citlalcueitl vor, einen G\u00fcrtelbehang aus an Stricken oder geflochtenen \nRiemen h\u00e4ngenden Schneckengeh\u00e4usen, dor in den eigentlich mexikanischen Handschriften ganz regel- \nm\u00e4ssig bei den Erdg\u00f6ttiunen angegeben wird, und in der Regel auch bei den, aus dem engeren mexikanischen \nGebiet stammenden Steinbildern der Erdg\u00f6ttin, i. B. dem bekannten Kolossalbilde der Couatlicuz, der \nsogenannten Teoyaom\u00fcjtii, von Mexico, zu sehen ist. Die rasselnden Schneckengeh\u00e4use sind in dem Bilde \nunserer Handschrift gewissermassun nach oben schwingend gezeichnet. Und mit dem ganzen Gebilde ist \nhier in unserer Handschrift die Begleiterin der TlafoUntL, die rothe Blutschlange, verbunden. \n\nWio Tepeyollotli durch die Werkzeuge des Krieges, so ist TlafoltM\u00dc hier in beiden Handschriften \ndurch ein cozcatl , ein Edelsteinperlen-Halsgeschmeide, das mit goldunou Schellen besetzt ist und in unserer \nHandschrift noch ein Mittclst\u00fcek in Gestalt einer kleineu Goldplatt\u00ab hat, gekennzeichnet Diese Kenn- \nzeichnung erscheint auf den ersten Blick etwas auffallend bei einer Gestalt, die im Codex Borgia mit \nSchild und Speerb\u00fcudol in der Hand dargestellt ist und oitien gebundenen Gefangenen heranschleppt. \nDas Auff\u00e4llige verschwindet aber sofort, wenn wir uus mir des besonderen Vorstellungsganges der \nMexikaner und ihrer Phraseologie erinnern. Das cozcatl , das Halsgeschmeide, bedeutet einfach das Kind, \ndas von der G\u00f6ttin geboren wird. Und dasselbe bedeutet auch der gebundene Gefangene, und der \n\n\nDigitized by Google \n\n\n\n14. Das in zwanzig dmirehnttgign Abschnitte geordnet\u00ab Tonalamatl. \n\n\n251 \n\n\nkriegerische Apparat der G\u00f6ttin bedeutet die Goburt. Denn das Geb\u00e4ren eines Kindes durch eine Frau \nwurde dem Erbeuten eines Gefangenen durch den Krieger verglichen. Wenn diu Geburt glQcklich zu \nStande gekommen ist, so at\u00d6Rst die Hebamme einen Kriegsruf aus \u2014 \u201eund damit will die Hebamme \nsagen, dass die Patientin in tapferer Weise den Sieg davon getragen hat, und dass sie ein Kind gefangen \nhat 1 )\u201c. \u2014 Und wenn eine Frau bei der Geburt starb, so nannte man sie mociuaqutizqui, \u201eder als Frau \nauftretende, in der Rolle einer Frau auftretende\u201c, d. h. der Krieger in Gestalt einer Frau, oder \u201emuger \nvalerosa\u201c, wie das in den spanischen Schriftstellern immer \u00fcbersetzt wird. Die Frau, die ein Kind geboren \nhat, ist der Krieger, der einen Gefangenen gemacht hat; die Frau, die im Kindbett gestorben ist, ist der \nKrieger, der in die ll\u00e4ndo der Feinde gefallen und auf dem Opfersteine geschlachtet worden ist In den \nLeichenreden wird diese daher angeredet: \u2014 \u201eO meine Tochter, du hast tapfer gek\u00e4mpft mit Schild \nund Schwert, wie deine Mutter Ciuacouall-Quilaztii. Erhebe dich! Schon ist cs Morgen geworden; gehe \nnach dem Hause der Sonne, wo alle die Seligen wohnen*)\u201c. \u2014 Von diesem Gesichtspunkte aus ist der \nkriegerische Ausputz bei den Erdg\u00f6ttinnen \u00fcberall in erster Linie zu verstehen. Er bezeichnet allgemein, \nund bezeichnet auch hier die TlapolUotl nur als die Geb\u00e4rerin. Und darum ist hier das cozcatl, das \nHalsgeschmeide, neben der G\u00f6ttin angegeben. Es bezeichnet den von ihr Gefangenen, d. h. das von ihr \ngeborene Kind. \n\nVon diesem Gesichtspunkte aus erscheint auch das Verh\u00e4ltniss der beiden Porsonon, die in der \nReihe der TageBzeicheu und in der Reihe der Tonalamatl- Abschnitte, bei dem dritten Zeichen aufgef\u00fchrt \nsind, in neuer Beleuchtung. Dem Gotte der H\u00f6hlen Tepeyollotli ist die Tlafolteotl gesellt, weil diese \nden Mutterschooss reprilaentirt Und weil dies das Verh\u00e4ltniss der beiden Personen ist, darum versteht \nman auch, dass in den im engeren Sinne mexikanischen Bilderschriften, dem Telleriauo-Remeuais, dem \nCodex Borbonicus und dem Tonalamatl der Aubin'schen Sammlung die 'flafolteotl bei diesem Zeichen \ndurch den einen Gefangenen, oder richtiger wohl einen kleinen Menschen, hersni schleppenden Windgott \nQuztzalcouatl ersetzt ist. Statt der Geb\u00e4rerin Tlafolteotly haben diese Handschriften oben den Menschen- \nsch\u00f6pfer Quttzalcoua\u00dc gezeichnet Und wenn diese selben Handschriften dem Gotte Quttzalcoua\u00dc in \ndie andere Hand das Zeichen cuillatl geben, das \u201eExkremente, Unrath, Schmutz, S\u00fcnde\u201c bedeutet, so ist \ndas sicher weiter nichts als ein Hinweis auf die Thfolteotly die \u201eG\u00f6ttin des Unraths\u201c, die Tlatlquani, die \n\u201eDreckfrcsaerm\u201c. Es will sagen, dass durch die Tlafoltco\u00dc, oder, wenn man will, durch den cvitlatl, durch \nden obsz\u00f6nen Akt, das Kind zu Stunde gekommen ist. Und dos ist auch der Grund, der mir fr\u00fcher \nnicht klar war, dass neben diesem Quctzalcouatl des Codex Borbonicus das Meersebn ecketigeh\u00fcnse \n(tecciztli) dargestellt ist, du \u2014 \u201easi como salo del hueso el caracol, asi sule el hombre del vientre de \nsu madre.\u201c*) \n\nZwischen den beiden G\u00f6ttern des dritten Zeichens ist in unsorer Handschrift wie im Codex Borgia, \nHuch ein grosses UefiUs mit Mais zu sehen. Und dar\u00fcber ein in den Farben des Edelsteins gemalter Krug, aus \ndom ein braunes, mit Bl\u00fclhon bestecktes Getr\u00e4nk herausschflumt Wir haben vielleicht Kakao, vielleicht \nwohlriechendes Harz oder R\u00e4ucherwerk als Sinnbild von Lebensmittelf\u00fclle anzunehmen. Der Gott der \nH\u00f6hlen und die kindorgeb\u00e4rende G\u00f6ttin werden hier noch weiter durch den Mutterachooss der Erde \nillustrirt, die Lebensmittel in F\u00fclle hervorbringt. Denn der dunkle Schooss der Erde, das tlalli itfollo , \ndas ist es ja in der That, was das Wesen des dritten Zeichens, des Tageszeicheus colli .Haus\u201c, das die \nMaja mit akbal \u201eNacht\u201c \u00fcbersetzen, uusmacht. \n\n\nDer f\u00fcnfte TonafamatZ-Abschnitt, ct xochitl \u201eeins Blume\u201c ist in der unteren H\u00e4lft\u00ab des Blattes 64 \ndes Codex Borgia und auf Blatt 52 unserer Handschrift durgest\u00ab)lt. \n\n8ein Regent ist der Gott de\u00ab vierten Tageszeicheus, Ucuecoyotl , der ulte Coyote, dar Gott des \nGeschlechtstriebes und der Imst (vgl. oben 8. 145\u2014147). Kr ist hier in beiden Handschriften nicht ganz \nil\u00ab Thier, sondern nur mit einem Coyotokopfe abgebildet, tr\u00e4gt einen mit weissen 8chneckengeh\u00e4u\u00aben be- \nsetzten Imderhulskragen, auf der Brust an einem Riemen das ebenfalls aus einem Schnockougoh\u00e4use \n\n\n1) Sahagun 6, cap. <10. \u2014 2) Sahagun *>, cap, 2t, \nborough U, 11.) \n\n\nS) Codex Telleriano - Remcnsis fol. 18 (~ King\u00ab' \n32* \n\n\nDigitized by Google \n\n\n\nli. Klickseit*. \n\n\ngeschliffene Geh\u00e4nge oyouatli und \u00bb'in\u00bb\u00bb kostbare an don Enden mit Adlerfedern verbr\u00e4mt\u00ab Schambinde, \ngleich der dos Sonnengottes. Das Zeichen des Krieges ist bei ihm, wie bei dem Gott des vorigen Zeichens \nangegeben, nnd neben den gew\u00f6hnlichen Waffen findet sich auch hier das mit einer Steinspitze versehene \nzackige Schwertfischschwert, das offenbar eino Waffe fremder Tierra ealiente St\u00e4mme darstellen soll. Zu \nseinen F\u00fcssen sieht man, wie hei dem Gotte des vierten Tugeszuichens, einen zu Boden at\u00fcrzenden \nMenschen. \n\nDem Gotte gegen\u00fcber ist ein T\u00e4nzer dargeatellt (Abb. 502, 503), der denselben mit weissen \nSchneckengeli\u00e4usen besetzten Lederk ragen tr\u00e4gt und denselben weissen Kuaselschmuck oyoualli an einem \nLederriemen auf der Brust h\u00e4ngen hat, wie der alte Coyote selbst, dazu an der Schl\u00e4fe oder auf dom \n\n\n\nAbb. 502. TRrner. \n\nCodex C4 ( Kingsborougli 51). \n\n\n\nAbb. 50tl. T#nx\u00ab*r. \nCodex Vaticsnus B 52 \n(= Kingsborough 45h \n\n\nAbb. \u00d6OI. Psukcnsrhllgcr. \nCodex Borbonlt'us I. \n\n\n\nScheitel ein Tbiorohr (Coyoteohr, Jaguarohr) befestigt und vor dos Gesicht eine Manko gebunden hot, auf \nder mit weisser Knie (tifati) ein Riug um das Auge und ein nach hinten spitz verlaufendes Feld nm den \nMund gemalt ist, ganz wie wir das schon bei dem T\u00e4nzer (Abb. 460, oben S. 2*21) schon angotroffen \nhatten. Im Codex Borbomcus, wo der alte Coyote selbst mit der Kassel (ayacacAili) Musik machend, \nabgobildot ist, ist der T\u00e4nzer durch uinen S\u00e4nger und Paukenschl\u00e4ger (Abb. 504) ersetzt. Im Tonalamatl \nder Aubin\u2019schen Sammlung sehen wir sogar zwei Figuren, die Rassel, Pauke und ein drittes nicht sicher \nzu bestimmendes Instrument in Thltigkeit setzen. \n\nIn unseren beiden Handschriften ist endlich dom alten Coyote und dem T\u00e4nzer noch eine dritte \ngesellt, die im Codex IVdleriano-Remensis ul\u00bb einzige Figur dem ulten Coyote gegen fl bersteht und \nauch in dem Tonalamatl der Aubin\u2019schen Sammlung nicht fehlt, obwohl sie dort etwas anders wieder- \ngegeben ist. Es ist eine Frau, die sowohl in unseren beiden Handschriften, wio im Telleriano-Rcmensis \n\n\nDigitized by Google \n\n\n\n14. Das in Jtwsiuif\u00bb dreizehn t\u00e4gige Abschnitte \u00ab\u00abordnet\u00ab Timalamuil. 253 \n\nmit nach hinten gewandtem Gesicht abgehildet ist and sich mit der Ilaod die Thr\u00e4nen aus den Augen \nwischt, wfthrend dio andere Hand eine Schale halt, in der im Codex Tolleriano-Romermia wieder da\u00ab \nSymbol euitlatl \u201eExkremente, Unrath*\u201c angegeben ist. Die Interpreten gehen f\u00fcr sie den Namen Ixiuutli \nan, identifiziren sie mit der Xochiquelzal und vergleichen sie mit der biblischen Eva, die immer in dieser \nWeise weine und sich nach ihrem Gatten Adam umschaue. Und der Name IsnejtU, den sie trage, bedeute \n\u201edie Augen voller Asche\u201c. Diesen Namen habe sie erst bekommen, nachdem sie ges\u00fcndigt, indem sie \n[in dem Paradiese Tamoanchan oder Xochitl ieacanj dio Blumen gebrochen habe, und deshalb, sagten \ndie Mexikaner, kennten sie nicht nach dem Himmel sehen, und ea sei eine Erinnerung an das verlorene \nParadies. 1 ) \u2014 Die Interpreten identifiziren diese Figur also mit der weiblichen H\u00e4lfte des ersten Monschonpaars. \nEs ist aber, das lehrt der Augenschein, die verlassene Eva. Die Figur hat Bezug auf eine Erz\u00e4hlung \noder ein M\u00e4rchen, von dem uns leider nichts Genauorcs bekannt ist. \n\nDer f\u00fcnfte Tonalamatl- Abschnitt, ce aeatl \u201eeins Hohr\u201c ist in der unteren H\u00e4lfte des Blattes 65 des \nCodex Borgia und auf Blatt 53 unserer Handschrift dargestellt \n\nDie Gottheit dieses Abschnittes ist die G\u00f6ttin des f\u00fcnften Tageszeichens ChalckiuhtUcue \u201edie \nderen Bnagua aus gr\u00fcnen Edelsteinen besteht\u201c, dio Herrin des fliessenden Wassers. Die \u00e4ussere Er- \nscheinung dieser G\u00f6ttin, ihr Ausputz und ihre Tracht sind die gleichen wie an den anderen Stollen, wo \nwir ihr schon begegnet sind. Insbesondere ist sie auch hier in beiden Handschriften mit ihrer Schlangen- \nhelmmaske dargestellt. Ueber dieser sieht man aber in unserer Handschrift zwei kurze Federb\u00fcscho, von \ndenen man nicht recht weiss, ob sie den N\u00fcstern der Schlangen aufsitzen sollen, wie bei der Fader- \nschlauge auf Blatt 27 unserer Handschrift, oder ob sie etwa den omt quetzaUi, den boiden Quetzal- \nfederb\u00fcschen auf dein Scheitel der Xochiqtutzal entsprechen sollen, mit denen wir in der Thot die \n(_' halchiuhtlicuf. \u2022 auf Blatt 42 unserer Handschrift (vgl. Abb. 430, oben S. 204) ausger\u00fcstet fanden. Wie in \nden eigentlich mexikanischen Handschriften, endlich ist die G\u00f6ttin \u00fcber einem WasBerstrorae dorgostellt, \nan dessen anderem Ende man einen Priester (tlamacaujxii) sieht mit einem B\u00e4ndel Speere in der Hund, \n\u2014 eine Figur, die vielleicht das \u201eSchiussondo\u201c, die schnelle Bewegung des Wassers veranschaulichen soll. \nIu dem Wusser sieht man eine Frau, ein B\u00fcndel Speere und eine Edelsteinperlkette. Das bedeutet, wie \nder Interpret (Pedro de Rios) angibt, Verkauf in die Sklaverei, Tod im Kriege und Verlust an Hab und \nGut, d. h. Armuth und D\u00fcrftigkeit Denn das Wasser ist dos bewegliche Element und das, was alles \nmit sich fortreisat, und somit ein Ausdruck der Verg\u00e4nglichkeit des irdischen Daseins. \n\nEine Kiste oder ein (lof\u00e4ss, au\u00ab dem Quetzalfederu herauskommun, ist in unserer Handschrift, \nein Haus und ein B\u00fcndel Speere ausserdem noch im Codex Borgia angegeben, wor\u00fcber ich aber nichts \nBesonderes zu sagen weiss. \n\nDer sechste Tona/amatf-Abscbnitt ct miquiztU \u201eeins Tod\u201c ist in der unteren H\u00e4lfte dos Blattes 66 \ndes Codex Borgia und auf Blatt 54 unserer Handschrift dargestellt. \n\nAls Regenten des sechsten Zeichens hatten wir in der Tageszeichenreihe Teceiztecati, den Mondgott, \nangetroffon. Derselbe ist auch hier als Regent des sechsten Tonalamatl- Abschnitte\u00ab zu sehen, abor er \nsteht nicht allein, sondern ihm ist der Sonnengott gegen\u00fcbergcstellt \u2014 \n\nDer Mondgott Tecciztecatl ist in unserer Handschrift als alter Mann mit weissem Haar und den \nStab in der Hand dargestellt, der sich nur mit M\u00fche von seinem Sitze aufrichtot. Als besonderes \nAbzeichen oder als besonderer Schmuck ist nur ein Blumenkranz zu erw\u00e4hnen, der das Haar umgibt, und \ndem an der Stirnseite ein Busch Quetzalfederu ciugef\u00fcgt ist. Ganz analog zeichnet ihn der Codex Borgia, \nnur dass er hier durch den rothen Fleck an der Schl\u00e4fe als Priester ( tlamacazqui ) gekennzeichnet ist, \ndass das Haar nicht weiss, sondern schwarz ist und \u00fcber der Stirn in zwei Locken aufz\u00fcngelt, und dass das \nalte Gesicht, wie allgemein in dieser Handschrift, durch das ringf\u00f6rmige Anh\u00e4ngsel unter der Oberlippe \nzum Ausdruck gebracht ist. Einen an der Spitze gekr\u00fcmmten Stab h\u00e4lt auch er in der Hand, der aber \nkurz und mit blauer Farbe gemalt (mit T\u00fcrkismosaik inkrustirt), ein xiuhUypi\u00fci , ist. \n\n1) Codex Tellcriiuio-RememtU foL 11 - iKiogsboruugh 11, 7). \n\n\nDigitized by Google \n\n\n\n254 \n\n\nR. R\u00fcckseite. \n\n\nDem Mondgotte, der auf seinem Stuhle sitzt, gegen\u00fcber ist der Sounongott in unserer Handschrift \nin der bekannten Unterw\u00fcrfigkcitsstollung mit unter der Brnst verschr\u00e4nkten Armen, im Codex Borgia in \neiner, wie es scheint, Begr\u00fcssung ausdr\u00fcckendeu Haltung dargestollt, das linko Knio zur Erdo gebeugt, \nund die rechte Hand, wie zum Grosse, vorgcstreckt Tracht und Ausputz sind die \u00fcblichen. Kr ist in \nbeiden Handschriften mit gelber Farbe und im Codex Borgia in der den Sonnengott kennzeichnenden \nWeise, mit einer kleinen rothen Scheibe auf der Backe und einem das Auge amziehenden rothon Halbring, \nauf dem gelben Grundu des Gesichtes bemalt. \n\nAls ketinxeiclmende Symbole sind bei dem Moudgotte ein Spcorb\u00fcndol und ein Steinmusser, bei \ndem Sonnengotte ein Priester, dor eiu B\u00fcndel Speoro auf dem R\u00fccken tr\u00e4gt, angegeben. In der Mitte \nzwischen beiden ausserdem eine Schale mit einem rothen Pouerschmuttcrling, der hier vielleicht Blut bedeuten \nsoll in der dem Sonnen- und Moudgotto angemessenen Form. Darunter eine Schale mit Mais. Und endlich \nein Kaninchen in einem dunklen Felde, das von zw\u00f6lf Punkten, die die Ziffer zw\u00f6lf ergeben, umgeben ist. \nDamit scheinen mir die zw\u00f6lX synodischen Monate, die auf einen Sonnenlauf, d. h. ein Jahr, \n\n\n\nAbb. \u00d6OG, Tlnlof, dor Kegcngott. \n\nRegent des \u00bblobenton TpHa/aiKcrit- Abschnitte\u00bb rr quinuill, T eins llfp'n\u201c, Codex Ru nein 177 (\u25a0 Kingvborough 1K), \n\n\nSehen, gemeint zu sein. Denn das Kaninchen, das war den Mexikanern der Mann im Monde. Mit \neinem Kanincbou schlugen die G\u00f6tter dem Mondo in das Gesicht, um seinen urspr\u00fcnglich der Sonne \ngleichen Glanz zu verdunkeln. \n\nDor siebente 7W?a/amaf/-AbsehtiiU ce qviauitl \u201eeins Regen\u201c ist im Codex Borgia auf der unteren \nH\u00e4lfte von Blatt 67, in uuserer Handschrift auf Blatt 55 dargestellt \n\nDas ist einer der F\u00e4lle, wo das Anfangszeichen des Tonalamatl - Abschnittes \u00ablern Gotte durchaus \nzu entsprechen scheint, der in Folge der Uebertragung der G\u00f6tter der Tageszeichenroihe auf die Tonalamatl- \nAbschnitte auf diesen Tonalamatl - Abschnitt entf\u00e4llt. Es ist der Gott des siebenten Tageszeichens, der \nRegengott Tlaloc. \n\nDer Gott selbst ist hier in derselben charakteristischen, oben ausf\u00fchrlich beschriebenen Weise, wie \nder Regent des siebenten Tageszeichens dargestellt (vgl. oben 8. 105, 106 und S. 151). Aber neben ihm ist \nhier noch ein m\u00e4chtiger Wasserstrom angegeben, in dem die Figur eines Priesters mit fortgerissen wird. \nUnd am Endo dieses Wassorstrouis ist eine H\u00f6hle abgebildot, auf dom in dor adorirondon Haltung de\u00ab \nUcpcyotf s des zweiten Tonalamatl - Abschnitts ein zweiter Priester kauert, der ein Gruslnlschel in der einen, \neinon Kapalheutel und zwei Pfeil \u00abch\u00fcfto, (das Zeichen des Feuerbohrers) in der anderen Hand h\u00e4lt (vgl. \nAbb. 505). Und vor dem Gotte selbst ist noch eine zweite Kopaltascho (copaLnquiyrilti), Knochendolch ( omitl ) \nund Agaveblattspitze (uitetti) angegeben, mit einer Blume an dem oberen Endo dieser beiden Kasteiungs- \nworkzeuge, die da\u00bb abgezapfte Blut veranschaulicht. Daneben sicht man einen abgerissenen Jaguarfoss, \n\n\nDigitized by Google \n\n\n!4. Das* in zwanzig dreuehnt\u00e4gige Abschnitte geordnete Tonalamatl- \n\n\n255 \n\n\nvier in einen Stab gestockte Agavubluttapit7.cn (uitztK) und um oberen Hunde des Blattes oine mit der \nFarbe de\u00ab Feuers gemalte, ober l\u00e4ngs des ganzen K\u00fcckens eine weiase Schau tnzeiebnung aufweisende \ndoppelk\u00f6pfige Schlange. \n\nDer Regengott war der Gott des grossen Fastens, das zu Beginn der Regenzeit, gegen Ende \nunseres Monats Mai, mit grosser Rigorosit\u00e4t von dor gesarumten Priesterschaft, die kleinsten Priester- \nZ\u00f6glinge mit oiugeschlosseD, ubgehnlten wurde, um filr die dann beginnende Zeit des Wachsthum* der \nSaaten g\u00fcnstige und ausreichende Regenf\u00e4lle zu orhalten. Bei diesem Fasten, das im Sahagun ausf\u00fchrlich \nbeschriehen wird, wurde mit Strenge dar\u00fcber gewacht, das nicht das kleinste Versehen, nicht die kleinste \nUngehttrigkeit verkam. Nicht ein St\u00e4ubchen durfte auf der Kleidung der Priester soiu, nicht dor geringste Irr- \nthum bol Ausf\u00fchrung der Z\u00e4rimonien Vorkommen, und nicht straucheln durften die Offizianten auf dem Wege \nzu ihren Verrichtungen. Wer in dieser Hinsicht einen Fehler begangen hatte, an dom wurde, um den Zorn des \nGottes zu beschwichtigen, das ges\u00fchnt, indem man diese Verbrecher an dem Tage vor dem Schluss- und \neigentlichen Hauptfeste an den Haaren zum Wasser f\u00fchrte, sie in jeder Pf\u00fctze w\u00e4lzend, und schliesslich sie \nim Wasser so lang\u00ab tauchte, das\u00bb rio nur halbtot wieder horausgezogen werden konnten. \u2014 Dieses Fasten \nund die Bestrafung der Priester, die dos Fasten nicht exakt ausgef\u00fchrt hatten, daa scheint mir auch \nauf unserem Blatte dargestellt zu sein. Ich w\u00fcsste wenigstens nicht, wie man sich die Gestalt dos \nins Wasser st\u00fcrzenden oder vom Wasser fortgerissonen Priesters anders und besser erkl\u00e4ren k\u00f6nnte. \nBei der Prozession an diesem Feste trugen die R\u00e4ucherpriester ( tletUnamaeaque ) ihr R\u00e4ucherwerk (aus \nWeihrauchkraut gefertigte Pillen) in mit Schncckougoh\u00e4usen behangonen Jaguarfolltaschon ( oceloyalaztU \neuecheh *0, die wahrscheinlich aus der ganzen Fusahaut eines Jaguars gefertigt waren, wie wir solche \nR\u00e4ucherwerktasche aus einer Jaguarfusshaut in der That in dor Hand des alten Gottes in Hirschgestalt \nAbb. 496 (oben S. 239) sollen. Kino solche Jaguarfussfelltosche f\u00fcr R\u00e4ucherwerk soll, meine ich, durch \nden abgerissenen Jaguurfuss hier veranschaulicht werden. Und die in den Farben des Feuers gemalte, \nauf dem R\u00fccken eine weisse Schaumkaute tragende zweik\u00f6pfige Schlange bezeichnet vielleicht goradezu \ndas K\u00e4ucherwerk, das tlapopochuilli , tlaauiuUi, das in Mengen an diesem FeBte dem Gotte gebracht wurde. \nDenn in der Symbolik der Mexikaner bedeutete R\u00e4ucberwork die Lebensmittelffllle. Die Jaguarfussfell- \ntasclie und diu Tabakkalebasse bezeichnen die alten G\u00f6tter, die llimmelsg\u00f6tter, die G\u00f6tter der Lebens- \nmittel. In dem Tempel des Westen\u00bb, in dem Hause des Maises und der Maisgottheit ist im Codex Borgia \ndie Tabakkalobossu gezeichnet. \n\nDer achte Tona/amatZ-Abschnitt, ce malina\u00fci \u201eeins Gedrehtes\u201c ist im Codex Borgia in der unteren \nH\u00e4lfte von Blatt 68\u00bb in unserer Handschrift auf Blatt 56 dargestellt. \n\nSein Regent ist die Gottheit des achten Tageszcicheiis, die G\u00f6ttin der Agavepflanze, Mayauel \ngenannt. Wir sollen sie, wie bei dem achten Tageszeichen, vor oder in ihrer Agavepfianze sitzen. Daa \nGesicht ist hier in der unteren H\u00e4lfte blau, in der oberen H\u00e4lfte gelb, wie der \u00fcbrige K\u00f6rper, gemalt. \nDie bekannte blaue Stufonpluttu der G\u00f6ttin Xochiquetznl b\u00e4ngt von ihrer Nasonscheidewand herunter. \nAn dem vorderen und dem hinteren Ende ihrer Kopf binde sind zwei Rosetten angegeben, wie boi gewissen \nBildern des Regengottes (vgl. Abb. 307 oben S. 110), die nur hier, wie die Stirnbinde, in Querstreifon \nabwechselnd blau und weiss (in den Farben des Wassers) und nicht in den Farben des Regengottes \ngemalt sind, aber wie bei dem Regengotte offenbar die Andeutung eines vierkantigen Kopfschmuckos \nsind, an dessen Ecken, die vier Himmelsrichtungen veranschaulichend, die Rosetten angebracht sind (vgl. \ndas Bild des Regengottes Abb. 414, oben 8. 198). \n\nVor der G\u00f6ttin ist der Pulquetopf ( octecomatl ) angegeben, in \u00e4hnlicher Weise gezeichnet und aus- \n\u00bbtaffirt, wie bei der G\u00f6ttin des achten Tageszeichens (vgl. oben S. 152, 153). Als Ring, der das mit ruudom \nBoden versehene bauchige Gef\u00fcss vor dem Umfallen bewahrt, dient in unserer Handschrift eine schwarz \ngefleckte Klapperschlange. Im oberen Theile des Blattes ist das aus dom Bilde der Sonne und der \nNacht zusammengesetzte Zeichen der D\u00e4mmerung oder des Abends zu sehen. Da\u00ab i\u00abt die Zeit, wo die \nPuhjuogelnge stattfanden. Und der G\u00f6ttin gegen\u00fcber ist auf einem Stuhle sitzend der Trinker gezeichnet, \nder durch das auf einen Stab gespiesste Herz, das man vor, bezw. unter ihm, sieht, mit XochipilU iu \nZusammenhang gebracht zu werdeu scheint, dom Gotte der Blumen, der itu Sahagun-Manuskript und in \n\n\nDigitized by Google \n\n\n\n256 \n\n\nD. lUkkocitc \n\n\nder Bilderhandschrift der Florentiner \u00dfiblioteca Nationale, den yollotopiUi, den Stab mit dem Hereon \nf\u00fchrt. \u2014 Im Codex Borbonicus und in dem Twalamatl der Au bin 'sehen Sammlung ist dieser Trinker \ndurch eine Figur ersetzt, die den Stab mit dem nufgospiossten Herzen auf dem R\u00fccken und ein Feder- \nbanner in der Hand f\u00fchrt, und die im Codex Borbonicus die Sternhimmelkrone {tuitzoncalli cicidallT) des \nGottes Tezcatlipoca tr\u00fcgt. Im Codex Telloriano-Romoneis gteht daf\u00fcr eine ebenfalls ein Federbanner \nin den H\u00fcnden haltende, durch ein aztaxelii auf dem Scheitel auch als Krieger, oder als Tezcatlipoca, \nbezeichnet\u00a9 Gestalt, die aber keine aufgespiessten Herzen, sondern oin B\u00fcndel mit Maiskolben auf dem \nR\u00fccken tr\u00fcgt und von den Interpreten daher als Cinteotl \u201eMuisgott\u201c bezeichnet wird. \n\nDer neunte Tonatamail- Abschnitt, ce amati \u00bbeins Schlange\u201c ist im Codex Borgia in der unteren \nH\u00e4lfte des Blattes 69, in unserer Handschrift auf Blatt 57 dargestellt \n\nSein Regent ist der Gott des achten Tageszeichens, XiuAtecutli oder Ixcofauhqt\u00e4. Er ist durchaus \nanalog der Art, wie wir ihn bei dem neunten Tageszeichen kennen gelernt haben, dargeatellt, roth, mit \nseiner aus roth und schwarz gemischten Gesichtsbemalnng, und fcuerfarbenem Haar, mit dem herab- \nfliegenden T\u00fcrkiiTOgel (o-mAtofod) an dor Stirnseite der Kopfbinde, und den beiden, zwei Pfeilsch\u00fcfte, \n\n\n\nAbb, 506. XiuhUcuth, der Feuergott, und Tlauizealpan trcutli, der Morgenstern. \nItagcntcn de\u00ab neunten, mit tt couatl \u201eeins Schlange\u201c beginnenden To\u00bbtf\u00bb/i\u00bbw\u00ab*rf/- Abschnitt es. \nCodex Borgia 69 (= Kingsborough 46). \n\n\nd. li. die ) angegeben und dort als ixcitlaiickiualli, m i-rcida I ich ich itih . \nmircitlalhuiticac moUneua tlatfoatti, d. h. \u201edie Sterngesichtshemulung, die man FinBtemiaa nennt\u201c, beschrieben \nwird. Damit verbindet der Gott eine Stirnbinde, die an dun Stellen, wo bei anderen G\u00f6ttern dem rotheii \nI^ederriemen blaue oder gr\u00fcne (aus T\u00fcrkis oder chalchinitl gefertigte) Scheiben aufgesetzt sind, weisse, \nmeist etwas l\u00e4ngliche, spitz eif\u00f6rmig werdende Verzierungen tr\u00e4gt, und im Codex Borgia mit vior \nabstehenden in einen Federbusch ausgehenden Enden, wie wir sie in dieser Handschrift bei dem Bonnen- \ngotte, bei Ueuecoyod und auch bei X ocArjnVW fanden. Und den Kopfputz vervollst\u00e4ndigt eine Krone au\u00bb \nschwarzen, mit einem wcisson Endfiecko verschonen Federn, zwischen denen in unserer Handschrift und iu \ndem Bilde dea Codex Borbonicus einzelne, gelbe oder rothe, Federn lang heruusragou. Auf der Brust \nendlich tr\u00e4gt der Gott in der Regel da\u00bb Auge, den weissen Ring ( anauat! ) de\u00ab Gotte\u00ab Tezcatlipoca. \n\nDer Morgenstern stobt hier vor dom Feuer- \ngott, weil auch der Feuergott, wie der Morgen- \nstern, der Zeit der D\u00e4mmerung, der Zeit angeh\u00f6rt, \nwo diu Sonue noch nicht geboren war. Vor allein \naber steht hier der Morgenstern, weil er dem \nFeuergotto, dein Repr\u00e4sentanten des Krieges \ngegen\u00fcber, die Krieger und den Kriegertod ver- \nanschaulicht Denn in den \u00f6stlichen Himmel, \niu dio Region deB Morgensterns, in das tonatiuA \nickan , da\u00bb \u201eHaus der Sonne\u201c, kommt die Seele de\u00bb \ngeopferten oder in der Schlacht gefallenen oder \nauf dein Marsche gestorbenen Kriegers, des \ntonatiuh i\u00fcto yauh. Dort begr\u00fcsseu diese Seligen \ndie aufgehende Sonne und geleiten Bie mit Ue- \ns\u00e4ngen und T\u00e4nzen bis zum Zonith, wo die weib- \nlichen Gegenst\u00fccke der gefallenen Krieger, die \nmcciuaqueUqttf, die im Kindbett gestorbenen \nFrauen, sie in Empfang nehmen, um sie eben- \nfalls unter T\u00e4nzen hinab zum Westen zu f\u00fchren. \nDen gefallenen Krieger oder den Kriegertod ro- \npr\u00e4sentirt also hier diese Gottheit des Morgen- \nstern\u00bb, und das ist in dem Bilde, das der Codex \nBorbonicus von diesem TonaUmatl- Abschnitte \ngibt (Abb. 507) auch deutlich gezeigt, indem wir \ndort an dom unteren Rande des Blattes den Kriegertotenschmuck, so vollst\u00e4ndig, wie ihn uns die Mumie \ndes toten Kriegers Abb. 358 S. 156 zeigte, abgebildet sehen, das xiuhuikoUi, die blaue Krone mit dom \ndreieckigen Stirnblatt, die beilf\u00f6rmigen blauen Ohrpil\u00fccke (fiuAnacochtli) , die blauen Nasenpfl\u00f6cke \n(jfitcaxiuid), dio Schulterbindc aus weirmem Papier ( amantapanalli ) und das blaue H\u00fcndchen, das \n.rolocozcati, von dem ich oben (S. 157) gesprochen habe. \n\nDer zehnte Tonalamatl- Abtchnitt, \u00ab Ucpatl \u201eeins Feucrsteimnussor\u201c ist im Codex Borgia in der \nunteren H\u00e4lfte do\u00bb Blattes 70, in unserer Handschrift auf Blatt 58 dargestellt. \n\nSein Regent ist der Gott des zehnten Tageszeichens MictlanitnUli, der Todosgott, der Herr der \nUnterwelt, dem aber hier, als sein Widerspiel, Tonatiuh, der Sonnengott, der Herr des Himmels, gegen- \nfibergestellt ist \n\nDer Todesgott ist in beiden Handschriften als ein \u00abchwarzor Gott, mit einem Sch\u00e4del als Kopf, \ndargestellt, und auf einem aus Blut, Knochen und \u00bbta/inaf/^Gras gebildeten Stuhle sitzend. Sein Ausputz \n\n\n\nAbb. jUS. Tlau\u00fcfalpunlrrnlli, Gottheit des Morgensterns, \nilrm Feuergotto, dem Regenten dos neunten Tonaiamarf- \nAbschnittc\u00ab gegen\u00fcber du rgi-*t teilt. \n\nCodex Tellemno-Remeual\u00bb ful.l t verso (= Klngsborough II. 14). \n\n\nDigitized by Google \n\n\nII. fto* in zwanzig drcizchnt&gige Abschnitte geordnete Tonalamatl. \n\n\n259 \n\n\nbildet in unserer Handschrift da* Nacken schild (cuMrocht*ch\u00bbmaili) und dio vom \u00dchergcbogene Fahne \n(pantm/mudli ) ; im Codex Borgia da\u00ab Naekenschild (cu&xcochtechimalli) und ein K\u00e4iizcheufl\u00fcgol. Vor ihm, \nbezw. unter ihm, ist in beiden Handschriften eine in Hecken gewickelte und mit Stricken uraschn\u00fcrte \nlaiche, ein Papierfahuchen (Hcheiterhnufonschmuck) und ein, wie es scheint, uus Zeugstreifen odor Papier \ngekn\u00f6pfte\u00ab Kreuz angegebon. \n\nDer Sonnengott ist, dem Todesgotta gegen\u00fcber, auf einer mit einem Jaguarfell bedeckten Bstrade, \nin derselben, wie es scheint, BegrAsaung ausdr\u00fcckendoo Haltung, wie in dem sechsten Tonalamatl- \nAbschnitie vor dem Mondgottc, dorgestellt. (Abb. 509). Farbe, Bemalung nnd Ausputz, auch dio Ge- \nsteh tabemalung mit der rotben Scheibe auf der Backe und dem rothen, da* Auge umziehenden Halbringe \nsind dio gleichen wie bei dem Sonnengotte, dor in dem sechsten 7 'on a in matl - A h sc h n i t te dem Mondgotte \ngegen\u00fcbersteht. Vor dem Gotte, buzw. \u00fcber ihm, sieht man eine in einen Griff gefasste Blume, die ver- \nmuthlich eine Fackel durntellan soll. Und Tor seinem Mundo ist iin Codex Borgia, gleichsam als der \ndiesem entstr\u00f6mende Hauch, eine ewiWa>. \n\n\nEine dieser fast genau gleiche Figur wird im Codex Bologna unter den Zeichen der neun Herren, dio \ndort die Zeichen der Tage des TonnlamatT s begleiten, als eine Hieroglyphu oder ein Symbol f\u00fcr den \nersten der neun Herren, den Feuergott, gebraucht, bedeutet also zweifellos Feuer. \n\nZwischen beiden G\u00f6ttern endlich sieht man oinen Menschen, dor von einem andern mit einem Stabe, \nder in dem Bilde unserer Handschrift dio Gestalt einer Schaufel hat, in\u2019s Wasser hinabgestossen wird. Im \nCodex Borbonicus und in dem Tonalamall der Aubin'schen Sammlung ist dieses Bild durch einen Baum \noder Pfahl ersetzt, der aus dem Wasser emporragt, und au dem oin Mensch in die H\u00f6he klettert. Beide \nBilder scheinen nichts anderes als den Richtungsunterschied, den die beiden G\u00f6tter dieses Faches in sich \ndarstellen, da\u00bb unten oder nach unten ((laut) und das oben oder nach oben (oco), zum Ausdruck bringen \nzu sollen. \n\nDer eilfte Tonalamatl - Abschnitt ce apom\u00e4tii \u201eeius Affe\u201c ist im Codex Borgia in der oberen H\u00e4lfte \ndes Blattes 70, in unserer Handschrift auf Blatt 59 dargestellt \n\nVon diesem Abschnitt ab sind nicht mehr dio Gottheiten dos entsprechenden, sondern des in der \nReihe folgenden Tageazeichena auf den Tbna/umati-Ahschnitt \u00fcbertragen, da man den Gott de\u00ab eilfteu \nTageszeichens, Xochipilii , hat ausfnllen lassen. Es ist also der Regent dieses eilften 7'tma/affw//- Abschnittes \nder Gott des zw\u00f6lften Tugvazeichuns, 1\u2019\u00e4Uca\u00dc, der Pulquogott. \u2014 Dieser ist abur hier nicht als der bar- \n\n88 * \n\n\nDigitized by Google \n\n\n\n2\u00dfO \n\n\nR R\u00fcckseite. \n\n\nbarische Gott, mit dor K\u00dfnigsbindo au\u00bb Affen feil, wie bei dem zw\u00f6lften TageRzeichen, dargcstellt, sondern \nim Ansehen und tu der Tracht don luidorn G\u00f6ttern gleichend. In unserer Handschrift ist er durch soino \nZweifarbigkoit {chictlapancayotf), die halb schwarze, halb rotho Farbe, utid den goldenen Nasenbalbmoud \n(yacametztli) gekennzeichnet. Die Zweifarbigkeit ist aber hier merkw\u00fcrdigerweise nicht in seinem Gesicht, \ndas einfach roth ist, sondern in sciuem Federschmuck, seiner Federkrone (iuiUoncallt) und in dem grossen \nf\u00e4cherartigen Naokenfedersehmuck, zum Ausdruck gebracht worden. \n\nIm Codex Borgia (Abb- 510) ist eine Frau gezeichnet, die den goldenen Nasenhalbmond (yaeametz\u00fct) \nder Pulqueg\u00f6tter und, wie die TUu\u00bbUeoti, einen Stroifen ungosponnonor Baumwolle in der R\u00f6hre ihres \nOhrpflockos tr\u00e4gt, einfach rothe\u00bb Gesicht und fuuerfarbenes Haar hat, das von dem Fdelsteinrieman mit \ndem stylisirten Vogolkopf an der Stirnseite umwunden ist, und dar\u00fcber mit einer Krone aus Adlcrfedem \n(quau\u00c4Uoncallt) geschm\u00fcckt ist, \u00e4hnlich der des Sonnengottes (vgl. Abb. 308, oben S. 191), aus der Fell- \n\n\n\nAbt\u00bb. 511. I'iUccall, dor Pulquegott. Regent dos oUftcn 7V\u00bbM\u00ab/a*ia*/-Ab!\u00abclinittea et \u00bbfomtHli. \n\u201e Codex liorbonicus 11. \n\n\nstreifen, wiederum gleich denen des Fedcrkopfschmuckos dos Sonnengottes, beraush\u00e4ngeu. Ihre Knagua \nist einfach roth und mit dem Mimter des goldenen Nuaenhalbmondes versehen. Nach der Gosammtheit \ndieser Abzeichen k\u00f6nnt\u00ab man diese Gestalt eine Tlapolteotl als Sonnengott nennen. \n\nNeben dor Gottheit dieses Abschnittes sind in beiden Handschriften die Werkzeuge doB Krieges \nabgebildet, und dabei wieder die merkw\u00fcrdige, wio es scheint, aus einem Sehwertfischschwert gefertigte \nSchlag- und Stosswaffe, die wir bei Tepeyo\u00fcotU and Ueuecoyotl und auch schon bei dem P\u00e4teca\u00dc, dem Re- \ngenten des zw\u00f6lften Tageszeichens, abgebildet fanden, \n\nGegen\u00fcber, oder vor dem Pulquegott\u00ab ist ein schreitender Jaguar, mit einer Pnpierfnlmo im Art\u00bb, \nabgebiidet. Dus ist ein Abbild des Kriegers, denn der Pulque ist das Getr\u00e4nk dar starken Leute. In \nden eigentlich mexikanischen Handschriften sieht man hier, dem Pulque-Gotto gegen\u00fcher, nicht bloss den \nJaguar, sondern dun Adler und den Jaguar (Abb. 511). Das ist ein Ausdruck der bekannten Zusammen- \nfassung quauhtU-ocdoll, womit man in Mexico, in der gew\u00fchlten Sprache der Hauptstadt, dio tapferen \nKrieger bezoichneto. Die Papierf\u00dchnchen in den Annen dieser Thiere kennzeichnen sie, oder vielmehr \n\n\nDigitized by Google \n\n\n14. Da\u00bb in xwandg AWhnit\u00bb* geordnete Tnnalamntl. 261 \n\ndie Krieger, die durch sie roprflsentirt werden, uh zum Opfer bestimmt- Denn es scheint in der That, \nals ob die Mexikaner Mich einen Krieger gar nicht verstellen konnten, ohne zugleich an das Kriogorloos, \nGefangenschaft und Opfertod, zu denkou. \n\nDer zw\u00f6lfte Tonala ma \u00ab/-Abschnitt, <\u2022en (vgl. S. 251) gesehen \nhaben, Geburt. Es ist dor Kampf, bei dom die G\u00f6ttin ihren Gefangenen macht, d. h. ihren Sohn gebiert. \nDie G\u00f6ttin Tlafolteatl ist eben die grosse Geb\u00e4rerin, das zeigt uns ja auch das Bild des Codex Borbonicus \n(vgl. unten Abb. 517) mit gen\u00fcgender Deutlichkeit, Zu den F\u00fcssen UitzilopocK\u00dct s empf\u00e4ngt sie also nicht \nihren Sohn Cinteoti, sondern sio gebiert ihn. Denn der Mais wird von der Erde geboren. Das war auch \nin dein Lied gesagt, das ich oben \u00bbcbon einmal angef\u00fchrt habe: \n\n\nyccoc ye tonan \nyccoc . ye Uutl \ntlapoluvtla oaya \noovayayt \n\n\ngek\u00e4mpft hat unsoro Mutter \ngek\u00e4mpft bat die G\u00f6ttin \nTlapolUoti \n\n\notiacatqui fentrutl \ntamiyoan ichan ni \nxochitlicacani \nf\u00ab yjochitli \n\n\ngeboren ist der Maisgott \nim Hau\u00bb des Herabsteigens \nwo die Blumon st\u00f6hn \nder (Gott) ein\u00bb Blume. \n\n\n\u2014 wobei zu bomerkon ist, dass hier das Zeitwort yecoa den Doppelsinn von \u201ek\u00e4mpfen\u201c (yJcoa, mit kurzer \nerster Silbe) und von \u201edas Work vollenden\u201c (yccoa, mit langer erster Silbe) hat. \n\nWas sollen wir uns aber dabei denken, dass der Mais, der Holm der Erde, den Hut itztlacoliuhqui, \ndes \u201eGottes des Frostes\u201c, wie clor Berichterstatter erl\u00e4utert, tr\u00e4gt? Was hat bei diesem Fest\u00ab, das in \nnnsern Monat September, in die Zeit der Tug- und Nachtgleichu fiel, der Frost zu thun? Auch in den \nh\u00f6her gelegenen Gebieten Mexico\u00ab kommt Frost doch erst in der Mitte des Winters vor. Und was hatte \ndiese ganze Z\u00e4rimonie \u00fcberhaupt f\u00fcr einen Sinn? \u2014 Die Schwierigkeit l\u00f6st \u00bbich, wenn wir an \ndie urspr\u00fcngliche Bedeutung des itt\u00dcacoUuhqui denken, dass er der hurte Stein und der Re- \npr\u00e4sentant des Harten ist Das Ochpaniz\u00fci war dos Erntefest, die Zeit, wo der Mais reif, d. h. hart, \ngeworden war. \n\nEine Weitereutwickelung de\u00ab Steins zu dem allgemeinen Begriff der Erde scheint es zu sein, \nwenn der Interpret de\u00ab Telleriano-Remensis f\u00fcr diesen Gott noch Cipaquetona als anderen Namen angibt. \nWenn der Gott aber ausserdem als Herr der S\u00fcnde und der Blindheit bezeichnet wird, wonn, wie der \neine Interpret erz\u00e4hlt, man in den dreizehn Tagen dieses Tona&imntf-Abflcbnitte\u00bb \u00bbich f\u00fcrchtete, irgend \neine Bache vor Gericht zu bringen, weil die Riohter die Augen verbunden haben und nicht sehen k\u00f6nnen \nw\u00fcrden, so sind dos jedenfalls nur sp\u00e4te und vielleicht ziemlich unbegr\u00fcndete Umdeutuugeu auf Grund der \n\n\nDigitized by Google \n\n\n\n264 \n\n\nB, R\u00fcckseite. \n\n\nhier vorliegende!! Bilder, die uns den Gott mit verbundenen Augen und als Gott der Strafe zeigen. \u2014 \nEine bekannte hieroglyphische Figur mus\u00ab dieser Gott gewesen sein. Man erkunnte sein Bild auch in \neinem Stern am s\u00fcdlichen Himmel \u2014 \u201equc fingen que va vuelta del reves y los ojos tapados\u201c \u2014 , dessen \nErscheinen auf bovorsteheDdo Kriege gedeutet wurde \u2014 (tenianla por grande aguero para guerras). \n\nVor dem Gotte sehen wir in beiden Handschriften einen zu Boden st\u00fcrzenden Menschen ab- \ngobildet, wie bei Ueuecoyotl , dem Gotte des vierten Tageszeichens und des vierten Tonalamall- Abschnittes. \nUnd wenn dort die Interpreten von dem Fall de\u00ab ersten Menschen, von der Verschuldung A d a in \u2019s \nsprachen, so wird man nach dem Vorkommen desselben Bildes hier, wie ich oben auch schon angegeben \nliabo, geneigt sein m\u00fcssen, ihnen Recht zu geben und dns zu Boden fallen hier, wie dort, als Ver- \nschuldung, als dflndo ( tlatlacolli ) anzuschon. Die Art der Verschuldung zeigen die anderen Bilder, \ndie uus in unserer Handschrift und im Codex Borgia den Pulquetopf, im Telloriano-Remensis und ira \n\n\n\nAbb, 516. Tlafolteotl, di\u00ab Erdgftttin. \nRegentln des dreizehnten Tonalamutl- AWhultU-* \n\u00ab ot>'n \u201eeins Bewegung*. \n\nCodex Borgia \u00ab8 {= Kingsburough 47). \n\n\n\nAbb. 517. 7Y\u00abf\u00ab\u00d6rotf, die Erdgottin. \nRegentin des dreizehnten Ton nlnm all - Abschnittes \ntt otiu ,ein\u00ab Bewegung\u201c. Codex Borltonkus 16. \n\n\nBorbonicns die Ehebrecher und im Tonalamatl der Aub in 'sehen Haminlung die Ehobrecher mit der \nPulqueschole in der Hand scigon. \n\nDer dreizehnte Tonalamatl- Abschnitt ce olin \u201eeins Bewegung\u201c ist im Codex Borgia in der oberen \nH\u00e4lfte des Blatte\u00ab 68, in nnserer Handschrift auf Blatt 61 dargestellt \n\nSein Regent ist die G\u00f6ttin des vierzehnten Tagoszeichen\u00ab, dio buaxtekische alto Erdg\u00f6ttin \nTlafolUotl. Ihre anf den vorhergehenden Seiten des Ocfteren geschilderten kennzeichnenden Merkmale, \ninsbesondere dio schwarze Bemalung um den Mund und die Str\u00e4hnen ungesponnener Baumwolle, die ihre \n\u25a0 Haarbiude und ihre Ohrgeh\u00e4nge ubgeben m\u00fcssen, sind auch hier deutlich. Aber mehr noch als an anderen \nStollen ist dio TtafolUotl hier als die Landsm\u00e4nnin dos Pulquogottes zur Anschauung gebracht, indem sie \nnicht nur den halbmondf\u00f6rmigen Schmuck (yacamttztli ) in der Nase, wie dieser, hat, nicht nur das Gewand \n(vgl. Abb. 516) in der Zweifarbigkoit der Pulqueg\u00f6ttur, halb schwarz, halb roth, mit dem goldenen Nasen- \nhalbmond in der Mitte, gef\u00e4rbt bat, sondern auch, wie der Pulquegott de\u00bb Blattes 59 unserer Handschrift, \n\n\nDigitized by Google \n\n\n14. Dm in zwanzig drcizehntftgigc Abschnitte geordnete Tonalamatl. \n\n\n265 \n\n\nihr\u00ab Fodorkrono ( iuiUoncaM ) in den beiden Farben, roth und schwarz, gemalt hat \u2014 Auch in den \neigentlich mexikanischen Handschriften sind in der Tracht der G\u00f6ttin \u00fcberall die zwei Farben der Pulque- \ng\u00f6ttor angegeben, aber sie ist hier ausnahmslos zugleich auch, wie Xipe, mit der abgezogenen Haut ihres \nOpfers bekleidet Lu Codex Borbonicns (Abb. 517) ist sie als Geb\u00e4rende dargestellt. Man sieht ron \noben (aus dem dreizehnten Himmel zu verstehen) ein Kind herabkommen, das in ihren Leib eingehon \nsoll, und man sieht gleichzeitig aus der VulTa der mit ausgebreiteten Beinen (niamafnuhticac) auf der \nDecke hockenden G\u00f6ttin ein Abbild von ihr borvortreten, das zwei Kettenglieder in den H\u00e4nden h\u00e4lt, \naugenscheinlich die Fortsetzung des Lebens damit andeutend. \n\nYor der G\u00f6ttin siebt man in unserer Handschrift und dem verwandten Codex Borgia die rothe \nSchlange der G\u00f6ttin abgebildet Und daneben nicht, wie bei der Regentin des vierzehnten Togoszoichons \noin Haus mit einer Eule (Ucoloil ichari), sondern ein Hans mit einem Geier (coscaquauhtli iehan). Das \nllaus mit der Eule bezoichnete zweifellos das dunkle Haus der Erde, deren oder dessen Personifikation \ndie G\u00f6ttin ist Das Haut\u00ab mit dem Geier werden wir vielleicht als das Haus der alten G\u00f6ttin deuten \nm\u00fcssen. Denn an dioso Beziehung wurde, wie wir oben (vgl. 8. 177 \u2014 179) schon gesehen haben, bei dem \nkahlk\u00f6pfigen .Vogel ganz entschieden gedacht. \u2014 lu den eigentlich mexikanischen Handschriften ist der \nG\u00f6ttiu gogenObor ein schwarzer Vogel dargestellt, nnd zwar als Yorkloidung Tezcatlipoca s. Dieser Gott \nlag ja, nach der Vorstellung der V\u00f6lker dos engeren mexikanischen Gebietes, im Grunde aller Erscheinungen, \ninsbesondere alles Spukhaften, Schreckhaften, Unheimlichen, und schreckhaft, spukhaft unheimlich waren \nbeinahe alle Gestalten ihrer Mythologie. Es ist aber bei keinem der Bilder zu errathon, was f\u00fcr eine \nThierspezies mit dem schwarzen Vogel gemeint ist. \n\nDer vierzehnte Tonalamatl- Abschnitt ce itzcuintli \u201eeins Hund\u201c ist in der oberen H\u00e4lfte des Blattes 67 \ndes Codex Borgia und auf Blatt 62 unserer Handschrift dargestellt. \n\nSein Regent ist dor Gott dos fOnfzohnton Tageszoichens, und dos ist Xipe l'otec \u201eunser Herr, der \nGesohundene\u201c, der nur dort an zwei der in Betracht kommenden Stellen nicht in seiner gew\u00f6hnlichen \nGestalt abgebildot, sondern durch einen rothen (Tlallauhqui) Tezcatlipoca vertreten war. Hier haben wir \nihn an beiden Stellen, zwar auch nicht mit seiner Menschenhaut, aber sonst in durchaus typischer Weise zur \nAnschauung gebracht, mit rothem K\u00f6rper, rothen Gliedern und rothem Gewand, vor dem Gesichte diB \nMaske aus gelber, d. h. toter Menschenhaut, mit dem weit offenen Munde (motertmaxaloticac), dem schmalen \nAugonschlitz und dem rothen, gerade Aber das Auge in der ganzen L\u00e4nge des Gesichtes verlaufenden Striche, \nder vielleicht don bei dor Abh\u00e4utung gemachten Schnitt bezeichnen soll. In der Nase steckt ein Stab, \ndessen Platte das yopitzontli, die spitze M\u00fctze Xipe' s, imitirt, w\u00e4hrend der Stab selbst die roth und \nweissen, schwalbenschwanzartig ausgeschnittenen (majcaliuhqui) flatternden Enden der M\u00fctze wiedorgibt- \nAns dem Ohr h\u00e4ngen zwei B\u00e4nder, die wie alles an dem Gotte, roth und weiss, in don Farben des \ntlauhquechol, des rothen L\u00f6fl'ulreihors gemalt sind. Das Haar ist von einem Riemen umwunden, dem in \nunserer Handschrift statt der Edelsteinscheiben zwei aus geh\u00e4mmertem Golde gefertigte Verzierungen auf- \ngesetzt sind. Denn Xipe ist ja bekanntlich dor Gott der Goldschmiede. Ucbor dem Haar wird im Codex \nBorgia oino zusammenh\u00e4ngende Duunenfederperr\u00fccko sichtbar. Und daran scbliesst eich ein Feder- \nschmuck, der augenscheinlich kammartig ist, der Art, die dio Mexikaner patsactli nannten 1 ). In unserer \nHandschrift besteht dieser aus einem zusammenh\u00e4ugunden Theile, dor in Feder-Mosaik, roth und weiss, in \nden Farben des tlauhquechol gearbeitet ist, und einer (eigentlich zwei) dar\u00fcber emporragenden Reihen \nvon Quetzalfedern. Im Codex Borgia aber (Abb. 518) ist or aus einer (eigentlich zwei) Reihen rother \njedenfalls als tlauhquechol gedachter Federn zusammengesetzt, die mit Edelstein- ( chalchiui\u00fc -) Riemen und \nEuden von Rasselbrettern (chicauaztli) abwechseln. Xipe Totec galt als der Herr dos K\u00fcstenlandes und \neigentlich als Gott der Znpotekon. \u2014 anauatl yteuc tzapoteca yn uel ynteouh catca *). \u2014 Die Fuderschmucke \nquetzalpatzactli aber waren, wne Sahagun ausdr\u00fccklich bezeugt*), zapotekischer Schmuck, kamen erst \n\n1) Vgl. meine Abhandlung \u201eUebor altniexikanlaehen Federschmuck und milit\u00e4rische Rangabzeichen\u201c. Ver- \nhandlungen der Berliner Anthropologischen Gesellschaft 17. Januar 1891. Zeitschrift ftlr Ethnologie XXIII. 8. (122). \n\n2) Sahagun 1, eap. 13. Mn. liihliotecn de! Palscio (Madrid). \n\n3) Sahagun 9, cap. 2. Ms. Ribllutcca Academia de la Hiitoria Madrid. \n\nS*J\u00bbr. Codex Vatlcaaua Nr. 3171 \n\n\nDigitized by Google \n\n\n\nB. R\u00fcckseite. \n\n\n266 \n\nmiclt der Besiegung der Zapotoken, die zur Zeit K\u00f6nig\u00bb Atsilzo\u00dc durch dio bewaffneten Expeditionen der \nKaufleute erfolgte\u00bb nach Mexico: \u2014 \n\nauh tfth \u00fcfuac centlapouh in \u00fcttptich anauaca ilalli \n\n\u201eund orst damals wurde du\u00bb Land der verschiedenen Annuit\u00e4t (K\u00fcstenl\u00e4nder) voll- \nstiindig er\u00f6ffnet, \n\nin aocor\u00bbiu(h Hb- \n\n\nayatle cutca in nican mtrico. Quin iquac ntz \n\nes gab noch nichts dergleichen hier in Mexico, sie wurden erst damals bekannt \niyc mamalo tlatilolco. conmotlatquiti in auitzotzin \n\nSie wurden in Tlateloloo (dem Kanfmanusquartier) als Rflckendoviscn getragen, und \nAuitzotl nahm eis als seine Tracht an. 1 ) \u2014 \n\nAls Brustsclimuck tr\u00fcgt der Xip\u00ab Totec unseres vierzehnten Tona/amatf-Abscluiittee iu unserer \nHandschrift eine Schuibe aus geh\u00fcmmortein Golde, im Codex Borgia an einer aus einem Mosaik ver- \nschiedenfarbiger Feilem gefertigten Halskette einen, wie es scheint, aus einem Scbneckeiigeh\u00fcuso ge- \nschliffenen Schmuck besonderer Form. Endlich hat er seine \u00d6chambinde ( moxtiatl ), deren Enden auch \nroth und woiss und schwalbeuschwanzartig ausgeschnitten (mazaliuhqui) tsind. \n\nln den eigentlich mexikanischen Handschriften tr\u00fcgt er ausserdem seine Mensche nhaut und wie, \ngew\u00f6hnlich auch, den Schurz oder G\u00fcrtel aus Zapotebl\u00fcttem, da\u00bb sogenannte \u201eWeibonrftckcben aus Zapotu- \nbl\u00fcttern\u201c (tzapocuei\u00fc). Im Codex Borl>anicus (Abb. 519) ist er dabei wieder halb ata Tczcatlipoca dar- \ngestellt, mit der \u00dccsichtebemalung de\u00ab rothon ( Tlatlauhqui ) TczcatUpoca, mit dein rauchenden Spiegel an \n\n1) Ifoqmm\u00ab ih* ost\u00ab rt>n\u00abjuist4i Im eatedo \u00ab1 campo sojuro y Hb\u00ab! pan outrar \u00bb I\u00ab provincia de Anaoac, sin \nqw midie lo imjiidit. ui lo# Tzapohras, ni los Anootat, y los ymlzalrt y pliima\u00bb rintf, desde enUinoea se usan por aca; \npmiH-nwicntc lux trajeron los tnemulere* ricus dol TMt'loleo y Iss nswron, y Umtbion el itcftor Jo Mexico Auitzotzin* \ntiSaliugun 9, cmp. S.) \n\n\nDigitized by Google \n\n\n14. Pas in zwanzig dicizebntAciKe Abschnitte geonlnHi' TonalAmstl. \n\n\n2fi7 \n\nder Schl\u00e4ft\u00bb, auch dem weisson Hinge (k* in rwanxipr dmzchnt\u00e4gigc Abschnitte geordnete TonaUmnti. \n\n\n271 \n\n\nDiese* Bild aber, glaube ich, m\u00fcssen wir her Anziehen, um za verstehen, was in unserer Handschrift \nund im Codex Borgia bei diesem Gott noch atigegobon ist. Int Codex Borgia neben wir n\u00e4mlich vor dem \nGotte das Zeichen naui olin t <1. 1). den Tag \u201evier Bewegung* 4 , der, wie ich oben schon einmal angegeben \nhabe, der Tug und das Symbol der Sonne ist. Unmittotbar darunter sehen wir ein rechteckiges Feld, \ndas der Quere nach in vier mit verschiedenen Farben (gr\u00fcn, gelb, blau, rotb) gemalte Streifen zerfallt. \nIch erkl\u00e4re dieses Bild folgendcrmnnssen : \u2014 die vier Farben, das sind die vier Richtungen, das ganze \nrechteckige Feld also, das nach den vier Richtungon Ausgedehnte, d. h. die Erde. Ea bezeichnet demnach \ndieso ganze, in ihren Elementen sehr einfache Gruppe dasselbe, wie die komplizirten Fignren der eigentlich \nmexikanischen Handschriften, n\u00e4mlich die erdnahe Sonne. Von diesem Bilde, dos im Codex Borgia, \ntrotzdem es durchweg Hieroglyphe ist, klar und verst\u00e4ndlich ist, ist in unserer Handschrift nur das \nZeichen nau\u00ab olin \u00fcbrig geblieben, das dort, allein and \u00fcber der Hauptfigur angegeben, an sich v\u00f6llig \nr\u00e4thsolhaft ist, es sei denn, dass nur die allgemeine Beziehung zur Sonne angedentet werden sollte, die ja \nbei dem Gotte Xolotl, wie ich dos oben S. 183 n\u00e4her ausge f\u00fchrt habo, in der Thot vorliegt \n\n\n\nAbb. 022. XoMI, Holt der Zwillinge und der Missgeburten, \nRegent des sechszehnten Tonscut/i/)oc(t's und ist deshalb mit dem rauchenden Spiegel an der Schl\u00e4fe und \nandoren Abzeichen dieses Gottes ausgestaitot. Wir haben oben bei dem achtzehnten Tagoszeicben gesehen. \n\n\nDigitized by Google \n\n\n\n272 \n\n\nR. R\u00fcckseite. \n\n\ndass dor Truthahn das Wawr, und insbesondere da\u00ab chalch\u00fc\u00fctatJ, das Edelsteinwasser, d. h. das kostbare \nNass dor Kasteiung, das Blut, reprftscntirt. Beim achtzehnten Tagesteichen fandon wir das durch dio \nHieroglyphe chalckiuhatl und durch den Priester, der sich das Auge ausbohrt, veranschaulicht. Hier ist \nim Codex Borgia einfacher ein von einen) Fastenstrick gebildetes Kn\u00e4uel gezeichnet (Abb. 624), in dem \nein paar Agavebluttspitzen stecken, dio als blutige durch die an ihnen herubrinnende, rothe Fl\u00fcssigkeit \nund durch dio Blumen an ihrem oberen Endo gekennzeichnet sind. In den eigentlich mexikanischen \nHandschriften ist der B\u00fcsser selbst, mit dem Zeichen cuiilatl, \u201eExkremente, S\u00fcnde\u201c, in der Hand abgebildct \n(Abb. 525, 526). Dasselbe Zeichen cuitlatl sehen wir in anseren Handschriften, dem Codex Borgia und \ndem Vatieanus, von einem Adlerfusee dem ChalekiuhtMolin dargoreicht (Abb. 527), wo offenbar dio Ideo \nvorliegt, dass der Truthahn, d. h. das kostbare Nass, das bei der Kasteiung abgezapfte Blut, den Schmutz \nder S\u00fcnde wegnehmen solle. \n\nF\u00fcr die Deutung anderer Fignreu, insbesondere der rothen Schlange, die als Begleiterin der \nTlapolleotl und auch sonst vielfach, wie wir gesehen haben, in diesen Handschriften auftritt, ist es nicht \nohne Interesse, dnsa der Truthahn hier, der das Blut repr\u00e4sentirt, mit Rauch* oder Feuorwolken am \n\n\n\nAbb. 524. fhalfkiHh-itite-all \n\ndas kiwtbure Na*\u00bb der Kasteiung. \nCodes Borgia 04 \n{= Kingsbonnigb M). \n\n\nAbb. \u00a3rt\u00d6. \n\nDer B\u00fcftaer tni). \n\nCodex Telleriano-RemeimiH \nt. 21 recto (= KingabunMigh II, 27). \n\n\n\n\nAbb. \u00f6i\u00e4\u00fc. Der b\u00fcssende Ehebrecber \n(vor dem f'halchivhtotolim). \nCodex \u00dforbonicu\u00bb 17. \n\n\nSchnabel botw. auf dom Scheitel gezeichnet ist. Diese Rauch- oder Feuorwolken werden wir als Aus- \ndruck des heissen Blutes oder des brennenden Schmerzes bei der Kasteiong ansohen d\u00fcrfen. Es beweist \naber dieees Vorkommnis\u00bb, dass, wenn wir s. B. an dem Schwanzonde der rothen Schlange, die auf Blatt 68 \ndes Codex Borgia vor ihrer \u00dc\u00f6ttin, der 'Tlafolteotl, steht, ebensolche Rauch- und Feuorwolken sehen, wir \nnicht etwa ohne Weiteres schlie\u00dfen d\u00fcrfen, dass diese Schlange Feuer bedeuten m\u00fcsse. Es ist, wie ich \noben wiederholt angef\u00fchrt habe, durchaus wahrscheinlich, dass diese rothe, nach Art der Korallenotter \ngefhrbto Schlange vielmehr das Blut bezeichnet Und die Rauch- odor Feuorwolken beweisen nichts \ndagegen, da wir sio, wie ich anf\u00fchrte, ebenso hier boi dem Truthahn sehen, bei dem eine Beziehung auf \ndas Feuer einfach ausgeschlossen ist. \n\n\nDer achtzehnte Tojw/newrt- Abschnitt ce etcall, \u201eeins Wind\u201c ist im Codex Borgia in der oberen \nH\u00e4lfte des Blattes 63, in unserer Handschrift auf Blatt 66 dargestellt. \n\nDieser Abschnitt mfiRste, nach der Theorie, die sich bis jetzt durchweg best\u00e4tigt hat, denselben \nRegenten haben, wie das neunzehnte Tageszeichcu. Das ist aber hier anscheinend nicht der Fall. Der \nRegent des neunzehnten Tageszeichens war Tonatiuh , dor Sonnengott. Hier aber ist eine weibliche \nGottheit al\u00bb Regent des Tonalamatl - Abschnittes abgebildet, die, wie wir sehen werden, mit dem Sonnengott \n\n\nDigitized by Google \n\n\n14. Da* in /.wun/i\u00df limzcliniasigv Abschnitte Kf'or\u00fcnele Tuniiluinutl. \n\n\n273 \n\n\nunmittelbar nichts gemein hat Mittelbar muss aber doch eine Verbindung zwischen diesen beiden Gott- \nlieiteu bestehen, da, wie wir sehen werden, die Neben\u00ablar*t\u00abdlut\u00bbgon dieselbe Idee zum Ausdruck bringen. \n\nDie hier in dem achtzehnten Ycna/ama/l -Abschnitte regierende G\u00f6ttin wird von den Interpreten \nChantico oder Quaxolotl genannt, weil sie den Schmuck Xalotl'* auf dem Kopfe tr\u00fcge. Auch wflrde \u00abio \nnach dem Tuge ihrer Geburt [f.'Airunuut iUcuintfi, d. i ] \u201eNeun Hund\u201c genannt. Der Tag \u201eNeun Hund\u201c \ngeh\u00f6rt in der That als neunter Tug dieser uchtzehnten Dreizolmhcit an, und es wird von diesem Tuge \nausserdem angegeben, dass un ihm die Zauberer, die sich in Tliiere, in Schlangen und anderes derart \nverwandeln k\u00f6nnen, besondere Macht haben. Weiter gibt der Interpret (Pedro de Rios) an, dass diese \nG\u00f6ttin des achtzehnten Tonalamatl-AbschnittoK .Herrin des Cupsicum-Pfeffers\u201c und \u201egelbe Frau\u201c \ngenannt worden sei. Sie sei die erste gewesen, die, nachdem sie einen gebratenen Fisch gegessen, \ngeopfert habe (d. h. eie habe geopfert, ohne, wie es sieh geb\u00fchrt, zuvor zu fasten) und dass dieser Rauch \nzum Himmel gestiegen sei, und Tonacatecutli sei dar\u00fcber erz\u00fcrnt geworden und habe einen Fluch \u00fcber \nsie ausgesprochen, sie sollte in einen Hund verwandelt werden, und so \u00bbei es geschehen. Und man nenne \nsie Chantico. so viel als Mictlantecutli. \n\nSoweit der Inteqiret. Wir haben nun gl\u00fccklicherweise \u00fcber diese G\u00f6ttin noch andere Nachrichteu. \nSahagun gibt von ihr an, dass sie in Mexico einen Tempel hatte, der Tetlanman hiess, und Priester, \ndie in dem Tetlanman calmecac wohnten, und daun es die Aufgabe dieser Priester, der Tetlanman teoua , \ngewesen sei \u2014 \u201ede apretar las teas pan\u00bb haeor hnchones, y tambien almagre, tinta, \u00abStarts, unas xaquetas \ny carncolitoe mariscos. Io cual todo ura neccsario \npara esta fieBta de lu diosa del fuego\u201c. \u2014 Diese \nvon Sahagun also als \u201eFeuerg\u00f6ttin\u201c berechnete \nGottheit war auch das Huuptidol der tlatecque, der \nSteinschneider, Steinschleifer, Juweliere, die diese \nG\u00f6ttin unter dein Namen Chicunaui itzcuintli, .Neun \nHund\u201c, oder Papaloxaual , \u201e Schmetterlings bemalung\u201c, \n\nTlappapalo, \u201edio mit dem rothen Schmetterling\u201c \nverehrten. Und Sahagun gibt dabei ausdr\u00fccklich \nan, dass das Fest dieser G\u00f6ttin in Xochimilco \ngefeiert worden sei, denn von dort stamme die ganze Zunft der Steinschneider. Ueber diese G\u00f6ttin von \nXochimilco und ihr Fest h\u00fcben wir im Duran eine ausf\u00fchrliche Beschreibung Duran f\u00fchrt sie freilich \nmit einem anderen Namen an. Er nennt sie Ciuacouatl oder Quilaztl i, das ist der Name der G\u00f6ttin \nder nicht weit von Xochtmiieo, am anderen Ufer des Sees gelegenen Stadt Cdhuaean. Ich glaube, \u00ablass \nDuran hier zu Unrecht den Namon der G\u00f6ttin von CoUtuacan auf die G\u00f6ttin von Xochimilco angewendet \nhat. Ciuacoxuttl war eiuo G\u00f6ttin \u00ab1er Erde und Patronin der Krieger. Als solche lernen wir sie in dem \nLiede kennen, das Sahagun uns erhalten hat, von dem ich oben S. 82, 83 (vgl. S. 173) einige Strophen \n\u00fcbersetzt habe. In der G\u00f6ttin von Xochimilco aber wurde \u00ablas fressende Feuer verk\u00f6rpert gedacht, und \ndaher in ganz passender Weise mit dom heissenden Thiere, \u00ablern Hunde, in Verbindung gebracht. \n\nDass Chantico eine Fouerg\u00f6ttin ist, das fressende Feuer veranschaulicht, das lehrt schon \u00ablas Stein- \nbild von ihr, dos Duran uns beschreibt, dus die G\u00f6ttin mit weit offenem Mumie und laugen, fletschenden \nItaubthierzfilmcn darstellt Das zeigt vor Allem aber die Art ihres Feste\u00bb, indem an ihm, ul\u00bb Unterlage \nf\u00fcr das llauptopfer des Abbildes der G\u00f6ttin, vier Gefangene lebend ius Feuer geworfen wurden \u2014 genau \nwie bei dem Xocotl uetn-Feste in Mexico \u2014 und nach diesem Opfer sich die Priester in der Weise kasteit\u00ab'?\u00bb, \ndass sie das von brennenden Kopalfackeln abschmelzende Harz auf die nackte Haut der Glieder tropfen Hesse\u00bb. \n\nDas Idol der G\u00f6ttin wunle iu dem tlillan, in einem lichtiosen, dunklen Hause verschlossen gehalten. \nDies, sowie dor Name Chantico, der \u201eim Hanse\u201c bedeutet, mag sich darauf beziehen, dass \u00abhe* Feuer im \nInnern de\u00bb Hauses brennt, und dass es wohl beh\u00fctet werden muss. Der andere Kam\u00ab\u00bb Quaxoiotl, der \u201ezwei- \nk\u00f6pfig\u201c oder \u201ean den Spitzen sich spaltend* bedeut\u00ab'?\u00bb kann, k\u00f6nnte sich auf das an den Spitzen Auscinandi>r- \ngehon der Flamme beziehen. Und zweifellos sin\u00ab! Bezeichnungen wie Papaloxaual , \u201emit den\u00bb Schmetterling im \nGesicht bemalt\u201c, oder Tlappapalo, \u201edie mit \u00ablern rothen Schmetterling\u201c, die von \u00ablen Steinschneidern f\u00fcr ihre \nG\u00f6ttin gebraucht, wurden, als Na?nen <*iner Fouerg\u00f6ttin aufzufaasen. Denn d\u00ab*r Schmetterling ist \u00ablas Abbild \n\nM\u00abr. OMM \u00bbflUciuiu* Nr. STSX \n\n\n\nDigitized by Google \n\n\n\n\nAbb. 582. lltp\u00abpiUotiamistU, dii* Krieg\u00abntOT)W Abb, 589. Chnntieu, FtWifWil ton XochimHeo. \n\n\u201eFdOOwluneUerling* und der iptukpackmhqui Kegen t in dt\u00bb \u00ab'liUelinten Tonn/nmati \u00abAbschnitts rr rtrnll \n\nekimalV, d\u00abr Schild mit dem\u00bb Adle rf um, .eins Wind*. \n\nTribut der Cliinnni|ianmL. I Jbro de Tribut\u00ab\u00ab 4 Codex Borg\u00bb* ttl (= KiitgubnrmiKb 58). \n\n= Codex Mendosa 48. \n\n\nKriegordoviaen, die in der Gestillt eines aus Federn gearbeiteten Schmetterlings auf dom B\u00fccken getragen \nwurden. Sie waren Tribut der hinampaneca . d. ll. der Amvolmer der Lagune von Xochimilco, und zu \nihnen geh\u00f6rte ein Schild, der einen Adlerfnss als Emblem trug {quauhpnch iuhqtt i ehima\u00fci). (Vgl. Abb. 532.) \n\nDie G\u00f6ttin Chantico ist auch in dein G\u00f6ttertrachtenkapitel Sahagun\u2019s ubgebihlet (Abb. 530) und ihr \nPutx dort beschrieben 1 ). Darnach ist sie in der unteren lliilfto des Gesichtes sclmarx, mit Kautschuk \n\nI) WrUffcntlirhuiigcit *u* dem Koniglicbm Museum f. V\u00f6lkerkunde Bd. I, Heft I tlifNii, S. 1\u00bbW, \n\n\nDigitized by Google \n\n\n\nII. Dult in zwanzig dreuehntttgige Abschnitte geordnete Tonalamatl. \n\n\n275 \n\n\nbeschmiert, in der oberen H\u00e4lfte de* Ci \u00absiebt\u00ab roth. Da\u00ab entspricht der \u00abblichen Bemalung de* Feuer- \ngottes in den Handschriften. Sie tr\u00e4gt ein roihes Gewand. axochiauipiU^ da* Haar ist mit einer Binde \nau* zerzupftem Stoff ( tlafoleochitl ) umwunden, und auf dem R\u00fccken tr\u00e4gt sie als Devise das meiotU, das \n\u201ePfeilartige\u201c, \u201eStrahlorttge*. In der Hand h\u00e4lt sie einen Federstab (iuitopilU), dessen Papierbekleidung \n\u00dcottzcopifiUi, d. h. mit spitzwinkligen Figuren bemalt ist, und in der anderen Hand den Schild mit dem \nAdlerfnss ( quauh poch ttJuju i cfiimalU). \n\nDieser wohlchurakturisirten, und in ihrer OraadYontellung durchaus klaron Gestalt entsprochen \nnun auch sehr gut die Bilder, die von dieser G\u00fcttin in unserer und in den anderem Handschriften gegeben sind. \n\nIm Codex Borgia (Abb. 538) und in unserer Handschrift ist die G\u00f6ttin mit gelbem K\u00f6rper und \ngelbem Geeicht gemalt, also als \u201einugor amarilla\u201c, hat aber iu unserer Handschrift zwei d\u00fcnne, rothe \nQuerstriche in der H\u00f6he des Auges, dio an den schmalen, schwarzen Strich erinnern, den man in gleicher \n\n\n\nAbb. Wl. ChmtUto, Feuerg\u00f6ttin von XpdMes. Abb. 886. Chamtie\u00ab, Feuerg\u00f6ttin von Xochimfoo. \n\nttegentin des achtzehnten Tonalamail.AXmehiiilU Rcgen\u00fcu d\u00abw achtzehnten ro\u00bb\u00ablo\u00abt(i der Ciuacoua\u00dc Qv\u00fcnztli und der Chalmeca cwatl, der \ndrei G\u00f6ttinnen der Chtnamparusea des Sahagun-Manuskript*. In der Nase tr\u00e4gt sie die stufenf\u00f6rmige, \nblaue Platte (yacapapalo\u00fc), und ihr Kopf ist mit einem rothen Tuche bedeckt, das ringsum mit weiusen \nMoschelscheiben ums\u00e4nmt ist. Dabei m\u00fcssen wir der Angabe Sahagun\u2019s gedenken (vgl. obon 8, 273), \nder Priester der Chantico rothe und schwarze Farbe, Sandalen, ein Gewand und kleine Moor- \necbnecken (caracolitoe marisco\u00ab) f\u00fcr das Fest dieser G\u00f6ttin in Bereitschaft zu halten batto. Heber dem \nTuche tr\u00e4gt die G\u00f6ttin ihren Federschmuck. Unter ihrem Stuhle ist im Codex Borgia ein umgost\u00fcrater, in \nden Farben dos Edelsteins (chaUhiwtl) gemalter Krug, in unserer Handschrift eine an einem Ball befeetigto, \nabw\u00e4rts gerichtete Blumo gezeichnet. \n\nNoch charakteristischer sind die Bilder dieser G\u00f6ttin, die wir in don eigentlich mexikanischen \nHandschriften sehen. Ihr Gesicht ist im Codex Telleriano-Remensis (Abb, 534) gelb gemalt, und \n\n85 * \n\n\nDigitized by Google \n\n\nR Kfickficito. \n\n\n27\u00ab; \n\nist durch rothu Htriche in eine Anzahl Folder getlieilt, die jede\u00ab einen rothen Hing in ihrer Mitte ent- \nhalten. Dazu zeigt nie die langen, flutschenden Raubthiorzftliue, diu uns l)urun von dum Stein bi Ido der \nG\u00f6ttin von Xochimilco beschreibt. Im (Vlox Borbon icus (Abb. 535) ist eie mit menschlicheren Z\u00fcgen \ndargestellt, und in der unteren H\u00e4lfte du\u00bb Gesichte\u00bb schwarz\u00bb in der oberen roth, wie der Fenergott, \ngemalt, wie das auch Snhagun, wie wir gesehen haben, bei diener G\u00f6ttin beschreibt und abbildet Im \nCodex Borbcmicua tr\u00e4gt *ie in dun Nasenfl\u00fcgeln den blauen Pflock yacaxiuttl , den wir oben (vgl. S. 208, 209) \nals Kriogertotenschmurk kennen gelernt buben. In dem Bilde des Codex Telleriauo-Reroengi* aber \n(Abb. 534) hat sie sowohl in der Nase, wie in den Ohren ein goldenes Geh\u00e4nge, das sich aus Ring, \nTrapez und Strahl zusaintneiisutzt und offenbar eine Abbreviatur dos \u00e4onneilbilde* darstellt- Das ist \nein Schmuck, den wir ebenso an einem Kolossalkopfe au\u00ab Stein gehen, der au dem Orte des grossen \nTempels in Mexico gefunden worden ist (Abb. 536), der wahrscheinlich die Coyobtauhquiy die feindliche \nSchwester Uitz\u00fcopocktlf s, daratellt. Denn wir sehen auf ihm auf beiden Backen das Zeichen Gold \n(tcocuit/all) und Schelle (coyolli) angegeben. Da\u00ab Gesicht dieses Kopfeg ist also in der Thipt mit Schellen \n(coyolli) bemalt ( xaufupti ). Die mit diesem Namen benannte Schwester Uitzilopochtlf \u00bb wird wohl im \nWesen der G\u00f6ttin von Xochimilco nicht \u00abehr fern stehen. \n\n\n\nAbb. SW. Htelnkopt der VogotsMttkfUi, der f.'lfidluht-n Schwester 1'itatepoehUi'* \n\n(au* dem Tempel in Mexico). \n\nIn allen drei, im engeren Sinne mcxikniiixi-lieii HamU< hrifteu endlich tr\u00e4gt sie \u00fcber dem rothen \nTuche, das auch in diesen Bildern den Scheitel und den Nacken der G\u00fcttin bedeckt, da* Zeichen all - \ntlochinolli , \u201e Wasser (Speerwerten) und Brand*, die symbolische Bezeichnung des Krieges, und erweist \nsich dadurch wiederum als das weibliche Gegenst\u00fcck des Feuergotte*, der ja in diesen Handschriften der \nAusdruck des atl-tlachinolli , und sowohl beim neunten Tagesxcicbea, wie in dein neunten Tonalama\u00fc- \nAbschnitto mit dem Bilde des utl-tfachinoUi verbunden ist (vgl. Abb. 353 und 506 oben 8. 154 und 256). \nF.s kann also nach all diesem nicht dev geringste Zweifel sein, dass diese G\u00fcttin eine Feuerg\u00f6ttin ist. \n\nBei dem neunzehnten Tageazoiahon, du* den Namen yu\u00fctuitl \u201eRegen* f\u00fchrt, hatte ich dnrnnf hin- \ngewiesen (vgl. oben S. 135), du** der Smineiigutt, der dort uls Abbild und Regent diese* Zeichens steht, \niu der That ein passender Ausdruck diese* Zeichen* i*t, weil *juiamll \u201eRegen* den Priestern den Feuer- \nregen (tlequiuuitl) oder die Zeit de* Feuerregen*, die dritte der vier pr\u00e4historischen oder pr\u00e4kosmischeo \nPerioden veranschaulichte. Und der Sonnengott ist in der That da* vom Himmel fallende Feuer. Man \nwird verstehen, dass untere G\u00f6ttin Chantico, obwohl sie ja eigentlich eine ganz ander* geartete Gottheit \nist, doch Ausdruck derselben Vorstellung, d. h. Sinnbild und Abbild de* Feuerregen\u00bb, h\u00e4tte sein \nk\u00f6nnen. Ja vielleicht mit noch viel gr\u00f6sserem Recht, dn der Vulkanismus, die vulkanischen Gesteine, \n\n\nDigitized by Google \n\n\n\nI I. Dun In zwiuixig dmziihntAKiKr Abwhnitlc jteorilnrU* Tiinulamiitl \n\n\n277 \n\n\nalso da* Feuer in der Erde, in den Berichten immer mit dem Feuerregeu in Zusammenhang gebracht wird. \nIst das aber so, so wird man es nicht weiter verwunderlich finden, dass hier bei der Chantico, der G\u00f6ttin \nde\u00ab achtzehnten Tonalamatl- Abschnittes, in den begleitenden Bildern dieselben Ideen zur Anschauung \ngebracht sind, wie die, die wir bei Tonatiuh, dem Regenten des neunzehnten TageBzeichens, dargestellt \nfanden. Wir sehen n\u00e4mlich hior, sowohl im Codex Borgia, wie in unserer Handschrift, einmal ein \nbrennendes Haus, das heisst tletl \u201eFeuer\"; sodann in einem R\u00e4uchergef\u00e4ss eine rothe, brennende M\u00fcsse, \ndas wird eztli \u201eBlut\" sein sollen; weiter ein SchneckengohAuse (Itccittli), das bezeichnet nat\u00fcrlich \u201edie im \nHause verschlossene\u201c, d. i. Chantico. und vielleicht auch das Yerachlosaensein des Wassers, die d\u00f6rre, \nerhitzte, regenlose Erde. Wir sehen endlich in der Ooffnung einer Schatzkiste eine menschliche Gestalt, \ndie in der einen Hand einen Grasbusch, in der anderen blutige Agaveblattspitzen ( uitztli ez (*>) h\u00e4lt. Dieses \nzun&chst etwas befremdende Bild wird sofort verst\u00e4ndlich durch die anderen, die eigentlich mexikanischen \nHandschriften, die der Chantico gegen\u00fcber den B\u00fcsser Quctzalcoua\u00dc im Goldhause zeichnen. Es ist \nalso dieses Bild ein direktes Gegenst\u00fcck zu dem in der Einz\u00e4unung sitzenden Fastenden, den wir bei \ndem Sonnengotte, dem Regenten des neunzehnten Tageszeichens (vgl. Abb. 893 obeu S. 185), ab- \ngebildet fanden. \n\n\n\nAbb. \u00ab17. Xnrhi'fuffsal, Regentin des neunzehnten Tonalamatl - Abschnitte\u00bb et qnauhtti, \u201eeins Adler*. \nCodex Borgia 02 (- Kinesborough 53). \n\n\nBoi dem Sonnengotte erkl\u00e4rte ich mir die Vergesellschaftung mit einer Darstellung des Fustens \naus der Thatsachc, dass dem Sonnengotts zu jedem 203. Tage des TanalamatV*, n\u00e4mlich dem Tage iuum \no/w\u00bb, ein grosses, allgemeines, rigor\u00f6s durchgef\u00f6hrtes Kasten abgehnlten wurde, das den Zweck hatte, den \nan diesem Tage drohenden Weltuntergang fern zu halten. Hier bei der Chantico hatte, sollen wir den \nInterpreten glauben, die Darstellung des Fastens, bezw. des Bflssers Quctzalcouatl , einen anderen Grund. \nNach den Interpreten ist Chantico die G\u00fcttin des Capsicum-Pfeffors Das begreift inan obenso gut, \nwie man es versteht, dass der Feuergott mit dom Skorpion in Zusammenhang gebracht wird. Der Capsicum- \nPfeffer (\u00abiUQ\u00bb) ist das rothe, brennende Gew\u00fcrz. Die Interpreten sagen aber weiter, dass Chantico die \nerste Fasten brocheriu war, die, obwohl sie vorher einen gebratenou Fisch gegossen hatte, d. h. ohno vor- \nher zu fasten, den G\u00f6ttern opferte, und die deshalb von Tonacatecutli zur Strafe in einen Hund verwandelt \nwurde. Das ist also hier die Ideenverbindung, dio die Vorstellung des Fastens bei diosor G\u00f6ttin erkl\u00e4ren \nw\u00fcrde, wenn wir nicht richtiger und einfacher anzunehmen buben, dass das Feuer und die G\u00f6ttin des \nFeuers die Kasteiung \u00fcberhaupt, den ansged\u00f6rrten leeren Magen, den brennenden Schmerz der Selbst- \nverwaltungen verk\u00f6rpern solle. Dass aber die Interpreten sie als Fastenbrecherin kennzeichnen, das \nfolgt einfach daraus, dass sie eben die G\u00f6ttin des Capsicum-Pfeffors ist. Denn dieser war so sehr, und \n\n\nDigitized by Google \n\n\n278 \n\n\nH. R\u00fcckseite. \n\n\nist um noch heute, \u00ablas allgemeine boi jeder Mahlzeit verwandte Gew\u00fcrz, dass diu Enthaltung von diesem \nUttw\u00fcrz im nltcu Mexico dieselbe Bedeutung hatte, wie in der christlichen Zeit die Enthaltung von \nHutter und Fleischspeisen. Die ohne Capsicum-Pfeffertunke (chilmolli) genossenen Tortillas \nwaren Fastenspeise. \n\nDer neunzehnte 7bna^\u00bbmt/- Abschnitt ce ijuauhtli \u201eeius Adler\u201c ist im Codex Borgia in der oberen \nH\u00e4lfte des Blattes (12, in unserer Handschrift auf Blatt 67 dargestellt. \n\nSein Regent ist die G\u00f6ttin des zwanzigsten Tugeszeichens, die schon vielgenannte Xochiquetzal, \ndie G\u00f6ttin der Blumen. Sie ist im Codex Borgia (Abb. 637) und in unserer Handschrift in reicher Tracht \nnbgebildet, mit in k\u00fcnstlichen Mustern bemaltem Gesicht, mit dem blauen yacapapalotl in der Naae \nund mit ihrer Schlangenhehnmaske, von deren N\u00fcstern die beiden Federbflache (ome i/uetzaUi ) der G\u00f6ttin \naufragen. \n\nIhr gegen\u00fcber sieht mau einen T&uzer. der \u00fcber mit schwarzer Farbe gemalt ist und vermuthlich \neinen tanzenden Zauberer darstellt. Denn die G\u00f6ttin, als die Verk\u00f6rperung aller Kunstfertigkeit, ist \ndeshalb auch die grosse Zauberin. Eine \u00e4hnliche Bedeutung bat vielleicht das merkw\u00fcrdige verschlungene \nGebilde, das man zwischen den beiden Figuren sieht, init den vier halben Augen, die darunter angegeben \nsind. Es ist aber auch m\u00f6glich, dass dieses sich auf irgend ein unbekanntes Spiel boziebt. Ich habe \nin meiner Erl\u00e4uterung des Tonalamatl'n der Aubiu\u2019scheu Sammlung 1 ) auf einige Vorkommnisse desselben \nverschlungenen Gebildes in der Bilderhandschrift der K. K. Hofbibliothek in Wien hingewiesen, die dort \nmit dem Tageszeichen olin und dem Kuutschukball ( olttlolotli ), also, wie es scheint, mit dem Ballspiel \n(tlachtli) in Verbindung gebracht sind. Kautschuk (ollt) scheint auch die umschnfirto schwarze Kugel \nsein zu aolloti, die wir neben diesem verschlungenen Gebilde in unseren Handschriften gezeichnet scheu. \nIn den eigentlich mexikanischen Handschriften, dem Codex Borbonicus und dein Tonalamatl der Aubi lo- \nschen Sammlung S\u00fcden wir in der That an Stelle dessen neben dem verschlungenen Gebilde den Ball- \nspiel platz (tlachtli) abgebildet. \n\nDer zwanzigste Abschnitt ce tochtli \u201eeins Kaninchen\u201c ist im Codex Borgia in der oberen \n\nH\u00e4lfte von Blatt 71, in unserer Handschrift auf Blatt 67 dargestellt. \n\nMit der Xochiqiutzal des vorigen Abschnittes war die Reihe der Tageszeicheng\u00f6tter zu Ende \ngekommen. Es sind deshalb hier, als Regenten dieses zwanzigsten Abschnittes zwei neue Gottheiten ein- \ngef\u00fchrt worden. Es sind Xiuhtecv\u00fci der Feuergott, und Xipe Totec unser Herr der Geschundene. Sie stehen \nhier vermuthlich, weil ce tochtli das Zeichen der Erde and Xipe Totec der Gott der Erde ist; und weil \nder dritte Tag in dieser Dreizehn heit, der Tag yei itzcuintli \u201edrei Hund\u201c der Tag und das Zeichen des \nFeuergottes ist, da drei die Zahl der Herdsteine (tenamaulx) und der Hund, das heissende Thier, das \nAbbild des Feuers ist (vgl. oben 8. 157 uud 273). \n\nXipe Totec ist in beiden Handschriften in typischer Weise, aber mit einem Steinmesser als Helm- \nmaske, seinen rothen Rassclstab (chicauaztli) in der einen, ein steinernes Opfermosser in dor anderen Hand \nhaltend, und mit der abgezogeueu Meuschenhaut bekleidet. Die Interpreten nennen ihn hier Iztapaltotec , \nd. h. \u201eunser Herr, der Hache Stein\u201c, und sie erl\u00e4utern, offenbar auf seine Helmtnaske Bezug nehmend: \u2014 \n\u201epodorual \u00f6 cuchillo dcl guerreador d desdichado 6 dolorido, raus puprio es dezir pedernul sangriento del \ndolorido\u201c \u2014 , d. h. in kurzen Worten Opferruesser. Sie f\u00fcgen aber dann hinzu: \u2014 \u201e yizUtpali propriamento \nes losa d este asiento de la tierra\u201c, \u2014 d. b. sie identifiziren unseren Gott mit der Erde. Und das \nVorkommen diese\u00ab Gottes hier wird dann zum Schluss durch die Bemerkung gerechtfertigt: \u2014 \u201eln zwei \nRohr ( arme acatl ) wurde der Himmel geschaffen, und die Thiere in eins Feuerstein ( ce tecpatl ) und die \nErde in eins Kaninchen (ce tochtli).* \n\nAn dem Bilde des Feuergottes ist bemerkenswert!!, dass dieser Gott hier im Codex Borgia mit \nder blauen in T\u00fcrkismosaik ausgof\u00fchrten Xascnplutte dargcstellt ist, mit der er ganz allgemein in den \neigentlich mexikanischen Handschriften abgebildet wird (vgl. Abb. 342a, oben S. 137), uud das\u00ab er als \n\n1) Kerlin UM) & 122, 123. \n\n\nDigitized by Google \n\n\n\nl.V Djw Tonalamiitl und di\u00a9 *w\u00ab-iumif(lnfd(tjAhrU:i> Periode. \n\n\n279 \n\n\nOhrgeh\u00e4nge hier auch, nur in Mauer Farbe, das Trapez und den Strahl tr\u00fcgt, wie dio Chantico, die Feuer- \ng\u00f6ttin, des Codex Telleriano-Kemensi\u00bb und wie der Steinkopf der Cot/olsauhqui von Mexico. In beiden \nHundschriften h\u00e4lt er \u00abein blaues Wurfbrett (j-hthadatl) in der einen Hand, in unserer Handschrift aurh \nentsprechend in der anderen Hand Rein B\u00fcndel Speore. Vor ihm ist im Codex Borgia ein in den Farben \ndes Edelsteins (chalclituitl) gemalter Topf gezeichnet, aus dem mit Goldschellen besetzte Edelsteinhuls- \nb\u00e4nder (chah-hiuhrozra\u00fc) bervomgun. Denn der Feuergatt war der Herr des Reiclithums. ,EI que nacia \nen nn conejo [et lochtliY \u2014 sagt der Interpret \u2014 \u00bbsoria liombrc de luenga vida, y ol quo nacia en 5 \nmaUnalli \u00bb\u00a9rin mercader y rico * \n\n\n15. Das Tonalamatl und die zweiundf\u00fcnfzigj\u00e4hrige Periode. \n\nBlatt 09 (** Kingsborough 46). \n\nAuf den ersten acht Bl\u00e4ttern der Handschrift und auf dun hier unmittelbar vorhergehenden zwanzig \nBlattern war das Tonalamatl in zwei verschiedenen Anordnungen, mit den f\u00fcr dio einzelnen Abschnitte \nin Betracht kommenden Gottheiten behandelt worden. Und dazwischen waren diu Gottheiten der zwanzig \nTuguszeichen, die verschiedenen Himmelsrichtungen und ihre Gottheiten, die Herren der Nacht und die \nStunden dos Tags und der Nacht, endlich auch die f\u00fcnf Venusporioden und die vier Formen der Gottheit \n\u2022los Planeten Venu\u00bb zur Anschauung gebracht worden. Jetzt folgt auf dem Blatte 69 zum ersten Mal \ndas Sonnenjahr und die Periode, die Bich f\u00fcr die Sonnenjahre ergibt, indem festgestellt wird, welche \nBedeutung, vom augurischen Standpunkte aus, den einzelnen Jahren und den einzelnen Abschnitten dieser \nPeriode zukommt. \n\nDie Nationen des alten Mexico z\u00e4hlten ihr Jahr zu 365 Tagen. Da 365=28 X 13 4* 1 und \u2014 \n18 x 20 -f 5 ist, so folgt, dass wenn beispielsweise ein Julir mit einem Tage beg\u00f6nne, der die Ziffer 1 und dos \nI. Zeichen (cipactli) tr\u00fcge, so m\u00fcsste der Anfangstag des folgenden Jahres die Ziffer 2 und das VL Zeichen \n{miquiztli). der des dritten Jahres die Ziffer 3 und das XI. Zeichen (opomdr/i), der de\u00ab vierten Jahros dio \nZiffer 4 und das XVI. Zeichen (cozcaquauhtli) erhalten; der Anfangstag des f\u00fcnften Jahres dagegen w\u00fcrde \nmit der Ziffer 5 und wiederum mit dem I. Zeichen (cipactli) benannt sein. Man sieht, dass unter der \nVoraussetzung eine\u00ab Jahres von 365 Tagen auf die Anfan gstago der Jahre nur vier von den zwanzig \nTagoszeichuii fallen, und zwar vier Zeichen, die je um f\u00fcnf Zeichen von einander abstehen. E\u00bb folgt \naber auch weiter, dus\u00bb aus der Aunuhmo eine\u00ab Jahre\u00ab von 365 Tagen sich mit Nothwendigkoit eine \nPeriode vou 52 Jahren ergibt. Denn da 365^5 x \u201c3, und 73 eine Primzahl ist, so kann es erat noch \n\u2019**/# X 78 Tagen oder 52 Jahren eintroffen, dass aut den Anfangstag des Jahres dieselbe Ziffor und dasselbe \nZeichen dos Tonalamatl \u2019s f\u00e4llt. Innerhalb dieser Periode waren die aufeinanderfolgenden Jahre durch die \nZiffern und die Zeichen, die auf ihre Anfnngstage fallen, genau bestimmt. Und es war daher nur nat\u00fcrlich, \ndass man dann dies\u00a9 aufeinanderfolgenden Juhro einfach mit den Namen ihrer Anfangstago benannte. \nDamit war \u00a9ine f\u00fcr ein Menschenleben ausreichende Genauigkeit der Benennung erreicht F\u00fcr den \nHistoriker und den Chronologen, der gr\u00f6ssere Zeitr\u00e4ume im Auge hatte, fehlte es dann allerdings \nnoch an einem System, die gleichbenannten Jahre der verschiedenen Perioden von einander zu \nunterscheiden. \n\nEs scheint nun, dass die Mexikaner ihre Jahre nicht mit dem Anfangszeichen des TonalamatP s \nbegannen, dass zu der Zeit wo das Tonalamatl - System erfunden und nach irgend welchem Prinzip zur \nBezeichnung der wirklichen Tage Verwendung fand, zur Zeit wo es den Gelehrten zum ersten Mal\u00a9 \naufgieng, dass auf dio Anfangstago der Jahre nur vier von den zwanzig Tageszeichen fallen, es gerade die \nje uin f\u00fcnf Zeichen von eiuamler abstehenden Zeichen aeatl \u201eKohr\u201c, trcpatl \u201eFeuersteinmesser\u201c, calli \n\u201eHaus\u201c, tocktU \u201eKaninchen\u201c waren, dio damuls auf die Anfangstage der Jahre Helen, oder aus irgend \n\n\nDigitized by Google \n\n\n\n\u2022280 \n\n\nB. R\u00fcckseite. \n\n\nwelchen Gr\u00fcnden zu Anfaugstngeu der Jahre gew\u00fchlt wurden. Deun es sind die mit diesen Zeichen \nbenannten Tage, nach denen in dem ganzen mexikanischen Gebiet die Jahre benannt wurden. Und ich \nhabe den Nachweis gef\u00fchrt, dass auch die a\u00e4inmtlichen auf den Monumenten der Maya* Region una be- \ngegnenden Daten, wie in gleicher Weise die Daten der Dresdener Maya-Handschrift, einen Jahresanfang \nmit den Zeichen beert, etznab , akbol, lamat, die den mexikanischen Zeichen acatl , tccpatl, colli, tochtli \nentsprechen, zur Voraussetzung haben 1 ), dass erst nachtr\u00e4glich, oder nur in Yucatan, die Verschiebung \ndes Jahresanfangs auf die Tage kan . muhte, \u00a3r, cauac, die den mexikanischen cvct./rolin, all, ocelotl , \nquiauitl entsprechen, stattfand, die uns in dem Codex Tro- Corte\u00bb entgegentritt und in den Berichten \nBischofs Lnnda's \u00fcberliefert ist Das Letztere wird man, wie gesagt, als nachtr\u00e4gliche Verschiebung \nanseheu m\u00fcssen. Es kann aber auch nur eine landschaftliche Differeuz sein. Denn noch eine andero \nVerschiebung des Jahresanfangs liegt z. B. in dem Codice Porfirio Dias vor, der im Jahre 1892 von \nder Junta Colombina in Mexico ver\u00f6ffentlicht wurde, und der ans dem Gebiete von Cwieatlan stammen, \nalso einem Volke zaputekisclier Verwandtschaft angeh\u00f6reii soll. In dieser Handschrift sind die Jahre \nmit noch vier anderen Zeichen, n\u00e4mlich mit eccatl , mafatl, malinalli , ofw, benannt. \n\nDio allgemeinste und gew\u00f6hnliche Bezeichnung der Jahre aber ist die nach den Zeichen acatl, \ntccpatl, colli, tochtli. Und es ordnen sieb die mit diesen Zeichen beginnenden Jahre nach ihren Anfangs- \nlagen folgendermaasen : \u2014 \n\n\n1. acatl \n\n1. tecpatl \n\n1. calli \n\n1. tochtli \n\n2 tcepatl \n\n2. calli \n\n2. tochtli \n\n2. acatl \n\n3. calli \n\n3. tochtli \n\n3. acatl \n\n3. tccpatl \n\n4. tochtli \n\n4. acatl \n\n4. tccpatl \n\n4. calli \n\n5. acatl \n\nb. tccpatl \n\n5. calli \n\n5. tochtli \n\n6. tccpatl \n\n6. calli \n\n6. tochtli \n\n6. acatl \n\n7. calli \n\n7. tochtli \n\n7. acatl \n\n7. tccpatl \n\n8. tochtli \n\n8. acatl \n\n8. tccpatl \n\n8. calli \n\n9. acatl \n\n9. tccpatl \n\n9. calli \n\n9. tochtli \n\n10. tccpatl \n\n10. calli \n\n10. tochtli \n\n10. acatl \n\n11. calli \n\n11. tochtli \n\n11. acatl \n\n11. tccpatl \n\n12. tochtli \n\n12. acatl \n\n12. tccpatl \n\n12. calli \n\n13. acatl \n\n13. tccpatl \n\n13. calli \n\n13. tochtli \n\n\nDass von den zwanzig Tageszoichen nur vier auf die Anfangslage der Jahre fielen, wird den \nalten Gelehrten als eine sehr merkw\u00fcrdige Thatsache erschienen sein. Aber ein besonderes Mysterium \nmuss es ihnen offenbar gewesen sein, das\u00ab, wie die obige Tabelle anzeigt\u00bb die Periode von zweiund f\u00fcnfzig \nJahren sich von selbst in vier Viertel zerlegte, deren jedes mit der Ziffer eins und in der richtigen Folge \nmit je einem der vier Zeichen acatl, tccpatl, calli , tochtli beginnt. So ordnete sich die zweiundf\u00fcnfzig- \nj\u00e4lirige Periode von selbst nach den vier Himmelsrichtungen, wie das in f\u00fcnfgliedrigen S\u00e4ulen \nmedergeschriebene Tonalamatl von selbst, wie wir gesehen haben, in vier den vier Himmelsrichtungen \nentsprechende Abschnitte zerfiel. Diese Yortheilung der zweiundf\u00fcnfzigj\u00e4hrigen Periode nach den vier \nHimmelsrichtungen ist es. die auf dem Blatte 69 unserer Handschrift und auf einem, dem Blatte 09 des \nVaticanu\u00bb genau entsprechenden Blatte dos Codex Borgia, dem sch\u00f6n gezeichneten Blatte 27 ( \u00ab King\u00bb- \nborougli 12), zur Anschauung gebracht ist. \n\nWir sehen auf diesen beiden Bl\u00e4ttern die vier Tage, die die Anfangstage der vier Viertel der \nzweiundf\u00fcnfzigj\u00e4hrigen Periode bilden, die Tnge ce acatl \u201eeins Rohr\u201c, ce tccpatl \u201eeins Feuerstein\u201c, ec calli \n\u201eein\u00ab Haus\u201c, ce tochtli \u201eein\u00bb Kaninchen\u201c, - im Codex Borgia gross und deutlich, in unserer Handschrift \nminder auffallend, doch erkennbar \u2014 in den vier Eckabtheilungen angegeben. Diesen vier Zeichen aber \n\nI) Sehr, \u201eZu r mcxikaiiiwhcn Chronologie, mit besonderer Ber\u00fccksichtigung des utpHti'kiwhi-n Kalenden*.\u201c \nZeitschrift f\u00fcr Ktlinolngie XXIII i|M!\u00bbl\u00bb, 8. Mt\u00bb- 1X1. Vgl. ftfwaiumclte Abhandlungen zur amerikanischen Sprach- und \nAlterlhiinutkiinde. Merlin (A. Aaher A Co.) ItSfcl, Md. 1, 8. Wl \u2014 SM. \n\n\nDigitized by Google \n\n\nl\u00f6. Da* Tonalamatl und die xweiundttlnfxipjalmge Periode. \n\n\n\u2018281 \n\n\nhat man. merkw\u00fcrdiger Weise auf beiden Bliittern die Tage, die auf die Anf\u00e4nge der vier Viertel der \nzweiundf\u00fcnfzigj\u00e4hrigon Periode fallen w\u00fcrden, wenn das erste Jahr nicht mit ce acatl \u201eeins Rohr\u201c 1 , sondern \nmit ce cipactii \u201eein* Krokodil\u201c, dem Anfangstage de\u00ab Tonalamatl\u00bb, beg\u00f6nne, \u2014 d. h. die Tage ce cipactii \n\u201eeins Krokodil\u201c, ce miquiztli \u201eein* Tod\u201c, ce ofom\u00e4tU \u201eeius Affe\u201c, re cozcaquauhtU \u201eein\u00ab Oeier\u201c \u2014 hinzu- \ngef\u00fcgt. Diene Thatsacho scheint die Angaben gewisser mexikanischer Schriftsteller, insbesondere \nCristdral de Castillo\u2019s, \u2014 (aus dessen Werken Sig\u00fcenza y G\u00f6ngora und Leon y Gama ihre \nDarstellung des mexikanischen Kalender* genommen haben), \u2014 dass n\u00e4mlich die Mexikaner ihre Jahre \nmit dem Anfangstage des Tonalamatl s begonnen h\u00e4tten, best\u00e4tigen zu wollen. Ich habe aber Rchon in \nder, im Anfang dieses Abschnittes genannten Abhandlung vom Jahre 1891 darauf hingewiesen, dass es \ndoch eigentlich sehr sonderbar \u00abein w\u00fcrde, wenn die Mexikaner ihre Jahre mit Tagen, die von den \nAnfangstagen dor Jahre um eine bestimmt\u00ab Anzahl Tage abstehen, benannt haben w\u00fcrden, und habe es \nbetont, dam\u00bb die Daten der Maya- Monumente und die der Dresdener Handschrift einen Anfang der Jahre \nmit den Zeichen acatl , teepatt, calli, tochtli zur Voraussetzung haben. Ich habe weiter in meiner Er- \nl\u00e4uterung der Bilderhandschriften Alexander von Humboldt\u2019\u00ab in der K\u00f6niglichen Bibliothek zn Berlin 1 ) \nvom Jahre 1893, unter Zugrundelegung der Konkordanzen zwischen mexikanischer und europ\u00e4ischer \nZeitrechnung, die in den Berichten \u00fcber dio Belagerung und den Fall Mexico\u2019\u00ab gegeben werden, auch \nden Nachweis liefern k\u00f6nnon, dass auch die Mexikaner der Stadt Mexico ihre Jahre mit den Zeichen \nacatl, tecpatl , calli, tochtli begonnen haben. \"Wir werden da\u00ab Vorkommen der Tage ce cipactii, ce miquiztli , \nce ofomatli, ce cozcaquauhtU hier auf unseron Bl\u00e4ttern 69 des Codex Vaticanu\u00ab und 27 des Codex Borgia \ndemnach in anderer Weise erkl\u00e4ren m\u00fcssen. Entweder, das\u00ab man die Abst\u00e4nde der wirklichen auf die \nAnf\u00e4nge der vier Viertel der zweiundf\u00fcnfzigj\u00e4hrigen Periode fallenden Tago an den Zeichen mass, die, \nvou dem Anfangstage des Tonalamatl s au\u00ab gerechnet, auf diese Anf\u00e4nge fallen w\u00fcrden. Oder dass man \nneben die Anf\u00e4nge der vier Viertel der zweiundf\u00fcnfzigj\u00e4hrigeu Periode die der vier Viertel des gew\u00f6hnlichen \nin zwanzig Abteilungen von jo dreizehn Tagen geordneten Tonalamatr s gesetzt hat, dies\u00ab mit jenen \nvergleichend, oder gewissermassen die bekannte Beziehung der Tonalamatl - Viertelanf\u00e4nge zn den \nHimmelsrichtungen Osten, Norden, Westen, S\u00fcden aln Hieroglyphe f\u00fcr diese Himmelsrichtungen ben\u00fctzte. \nDass dies dio Meinung dieser Bl\u00e4tter, und die\u00ab dio wahre Rolle ist, die hier den Tagen ce cipactU , ce \nmiquiztli, ce ofomhtli, ce cozcaquauhtU zugewiesen ist, geht daraus hervor, dass auoh die G\u00f6tterfiguren, die \nauf diesen beiden Bl\u00e4ttern des Vaticana\u00ab und des Codex Borgia dio Himmelsrichtungen repr\u00e4sentiron, wie \nsie den Himmelsrichtungen entsprechend mit verschiedener Farbe gemalt sind, so den Himnndsrichtungen \nentsprechend, bezw. in der Maske cipactii, miquiztli, ofomatli, cozcaquauhtU , auftreten. \n\nWir sehen auf diesen beiden Bl\u00e4ttern, Blutt 69 de\u00ab Vaticanu\u00bb und Blntt 27 des Codex Borgia, in \ndie vier Eckeil vertheilt vior Tlaloc- Figuren, dio die vier Himmelsrichtungen bezeichnen, und in der \nMitte eine f\u00fcnfte Tlaloc- Figur, die nat\u00fcrlich die f\u00fcnfte Weltgegend, die Mitte, oder die Richtung von \noben nach unten, darstellen muss. Dass gerade Bilder Tlaloc \u2019s, de* Regengottes, zur Bezeichnung der \nHimmelsrichtungen gew\u00e4hlt wurden, begreift man. Der Regengott ist eben in den vier Windrichtungen \nzu Haus\u00ab. Wegen dieser Beziehung des Regengntt* zu den vier Himmelsrichtungen werden in dem \nzapotekischon Kalender die Anfangstage der vier Viertel des Tonalamatl \u00bb geradezu cocijo \u201eRegengott* \noder pit\u00e4o \u201eder Grosse\u201c, \u201eder Gott\u201c genannt. Es kommt aber hier wohl noch iu bosondorcr Weise in \nBetracht, dass dio Bedeutung der den vier Himmelsrichtungen entsprechenden Periodenubsehnitte oder \nder durch dio Zeichen unterschiedenen Jahre f\u00fcr die Wohlfahrt der Menschen geschildert werden soll, \nund diese hieng eben von Tlaloc. dem Regongotte, ab, die war durch den mehr oder minder ausgiebigen \noder g\u00fcnstigen Regeufall bedingt. \u2022 \n\nDie ersten vier Figuren sind iu beiden Handschriften, don vier Himmelsrichtungen Osten, \nNorden, Westen, S\u00fcden entsprechend, in don Farben schwarz, gelb, blau, roth gemalt und mit \nder Helmmnske cipactii (Krokodil), miquiztU (Tod), ocomAtli (Affe), cozcaquauhtU (Geier) versehen. Ueber \ndieser Helmmaske sieht man im Codex Borgia die vou zwei (eigentlich) vier Rosetten (meyotU) flnnkirte \n\nl)8eler, Gesammelte Abhandlungen zur amcrikitnUii'lien Sprach* und Altertliumskunde. Berlin (A.Atiher\u00e4 Co.) \n1908, Bd. I, 8. 177-ltSi. \n\nSalor. Codex Vaticana* Nr. 877X ,M \u2019 \n\n\nDigitized by Google \n\n\n\n282 \n\n\n\u00df. R\u00fcckseite. \n\n\nReihorfederkrono (aztatzonlli) de\u00bb Gotte\u00ab und dar\u00fcber das nue dem Trope* (dem eckig gewordenen King) und \ndem Strahl zusammengesetzte Zeichen de* Jahres (vgl. Abb. 588, 539). Nur bei der ernten Figur, dem \n*chwar*en Gotte de* Ostens, ist diese Beiherfederkrono und die Hieroglyphe deB Jahre\u00bb durch du\u00bb von \nDunkel umgebene Auge ersetzt, das Zeichen de\u00bb dunkelet) Himmels und des Sternhimmel\u00bb, \u00dcber dem ein \nFederbusch au fragt. In unserer Handschrift sehen wir bei allen vier Figuren, \u00fcber der cipactii-, tn\u00fcjuiz\u00fci-, \nofotnalli-, corco^uauAz/i'-Hulmmaske eine Schleife und dar\u00fcber das von Dunkel umgebene Auge, Ober dem \nein Federbusch aufragt. Die Z\u00fcge des Geeichtes sind im Codex Borgia bei allen vier Figuren dieselben. \nIn unserer Handschrift aber haben der Kegengott des Ostens, Westens, S\u00fcdens vor dem Munde dos sich \neinrollundo, fast st-hlungcnrachen\u00e4hnliche Gebilde, von dem ich oben Seite 108 gesprochen habe, w\u00e4hrend \ndem Kegongotte des Norden\u00bb dieses fehlt. Die Figuren de\u00bb Codex Borgia (vgl. Abb. 539) halten in der \neinen Hund einen in der Gestalt eine\u00bb JVatoe-Kopfes gebildeten Krug, dessen Form wohl wirklich \ngebrauchten Gef\u00e4ssun der Art, dio ich S. 107 in den Abb 300 und 301 wiodergogoben habe, entspricht. \nI\u00bb der anderen Hand ein in Gestalt einer Fauerochlnnge gebildete\u00bb Beil und eine Art Donnerkeil in Form \neines spindelf\u00f6rmigen, aber geschl\u00e4ngelten, schwarzen, an der Seito mit einem schmulon, gelben Streifen \nums\u00e4umten Stabe\u00bb, den mau in dem in f\u00fcnfgliedrige S\u00e4ulen geordneten Tonalamati de\u00bb Codex Bologna \nals Hieroglyphe fflr Tlaloc, den neunten der neun Herren, gebraucht findet, und den wir auch oben S. 23 \nund 57 in der Hnml der kleinen Tlaioc - Figuren Abb. 48 und 209 gesehen haben. In unserer Handschrift \nh\u00e4lt der Gott in der einen Hand eine \u00dfl\u00fcthenpflanse, die wohl eigentlich eine Maispflanze darstellen soll, \nin der anderen Hand ein wirkliches Beil. \n\nDer die f\u00fcnfte Richtung reprusentirende Gott ist im Codex Borgia (Abb. 539) durchaus \u00e4hnlich \nkost\u00fcmirt, nur dass er nat\u00fcrlich, da ihm ja kein wirkliches Jahr und kein Tonolamatl - Viertel entspricht, \nkeine Helmmaske tr\u00e4gt ln unserer Handschrift hat er ausserdem einen anderen Kopfputz, eine Art \ncopi\u00fci, der aber wohl eigentlich au\u00bb dem Trapez und dem Strahl, dein Zeichen des Jahres, entstanden za \ndenken ist Auch die Waffen und der Krug, bezw. die Pflanze in seinen llfuidcn, sind durrhau\u00bb dio \ngleichen wie boi den anderen Figuren. \n\nDer Kegengott des Ostens, der das erste, mit ee aratl \u201eeins Rohr** beginnende Viertel der zwei- \nundf\u00fcnfzigj\u00e4hrigen Periode daratellt, nimmt im Codex Borgia die rechte untere, in unserer Handschrift \ndie rechte obere Koke ein. Ein dunkeier, regenwolkenreicher Himmel breitet sich \u00fcber ihm. Der schwarze \nGott, dessen Gesicht aus dem Rachen eines cipactii hervorsieht, steht auch auf einem cipactii, das im Codex \nBorgia in der gew\u00f6hnlichen Art gezeichnet ist, in unserer Handschrift aber dieselbe haiflschartige Gestalt \nhat wie bei dom Xochiyilli, der dritten Form der Gottheit des Planeten Venus auf Blatt 26 unserer Hand- \nschrift. Auf dem cipactii sieht man in F\u00fclle Maiskolben aufapriessen , und gesunde, wohlgebildete Mais- \nkolben sind in dem Wassurstroine zu \u00bbeben, der von \u00ablern Kruge iu seiner Rechten auf die Erde fliesst. \nDer Osten, als Region der Fruchtbarkeit und des Gedeihens ist offenbar durch diese* Bild zur Anschauung \ngebracht. \u2014 In unserer Handschrift fehlen die Muiskolben, aber indem mau den Gott hier mit der Mais- \npflanze zugleich eine Edelsteinschnur ( cozcatl ) halten sieht, komme dieselbe Idee mit gen\u00fcgender Deutlichkeit \nzum Ausdruck. \n\nDer Regengott de\u00bb Nordens, der da\u00bb zweite, mit ee tecpatl \u201eeins Feuersteinmossor\u201c beginnende \nViertel der zweiundf\u00fcnfzigjfthrigen Periode darstellt, nimmt im Codex Borgia die rechte obere, in unserer \nHandschrift die linke obere Ecko dos Blattes ein. In beiden Handschriften ist \u00fcber ihm ein aus \nLicht und Strahlen gebildeter, wolkenloser Himmel zu sehen. Der gelbe, einen Sch\u00e4del (miquiztli) als \nllelmmuHke tragende Gott steht in unserer Handschrift auf einem merkw\u00fcrdigen, mit schwarzer Farbe \ngemalten, nach unten sich \u00f6ffhenden llngeheuorrachen. Im Codex Borgia aber sieht man unter ihm die \nErdo in Schollen aufgehorsten und heuschreckenartige, gefl\u00fcgelte Wesen fressen die Maiskolben, w\u00e4hrend \nman ein anderes dieser Insekten in der Luft einen Maiskolben davon tragen sieht. Auch di\u00ab Muiskolben, \ndie mit dem Wasserstromo dem Krug\u00ab des Gottes entstr\u00f6men, sind angefressen, zeigen eine breite \u00e4ub- \ngufrossene Stelle in der Mitte; und neben ihnen sieht man, ebenso wio in dom anderen Wasserstrome, \nder von der anderen Hand dos Regongottes herahrinnt, oiu mit gl\u00e4nzender gelber (Kupfer-) Klinge ver- \nsehene* Beil. Der Norden als eine Region der D\u00fcrre ist dadurch angezeigt, und die Jahre de# Nonlens \n\n\nDigitized by Google \n\n\n\n15. Das Tonalamatl und die zweiundfnnfxifgihrig\u00ab Periodf- \n\n\n283 \n\n\nals solche, dio unter Ilouschreckenfrase zu leiden haben worden. So sehen wir denn auch in unserer \nHandschrift ein merkw\u00fcrdiges, mit rother Farbe gemaltes Thier an der Maispflanze nagen, die der Rogon- \ngott in der Hand h\u00e4lt. \n\nDer Regcugott des Westens, der das dritte, mit \u00ab ca\u00fci \u201eeins Hau\u00bb - beginnende Viertel der zwei- \nuudf\u00fciifzigj\u00e4farigen Periode repr\u00e4sontirt, nimmt im Codex Borgia die linke obere, in unserer Handschrift \ndie linke untere Ecke des Blattes ein. In buiden Handschriften ist Ober diesem Hotte derselbe dunkele \nWolkeubimmel gezeichnet, wie flher dem Regengotte de\u00ab Ostens, ja er scheint im Codex Borgia noch als \nwolkenreicher als der des Ostens dadurch bezeichnet zu sein, das\u00bb hier in dom blauen Wolkengekr&uscl \nauch dio Augen fehlen, die dort in dun Wolken angegeben waren. Der blaue, mit der ofomat/s-Helmmaske \nversehene Gott steht hier in einem Wnssergefisse. Das Oof&ss ist in unserer Handschrift deutlich als \nsolches gezeichnet, im Codex Borgia aber nur dadurch angedeutet, dass diu Wasser unten durch dieselbe \nFolge von rothen, weissgefransten, gelben und gr\u00fcnen Streifen begrenzt ist, die auch z. B. anf Blatt 14 \n\n\n\nAbb. 508. Periode von H y iti Jniirvn- \nRelief am Mausoleum 111 in (Ititlun\u00fcsv, \n(Nach Photographie von Teobert Maler). \n\n\nAbb. 531\u00bb. Tltdoe, als Repr\u00e4sentant der f\u00fcnften \nHmiriii'Ltricht unjr, \u00abler Richtung von oben nach unten. \nCodex Borgia 27 (= Kingsborough 12). \n\n\n\ndos Codox Borgin die Wand des Waasergef\u00e4sHcs vor der dort dar gestellten Wasserg\u00f6ttin Chakhiuh\u00fcinu \n(vgl. Abb. 292, oben 8. 1*9) bilden. In dem Wasser stehen im Codex Borgia Muiskolben, dio von ibm \nfast ers\u00e4uft werden. Ala eine Region oder eine Zeit der Wasserf\u00e4lle, des \u00fcberm\u00e4ssigen Regina, scheinen \nder Westen und die Jahre des Westens dadurch gekennzeichnet zn sein. Aber die Maiskolben, die man \nmit dem Wasseratrome unter dem Kruge des Gottes des Codex Borgia hervorkomraun siebt, scheinen \nwohlgobildet zu sein, und so sieht mau auch in unserer Handschrift den Gott mit der Maispflanze wieder \nein eozead, ein Kdelsteiuhalsgeschmeide, halten, zum Zeichen, das\u00bb die Jahre des Westons, gleich denen \ndes Ostens, als fruchtbare zu betrachten seien. \n\nDer Regengott des S\u00fcdens, der das vierte mit e* tochtli \u201eeins Kaninchen* beginnende Viertel der \nzweiundf\u00fcnfzigj\u00e4brigen Periode darstellt, nimmt im Codex Borgia dio linke untere, in unserer Handschrift \ndie rechte untere Ecke unseres Blattes ein. Hier breitet sich \u00fcber dem Gotte derselbe lichte, wolkenlose, \nau* Elementen des Sonnenbildes, blauen und rothen Strahlen \u00bbich zusammensetzoude Himmel, wie \u00fcber dem \nGotte des Nordens. Der rothe, den eoscaquauhtU als Helmmaske tragende Gott steht \u00fcber einem gelben, \nverbrannten Erdreich, das in unserer Handschrift durch die schwarze Knochenzeichnung rIb hartes und \nunfruchtbares, im Codex Borgia durch gelbe Farbe und durch an seinom Kami\u00a9 und auf ihm zerstreute \n\n36* \n\n\nDigitized by Google \n\n\nB. R\u00fcckseite. \n\n\n284 \n\nFoderb\u00fcschel ala trockene\u00ab, tote\u00ab, gekennzeichnet ist. In ihm sicht man in unsorur Handschrift Flammen \nund ein B\u00fcndel Steinmeaser, wahrend im Codex Borgia in ihm oder auf ihm allerdings Maiskolben \nwachsen, die aber durch weiaae, rothpuuktirte, also mit der Farbe des Knochous gemalte Ausbl\u00fchungen \noffenbar als krankhaft ver\u00e4ndert oder tot bezeichnet werden sollen, und an denen mau zum Ueborfluss \nauch mit Totenaugo und Totenkiefern versehene, langgeschw\u00e4nzte Thiere (M\u00e4use oder andere Nage- \nthiero) besch\u00e4ftigt sieht. Ein mit \u00e4hnlichen weissen, rotbpunktirton Knochen-Ausbl\u00fchungen versehener \nMaiskolben ist noch besonders, zur Rechten des Regengottes, in dem Fache angegeben, and dieselbo \nBeschaffenheit zeigt auch der Maiskolben, den man mit dem Wasserstrnme unter dem Kruge des Gottes \nherabkonunen sieht Als Jahre, wo den\u00bb Meise Krankheiten und M\u00e4uscfnuu drohen, werden dadurch \nalso diese Jahre des S\u00fcdens bezeichnet werden \u00abollen. Und so sehen wir auch in unserer Handschrift \nan der Maispflanze, die der rothe Gott des S\u00fcdens in der Hand h\u00e4lt, ein haariges, weisses Thierchen \nsitzen, das hier deutlicher als eine Art Maus erkennbar ist. \n\nUeber dem Regongotte, der die f\u00fcnfte Himmelsrichtung repr\u00e4aentirt, and der in beiden Hand- \nschriften die Mitte des Blattes einnimmt, erkennt man im Codex Borgia (Abb. 539) einen dunklen, mit \nAugen und Steinmessem besetzten, d. h. Nacht- oder Sternhimmel und in seiner Mitte das aus einer belleu \nSonnenscheibe und dem Bilde der Nacht zusammengesetzte Zeichen, das den Abond oder allgemein \nD\u00e4mmerung und Dunkel bezeichnet. Der Gott ist nat\u00fcrlich ohne llcliniuusku dargestellt. Leib, Gliedor, \nGesicht und Kleidung sind von weiter (mit rothen L\u00e4ngsHtreifen versehener) Farbe. Von den beiden \nH\u00e4nden des Gottes rinnen auch hier Wasserstr\u00f6me herab, und unter der rechten, den Krag haltenden \nHand sieht man auch hier einen Maiskolben. Auf dem Wasserstr\u00f6me zur Rechten sind die Werkzeuge \ndes Krieges \u2014 Schild, Speerb\u00fcudol, Handfahne und Schwertfischschwert \u2014 , auf dem zur Linken ein Skelett \nund ein Totenknochen abgebildet. Der dritte Wosserairom aber, der unter dem Gotte herabrinnt, f\u00e4llt in \nein mit der Farbe des Edelsteines ( chalchiuitl ) gemaltes Gef\u00f6ss, und in ihm sitzen zwei kleine Fig\u00fcrchen \nder Wnsserg\u00f6ttin ChaUhiuhtlicw, von denen dio eine blau, dio andere gr\u00fcn geuiult ist, \u2014 also, wenn \nman will, Sfa\u00fcalcwye und Chalchiuh\u00fcicve , \u2014 jede aber durch ihren Kranz von Muschelscheiben im Haar \nund durch die blaue Nasenplatte, die die Gestalt einer zweik\u00f6pfigen Schlange hat, als Wusaerg\u00f6ttin \ngekennzeichnet. \n\nIn unserer Handschrift ist der Regengott der f\u00fcnften Himmelsrichtung ebenfalls als weisser (mit \ngolbeu L\u00e4ngsstroifon) gemalt. Ein Himmel \u00fcber ihm ist nicht, wohl aber unter ihm ein Erdracben \nangegeben. Noch weiter unten sieht man ein paar gekreuzte Totunbcino und die Werkzeuge de\u00ab Krieges, \ndie also den in dem Codex Borgia-Bilde zur Rechten und zur Linken des Gottes angegebenen Figuren, \ndem Skelette und dem Waffenhandel, entspr\u00e4chen. \n\nIch bemerko noch, da\u00bbB das, was ich, die Bl\u00e4tter unserer beiden Handschriften deutend, \u00fcber die \naus der Natur der Himmelsrichtung folgende Bedeutung dor vier Viertel dor zweiundf\u00fcnfzigjnhrigen Periode \ngesagt habe, genau genommen vermuthlich f\u00fcr die euimmtlichen mit gleichen Zeichen benannten Jahre zu \ngelten hat, denn die Verschiedenheit nach den vier Himmelsrichtungen \u00fcbertrugen die Mexikaner nicht \nnur auf dio ganzen Viertel der zweiurnlfflnfzigj\u00e4hrigen Periode, sondern auch noch auf dio vier mit ver- \nschiedenen Zeichen benannten einander folgenden Jahre. Sie zeichneten also dio Jahre der zweiuml- \nf\u00fcnfzigjftbrigen Periode (vgl. Daran, Tratado 1*, Lamina 1*) als eine Art Rad oder Hakenkreuz, indem \nsie dio s\u00e4mmtlicheu, mit gleichen Zeichen benannten Jahre in eine Linie ordneten, die eine der vier \nHimmelsrichtungen gleichgesetzt wurde, sndass, um die Folge der Jahre dor Periode zu erhalten, man \nspirale Linieu in einem der Drehung des Uhrzeigers entgegengesetzten Sinne beschreiben musste. \n\nEs zerfiel somit die zweiundf\u00fcnfzigj\u00e4hrige Periode in dreizehn Abschnitte vou je vier Jahren, nach \nderen Ablauf derselbe Turnus sich wiederholte, die augnrische Bedeutung der Jahre in derselben Weise \nwie zuvor anzunehmen war. In besonders peinlicher Weise wurde dieser nugurischen Bedeutung der auf- \neinanderfolgenden Jahre bei den Maya-St\u00e4mmen Rechnung getragen. Die letzten f\u00fcnf Tage des Jahre\u00ab, \ndio sogenannten xma xaba lein oder \u201enamenlose Tage\u201c, waren dort, wie uns der Bischof Lauda erz\u00e4hlt, \nausgearbeiteten Z\u00e4rimonien gewidmet, die die durch die Natur der Himmelsrichtungen bedingt\u00bb Bedeutung \ndor mit den verschiedenen Zeichen benannten Jahre in einem f\u00fcr die Wohlfahrt der Gemeinde g\u00fcnstigen \nSinne modifiziren sollten. Und von den mexikauieehon St\u00e4mmen wissen wir, dass \u00fcberall in den vierten \n\n\nDigitized by Google \n\n\n\n16. Dip f\u00fcnf Vpnuflperioden. \n\n\n285 \n\n\n.Fuhren die grossen Feste der Gemeinde mit besonderer Feierlichkeit und unter umst\u00e4ndlicheren Z\u00fcriinonieu \nabgehnlten wurden. Die vierten .Inlire, das waren dio mit dem Zeichen acatl benannten Jahre, in denen \ndor Turnus sich ornouto, der auch in den oben besprochenen Blattern des Codex Borgia nnd unserer \nHandschrift vorliegt. \n\n\n16. Die f\u00fcnf Venusperioden. \n\nBlatt 70 (= Kingsborough 27). \n\nWenn auf dem vorhergehenden Blatte die vier Jahre unter dem Gesichtspunkte der Himmels- \nrichtungen betrachtet worden waren, so werdpn auf diesem Blatte, dem wiederum ein anderes des Codex \nBorgia, das sch\u00f6n und gross gezeichnete Blatt 25 (\u2014 Kingsborough \u201814), genau entspricht, die f\u00fcnfVenua- \nperioden in ihrer Beziehung zu den vier, bezugsweise f\u00fcnf Himmelsrichtungen, dem Beschauer vorgef\u00fchrt. \nDenn wie f\u00fcr das (etwas ungenau angenommene) Sonnonjahr von 365 ganzen Tagen es sich ergibt, \u00ablass \nvon den zwanzig Tageszeichen, die die Mexikaner z\u00e4hlten, nur vier auf die Anfangstage der Sonnenjahre \nfallen, so zeigt, wie ich oben S. 4 schon angef\u00fchrt habe, eine leicht auszufahrende Rechnung in derselben \nWeise, dass auf die Anfangetage der (auch uicht ganz genau) zu 584 ganzen Tagen angenommenen \nVcnuaperiode nur f\u00fcnf von den zwanzig Tageszeichen der Mexikaner fallen. Das Sonnenjahr und diu \nVenusperiode, das sind die beiden Zeit perioden, dio von den Mexikanern und den anderen St\u00e4mmen \nMittelamerikas vorzugsweise in Betracht gezogen wurden, w\u00e4hrend man dem Monde und seinen Perioden, \nwie es scheint, oder wie man wenigstens nach dem Inhalt dieser Bilderschriften scbliessen muss, weniger \nBeachtung schenkte. Aus einer rechnerischen Zusammenlegung de\u00ab Sennenjuhres und der Venusperiode \nist auch, wie ich meine, die Grundperiode der mexikanischen nnd mittelamerikanischen Zeitrechnung und \nZeitbencunung, das TonalamatU entstanden 1 j. Man beachte, duas wie hier in uuserer Handschrift auf das \nBlatt 61), das die Sonneujalira in ihrer Beziehung zu den Himmelsrichtungen behandelte, das Blatt 70, da\u00ab \ndio Venusperioden einer gleichen Betrachtung unterwirft, folgt, so im Codex Borgia das dem letzteren \nBlatte unserer Handschrift entsprechende Blatt 25 eigentlich unmittelbar vor dem Blatte steht, das \nim Codex Borgia die genaue Parallele des Blattes 60 unserer Handschrift bildet. Denn es ist von ihm \nnur durch ein Blatt (26) getrennt, da\u00bb gewissermussen eine ins Toto verkehrte Reproduktion dos Inhalts \ndes Blattos 25 darstellt. \n\nWir \u00abeben auf diesen beiden Bl\u00e4ttern (des Yaticnnus und des Codex Borgia), an den vier Ecken \nvertheilt, vier grosse G\u00f6tterfigureu. Neben ihnen sind in eigenthflmlicher Anordnung die zwanzig Tages- \nzeichc\u00fc verzeichnet, n\u00e4mlich so, dass dadurch ein bestimmter Drehungssinn, entgegengesetzt dor Bowcgung \ndes Uhrzeigers, vorgeschriebe n wird. Das ist dieselbe Drehung, die auch auf dem vorher besprochenen \nBlatte, das dio vier Jahre darstellt, sowie in der Darstellung der zweiundf\u00fcnfzigjAhrigeu Periode, die Duran \nuns \u00fcberliefert hat, befolgt ist. In der Mitte des Blatte\u00bb, in einem kleinen Viereck, von dessen oberen \nRande dio Z\u00e4hlung der Tageszeichen ansgoht (indem unmittelbar \u00fcber ihm das erste Tageszeichen \ncipactli steht), und zu dem auch, nach einem einmaligen Durchlaufen der vier Seiten des Blutlos, dio \nTageszeichen wieder zurflekf\u00fchren. sieht man gross und sch\u00f6n gezeichnet, da\u00ab siebzehnte Tageszeichen \nolm \u201eBewegung\u201c, aber diese\u00bb nun nicht allein, sondern von zweimal f\u00fcnf Punkten begleitet, dio dio Ziffer \nZehn darstellen und mit dem Zeichen oh\u00bb zusammen den Namen eines bestimmten Tag\u00ab\u00bb daratellen. So \nist das wenigstens richtig im Codex Borgia ungegeben. In un\u00bbcror Handschrift z\u00e4hlt man eilf Punkto, \nda\u00bb ist indes zweifellos als ein Fehler nnzusehen and in Zehn zu verbessern. Diener Tag mactlactli otin \n\u201eZehn Bewegung\u201c aber ist genau der Tag, mit dom dio f\u00fcnfte 584 t\u00e4gige Periode anfangen muss, wenn \ndie erste mit ct cipactli \u201eeins Krokodil\u201c, dem Anfangstage des TonalamatC b begonnen hat. \n\n1) Vgl. cUu hier\u00fcber oben auf -S. 4 Bemerkt\u00ab- \n\n\nDigitized by Google \n\n\n\n286 \n\n\nB. Ullrkm\u00fcte. \n\n\nEs folyt demnach, dass auf diesen beiden Bl\u00e4ttern (den Codex Borgia und unserer Handschrift) in \nder That, wie ich im Anf\u00e4nge diesen Kapitels gesagt habe, die f\u00fcnf Venusperioden durgcsldlt \u00bbind. Aber \nes folgt noch etwas anderes. Die aufeinander folgenden Jahre waren, wie wir gesehen haben, mit Zeichen \nbenannt, die alle von deiu Anfangszeichen du\u00ab TonalarnatC h um eine gewisse kleinere oder gr\u00f6ssere \nZahl von Zoichcn abstehen. Die Anfangstage der Jahre fallen zu keiner Zeit mit dem Anfangstage des \nTonalamatf s zusammen. F\u00fcr die Ycnuspcriodon aber ergibt sich hier, dass aus dem Tage, der den \nAnfang der f\u00fcnften Periode bezeichnen muss, mit Nothwendigkeit gefolgert worden muss, dass die erste \nPeriodo mit dem Aufuugstago des Tonalamatf* begann. Da\u00ab (Jleicho lehren uns dio Bl\u00e4tter unserer \nHandschrift, mit denen wir uns bald darnach zu besch\u00e4ftigen haben werden, auf denen die 5 X 13 Venus- \nperioden dargestellt sind. Auch dort sehen wir diese Perioden ihren Ausgangspunkt von dem ersten Tage \ndes Tonalamatf s nehmen. Das ist das Gehemmics, der verborgene Grund davon, dass man in der Bilder- \nhnndschrift der K. K. Hofbibliothek in Wien und in ihrer Schwesterbandschrift, dem Codex Xuttall, das \nJahr ce acatl und den Tag et cipactU so oft vereinigt siebt Diese Vereinigung, oder dieser Tag, be- \nzeichnet einfach den Anfangspunkt der VonusperiodenzAlilung in den) ersten Jahre der zweiundfOnfzig- \n\n\n\nAbh. MOl (Jurlzateouatl-l'fmae, der Golt von Tollan. Kcgyikt der ersten Veniu>|keriode und de\u00bb Ontenit- \nCodos B\u00fcrgin 25 ( - Kingsborough 14). \n\nj\u00e4hrigen Periode und ist, wie \u00bbich nachweiten l\u00e4sst, immer der Ausgangspunkt einer besonderen Rechnung, \ndie im Codex Nuttnll immer auf diue Korrektur einmal der L\u00e4nge des Soiincnjuhrs, das andere Mal der \nL\u00e4nge der Yunuspuriode hinuusl\u00e4uft 1 ). \n\nDio vier G\u00f6tterfiguren , die man auf diesen beiden Bl\u00e4ttern des Borgia und de\u00bb Yuticnnus, in \ndie vior Ecken vertheilt, abgebildet sieht, m\u00fcssen nat\u00fcrlich, wie die Tlaloc~ Figuren dos vorigen Blattes, \ndie vier IlimmelHrichtungen repr\u00e4sentiren. Aber e\u00bb sind hier nicht, wie dort, vier verschiedene Bilder \ndes Regongottes \u2014 dio aufeinander folgenden Venusperioden haben mit den Jahren und den iu den \nJahren wechselnden meteorologischen Verh\u00e4ltnissen nichts zu thnn \u2014 sondern ch sind die Bilder von vier \nverschiedenen Gottheiten. W\u00e4re die Anordnung dieser vier Figuren auf dem Blatte die gleiche, wie die \nauf dem Blatte, das diu vier Jahre darstellt, so m\u00fcssten wir im Codex Borgia in der rechten unteren \nEcke zu z\u00e4hlen nnfangen, die Figur in der rechten unteren Ecke dem Osten tuschreiben. Daa ist aber \nnun offenbar nicht der Full, denn das Zeichen cipaetli , dus Anfangszeichen, stellt an dum oberen Rande \n\n\n1) Vgl. \u00ablitrtltar meinen Aufsut* in dem laufenden Jahrgang der Zeitschrift f\u00fcr Ethnologie (XXXIV, 1903). \n\n\nDigitized by Google \n\n\n16. Pi\u00ab f\u00fcnf Vcnuspariodoo. \n\n\n287 \n\n\nries Mittolvieroek\u00bb. weist also auf die in der oberen Ecke recht\u00ab abgebildote Figur als dio erste hin. \nUud in der That, w\u00e4hrend in den M\u00fcttern, die die Tier Jahre darstollen, eine Differenz zwischen dem \nCodex Borgia und unserer Handschrift darin zu Tuge trat, dass der Codex Borgia in der rechten unteren \nEcke, unsere Handschrift in der rechten oberen Ecke begann, so sind auf den dio fflnf Vonusporioden \nbezeichnenden Bl\u00e4ttern die Figuren offenbar in gleicher Weise in den beiden Handschriften in die Ecken \nvert heilt. Da\u00bb ist oiu Beweis, das\u00ab der Anfang der Z\u00e4hlung, wie er f\u00fcr da\u00ab Blatt 69 unserer Handschrift \ngalt und f\u00fcr das Blatt 70 unserer Handschrift von vornherein wahrscheinlich ist, auch f\u00fcr das dem Blatte 70 \nentsprechende Codex Borgia-Blatt zu gelten hat. \n\nDie erste Figur, dio dem Osten entsprechen muss, ist also die, die auf beiden Bl\u00e4ttern in der \nEeko obon rechts steht Sie ist, und ebenso die drei anderen Figuren des Blattes, mit dem Wurfbrett \nin der einen, dem Speerb\u00fcndel in der anderen Hand dargestellt Da\u00bb hat wiederum Bezug darauf, dass \n\n\n\nAbb. 612. ruhi c\u00f6mrJt, chicunmti rreatl. Wiener Handschrift iVJ\u00bb \n\n\nliier die Vonusporioden zur Anschauung gebracht sind. Denn der Morgenstern galt als der schiessende \nGott. Es heisst voll ihm iu den Anales de Qnnnhtitlnn: \n\nauh yn ruA tpiimatia \u2014 - und wie sie erfuhren (die Alten, die Vorfahren) \n\nyn iquae huabu^tiuh \u2014 wenn er erscheint (aufgeht), \n\nyn tleyn yjHtn tomilii \u2014 je nach dem Zeichen, in dem er aufgelit, \n\nctem\u00fcamantn i yn/wm miyotia \u2014 trifft er verseil iedene Klassen von Leuten mit seinen Strahlen, \nquinmma qumtiahttilia \u2014 schiesst sie, wirft sein Licht auf sie. \n\nDie erste Figur, in der rechten oberen Ecke, also, die dem Osten entspricht (Abb. 540), ist in \nbeiden Handschriften mit schwarzem Leibe und Gliedern und zweifarbigem Gesichte, in der rordoren \nH\u00e4lfte (der Mitte de\u00ab Gesichte\u00ab) roth, in der hiutereii H\u00e4lfte im Codex Borgia schwarz, in unseror \nHandschrift braun, und mit langem, dos Kinn umrahmenden Barte dargestellt- Haar und Bart sind im \nCodex Borgia feuerfarben, in unserer Handschrift schwarz gemalt. Das Haar ist im Codex Borgia von der \nKette aus Edelstein- ( chaUhiuid- ) Scheiben, mit dem stylisirten Vogelkopf an der Stirn, umwunden, dio \nin dieser Handschrift der Sonnengott tr\u00e4gt. Und auch der Federschmuck auf dem Scheitel ist der Ad ler- \nfoderBchmuck ( quauhietnatli ) dos Sonnengottes. Damit verbindet aber diese Figur oiu voll einoiu blauen \n\n\nDigitized by Google \n\n\n\na Radweite. \n\n\n288 \n\nBraueuwulst \u00fcberw\u00f6lbtes Totenauge. In dem Mondo hat der Gott ein \u00df\u00fcndol Steininesser, neben dem im \nCodex Borgia noch eiuo Schlange hervorkommt. Steinmeaser bilden auch den Scheite) k\u00e4mm de\u00bb stylisirten \nYogolkopfes an der Stirnseite seiner Kopfbinde. Ein Steinmesser ist, gcwissermasaeu als Feder, in seine \nArmbinde eingesteckt. Ein Steinmesaer (oder, in unserer Handschrift, ein Stein raesserb\u00fcndel) bildet auch \ndas untere Ende seines Brustachmueks. \u2014 Eine Figur gleich dieser, d. h. genau in dieser Ausstattung, \nwird in unseren Handschriften nirgends sonst angetroffen. Aber vergluichbar ist die Gestalt, die in unserer \nHandschrift und im Codex Borgia als der erste der Tier H\u00fcter der \u00bbweiten Vennsperiodo abgebildet ist \n(vgl. oben 8. 107, Abb. 411, 412), die dort allerdings noch mit einom cipactli oder einer Federschlongo \nals Helmmaske erscheint. Und vergleichbar auch ist der ebenfalls eine cipactli- oder vielleicht auch eiue \nScblangen-Helmroaske tragende Gott Uticomc couatl \u201eSieben Schlange\u201c, der auf Blart 5 der Wiener Hand- \nschrift dem flotte Naui couatl \u201eVier Schlange\u201c gegen\u00fcber durgestellt ist (Abb. 541) und an einer anderen \nStelle, auf Blatt 33, dem Uutto Naui couatl gegen\u00fcber durch den Gott Oiicuruiui cecatl \u201eNeun Wind\u201c, \nd. h. durch Quelzalcoua\u00fc , den Windgott, vertreten zu sein scheint. Ich bin in der That der Meinung, \nund habe das ja auch oben bei dem ersten der vier H\u00fcter der zweiten Venusperiode ausgesprochen , \ndass wir in dieser die Gesichtsbemalung und den Bart Quctzalcouatf\u00bb mit den Trachtabzoichcn des \nSonnengottes vereinenden, in einer cipactli - oder Schlangen-Helmmaske erscheinenden Gestalt den Quttzal- \ncouatl von Tollan zu erkennen haben, der ja, worauf ich oben 8. 138 schon hingewiesen habe, auch ein \nFeuergott Ut uud vermuthlich erst durch eine abgeleitete Vontellungsreiho zu dem Windgotte geworden ist, \nals der er gew\u00f6hnlich und sp\u00e4ter allgemein dargestellt wurde. Man wird al>er begreifen, dass wenn dieser \nerste flott unseres Blattes, in der That den F\u00fchrer der Toltekon, den Umatmh iirco yauh , den in der \nRichtung der Sonne entgegen Ausgewanderten, darstellt, er in der That in hervorragender Weise geeignet \nist, die Himmelsrichtung des Ostens in sich zu verk\u00f6rpern und zugleich als der Repr\u00e4sentant der ersten \nVenusperiode xu dienen. Denn dieser Quetzalcouatl von Tollan hat sich ja, nach allgemeinem Glauben, \nin den Morgenstern verwandelt \n\nDie zweito Figur, in der linken oberen Ecke (Abb. 543), muss nunmehr dein Norden entsprechen. \nDas ist eine wohlbekannte Gestalt der weisse (rothgestreifte), mit der Stemgesichtabemalung ( mitcitlalhuiticac \nmotcncua tlayoualli) des Morgensterns gemalte, auch mit desson \u00fcber der Stirn aufz\u00fcngelndeu Locken dar- \ngestellte, aber sonst als Krieger geschm\u00fcckte flott der Ohicliimeken um! der Jagd MircowtL, den wir \nschon oben (vgl. Abb. 310, oben 8. 115 und Blatt 28 unserer Handschrift) unter den vier Formen der \nGottheit des Plaueten Venus, uud zwar ebeufalls als Repr\u00e4seutanten des Nordens angetroffen haben. \n\nDie dritte Figur in der linken unteren Ecke der beiden Bl\u00e4tter muss nun dem Westen ent- \nsprechen. Es ist ebenfalls eine sehr bekannte Gestalt, die des Erdgottes Xipe Totec , der uns auch schon \nals Repr\u00e4sentant der genannten ihm zukomntenden Himmelsrichtung, als Dritter der vier H\u00fcter der vierten \nVenusperiode (Abb. 427 oben 8.204) begegnet ist. Er ist hier auch in durchaus typischer Weise mit \nseinem Menschenhautwams, seiner Menschenhsutmaske, der yo/wtrowt/i-Nasnnplatte, den rothen und weissen \nschwalbenschwanzartig ausgeschnittenen Enden der Dresdener Maya- \nHandschrift. \n\nIch werde unten, sobald ieh zu den Bl\u00e4ttern 80 \u2014 84 unserer Handschrift komme, anf denen die \n13 X 5 Venusperioden dargeatellt sind, darauf hinzuweisen haben, dass nicht nur die Anfangstage dieser \n1 3 X f> Venusperioden, wie sie auf den genannten Bl\u00e4ttern 80\u201484 unserer Handschrift verzeichnet sind. \n\n\n\u00dc\u00a7^ ||n*Mib\u2018ner Mnya llan\u00abliwhrift Illstt W \u2014 \u2019s* \n\nebenso und in noch vollst\u00e4ndigerer Weise auf gewissen Bl\u00e4ttern der Dresdener Maya- Handschrift, nuf den \nber\u00fchmten Bl\u00e4ttern 46\u201450, niedergeschrieben sind, sondern das\u00ab auch die Gestalten, die man auf den \nBl\u00e4ttern 80\u201484 unterer Handschrift und an der entsprechenden Stolle des Codex Borgia und des Codex \nBologna von dem Speer der Gottheit des Planeten Venus getroffen sieht, ihre Parallele in gewissen Figuren \ndieser Bl\u00e4tter 4ti \u2014 50 der Dresdener Maya-Handschrift haben. Diese Bl\u00e4tter 48\u201450 der Dresdener Maya- \nHandschrift unterscheiden sich nun aber von \u00ablen Bl\u00e4ttern 80\u201484 unserer Handschrift und \u00ablen ent- \nsprechenden Bl\u00e4ttern der Codices Bnrgia und Bologna unter anderem dadurch, dasa auf ihnen, in den \nf\u00fcnf Abtheilungen, nicht wie in den gcnauntui) Bilderschriften der Codex Borgin-Gruppe, immer \u00ablie Gottheit \nde# Planeten Venus in den Himmelsrichtungen entsprechenden Variationen zur Anschauung gebracht ist, \nsondern das* dort in den Abtheilungen, wo wir dio Gottheit de# Planeten Von\u00ab anxatreffen erwarten \nm\u00fcssten, f\u00fcnf verschiedene Gottheiten stehen. Nun diese f\u00fcnf verschiedenen Gottheiten \u00ab1er Dresdener \nSolar, \u00ab'\u00abdas Vatkstm Nr. 0171 il? \n\n\nDigitized by Google \n\n\nB. R\u00fcckseite. \n\n\n290 \n\nMaya-Handschrift entsprechen, glaub\u00ab ich, den f\u00fcnf Gottheiten, di\u00ab hier auf Blatt 70 uu\u00bberer Handschrift \nund auf dom Blatt 25 de* Codex Borgia zu vieren in voller Figur, der f\u00fcnfte allerdings nur andeutungs- \nweise durch den Aufangstag der f\u00fcnften Periode, zur Anschauung gebracht sind, den Hegemon der f\u00fcnf \nVenusperioden, die ich in diesem Kapitel besprochen habe. Nur muss man, damit die Parallele heruuskommt, \ndi\u00a9 Voraussetzung machen, das\u00ab auf unseren Bl\u00e4ttern des Yaticanu\u00bb und des Borgia die f\u00fcnfte Himmels- \nrichtung oder die Mitte als f\u00fcr die f\u00fcnfte Yenusperiode massgebend betrachtet worden ist, auf den Blattern \nder Dresdener Handschrift aber, ebenso wie auf den obou (8. 190fT.) n\u00e4her besprochenen Bl\u00e4ttern, auf denen \ndie 4x5 H\u00fcter der Venusperiodtm dargestellt sind, die Mitte oder die f\u00fcnfte Himmelsrichtung den Aus- \ngangspunkt gebildet, das\u00bb diese Himmelsrichtung dort f\u00fcr die erste Yenusperiode in Anspruch genommen \nworden ist Ordnet mau nach dieser Voraussetzung, wie ich das hier in den Abbiblungen 544\u2014548 gethan \nhabe, die auf den Bl\u00e4ttern 46 \u2014 50 der Dresdener Handschrift abgebildeten f\u00fcnf Regenten der f\u00fcnf Venus- \nPerioden, so wird man sehen, dass an einigen Stellen wenigstens die Parallele mit den beiden Bl\u00e4ttern, \n70 unserer Handschrift und 25 des Codex Borgia, in der Tbat ein\u00ab auffallende ist. \u2014 \n\nDer in der rechten oberen Ecke mit Skelettbrustkorb und Totenknochenunterkiefer gezeichnete, \naber die Hieroglyphe des Planeten Venus in der von seinem Kopfschmuck nach vom herabhllngondon \nPerlenkette tragende Gott kann wohl dem mit Steinmessem gurnirten und mit einem Totennuge gezeichneten \n(Juctzalcouatl von Tollan (Alib. 540) an die Seite gestellt werden. \n\nDor in der linken oberen Ecke, mit tliieriscben Gesichtsx\u00fcgen dargestellte, in \u00bbeiner Hieroglyphe \ndie Elemente der Hieroglyphe des Hirsche\u00ab uufweiscmle Gott') scheint mir zweifellos eine Parallele zu \ndem Jagdgotte Mircoua\u00dc. \n\nDer Gott in der linken unteren Ecke, mit der Tezcatlipoca-&ri\\^i'\\\\ Gesichtahemnlung und dem \nJaguarfell um die H\u00fcften, der auch in \u00bbeiner Hieroglyphe das Element chac \u201emth\u201c enth\u00e4lt*), kann, wenn \nnicht dem typischen .Xi/*, so doch sicher dein rothon ( TUxtlauhqui) Tncatlipoca, den wir oben als andere \nErscheinungsform und auch als anderen Numon Xipei kennen gelernt haben, verglichen werden. \n\nEs bleibt dann allerdings in der rechten unteren Ecke ein etwas anders gearteter Gott, der aber \nmit \u00bbeinen verbundenen Augen vielleicht in undercr Weise dieselbe Vorstellung des S\u00fcdens erweckte, wie \nder Tlafoc der beiden mexikanischen Bl\u00e4tter. Ich erinnere daran, dass der lUilaeolitJiqui der Mexikaner, \nauch ein Gott mit verbundenen Augen, \u00fcber den ich oben S. 261\u2014264 gesprochen habe, in einem Stern- \nbild nm s\u00fcdlichen Himmel erkanut wurde. \n\nF\u00fcr die Mitte oder die f\u00fcnfte Richtung w\u00fcrden wir dam\u00bb den schwarzen Gott, Abb. 544, erhalten, \ndor in seiner Hieroglyphe da\u00bb, dem mexikanischen cipactli entsprechende Element \u00bbmir enth\u00e4lt, dor viel- \nleicht eine Art Feuergott ist, den man also aus dem einen, wie au\u00bb dem anderen Grunde ul\u00bb einen die f\u00fcnfte \nHimmelsrichtung, die Richtung von oben nach unten oder die Mitte bezeichnenden Gott ansehen kann. \n\nIst nun diese Parallele zul\u00e4ssig, und ich bin \u00fcberzeugt, das\u00bb sie es ist, so wird \u00bbnun au\u00bb ihr aber \nnoch etwas anderes acliliesaen m\u00fcssen. Die auf den Bl\u00e4ttern 70 unserer Handschrift und 25 de\u00bb Codex \nBorgia dnrgestellten Gottheiten sind mit Ausnahme der ersten wohlbekannte, viel abgebildete Gestalten, \ndie auch in dem Kultus der verschiedenen mexikanischen St\u00e4mme eine grosse Rollo spielen. Die f\u00fcnf \nG\u00f6tter der Bl\u00e4tter 46 - 50 der Dresdener Handschrift muthen. in der Mehrzahl, ganz fremdartig an und \nwerden in der Thal, mit Ausnahme des ersten, de\u00bb schwarzen Gottes, in den bekannten Maya-Hand- \nschriften, nirgend\u00bb mehr nngetroffen. Muss man nicht daraus \u00bbchliessen, dass die Mythologie und die \nWissenschaft dieser Zeitperioden und die astronomischen Beobachtungen, auf denen jene sich aufbauten. \nhei den St\u00e4mmen ihren Ursprung genommen haben, die ihnen bekannte und vertrante d\u00f6ttergestalteu \nmit jenen Zeitperioden verkn\u00fcpften, und das\u00bb l\u00bbei \u00bblen anderen V\u00f6lkern, wo als Regenten dieser Perioden \nganz fremdartige Figuren erscheinen, diese Gestalten und die Wissenschaft, die mit ihnen verkn\u00fcpft ist, \nfremder Import waren? \n\n1) Vgl. Seler r . \n\n\n1) Hahagun \u00bb\u25ba, cap. 2SI. \u2014 2) SahaguD 1, np. 31. \u2014 \u00e4) Sahngun 4. cap. 22. - \u2014 4) Haliagun 4, cap. 27. \n\nW \n\n\nDigitized by Google \n\n\n\n34)8 \n\n\nli. R\u00fcckseite. \n\n\nDen f\u00fcnf weiblichen Gottheiten stehen in den oberen H\u00e4lften der Bl\u00e4tter 77 \u201470 unserer Hand- \nschrift, in deren f\u00fcnf Poldern die Anfangszeichen des vierten 7on\u00abfuMi'> die \nweissc, so f\u00fcr sie die schwarze Farbe als die eigentlich ihnen zukoimnendu zu gelten hat, mit der denn \nauch die orsto der f\u00fcnf Figuren gemalt ist, w\u00e4hrend die anderen entsprechend in blauer, gelber, rother \nund die letzte \u2014 da das Sehwar* schon f\u00fcr den ersten der f\u00fcnf vergeben ist \u2014 mit gr\u00fcner Karbe \nangegeben sind. Wie die (.\u00bbtiotWe? haben ferner im Codex Borgia auch diese f\u00fcnf m\u00e4nnlichen Gottheiten, \ndie f\u00fcr den S\u00fcden und das vierte Tono/amotZ-Viertel bezeichnend sind, das schwarze Goffts\u00bb mit dem \nmalinalii - B \u00fcndol am Nacken. Durch dieses Abzeichen und den parallelen Farbenwcchsel ist also itu \nCodex Borgia diese obere Reihe der m\u00e4nnlichen Gottheiten deutlich als ein Gegenst\u00fcck zu dor Reihe \nder CiuateuS gekennzeichnet. \n\nln den an der linken Seite der Folder dieses Abschnitt\u00ab*\u00bb gezeichneten, die f\u00fcnf Querreihen des \ndritten, bezw. des vierton Tonaiavmtl - Viertels zum Ausdruck bringenden S\u00e4ulen, ist ausser dem Anfangs* \n\n\n\nAbb. 553. Der Gott Maoait Abb. .V>|. Der Gott Manul Abtk\u00f6&j. Der Gott Mantel nuUptdin \n\ntoehtli \u201eFlint Kaninchen-*. mtMK .F\u00fcnf Blume\". \u201eF\u00fcnf Eidechse*. Btmncr- und Fackel- \n\nSuhagnn. Mm. Bibi, de 1 Falacio SsHmkud. Ms. Bibi. del Palscio tr\u00e4ger vor dein Hakiwriam des G\u00f6lte* \n\n(Madrid) r Madrid). t'it-zi/oporiitli, de\u00bb (fntle* von Mexico. \n\nriahagun. M*. Bibi, del I'alado (Madrid i. \n\nZeichen noch das f\u00fcnfte durch das wirkliche Bild diese\u00bb Zeichens wiedergegeben, die anderen nur durch \nScheiben oder Punkte ungedoutet Das mag seinen Grund darin haben, dass diese Zeichen der f\u00fcnften \nS\u00e4ule de\u00bb Tona/uMm/Z-Viertel\u00bb, die Tage, die in ihrem Namen mit ihrem Zeichen die Zahl F\u00fcnf verbinden, \nf\u00fcr diese in dor F\u00fcnfzahl nuftretondon Gottheiten als besonders bezeichnend angesehen worden sind. \nWenn wir dies in gewisser Weise auch f\u00fcr die untere Reihe der (\u2019iunteteo anzunehmeii haben w\u00fcrden, an \ngilt es ganz bestimmt f\u00fcr die obere Reihe der m\u00e4nnlichen Gottheiten. Diese werden geradezu mit den \nNamen dieser f\u00fcnften Tuge des Tona /amutf-Yiertels genannt und haben deshalb (wenigstens \nim Codex Borgia) s\u00e4mmtlich an der Seite des Mundes in weissor Farbe diu Zeichnung einer menschlichen \nHand, diu ja gewissunnasseu eine Hieroglyphe f\u00fcr \u201eF\u00fcnf* ist. Macu\u00fcti \u201eeine genommene Hand, eine \nHand als Ganzes* ist das mexikanische Wort f\u00fcr \u201eF\u00fcnf*. Dass dies \u00bbich so verh\u00e4lt, wird durch die \nBeschreibungen des \u00fc\u00f6ttertrachtenkapiteis des Huliagun-Maniiskript* bewieset!, wu zwei aus dieser oberen \nKeilte der m\u00e4nnlichen Gottheiten mit ihren Namen genannt und mit dem Zeichen der menschlichen Hand \nmit Munde abgobildet sind (Abb. 553, 554), was ln dum begleitenden Texte mit dom Worte m\u00f6tentaqtal* \nkuiticac (eigentlich motenimacpalkuitieac) \u201eer hat sieh am Munde eine Hand gemacht*, an anderer Stelle \nmit tentnaepatt \u201eer tr\u00e4gt an dem Mundo eine Hand\u201c, husclirieheti wird. 1 ) \u2014 Das\u00bb aber in der Tbat f\u00fcr \n\nI) Ver\u00f6ffentlichungen au\u00bb dem K\u00f6niglichen Mi im- um f\u00fcr V\u00f6lkerkunde. Btl. I Heft 4 (Berlin 1890) 8. H\u00fc und ttiit. \n\n\nDigitized by Google \n\n\n22. Die f\u00fcnf G\u00f6ttinnen de\u00ab Westen\u00ab und die f\u00fcnf G\u00f6tter de\u00ab S\u00fcden\u00bb. \n\n\n30?\u00bb \n\n\ndie untere Reihe der f\u00fcnf CiuateU\u00d6 die Tage der Anfangss\u00e4ule ihre\u00ab Tonalamatl -Viertel\u00bb (de* dritten) zu \ngelten haben, f\u00fcr die obere Reihe der f\u00fcnf m\u00e4nnliche\u00bb Gottbeiton die Tage der f\u00fcnften S\u00e4ule ihre\u00ab (du* \nvierten) Tonalamatl- Viertel* ma\u00dfgebend *ind, daf\u00fcr gibt e* 1100 b einen anderen Bewei\u00ab. \n\nIn unserer Handschrift beschranke\u00bb sich die Darstellungen dieses Abschnitte* auf die beiden \nReibeu, die der OiuuUl*! und die obere Reihe der m\u00e4nnlichen Gottheiten. Im Codex Borgia aber sieht \nman am Anf\u00e4nge dieser beiden Reihe\u00bb noch je ein besonderes Feld. Diese beide\u00bb Anfangsfelder sind \nmit dunkler Karbe angegeben. Da* vor der Reihe der weiblichen Gottheiten mit blauer, da\u00bb vor der Reihe \nder m\u00e4nnliche\u00bb mit grauer und mit schwarzen Flecken erf\u00fcllter Farbe. \n\nTn dem Felde, da\u00ab vor der Reihe der duateU\u00e4 steht, sieht man, mit der M\u00fcndung einander zu- \ngekehrt, zwei Schalen, die in den Farben dos Rdelstein* ( chalchiui\u00fc ) gemalt, aber mit einem Gesichte \nversehen sind, da\u00bb auf der einen Schalt* die Merkmale eine\u00ab lebenden Gesichtes, auf der anderen die \neines Sch\u00e4dels hat. Von den beiden Schalen strahlen vier Skolopender und vier rothe Korallenschlaugen \n(Blutacblnngeu) aus. l'nd unter ihnen sieht mnn bei der einen einen Skolopenderkopf, bei der anderen \neine mit den zwei Farben der Pah|aeg\u00d6tter gemalte und mit ihrem Nasenhalbmond ornaniontirte Decke. \nIn der Mittu zwischen dun beiden Schalen ist die Hieroglyphe chalc/uuitl \u201egr\u00fcner Edelstein* gezeichnet, \nund aus ihm kommt eine nackte weibliche Gestalt heraus, die init Todessytubolen \u2014 Hinterbaupts- \nscliild cuejcochUchimalli und der geknickten Kahne pantoyaualli \u2014 ausgusiuttut ist und eine Bindo \u00fcber \nden Augen hat. \n\nLn dom Felde vor der Reibe dur m\u00e4nnlichen Gottheiton sieht man in \u00e4hnlicher Weise mit der \nM\u00fcndung einander zugekehrt, zwei Kocht\u00f6pfe, und unter jedem von ihnen, gewisaermassen als St\u00fctze f\u00fcr \nden runden Boden, einen langen R\u00f6hrenknochen. Blut- oder Feuerachlaugen strahlen auch hier von den \nbeiden T\u00f6pfen an\u00bb. Und au\u00bb einem twftatL einem OpfenueRser aus Feuerstein, das sich in der Mitte \nzwischen den beiden T\u00f6pfen befindet, sieht man eine m\u00e4nnliche Figur hernuskomnien, die die Farbe \nund die OeBtchtabemalung (die Zeichnung der weissen llaod am Mund) der ersten der f\u00fcnf m\u00e4nnlichen \nGottheiten, dazu aber verkr\u00fcmmte Gliedmassen hat, wie der Xolotl, der Uott der Missgoburtou, den wir \nals Regenten des siebzehnten Tageszeit-heil\u00bb kennen gelernt haben (vgl. Ahb. 38b, oben S. 181). \n\nIn die Symbolik diesor Darstellungen einzugeben, w\u00fcrde* mich zu weit f\u00fchron. F\u00fcr unseren \ngegenw\u00e4rtigen Zweck kommt vor allem in Betracht, das\u00bb wir in jedem dieser beiden Felder das \neigentliche Bild von f\u00fcuf Daten umsetzt sollen. Und das sind in dem unteren Fohle, dem vor der \nReihe der OiuateU>i, die Tage 13 miquistli, 13 tecpatl, 13 ilzcuintli, 13 eecatl, 13 ocelotl, d. h. die den \nAnfangstagen der Querreiheu de\u00ab dritten, den (Auatete> und dem Westen augeh\u00f6rigen Tonalamatl- \nViertels vorausgehenden Tage. In dem Felde vor der oberen Reihe, der der m\u00e4nnlichen Gottheiten, \naber sind es die Tage 4 ca Ui. 4 quauhtli , 4 macall, 4 quiauitl , 4 ofomdtli, d. Ii. die den f\u00fcnften Tagen \nder Querreihen de\u00ab vierten, f\u00fcr diese m\u00e4nnlichen Gottheiten und den S\u00fcdeu bezeichnenden Tonalamatl- \nViertels vorangehenden Tage. Damit ist, glaube ich, deutlich genug nahe gelegt, das* f\u00fcr dio CiuattU\u00f6, \ndie Glieder der unteren Reihe, die AnfangstAge der Querreihen ihres Tonalamatl- Viertels, d. h. die Tag\u00ab \u2014 \n\nCe mafatL, Ce quiauitl, Ce ofonuttli, Ce calli , Ce ([uauhtli \n\nul* N'uuien zu gcltou Imbun. F\u00fcr die obere Reihe der m\u00e4nnlichen Gottheiten aber die f\u00fcnften Tage der \nQuerreiheu ihros Tonalamatl- Viertels, d. h. die Tage \n\nMacuil cuetzpalin \u201ef\u00fcnf Eidechse* \n\nMacuil cazcaqua uhtli \u201ef\u00fcnf Geier\u201c \n\nMacuil tochtli \u201ef\u00fcnf Kaninchen\u201c \n\nMacuil jrochitl \u201ef\u00fcnf Blume\u201c \n\nMacuil malinalli \u201ef\u00fcnf Gedrehte*\u201d- \n\nWas nun im Einzelnen diese Figuren angebt, so sind sie alle, sowohl im Codex Borgia, wie in unserer \nHandschrift, durch ein rechteckig begrenzte\u00bb helle* Feld um die Augen gekennzeichnet, das eigentlich an \nein \u00e4hnliches Feld um die Augen bei dom Coyotegott, dem Tanzgott Ueuecoyotl. erinnert (vgl. oben S. 147 ). \nIm Codex Borgia sind sie ausserdem alle durch die oben besprochene Zeichnung der weissen Hand am \n\n\nDigitized by Google \n\n\n\n310 \n\n\nB. R\u00fcckseite. \n\n\nMunde chnrakturisirt, di\u00ab* aber in unserer lland*chrift bei \u00ab1er \u00abweiten Figur ilurcli die Zeichnung einer \nwirklichen, den Mund ganz und gar ktnleekendeu Hund, bei den atnleren durch ein B\u00f6mlel Stuinim-sm-r \nersetzt ist. Da\u00bb Haar ist in den Figuren des Codex Borgia wirr, nach Art der des Tode\u00abg\u00ab)ttos und mit \nDauiioufederb\u00fcltchen besteckt und mit einer vorn ein B\u00fcschel bildenden Binde au\u00ab Papier umwunden. \nAuf dem Scheitel liegt ein Federschmuck, der \u00fcber einem gro\u00bb\u00bben Dnunoitferierball zwei halb roth, halb \nwein\u00ab gemalte, wie es scheint. mit Auge und Mund\u00f6fTuimg verliehene Federn (? oder Papierstroifuii?) zeigt. \nBei den Figuren unserer Handschrift ixt der Kopfputz verschieden, Ueberall liegt auf dum Scheitel oiu \niuitemalli. \u00ablensen Hextandtheile bei \u00ablen verschiedenen Figuren aber v\u00ab*niohiedenartig sind. Auf der Brust \ntragen \u00abUe Figuren de\u00ab Codex Borgia \u00bb\u00fcmmtlich den wuissen King ( anauatl ) des Hotte\u00bb Tesca\u00fcipoca , \u00ablas \nAhbild de\u00bb Auge\u00ab. Und so auch verschiedene, aber nicht alle Figuren unserer Handschrift. Die Figuren \ndes Codex Borgia halten in \u00ablor einen Hand einen Kopalb\u00abmtel, in der audereu die Opfer- und Kustuiung\u00bb- \nwerk zeuge, ein schwarze\u00bb Obsidianmesser, Knochendolch und Agaveblattapitze. Die Figuren unserer Hand- \nschrift haben, gleich den LiuaUte\u00f6, in der einen Hand oiu B\u00fcsche! tnalinaUi-ii ras (einen Besen), in \u00abler \nanderen Hand die Opfer- und Kasteiungswerkzeuge, ein Opfermesser au\u00bb Feuerstein, Knochendolch und \nAguvebluttspitzc. Vor den Figuren des Codex Borgia endlich stellt am Boden ein weisso\u00ab Feuer- oder \nIt\u00fcuchergeffts\u00bb, der Art, die ich oben S. 30 in Abi\u00bb. 80a \u2014 o wiedergegeben habe, mit Kopal oder Kautschuk, \naus dem schwarzer Hauch in dio Hohe steigt und in den Muud der Figuren \u00dcbergeht. Diese K\u00e4uchor- \ngef\u00fcsse fehlen den Figuren unserer Handschrift. \n\nDor ersten Figur kommt dor Name i/aeuii cuftepatm \u201eF\u00fcnf Eidechse* zu. Sie m\u00fcsste innerhalb \ndieser Reihe s\u00fcdlicher G\u00f6tter die Region des Ostens bezeichnen Der Gott ist im Codex Borgia als \nschwarzer, in unserer Handschrift als halb schwarzer, halb weither Gott gezeichnet. Er hat in uuserer \nHandschrift den Kopf mit einem weissen Tuche bedeckt, und dar\u00fcber liegt ein iuiUmalli, dessen Eudbusch \naus Quetzalfedcrn besteht. Auf der Brust tr\u00fcgt er \u00ablas Auge, den weissen Ring TtzcatUpoca' s. Im Codox \nBorgia sieht man neben ihm die Abzeichen des Kri\u00ab*ges, Scliihl, Speerb\u00fcndel und Huudfahue gezeichnet und \nau\u00bb dem R\u00fcuchergeflla\u00ab vor ihm geht, neben schwarzem Rauch. Blut in den Muud des Gottes \u00fcber. Ein \ndurch \u00ablie Hieroglyphe Macv\u00fc cuetzpalin \u201eF\u00fcnf Eidechse* charnkterisirter Gott ist in dem Sahagun- Manuskript \nder Biblioteca dol Palaci\u00ab\u00bb in Madri\u00ab! (Abh. . r >55, S. 308) als eine der beiden Figuren gozeichnet, \u00ablie auf \n\u00abler H\u00f6he des grossen Tempels in Mexico am En\u00able der Treppenwangen standen, in deren H\u00e4nde man \ndie Staugen der Banner steckte, diu man aufptlunzt\u00ab*. wenu ein Fest gefeiert werden sollte. \n\nDie zweite Figur f\u00fchrt \u00ablen Namen Maruil eozeaquauhtti \u201eF\u00fcnf Geier\u201c. Sie m\u00fcsste innerhalb dieser \nReihe der G\u00f6tter des S\u00fcden\u00ab, die Himmelsrichtung de\u00bb Nonien\u00bb rupr\u00e4sontiruu. Im Co\u00ab!ex Borgia ist hier, \nwie an der entsprechenden Stelle in d\u00ab*r Reibe der weiblichen Gottheiten, ein blauer Gott gezeichnet, \nund ein Beil und ein zerbrochener Knocheudolch sind vor ihm augegehen. \u2014 Die Figur unserer Hand- \nschrift hat etwa das Ansch\u00ab*n eine\u00bb Sonnen- und Feuergotto\u00bb, oder eine\u00bb rothen Tezcatlipoea. Es ist der \neinzige unter den f\u00fcnf G\u00f6ttern dieser Reihe, der, statt eine\u00bb StuinmusHerb\u00fcnduls, eine Hund am Munde \nhat. Allerdings uicbt die wei&xe Zeichnung einer Hand, wie \u00ablie Codex Borgia-Figuren, sondern anscheinend \neine richtige Menschenhand, die in derselben Weise vor \u00ablern Mund\u00ab\u00ab liegt, wie die Haml des mensch- \nlichen Unterarms, den \u00abler \u00ablen Gott Xipe vertretende rot he ( Tla\u00dcauhqut) TezcatlijHKa, \u00abler Regent \u00ables \nf\u00fcnfzehnten Tageszeichens (vgl. Abh. 380. oben S. 174) sich vor den Mund hiUt Der Gott ist, wie schon \ng\u00ab\u00absagt, roth gemalt, mit feuerfarbenem Haar, \u00ablas von einem mit E\u00ablel\u00bbtein\u00abcheiben besetzten Riemen, mit \ndem \u00fcblichen stylisirtc\u00bb Yogelkopf an der Stirnseite umwunden wird. Auf \u00ablern Scheitel liegt oiu Feder- \nbusch aus rothen Federn. Als BrusUchmuck tr\u00fcgt dieser G\u00ab\u00bbtt ein Steiniuosser, und am Oberarm einen \ngrossen, in bltiuer (T\u00fcrkis-)farbe gemalten Kingxchmuck (machoncotl). \n\nDer dritte Gott, der in dieser Reihe der G\u00f6tter des S\u00fcdens \u00ablie Himmelsrichtung \u00ables Westen\u00ab \nreprftsentiren muss, f\u00fchrt den Namen Alacuil toc/illi \u201eF\u00fcnf Kaninchen*. Er ist in beiden Handschriften \nmit gelber Farbe gemalt. Um nun innerhalb \u00abl\u00ab*r gelben Farbe \u00ablas rechteckig begrenzte gelbe Feld \nunterscheiden zu k\u00f6nnen, dos, \u2014 ein s\u00ab\u00abhr kennzeichnendes Merkmal f\u00fcr diu s\u00fcmmtliclmn G\u00f6tter dieser \nReihe \u2014 in der Umgebung de\u00bb Aug\u00ab*s zu sehen ist, hat der Zeichner \u00ables Codex Borgia \u00ablen Gott mit \ni*twn\u00bb ti\u00ab*ferer gelber, fast br\u00e4unlicher Farbe gemalt, unsere Handschrift aber hat umgekehrt nun dieses \neigentlich gtdbu Feld mit oca \n\nI) aus dem K\u00f6niglichen Mum-tun filr V\u00f6lkerkunde. Kd. I. Heit I. Berlin ll*W. K. Jlil. \n\n\nDigitized by Google \n\n\n\n312 \n\n\nB. R\u00fcckseite. \n\n\nund auch der alten Fouerg\u00f6ttin Chartfico siebt. Es liegen hier wohl dieselben Vorstellungen vor, wie bei \ndem grflnen Gotte, dem Maisgottc des (nutex Borgia. \n\n\nTn unserer Handschrift beschr\u00e4nken sich die Darstellungen dieses Abschnittes auf die beiden Reiben \nder ('iuateteo und dor G\u00f6tter der Macnil xocAitf- Reihe. Auf den entsprechenden Bl\u00e4ttern (47 und 43 = \nKingsbor ough fi8, t'\u00bb7) des Codex Borgia aber ist \u2014 abgesehen von den beiden dunkelon Feldern, die vor \n\n\n\nAbb. -VjG. atl-fJaehinoW, Wasser (Speer* \nweifen) und Feuer. die metaphoHaehe \nBcxtnrlinung de\u00bb Kriege\u00bb. \n\nBet der Tla^olt*otl de** Osten\u00bb. \nCodex Borgia 47 ( Kingsbnrongli WK \n\n\n\nAbb. 6OT. hcpfiU .!'euer*teinme*w\u00abr\u201c, \n>hilKli liMi. \n\n\n\nA lib.-iVl. f'inttoti, die Midsg\u00f6ttin \nund ati ,Wm\u00bbw\" U'citoyvti \n\u201eAnnnUl\u201c, HanamUiUisiH ^ Ver- \nkauf ln die Sklaverei\" und \ntfao*niqttisHi \u201eTod ini Kriege\u201c). \nBel der ErdgOUin de* Westens. \nCodes Borgia IH \n(- KingHbnrough <17). \n\n\n\nAbb. .V\u00ab. tamatiuh. die Sonne. \n\n*itU \u201eBlut - *, tlammiritliztli \n. Menschenopfer* . Bei *ler Enl- \nitAtlin de\u00bb SUden\u00bb \n\nCodex Unrein 18 \n(t Klngsborough ti7i. \n\n\n\nAbb. .\u2018a\u00fct. l>i\u00ab herahkommende \nt'ledeniiliUH|,?t. Bei der Stapauri, \nder ClOttin der Agare-Pflanx*, \nder Krdg\u00f6ttin der Mitte oder \nder Richtung nach unten. \n\nCodex Borgia IS \nKingsborough 07). \n\n\n\u2022Ion Reihen dor tiuaUtt\u00bb und der G\u00f6tter der A/dcuiirocAtW-Reiho noch angeftlgt sind \u2014 noch eine dritte \nunterste Reihe von Figuren vorhanden, die wir kurzweg ul\u00bb die f\u00fcnf Formen der G\u00f6ttin der Erde \nbezeichnen k\u00f6nnen. \u2014 Es sind fflnf Frauenfiguren, die die schwarze Kautachukbemalung (tnotoiof-* \ncopinticac) der G\u00f6ttin Tlafoltcotl um den Mund h\u00fcben, den goldenen Niuseuhalbmond (yacamxtetli) derselben \nG\u00f6ttin, ihre Kopfbindo aus ungc*ponnetier Baumwolle ( ichcaxochitf) und den Ohrpflork nui\u00bb gleichem Material, \nsowie den Busch gelber Federn {foyatcmaUi) nm Nacken tragen, damit aber das wirr\u00ab*, dunkele Haar de\u00bb \n\n\nDigitized by Google \n\n\n22. Die f\u00fcnf Gattinnen de* WMiona und die f\u00fcnf Gatter dea S\u00fcden*. \n\n\n313 \n\n\nTodesgottes und oine Art K\u00f6pfte auf dem Scheitel verbinden und in \u00c4hnlicher Weise wie die C'iuateU<> \nund wie die (\u00ab\u00f6fter der Macuil .rochitl- Reihe in der Farbe \u00bbich unterscheiden. Die orsto aber ist hier gelb \n(und roth gestreift) gemalt, denn das ist die der Erdg\u00f6ttin eigent\u00fcmlich zukominendo Farbe. Dioae erste \nFigur ist ausserdem, als die eigentliche G\u00f6ttin der Erde, durch die Zeichnung einer schwarzen Fussspur \nauf der Backe gekennzeichnet. Die folgenden drei sind dann, gleich dou entsprechenden Figuren der \nbeiden oberen Reihen, blau, gelb, roth; die letzte aber, wieder abweichend, weise und mit Daunen- \nfedern beklebt. \n\nDie erste G\u00f6ttin, die dem Osten entsprechen muss, ist mit dem Datum Chicunaui acatl \u201eNeun \nRohr\u201c bezeichnet. Dos ist ein Tag, der in der Timt im Sahagun (Buch 4, cap. 30) als der der G\u00f6ttin \nTlafoUto\u00dc geweihte Tag angegeben wird, and unter dessen Namen die G\u00f6ttin Tlafolteotl auch auf der \nR\u00fcckseite des Codex Bologna abgebildet wird 1 ). Diese erste Form der Erdg\u00f6ttin ist auf dem Gew\u00e4nde und \nan verschiedenen anderen Stellen ihre\u00ab K\u00f6rpers ganz und gar mit Pfeilspitzen gamirt. Sie h\u00e4lt in der \neinen Hand einen Busch malinalli-Ctras (einen Besen), in der anderen ein B\u00fcndel Speero und die eigen- \nth\u00fcmliohe, aus einem Schwertfischschworto, wie es scheint, gefertigte Stichwaffe. Neben ihr ist ein \nbrennendes Haus und die nackte Figur der Wasserg\u00f6ttin im Wasser angegeben (Abb. 556). I)aa ist \nwiedornm oine andere und h\u00f6chst interessante Form der Hieroglyphe atl-tlachinolli \u201eWasser (Spoerwerfon) \nund Brand\u201c, der metaphorischen Bezeichnung de\u00ab Krieges. \n\nDie zweite, die blauo G\u00f6ttin, die dem Norden entsprechen muss, ist mit dem Datum Nenn teepatl \n\u201evior Foucrsteinmesser\u201c bezeichnet, das wenn man will, auch mit \u201elauter Fenereteinmesaer\u201c \u00fcbersetzt \nworden mag. Ihr Gewand ist ganz und gar mit Feuersteinmessem gemustert und verziert. Neben \nihr sind ein Foueretoinmcaser als der untere, am Boden liegende Theil eine\u00bb Feuerbohrers, ein Pfeil \nund daB mit einer schwarzen Maske am Knie garnirte Hein MircoualT^ des Gottes dos Norden\u00ab, der \nChichimeken und der Jagd, angegeben (Abb. 557). \n\nDie dritte, dio gelbe G\u00f6ttin, die den Westen reprilsentiren muss, ist mit dem Datum Chiquacm \nacatl \u201eSechs Rohr\u201c bezeichnet. Ihr Gewand ist ganz und gar mit Knochen gemustert. Neben ihr ist \ndie Maisg\u00f6ttin zwischen zwei Mnispflanzcn im Wasser zu sehen. Dar\u00fcber ein Beil, ein gebundener Ge- \nfangener und ein Pfeil (Abb. 558). Der Westen uls die Region des Wassers und Heimath dos Maises \nist durch das cretere deutlich veranschaulicht- Dio anderen drei Bilder dar\u00fcber, das Boil, deT gebundene \nGefangene, der Pfeil, k\u00f6nnten die drei Dinge besagen \u00abollen, die dem Mexikaner mit der Vorstellung des \nWassers als des fl\u00fcssigen, beweglichen Elementes, untrennbar verbunden waren \u2014 icnoyotl (Aminth), tiana~ \nmir tili ztli (Verkauf in die Sklaverei), yarnniquiztli (Tod im Kriege)*). \n\nDio vierto, die rothe G\u00f6ttin, moss den S\u00fcden bezeichnen. Sic ist mit dem Datum Chicuci acatl \n\u201eAcht Rohr\u201c bezeichnet, einem Tage, der im Codex Bologna und im Codex !*aud als Name der Mond- \ng\u00f6ttin vorzukommen scheint*). Das Gewand dieser G\u00f6ttin weist ebenfalls (neben Naaenhalbmonden) \nKnochen als Verzierung auf. Neben ihr sind die Sonne und Blut und ein vom Pfeil durchbohrtes Herz, \noine Schatzkiste, ein abgerissener menschlicher Kopf und ein Priester, der sich mit dem Opfermesser die \nBrust aufschneidet abgebildet (Abb. 559). Alles Symbole, die dipse Himmelsrichtung, die Gegend de\u00ab \nS\u00fcdens, als eine Region de\u00ab Opfers kennzeichnen. \n\nDie f\u00fcnfte G\u00f6ttin, die weisso G\u00f6ttin, dio die untere Region bezeichnen muss, scheint mit dem \nDatum Cf quauhtli \u201eeinB Adler\u201c bezeichnet zu sein. Es ist Mayauel , die G\u00f6ttin der Agave-Pflanze, hier \nauch im Gesichte \u00c4hnlich gemalt, wie z. B. dio i Mayauel, die vierte der vier H\u00fcter der ersten (auch die \nMitte oder die untere Region bezeichnenden) Venusperiode auf Blatt IG (\u00ab= Kingsborough 23) deB Codex \nBorgia (vgl. Abb. 409, oben S. 1%). Gegenw\u00e4rtig ist der untere Theil dieses Faches fast vollst\u00e4ndig ab- \ngerieben. Der Zeichner K ingsborougb's scheint noch mehr gesehen zu haben. Er zeichnet hier unter \nder G\u00f6ttin ein sonderbares Thier (Abb. 560), da\u00ab anscheinend von oben hernbgeflogcn kommt und das in \ndem schwanzartigen Anh\u00e4ngsel dem FledermauRgotte des Blattes 49 (= Kingsborough 66) des Codex \nBorgia (Abb. 314, 8.113) gleicht. \n\n1) Siehe meine Erl\u00e4uterungen zum Codex Fej6rv\u00c4ry-Mayer. Berlin 1901. 8. SS. \n\n2) VgL meine Erl\u00e4uterungen zum Tonalamntl der Aubin\u2019when Sammlung. Berlin l(B*i \n\n8) Codex Fe j\u00f6rvAry- Mayer. Berlin 1901. S. .V2, 85, 80 \n\n\u00bbMer 0\u00bbil\u00abX VoUMiniia Kr. S77B. \n\n\n\nDigitized by Google \n\n\n\n814 \n\n\nB. Rflcbdit\u00ab. \n\n\nDiese Reihe der f\u00fcnf Formen der Krdg\u00dfttin war mir, abgegeben von dem Interesse, da\u00bb ihr an sich \ninnewohnt, auch dadurch wichtig, dass sie mir beweist, dass ich oben in dem eil Aon Abschnitt, der die \nviermal f\u00fcnf H\u00fcter der Vomisperioden behandelte, die Venusperioden richtig anf die Himmelsrichtungen \nbezogen habe. Denn auch dort fanden wir, das\u00bb Mayauel (dort zuerst stehend) f\u00fcr die Mitto oder die \nuntere Region, die echt 7 'lafolteotl (die dort nn zweiter Stelle steht) f\u00fcr die Region des Ostens be- \nzeichnend war. \n\n\n23. Die dreizehnmai f\u00fcnf Venusperioden. \n\nBlatt 80 \u2014 84 (= Kingaborougb 17 \u2014 13). \n\nDie hier folgenden f\u00fcnf Bl\u00e4tter unserer Handschrift, sowie die ^sprechenden des Codex Borgia \n(53, unten links, und 54 = Kingaborougb 62, 61) und des Codex Bologna (W\u2014 11) enthalten die wichtigen \nDarstellungen, aus denen, wie ich das seiner Zoit zuerst nachgewiesen habe*), auf das deutlichste hervor- \ngeht, nicht nur dass den Verfassern dieser Bilderschriften, die zweifellos mexikanisch rodenden St\u00e4mmen \nangeh\u00f6rten, die Venusperiode, der synodischo Umlauf des Planeten Venus, die Zeit, die von einer Kon- \njunktion dieses Gestirns bis zur gleichnamigen n\u00e4chsten verdienst, ebenso gut bekannt war, wie den \nSchreibern dur Dresdener Maya- Handschrift, sondern auch, dass dio besonderen abergl\u00e4ubischen Vor- \nstellungen, die jene alten St\u00e4mme mit diesem Gestirn verkn\u00fcpften, bei den Mexikanern, wie den Maya- \nSt\u00e4nunen, im Wesentlichen die gleichen waren. \n\nAus der gegebenen Gr\u00f6sse der synodischen Umlaufszeit des Planeten Venus, die im Mittel 583 Tage \n22 Stunden 6 Minuten 40 Sekunden betr\u00e4gt, aber vou jenen alten Golebrten etwas ungenau zu 584 Tagen \nangenommen wurde, ergab sich, da 584 \u2014 29 X 20 -f- 4 ist, und die 4 in der 20, und zwar f\u00fcnfmal, aufgeht, \ndass von den zwanzig Zeichen, die die Mexikaner zur Boucnnung der oinandor folgenden Tage verwendeten, \nnur f\u00fcnf auf die Anfangslage dieser zu 584 Tagen angenommenen Perioden fielen. Wenn, beispielsweise, \ndie erste Periode mit dem ersten Zeichen cipactli .Krokodil\" beginnt, so m\u00fcsste die zweite mit dem f\u00fcnften \nZeichen couatl .Schlange\", die dritte mit dem neunten Zeichen atl .Wasser\u201c, die vierte mit dem dreizehnten \nZeichen aeatl .Rohr\", die f\u00fcnfte mit dem siebzehnten Zeichen otin \u201eBewegung\" beginnen, und der Anfangs- \ntag der \u00abochsten w\u00fcrde wieder mit dem Zeichen cipac\u00fci zusnmmonfallen. Da ferner 584 = 44 X 18 -f- 12 ist, \nund die 12 in der 13 nicht aufgeht, so musste auf jede folgende Periode immer eine um eine Einheit \nvorminderte Zahl fallen und erst nach dem Ablauf von dreizehn Perioden konnte es Vorkommen, dass \nder Anfangstag einer Periode wieder dieselbe Zahl in seinem Namen enthielt, wie der einer der vorher- \ngehenden Perioden. Und aus diesen beiden Thatsachen folgte die weitere, dass erst 5 X 13 Perioden \nvergehen mussten, ehe der Fall wieder eintrat, dass der Anfangstag einer Periode mit demselben Zuichon \nund derselben Ziffer benannt wurde, wie der einer der vorhergehenden Perioden. So waren also durch \nden Umstand, dass die Mexikaner ihre Tage mittels einer Kombination von 13 Zahlen und 20 Zeichen \nbenannten, und durch die f\u00fcr den Umlauf der Venus beobachtete Zoit vou 584 Tagen, ganz vou selbst \nzwei kleinere Zyklen von f\u00fcnf und von dreizehn Perioden und ein gr\u00f6sserer Zyklus von 5 x 18 Perioden \ngegeben. Der erste, der Zyklus von f\u00fcnf Perioden, umfasste die m\u00f6glichen Variationen des Anfangs- \nzeichens. Er verglich sich also so der Einheit vou vier Jahren, f\u00fcr die das Gleiche zutraf, und die dem- \nnach auch, wie wir oben gesehen haben, io dem Loben und dem Kultus der Mexikaner und Mittelamerikaner \neine besondere Rollo spielte. Der Zyklus von dreizehn Perioden besass die Eigent\u00fcmlichkeit, dass in \nihm die Anfangstilge der Perioden lauter verschiedene Zahlen in ihrem Namen hatten. Er verglich sich \n\n\n1) \u201eDie Venuspcriod\u00ab* in \u00ablen Bilderschriften der Codex Borgia-Gruppe*. Verhandlungen der Berliner Anthro- \npologischen Gesellschaft, 16. Juli ItfJS [Zeitschrift f\u00f6r Ethnologie XXX, S. (WO)\u2014 (383)]. Vgl. Gewimmelt\u00ab Abhandlungen \njtur amerikanischen Sprach- und Altert huniskundc. Berlin (A. Aehcr & Co.) 11KJQ. Band f. S. 618\u2014 G67. \n\n\nDigitized by Google \n\n\n<& Die druuohiunal f\u00fcnf Tnnqwriodtn, 315 \n\ndem, was diu \u00e4lteren Arch\u00e4ologen eine Indiktion nannten, der Zahl von dreizehn Jahren, f\u00fcr die ebenfalls \nda\u00ab Gleiche zutraf. Don grossen Zeitraum von 5 X 13 Venuaporiodon endlich \u00bbman man dom bekannten \nZyklus von 4 X 18 oder 52 Jahren an die Beite stellen. Denn auch f\u00fcr diesen galt es, dass erst nach \nseinem Ablauf es wieder eintrat, dass der Anfangstag eines Jahres dasselbe Zeichen und dieselbe Zahl \nerhielt, wie der eines vorhergehenden. \u2014 Die Anfangslage der Perioden jenes grossen Zyklus wflrdon \ndarnach, wenn man als Anfangstag der ersten Venuapcriode den Aufaugstag des Tonalatnatf s setzt, sich \nin folgender Weise ordnen: \n\nDie 13 x 5 Venusperiodan. Tabelle I. (Wirkliche Folge.) \n\n\n1. \n\n9. \n\n4. \n\n12. \n\n7. \n\n2. \n\n10. \n\n5. \n\n13. \n\n8. \n\n3. \n\n11. \n\n6. ripactli \n\nIS. \n\n8. \n\n3. \n\n11. \n\n6. \n\n1. \n\n9. \n\n4. \n\n12. \n\n7. \n\n2. \n\n10. \n\n5. couatl \n\n12. \n\n7. \n\n2. \n\n10. \n\n5. \n\n13. \n\n8. \n\n3. \n\n11. \n\n6 . \n\n1. \n\n9. \n\n4. ad \n\n11. \n\n6. \n\n1. \n\n9. \n\n4. \n\n12. \n\n7. \n\n2. \n\n10. \n\n5. \n\n13. \n\n8. \n\n3. acatl \n\n10. \n\n5. \n\n13. \n\n8. \n\n3. \n\n11. \n\n6. \n\n1. \n\n9. \n\n4. \n\n12. \n\n7. \n\n2. olin \n\n\nwobei angenommen ist, dass zuerst von oben nach unten und dann von links nach rocht\u00ab gelesen wird. \n\nDie hier in den f\u00fcnf Quorreihon mit Zahl und Zoicheu genannten Anfangstage der Venusperioden, \nd. h. die Anfatigstage der Perioden, die immer uni f\u00fcnf Perioden von einander abstehuu, diu also immer \ndasselbe Zeichen in ihrom Namen enthalten, die sind es nun, die man auf den Bl\u00e4ttern 84> \u2014 8-4 unserer \nHandschrift und an den entsprechenden Stellen der anderen beiden Handschriften mit Zahl und Zeichen \naufgef\u00fchrt sieht. Nur ist dio Ordnung, in der sie dort genannt sind, nicht die der obigen Liste, die \nder wirklichen Folge der Perioden entspricht. Schreibt man in \u00e4hnlicher Weise, wie vorhin, diese auf \nden Pl\u00e4ttern 80\u201484 angef\u00fchrten Anf\u00e4nge dor Venusperiodeii in Querreihen aus, so ergibt sich vielmehr \nfolgende Ordnung: \n\n\nDie 13 X 5 Venusperioden. Tabelle II. (Schematische Aufz\u00e4hlung.) \n\n\n(Blatt 80) \n\n\u2014 \n\n1 . \n\n8. \n\n2. \n\n9. \n\n3. \n\n10. \n\n4. \n\n11. \n\n5. \n\n12. \n\n6. \n\n13. \n\n7. ripactli \n\n( . \n\n81) \n\n\u2014 \n\n5. \n\n12. \n\n6. \n\n13. \n\n7. \n\n1. \n\n8. \n\n2. \n\n9. \n\n3. \n\n10 . \n\n4. \n\n11. couatl \n\n( . \n\n82) \n\n\u2014 \n\n9. \n\n3. \n\n10. \n\n4. \n\n11. \n\n5. \n\n12. \n\n6. \n\n13. \n\n7. \n\n1* \n\n8. \n\n2. a\u00fc \n\n( , \n\n88) \n\n\u2014 \n\n13. \n\n7. \n\n1. \n\n8. \n\n2. \n\n\u00bb. \n\n3 . \n\n10. \n\n4. \n\n11. \n\n5. \n\n12. \n\n6. acatl \n\n( , \n\n84) \n\n\u2014 \n\n4. \n\n11. \n\n5. \n\n12. \n\n6. \n\n13. \n\n7. \n\n1 . \n\n8. \n\n2. \n\n9. \n\n8. \n\n10. olin \n\n\nd. h. man hat in mehr schematischer Weise, wie die Tage jeder Querreihe in dem Tonalamatl hinter \neinander zu stehen kommen w\u00fcrden, diese einander folgen lassen. \n\nSo sieht man da\u00bb sowohl in unserer Handschrift, wio auf den entsprechenden Bl\u00e4ttern des Codex \nllorgio. In noch schematischerer Weise, noch mehr bloss andeutungsweise, ist man im Codox Bologna \nVorfahren. Dort sind die Tageszeichen vom ersten bis zwanzigsten abgobildot und mit den Ziffern, die \nden ersten zwanzig Tagen des Tonalamatr s entsprechen. Aber die f\u00fcnf Zeichen ripactli , couatl, all , acatl, \nolin fallen aus der Reihe heraus, indem sie nicht mit den ihnen in der Reihe zukonimenden Ziffern, \nsondern mit einer grossen Eins abgebildet sind. \u2014 Man sieht, wie sehr in dieser Beziehung diese \nmexikanischen Bilderschriften von den Maya-llaudschriften abweichen. In den Maya-Handschriften huh- \ngef\u00fchrte Rechnungen, peinliche Genauigkeit in der Fixirung sowohl der Daten, wie ihrer Abst\u00e4nde. Hier \nin den mexikanischen Schriften nur eine Andeutung der wirklichen Arithmetik und jegliche Arithmetik \n\u00fcberhaupt den Bildern gegen\u00fcber zur\u00fccktretend. Man hat den Eindruck, dass die mexikanischen Bilder- \nschriften Bekanntes den Wissenden in Erinnerung hringen, die Maya-Handschriften Kenntnisse festhalten \noder \u00fcbermitteln. \n\nIn diesem besonderen Falle war \u00fcbrigens, znm mindesten in unserer Handschrift, daf\u00fcr gesorgt, \ndass der Beschauer \u00dcber das Verh\u00e4ltnis\u00ab der schematischen Aufz\u00e4hlung zu der wirklichen Folge orientirt \nsein konnte. Wir sehen auf allen f\u00fcnf Bl\u00e4ttern zun\u00e4chst \u2014 und so auch an den entsprechenden Stollen \ndos Codox Borgia \u2014 thoils am oberen, thoil\u00bb am unteren Rande dor Felder drei Tageszeicbon angegeben, \ndie den Abstand des Anfangszeichens der einen Venusperiode bis zu dem der n\u00e4chstfolgenden anzeigen, \n\n40 * \n\n\nDigitized by Google \n\n\n\n31\u00ab \n\n\nR. R\u00fcckseite \n\n\nvon jenem zu diesem Imi\u00f6berlciten. Ausserdem sieht man in nuserer Handschrift auf jedem der f\u00fcnf \nBl\u00e4tter oben link\u00bb f\u00fcnf dicht nebeneinander gezeichnete, aus einer Scheibe, einem Trapez und einer Art \nSchlougeiizunge bestehende Gebilde, die auf den erston beiden Bl\u00e4ttern blau, auf dem dritten gelb, auf \ndom vierten blau und auf dem f\u00fcnften wieder gelb gemalt sind. Diese Gebilde, die etwas an die Art \nerinnern, wie in den historischen mexikanischen Bilderschriften die Jahre durch T\u00fcrkisscheiben und Aus- \nstrahlungen nach oben wiedergegeben werden, k\u00f6nnen kaum etwas auderes als f\u00fcnf Perioden bezeichnen, \nund m\u00fcssen, so meine ich, Puriodon sein, die, gleich den drei Tageszeichen, einen Abstand angehen. \nEs sind, das ist mir zweifellos, die f\u00fcnf Perioden, die iu Wirklichkeit zwischen den Perioden \nliegen, deren Anf\u00e4nge in der schematischen Aufz\u00e4hlung dieser Bl\u00e4tter einander folgen. In \nder That, es folgt z. 11. auf Blatt 80 auf den Tag 1 cipactli, den Anfangstag der ersten Vonusperiode, der \nT\u00bb\u00ab 8 cipactli , und das ist, wie ein Blick auf die Tabelle I lehrt, der Anfangstag der sechsten auf die \nerste folgenden, d. h. einer von ihr durch f\u00fcnf Perioden getrennten Periode. \n\nWenn es nun in der That zweifellos ist, das\u00ab \nauf diesen f\u00fcnf Bl\u00e4ttern die Aufaugstago der 13x5 \nVenusperioden in korrekter, f\u00fcr den Wissenden \nTollst\u00e4ndig verst\u00e4ndlicher Weise niedergeschriebeu \nsind, so ergibt sich weiter aus dieser Niederschrift, \nwie auch in gleicher Weise aus dun anderen Stellen \nunserer Handschriften, an denen Anfangstage von \nVenusperioden genannt sind, dass im Gegensatz \nzu den Jahren, deren Anfangstage, wie wir go- \nseheu haben (vgl. oben 8. *279, 280), zu keiner Zeit \nauf den 7bno&tmar{-Anfang fallen, die Venus- \nperioden von dem Anfang des TonalamatCa aus \ngez\u00e4hlt worden. Richtiger muss man das wohl \nausdr\u00fccken, dass man die Z\u00e4hlung der Tage dos \nTonalamatV s mit den Vennsperioden in Ueber- \neinstimmung gebracht hat. Denn die Veuus- \nperioden sind gegebene Zeiten, der Anfang des \nTonalamatV s ist zu irgend einer Zeit einmal \nwillk\u00fcrlich festgesetzt worden. Der Tag, wo \ndas Gestirn am Himmel die Stellung einnahm, \ndie man als den Anfangspunkt seiner Laufbahu \nbetrachtete, der ist zu irgend einer Zeit einmal \nals der erste Tag des TonalamatV* gew\u00e4hlt worden. \nDie verwandtschaftliche Beziehung des TonalamatT a zu der Venusperiode, auf die ich im Anf\u00e4nge des \nersten Kapitels dieses Buches schon aufmerksam gemacht habe, springt auch hier in die Augen. \n\nAuf den f\u00fcnf Bl\u00e4ttern unserer Handschrift, auf denen also in der oben n\u00e4her bezeichneten Weise \ndio 13x5 Perioden der Venns verzeichnet sind, sehen wir, f\u00fcnfmal wiederholt, Tlauizcalpantecutli , dio Gottheit \ndes Plaueten Venus, in seiner Perm als Abeudstern dargestellt (Abh. 561), d. h. in der Gestalt, in der wir \nihn oben schon als zweiten der vier H\u00fcter der vierten Venusperiodu (vgl. Abb. 424, 425 oben 8. 203) au- \ngetroffen haben, mit dem Quincunx weisser Flecke \u00bbder Scheiben auf dein dunklen Grunde des Gesichts, der \ndie Hieroglyphe des Planeten Venus darstullt (vgl. Abb. 399 \u2014 402 oben 8. 193). Der Gott ist auf diesen \nBl\u00e4ttern unserer Handschrift als halb weisser, halb schwarzer Gott abgebildet, d. h. der Leib, die Oberarme \nund die Knio sind schwarz, die Uuterarme aber, sowie dio Ober- und die Unterschenkel sind woiss und \nmit feinen, gelben L\u00e4ugslinien versehen. Das ist ein \u00e4hnlicher Parbenunterschied, wie er auch f\u00fcr \ndie Bilder UiuHopochUt s angegeben wird, uud euggerirt einem die Vorstellung, die \u00fcbrigens auch sonst \nnaho liegt, dass dieser gef\u00fcrchtete Gott der Mexikaner in irgend einem verwandtschaftlichen Verh\u00e4ltnisse \nmit dem Gotte des Morgen- und des Abeudsternes stellt. Auf dem mit dem Quincunx weisser Flecke \ngezeichneten, duuklen Gesichte ist hei den Figuren dieser Bl\u00e4tter unserer Handschrift noch unter dem \n\n\n\nAbb. Mt!. TIauizeatpaH treutli, die Gottheit des Abendstems. \nCodex Vsticanus R 80 (- King&borouKh 17). \n\n\nDigitized by Google \n\n\n$1. Die drcixehnnnd f\u00fcnf Venusperioden. \n\n\n317 \n\n\nAuge oio der blauen Lippcnschlnngc TUtloce \u00e4hnliches, abor mit gelber Farbe gemaltes Gebilde zu sehen, \ndas in der Mitte des Gesichtes \u00fcber der Naseuwurzel sich xu verschlingen scheint und dort mit einer Art \nQuaste versehen ist. Dios Gebilde, das ich bei anderen Figuren dieser Handschriften noch nicht gefunden \nhabe, erinnert io auffallender Weise un einen Typus, der in Skulpturen und Bitdworkuu der Maya-Kegion \nhervortritt (vgl. Abk. 562-564) und vormuthlich eine bestimmte Gottheit bezeichnet, die der des Abend* \nsterns nicht sehr fern stehen wird'). Wie andere Bilder der Gottheit de\u00ab Abendsterns, ist die Figur \nunserer Bl\u00e4tter 80\u201434 mit feuerfarbenom Haare dargestellt, das \u00fcber der Stirn in drei Locken aufz\u00fcngelt, \nund das von einem Kiemen umwunden ist, dem, statt der (gr\u00fcnen oder hlauon) Kdelsteinscheiben, weisse \n(aus Muschelschale geschliffene) Scheiben aufgusetzt sind. Ueber dom Haar tr\u00e4gt er einen Schmuck aus \nschwarzen, mit woiseor Endepitze versehenen Federn, der hier augenscheinlich kammartig (als \n\n\n\nvon Tikai. Abt\u00bb. 661 Skiilpirtor \u00bbStein aus dein Huhlntmu I \n\n(Nach einer vtm Herrn Dr. F. .Sammln dor Pyruniiik* !V7 des /VW\u00ab nrjo Qven Santo. */\u00ab nat\u00fcrlicher (_\u00ab rOsaui. \n\nangefe r\u00fcgten Photographie i. Sammlung Sei er. K\u00f6nig). Museum f\u00fcr V\u00f6lkerkunde, Berlin. \n\n\nein paizactU) gedacht ist, und aus dem, gleich Strahlen, drei Adlurfedem umporrugen. Auf der Brust \ntr\u00e4gt er das Auge, den weieaen King ( anauaU ) de* Gotte\u00ab Tezcattipoca. Davor aber oin mit lieraus- \nschieaaenden Augen versehenes Stern* oder Strahlauge, das offenbar hier das Abbild des Gestirns \nselbst sein soll, und da* wir in \u00e4hnlicher Weise noch an \u00ablern Halsknigen des Tlau\u00fcealpantecutli des \nCodex Fcjerv\u00e4ry (vgl. Abb. 426 oben S. 203) gesehen haben. In der einen Hand h\u00e4lt der Gott das \nWurfbrett (atiatl) 7 in der anderen ein B\u00fcndel von drei Speeren (tlacochtii). Denn die Gottheit \ndieses Planeten wurde als schiessende gedacht Und wir habun ja in der That auch schon oben die \nAbbilder der f\u00fcnf Venusperiodon (vgl. Abb. 540, 543, 544\u2014548 obon 8. 286, 287, 289) mit Wurfbrott \nund Speer bewaffnet gefunden. \n\nI) Vgl, Sein, \u201eDie ulten Amdedvlungea von Chscul\u00e4 im Distrikte Non ton dos Departement\u00ab lluohuetonango \nder Republik Guatemala\u201c. Berlin (Dietrich Heuneri 1901, 8. 8S\u00bbff, und 177, 178. \n\n\nDigitized by \n\n\n\n318 \n\n\nB. R\u00fceluscito. \n\n\nDiesen Bildern unserer Handschrift gleichen in dem ganzen Aufbau der Figur die an den ent- \nsprechenden Stellen des Codex Bologna abgebildeten acttiosactidou Gestalten (Abb. 665). Wir sehen \ndas fenerfarbene Haar, das Ober der Stirn in drei Locken aufz\u00fcngolt. Dem Kopfriomun sind die \n\nweissen Scheiben aufgesotzt, die aber hier spitz-eif\u00f6rmige Gestalt haben, lieber dein Haar sieht man \nden grossen, kanunartigen Schmuck aus schwarzen, mit woisser Kndspitzo versehenen Federn. Der Brust- \nschmuck ist ebenfalls der weisse Ring ( anauati ) des Gottes Tezcatlipoca , und der untere Saum des \npelcrinenartigen Halskragens ist auch hier mit langgestielteu Augen zwischen anderen abgestumpften \nGebilden, den Riementen oines Stern- oder Strahlauges, besetzt. Aber von den f\u00fcnf Figuren ist nur \ndio erste mit weissen, rotbgestreiften Gliedern, \u00e4hnlich den Figuren unserer Handschrift, abgebitdet. \nDie anderen sind gr\u00fcn, gelb, braun (was wohl als roth gelten soll) und blau gemalt. Daa Gesicht \nhat nicht die charakteristische Bemalung der Gottheit des Abendatems (den Quincunx weiasor Scheibon \nauf dunklem Grunde), sondern ist ein Totonech&dol, der Blut und ein Herz verschlingt. Und der Gott \nh\u00e4lt das Wurfbrett nicht nur in der Hand, sondern hat einen Speer aufgelegt und holt zum Wurfe aus. \nIn der anderen Hand aber h\u00e4lt er Schild, Handfahne und, mit einem B\u00fcndel Speere zugleich, die Netz- \ntuachu (vtailauacalti) dos J\u00e4gers. \n\n\n\nAbi\u00ab. 865. Tlauisculpan Uemlii, dio Outtboit de\u00ab Abendstems, in der zweiten Periode, den Speer \ngegen ChaleJttuhUinte, die G\u00fcttin des fliessenden Wmmh, schleudernd. Codex Bologna 3. \n\nBoi den f\u00fcnf Figuren des Codex Borgia sind das feuorfnrbene, \u00fcber der Stirn in drei Locken \nuufziingelnde Haar, der Kopfriemen mit den weissen, spitz-eif\u00f6rmigen Besatzst\u00fccken, nnd der Kamm aus \nschwarzen, mit einer weissen Kudspitze versehenen Federn ebenso deutlich. Nur ist dieser Komm hier \nviel k\u00fcrzer, besteht bloss aus f\u00fcnf Federn, dio sich nur \u00fcber den eigentlichen Scheitel ausbroiten. Die \nerste Figur ist auch hier wieder weis\u00bb und rothgestreift, die folgenden blau, roth, gelb (und roth- \ngestreift) und wieder weise (und rothgestreift). Dio erste Figur (Abb. 566) hat, wie die Codex Bologna- \nFiguren, einen Sch\u00e4del als Kopf, aber dieser ist mit der Gesichtsbemalung der Gottheit dus \nAbendsterns, dem Quincunx weisser Scheiben auf dunklem Grunde, bemalt. Die folgenden vier Figuren \nabor tragen \u00fcber dem Gesicht, das mit der der K\u00f6rperfarbe entsprechenden Farbe und dem QuiQcunx \nweisser Scheiben meist noch deutlich ist, oine Mus ko. Und zwar dio zweite Figur die Maske einer \nKnie, dio dritte die eines Hundes, die vierte die eines Kaninchens, und die f\u00fcnfte wieder einen, aber \ndienmal weissen Totensch\u00e4del. Dio Eule als Maske der zweiten Figur und der Totenach\u00e4del als Maske \nder f\u00fcnften beweisen, dass die f\u00fcnf Perioden und ihre Zeichen den Himmelsrichtungen in der Ordnung \nOsten, Norden, Westen, S\u00fcden, unten entsprechen sollen. Auch diese f\u00fcnf Gottheiten des Codex \nBorgia haben schon auf dus Wurfbrett den Speer gelegt und schiessen, in der anderen Hand noch ein \nBpeerb\u00fcndel nnd einen Schild trngond. \n\nIch habe oben schon die Stelle au* den Anales de Quauhtitlau angef\u00fchrt, aus der hervorgeht, \ndass die Gottheit des Planeten Venus als der schiessende Gott, der Strahlensender, betrachtet wurde \u2014 \n\n\nDigitized by Google \n\n\n23. Die dxeuehnmal f\u00fcnf Venosperioden- \n\n\n319 \n\n\nauh yn iuh quimatia \u2014 und wie sie erfuhren (die Alten, die Vorfahron), \nyn \u00fcjuac hualntftiuh \u2014 wenn er erscheint (aufgeht), \n\nyp\u00b0 n tonall* \u2014 je nach dem Zeichen (in dem er aufgeht), \ncfcentlamantin ynpan miyotia \u2014 trifft er verschiedene Klassen von \nLeuten mit eeinon Strahlen, \n\nquin m i7i a quintlahuilia \u2014 schlosst sie, wirft sein Licht auf sio. \u2014 \n\nUnd offenbar bestand Furcht vor diesen Strahlen. Denn man verstopft\u00ab, wie Sahagun angibt '), \nwenu der Morgenstern aufgioug, Schornsteine und Liehtl\u00f6cher, damit nicht mit seinem Lichte irgend ein \nUnheil ins Haus dringe. \u201eBisweilen sah mau ihn aber auch als etwas Gutes an.\u201c \n\nDie cecmtlamantin , dio \u201everschiedenen Klassen von Leuten\u201c, auf die, nach den Anales de Quauhtitlun, \ndieser Planet, je nach dem Zeichen, in dem er aufgeht, sein Licht wirft, die er schiesst mit seinem \nSpeer verwundet dio sind nun auf den Bl\u00e4ttern unserer Handschrift und den entsprechenden Stellen der \nandoreu Handschriften vor dor Gottheit de\u00ab Planeten dargostellt. Sie entsprechen sich genau in den droi \n\n\n\nAbb. \u00abMX. Der Abendstem (Tlaui;tttipaH ItcuUt), in der ersten \nPeriode, den Speer gegen ChalekittkrUttte, die Wseaerg\u00f6ttin, \nschleudernd. \n\nCodex Borgia 6.'$ (_ Kingsborrmgh 63). \n\n\n\nAbb. \u00dc4\u00bb7. ChalchivMime, dio G\u00f6ttin de\u00bb \nnicsM'itden Wassers, vom Speer do\u00bb Planeten \nVenus (in der zweiten Periode) getroffen. \nCodex Vaticanus 1) (Nr, 3773) 31 \nf- Kingsborough 16). \n\n\nBilderschriften. Nur ist dio Reihenfolge, d. h. dio Beziehung zu einem bestimmten der f\u00f6nf Anfangs* \nzoicheti der Vonusperioden, in den drei Handschriften verschieden. Das ist in gewisser Weise merk- \nw\u00fcrdig, da ja diese Darstellungen, sowie die Anfangszeichen der Perioden, offenbar in Beziehung zu dem \nTurnus dor f\u00fcnf Richtungen stehen, und man von vornherein erwarten sollte, dass f\u00fcr eine und dieselbe \nGruppo von Bildern dio Beziehung zu den Himmelsrichtungen in den verschiedenen Quellen in gleicher \nWeise vorgenomraen sein sollte. Die Differenzen, dio hior vorliegen, sind augenscheinlich dadurch bedingt, \ndass die oino Klasse von Gelehrten, und dazu geh\u00f6ren die des Codex Borgia, die Darstellung, die uns \ndie Gottheit der Krde ( Ttzcatlipocu oder den Jaguar) von dom Speer der Gottheit des Planeten getroffen \nzeigt, mit der Himmelsrichtung des Norden\u00bb, der die Region der Erde und dea Totenroichs ist, vor* \nkn\u00f6pfte, w\u00e4hrend die andere Schule, und dazu geh\u00f6ren dio Gelehrten des Codex Bologna und die unserer \nHandschrift, diese Darstellung mit der f\u00fcnften Weltgegend, mit der Richtung nach unten, in Verbindung \nbringen zu m\u00fcssen glaubte. So zeigt uns der Codex Borgia da\u00bb betreffende Bild an zweiter, dio anderen \nbeiden erst an f\u00fcnfter Stelle. Im Uebrigen ist dio Folge der Darstellungen in den droi Handschriften, \nwenigsten\u00bb gruppenweise, dio gleiche. Nur haben in unserer Handschrift dio beiden Glieder des orsLcn \n\n\n1) Nahiigtin 7, rap. 3. \n\n\nDigitized by Google \n\n\n820 \n\n\n11. Rltclmite. \n\n\nund di\u00ab\u00bb binden Glieder des zweiten Paares von Darstellungen im Vergleich zu \u00ab1er Ordnung, die wir im \nCodex Borgia befolgt sehen, ihre Stolle getauscht. Und das Gleiche gilt fflr die Bilder des Codex Bologna, \nwo, wie \u00ablie daueben \u00bbteilenden 7b\u00bba/a>w\u00abt/-Tag\u00ab\u00bb erkennen lrncaen, die Folge der Figuren auf dem ersten \nBlatte von unten nach oben, auf dem zweiten von oben nach outen anzunchnieu ist \u2014 Ich werde in dem \nFolgenden die einzelnen Figuren in der Ordnung besprechen, wie sie im Codex Borgin nufgeftthrt sind. \n\nIn der ersten Abtheilung, die, wie wir oben gesehen haben, dem Osten entsprechen muss, schleudert \nitti Codex Borgia der Gott den Speer gegen ChaUhiuJtdicue , die Wasserg\u00f6tti u (Abb. 566). Diese Dar- \nStellung steht im Codex Bologna (Abb. 5C5) und in unserer Handschrift (Abb. 567) in der zwoiten \nAbtheilung. Die G\u00f6ttin sitzt im Codex Borgin um! im Codex Bologna im Wasser, in unserer Handschrift \nwenigstens \u00fcber einem Wussorstrom. Im Codex Borgia (Abb. 566) ist sie nackt dargestellt aber durch \nden Kranz von weissen Muschelscheiben im Haar und die breiten, kurzen, schwarzen Striche am unteren \nRande dor Bncku als Wasaerg\u00f6ttin gokonnzeichuut. Im Codex Bologna (Abb. 565) ist sie vor einem \nBaume abgebildet der an Beinen Zweigenden die Hieroglyphe chalchtui\u00fc (grflner Edelstein) tr\u00fcgt Sie \nhat auch hior die beiden schwarzen Streifen am unteren Kunde der Backe, tr\u00e4gt eine blaue Nasenplatte, \ndie wohl eine etwa\u00ab degoncrirte Form der zweik\u00f6pfigon Schlange ist, die im Codex Borgia der Nasen- \n\n\n\nAbb. 5fi8. Trseatlipoea, der Gott der Eide, \nvom Speer des Planeten Venus (in der zweit\u00ab*\u00ab \nPeriode) getroffen. \n\nCodex Borgia M (= KingHbcmmgli 61). \n\n\n\nAbb. \u00f6Cy \u00bbeetoli, der Jaguar, der Gott \nder Erde, vom Speer des Planeten Venu\u00bb \n\u00abin der fflnften Periode) getroffen. \nCodex Vatiranua II (Nr. 8778) Blatt 84 \n(= Kings borough 13). \n\n\nschmuck dor ChalchivAdicue ist, und hat auf dom Scheitel das Trapez und don Strahl, da\u00bb Abzeiohen dos \nJahres, d. h. sio tr\u00fcgt don Kopfschmuck des Regengottes Tlaloc. In unserer Handschrift (Abb. 567) \nscheinen dio beiden schwarzen Striche am unteren Rande der Backe ineinander geflossen xn \u00bbein. Die \nG\u00f6ttin tr\u00fcgt, wie auch sonst in dieser Handschrift, die blaue, stufenf\u00f6rmige Nasenplatte * \u00abler G\u00f6ttin \nXochiqvtteal, uud ihr Gesicht schaut aus dem Rachen der Schlange heraus, die ja in der That ganz \nallgemein in den Darstellungen dieser Handschriften die llelmmaske der Wnsscrg\u00f6ttiu bildet \n\nIn \u00abler zweit\u00ab\u00bbn Abtheilung, \u00ablio dem Norden entsprechen muss, selmn wir im Co\u00ablex Borgia \n(Abb. 568) die bekannte Gestalt \u00ables schwarzen (Yai/auhqui) Tezcadipoca von dom Speer dos Gotte\u00ab ge- \ntroffen. Tezcadipoca kniet hier Ober einem gespaltenen Berge und vor einem in dett Farben der Knie \n(braun und schwarz) gemalten doppelten Dornbaume. Dos heisst wohl, dass er nls der TtpetjoHodi^ das \n\u201eHerz der Berge\u201c, \u00abler Jaguar, der Gott der Knie, gedacht sein \u00bboll. l'nd durum ist er auch in den \nanderen beiden Handschriften einfach durch den Jaguar ( oertod ) ersetzt, wird aber, wie ich schon oben \naufflbrt\u00ab\u00bb, in diesen anderen beiden IiamlBchriftcn iu der fflnften Abtheilnng abgebildet. \n\nIn der dritten Abtheilnng, die dem Westen entsprechen muss, ist im Codex Borgia (Abb. 570) \n( inteotl , der Maisgott, vom Speure getroffen, \u00ablargestellt. Er ist hier auch als nackte Figur, mit dem \nkleinen farbigen rechteckigen Felde auf der Backe, der braunen zackigen Nasnnplattc und aus \u00ablom \n\n\nDigitized by Google \n\n\n\n23. Dir\u00bb \u00abIniiwlinmal f\u00fcnf Vfnusperimlra, \n\n\n321 \n\nge\u00f6ffneten Scbuiibfl einer Taube (?) hervoreehetid abgehitdct, wie auf den Bl\u00e4ttern iil und 57 de\u00bb Codex \nBorgia. (Jeher dieser Vogolheliiinuwke wachsen Maiskolbcu iu die H\u00f6he, die \u00fcber die Natur der Gottheit \nkeinen Zweifel lassen. Der Gott kniet auf einem in den zwei Farben (braun und schwarz) gemalten Erdreich, \nin dem man W\u00fcrmer die Maiskolben fressen sieht. Das ist ein klarer Beweis, dass dieses Bestrahlen \nvon Seiten des Sterns, das Speerwerfen des Gottes, uU eil) sch\u00e4dlicher Einfluss f\u00fcr den Betroffenen zu \nItetrnchteii ist \u2014 Im Codex Bologna und in unserer Handschrift steht das entsprechende Bild iu der \n\n\n\nAbb. '>70, CiHttatl, der Maingotl, \nvom Speer des Planeten Venu* (in der \ndritten Periode) getroffen. \n\nCodex Itorgia 54 = iKingoboroogh Ul \u00bb. \n\n\n\nAbb. 571. l'inUotl, der Msisgott. \nvom Speer de* Planeten Venus i in der \nersten Periode) getroffen. \n\nCodex Bologna 9. \n\n\n\nAl>b. 572. tliitoeaifott das K\u00f6nigthuiu, \nvom Speer des Planeten Venus tin der \nvierten Periode\u00bb getroffen. \n\nCodex Borgiit 5* (= Kingsbiirnogli Ul i. \n\n\n\n\nAbb. m Codex Bologna 10. Abb, 574. Codex \n\nVatkanu* B i.Nr. 3773) \nBlatt 88(= Kingabutough 1 1 1 . \n\ntiritocnifotl, dA* Kftnlgthiini, vom Speer des Planeten Venus \n(in der vierten Periode) getroffen. \n\n\nersten Abtbeilung. Im Codex Bologna (Abb. 571) sieht tmui den Mnisgott vor einem Baume abgehildeb \n\ndessen Krone, und dessen Zweigenden mit Maiskolben und Mnisbl\u00fcthon besetzt sind. Der Gott bat \n\nda* kleine, bunte, rechteckige Feld auf der Backe, wie der de* Codex Borgia, tr\u00e4gt auch eine \n\nzackige Na-senplntte, die nur hier von blauer Farbe ist, und sein Gesicht schaut ebenfalls au* dem ge- \n\n\u00f6ffneten Rachen eine* Vogels heraus. Er kniet \u00fcber einem in den zwei Farben (braun und schwarz) \ngemalten Erdreiche. Der sch\u00e4dliche Einfluss der durch das Speerwerfen de* Stemgotte* ausge\u00fcbt worden \n\nBeier. Cmk'X Vntlcwuo. Nr, !fi7X 41 \n\n\nDigitized by Google \n\n\n\n322 \n\n\nB. tttiokseiio. \n\n\nist, ist hier dadurch veranschaulicht, das\u00ab das Erdreich mit Flainuiunzunge\u00fc besetzt ist, also wohl als d\u00fcrres. \nausgetrookneteB gekennzeichnet werden soll. Weniger diankteristisob ist das entsprechende Bild in \nunserer Handschrift (Blatt 80), doch sind die gelbe K\u00f6rper- und Gesichtsfarbe, die schwarzen Kreuze \nund Htrichniuster auf diesem (leib und der Bl\u00fcthenbaum, den der Gott auf dem Scheitel tr\u00e4gt, deutliche \nHinweise darauf, dass auch das ein Maisgott sein soll. \n\nin der vierten und f\u00fcnften Abthcilung des Codex Borgia, denen die vierte und die dritte der \nanderen beideu Handschriften entsprecht\u00bb\u00bb, treten f\u00fcr die G\u00f6t torgestalten symbolische Figurou ein. \u2014 In \nder vierten Ahtheiluug de\u00bb Codex Borgin (Abh. 572) sieht man einen der bekannten aus Holz geschnittenen, \nbemalten, mit Metall beschlagenen und mit eingelegten Edelstein sch eiben verzierten, mit einem .laguarfell \nbedeckten St\u00fchle oder B\u00e4nke Ton \u00ablern Speer des Gottes getroffen. Dieser Stuhl, auf \u00ablern eine Figur \nkniet, die gleichsum als Pfl\u00f6cke in den Nasenfl\u00fcgeln zwei Knurlicmlotcho tr\u00e4gt, ist offenbar als K\u00f6nigsthron \nund als Sinnbild und Ausdruck k\u00f6niglicher Macht, des tlntocayotC s, gedarbt. Das wird in den anderen \nbeiden Handschriften noch deutlicher zum Ausdruck gebracht, indem wir im Codex Bologna (Abb. 573) \nauf dein Stuhle eine Honnenscheibe liegen sehen, von der EdelsteinbAiider ausgeheii, und die liier \ndiejenige ist. die von dem Speer des Gottes durchbohrt wird. In unserer Handschrift ober (Abb. 574) \n\n\n\nAbb. 575. quauhyotl \u00fchs Kriege rthiim, \nvom Speer 1 L \n\n\n\nAbb. .VW. Codex Bologna |o. \n\n\n\nAbb. .*>77. \n\n\n(Videx Vaticflnus H \n(Nr- \u00c47TSIV, Blatt \u00bb2 \n(- Kinipbrinnigli Ii), \n\na/fr/Mtl, die Heineinde, da\u00bb Volk, vom Speer des Planeten Von OS \n(Ln der dritten Periode) getroffen. \n\n\nsieht man \u00fcber dem Stuhle eine Figur sitzen, die einen Federschmuck am Kacken und das Zeichen \nder Rede vor dem Munde hat, und die offenbar den tlatounni. den \u201eSprechenden\u201c, d. h. \u00bblen Herrscher, \nden K\u00f6nig seihst, verstellen soll. \n\nIn der f\u00fcnften Abtheilung endlich de\u00ab Codex Borgia (Abb. 575) wird ein Schild und Speerh\u00fcndol. \nda* Zeichen des Krieges (j yaoyotl} von dem Speere des Gottes getroffen. Diese Wehr und Waffen sind \naugenscheinlich als Sinnbild f\u00fcr diejenigen gedacht, die sic f\u00fchren, die Krieger. Das wird, sollte es nn \nsich nicht deutlich sein, durch den Kopf dps Adlers {quouhtW) der dar\u00fcber ubgebildet ist, klar bewiesen. In \nden anderen beiden Handschriften tritt cino interessante Variante auf. Im Codex Bologna (Abb. 57b) \nsioht man die bekannte Zeichnung eine\u00ab Berges (fqtttl) von dem Speere des Gottes getroffen. Aber \nunter diesem Berge kommt ein Waaserstrom (ad) heraus. Dieses Wasser (ad) muw mit dem Berge \n( tepetl ) zusammengesetzt werden und gibt daun altepeti , d. h. \u201edas Dorf, die Gemeinde, die B\u00fcrgerschaft\u201c, \ndie aua ttjwua, die das Dorf (atl-WpiU), die Gemeinde, ausmachen, die aber nat\u00fcrlich mit den Kriegern \n(quaquauh(in) sich decken. \u2014 Unsere Handschrift vereinigt diese beiden Varianten, indem sie (Abb. 577) \n\u00fcber dom atl-tqwtl einen Adler ( quauhdi ) zeichnet. \n\nIn die Symbolik dieser merkw\u00fcrdigen Bilder einzugeheii, vorsagc ich mir. Ea fohlt auch an \nMaterial zur richtigen Beurtheilung dieser Dingo. In meiner Arbeit \u00fcber die Venusperiode in den \n\n\nDigitized by Google \n\n\n\n\u00c4i. Die dreuehmnnl f\u00fcnf V\u00abnti*peri\u00bbtion. \n\n\n3\u201923 \n\n\nBilderschriften der Codex Borgia - Gruppe habe ich aber eine Stelle ium den Anales de Qiiauhtitlan an- \ngef\u00fchrt, in denen die verschiedenen Klassen von Leuten, auf die jo nach dem Zeichen, in dom or \nerscheint, der Planet Venus seine Strahlen wirft, einzeln genannt sind. Ich musste indem arg verderbten \nTexte, der leider einzig von dieser wichtigen Handschrift vorliegt, einige Korrekturen vornehmen. Nach \nAusf\u00fchrung dieser Korrekturen aber ergab \u00bbich, dass au jener Stelle der Anales de Quauhtitlan Folgendes \n\u00fcbel* den Einfluss des Planeten Venus in seinen f\u00fcnf aufeinanderfolgenden Perioden ausgetagt ist: \u2014 \n\n1. Im Zeichen cipuctli \u00bbchiowt or die alten M\u00e4nner und Frauen. \n\n*2. Im Zeichen couatl schlosst er den Rogon, ob wird nicht regnen. \n\n3. Im Zeichen atl ist allgemeine D\u00fcrre. \n\n4. Im Zeichen acatl schioast er die K\u00f6nige. \n\n5. Im Zeichen olin schiusst er di\u00ab J\u00fcnglinge und Jungfrauen. \n\n\n\nAbb. 579. halam, der Jaguar. \nVom Speer\u00ab dos Planeten Venus \n(in der zweiten Periode) getroffen. \nDresdener Handschrift 17. \n\n\n\nAbb. 580. Der Oott mit dem \nfaii-Zeirhen, der Mais\u00dfott. \nVom Speere dos Planeten Venus \nrin der dritten Periode) getroffen. \nDresdener HuinWUrift 48. \n\n\nt>\u00df \u00e4\u00ae \n\n\nAh\u00ab). 57 fl. d h hittun t- \u2019afah, \nder Wsasergott. Vom Speer\u00ab \ndes Planeten Venus (in der \u00ab;n*u*n \nPeriode) getroffen. Dresdener \nHandschrift 4C. \n\nM) $x) \n\n\nAbb. 58Q. holetin, der Krieger. \nVom Speer\u00ab des Planeten Venus \nlin der f\u00fcnften Periode\u00bb getroffen. \nDresdener Handschrift 50. \n\n\nAbb. 581. aar. die Schildkr\u00f6te. \nVom Speer des Planeten Venus \n(in der vierten Periode) getroffen. \nDresdener Handschrift 49, \n\n\n\n\n\nMan sieht, du\u00bb hier, wenigstens bei den drei letzten Arten dt!\u00ab von dem Planeten Venus ge\u00fcbten \nEinflusses, eine vollkommene Uebereiustimmiing mit dun drei letzten Bildern des Codex Borgia besteht. \nUnd es werden sich vermuthlich auch die beiden ersten, unter Umstellung der beiden Glieder, auf die \nin den boiden ersten Bildern de* Codex Borgia dnrgeetellten Vorg\u00e4nge zur\u00fcckf\u00fchren lassen. \n\nSind nun diese Bilder an sich schon bedeutsam genug, so w\u00e4chst das Interesse, das man ihnen \nentgegen bringen muss, noch gewaltig dadurch, da\u00bb sie als Paralleldarstellungen gewisser Bilder der \nDresdener Maya-Handschrift sich erweisen. Ich habe oben schon, und, wio ich glaube, mit Recht, die \nG\u00f6ttorfiguren, die auf dom Blatto 70 unserer Handschrift und einem entsprechenden Codex Borgia- Blatte, \nals H\u00fcter und Regenten der f\u00fcnf Veutisperioden dargestellt sind, den Bildern verglichen, die man auf \n\n41* \n\n\nDigitized by Google \n\n\n\n324 \n\n\nLi. lllirkmit\u00ab. \n\n\nden Bl\u00e4ttern 46 \u2014 50 der Dresdener Maya-Handschrift, auf denen in dieser HamUohrift die l3x5Veiius- \nporioden mit ihren Unten und mit Distanzaugaben aufgef\u00fchrt sind, die Mitte der rechten H\u00e4lften der \nBl\u00e4tter eiimuhmen sieht. Auf denselben rechten H\u00e4lften der Bl\u00e4tter sieht man unten je eine vom Speer \ngetroffene Gestalt. Ich habe diese f\u00f6nf Figuren, in bestimmter Weise nach den Himmelsrichtungen \ngeordnet, wor\u00fcber ich nachher Rechenschaft geben werde, in den Abb. 578\u2014582 dem Leser vorgef\u00fchrt. \nEs ist gewiss eine bomerkenawerthe Thutsacho, dass diese f\u00fcnf Figuren den f\u00fcnf vom Speer getroffenen \nGestalten dor Handschriften der Codex Borgia -Gruppe, die ich eben besprochen habe, in der Ordnung, \nwie sie im Codex B\u00fcrgin aufgef\u00fchrt sind, fast genau entsprechen. \n\nIn der That, die erste dieser f\u00fcnf Figuren (Abb. 578), der Gott mit der proliferireudon Nase, ist \nzweifellos der Gott des Wassers, dem, wie ich uachgewiesen habe, der Name Ah bolon tzacnb \nzukommt 1 ). Er \u00bbst also der richtige Vertreter der ChaicfiwAtUcue in der ersten Vunusperiodc de\u00bb \nCodex Borgia. \n\nDio zweit\u00bb* Figur (Abb. 570), der .Jaguar, ist nur eine andere Form des Gottes Tezcatli^HKa, \ndor im Codex Borgia in der zweiten Yeuusperiode vom Speer getroffen abgobildet ist. lind, wirklich, \nwar ja dieser Gott schon in den anderen beiden Handschriften der Codex Borgia 'Gruppe einfach durch \nden Jaguar ersetzt. \n\nDie dritte Figur (Abb. 58t)), der Gott mit dem ian-Zeichen, ist zweifellos der Maisgott, \nentspricht also genuu der Gottheit, die im Codex Borgia iu der dritten Venusperiode als vom Speer \nder Gottheit getroffen abgebildet ist. Ja, ich glaube sogar in der feinen Linie, die man in unserer \nAbb. 580 allerdings nicht deutlich, aber sonst allgemein das Gesicht des Gottes mit dem Aan-Zeichen iu \nseiner ganzen L\u00e4nge durchschnciden sieht, die winklig gebrochenen schwarzen Lftngsstreifen der Ge- \nKichtshemnluiig des Muisgottes der Handschriften dor Codex Borgia-Uruppe zu erkennen. \n\nZweifel kann mau bez\u00fcglich der vierten Figur (Abb. 581) hegen. Das ist die Schildkr\u00f6to. \nIch glaube aber, dass auch hier eine Beziehung vorliegt. Im Codex Pom wird die Schildkr\u00f6te mit der \nHieroglyphe der Sonne auf dem Hucken abgebildet. En ist das, wie ich meine, durch dio gelbo strahligo \nZeichnung veranlasst wordeu. die dio auch in Mexico weit verbreitete Dosenschildkr\u00f6te auf \u00bblern K\u00fccken \ntr\u00e4gt. Man wird es mir wenigstens als eine Hypothese, die manches f\u00fcr sich hat, gelten lassen, wenn \nich anuehme, dass die Schildkr\u00f6te als das Sonnenthier betrachtet worden ist uud deshalb als Symbol \nder k\u00f6niglichen Gewalt steht. \n\nSicherer, glaube ich, kann man wiederum bez\u00fcglich der f\u00fcnften Figur (Abb. 582) sein. Denn \ndas\u00ab diese f\u00fcnfte vom Speero getr\u00f6dene Gestalt einen Krieger darstellen soll, lehrt der Augenschein, da \nman \u00abio mit Schild und Speer bewaffuet sieht. \n\nHaben wir also liier in der That eine fnst genaue Parallele zu den vom Speer getroffenen \nGestalten des Codex Borgia, und sind wirklich diese Figuren der Dresdener Handschrift in derselben \nOrdnung wie dio ihnen entsprechenden des Codex Borgia nufguf\u00fchrt. so ergibt sich weiter, dass wir die \nFiguren der Dresdener Handschrift auch in derselben Weise auf die Himmelsrichtungen beziehen m\u00fcssen \nwerden, wie die des Codex Borgia, also in der Ordnung, dio ich diesen Figuren in der auf S. 323 zu- \nBummeugestellten Gruppe gegeben habe. Es w\u00fcrde dann aber die merkw\u00fcrdige Thataacbe sich ergeben, \ndass in der Reihe der Regenten der f\u00fcnf Yeiiusperiodeu (Abb. 544\u2014548, oben S. 289) mit der f\u00fcnften \nKichfung begonnen, in der der vom Speero getroffenen Gestalten mit der f\u00fcnften Richtung geschlossen \nworden w\u00e4re. Doch ist du\u00ab vielleicht nicht etwas so ganz Ungew\u00f6hnliches oder gar ausser der M\u00f6glichkeit \nLiegendes. Etwas \u00e4hnliches scheint ja auch, wie wir gesehen haben, bei den dreizehn Stunden der Nacht \nund des Togos vorzuliegen. Und dieser Unterschied in der Aufz\u00e4hlung ist uns auch oben schon bei den \nVenusperioden begegnet. Es liegt jn auch nahe, dass hier der Gebrauch schwankte, dass mau einmal \nmit der f\u00fcnften Richtung, der Mitte de\u00ab Quiucuux, unfaiigcn zu m\u00fcssen glaubte, das andere Mal lieber \ndamit schloss. \n\n1) Vgl. Seler, Gewimmelte Abhandlungen zur smerikanixhen Sprach' und Allorlhutn \u00abk\u00fcnde. Berlin. \n d Sr \n\nAbb. 588. Per rothe und der schwarze Tr;mtlip<*ea. r\u00abnii'x Borgia 21 (- King\u00bbborough 18). \n\n\n\nAbb. 584. Drr rothe mul der schwante Ttzenlliputn ittif dem H\u00bb\u00bbll\u00ab|>ii||>liiUe Codex Hotyiji 21 < Kingsborough 18). \n\n\nAuf diesen Bl\u00e4ttern unserer Handschrift sieht man in der Mitte des Hilde\u00bb oben eine Sonne uud \ndarunter ein (Sufass mit Mais. An dor rechten Suite sitzt der rothe (' Tlathntfufui ) Tezcatlipoca , mit einer \nrothen Decke bekleidet. Kr tr\u00e4gt den rauchenden Spiegel Tezcatlipoca # an der Schl\u00e4fe oder am Nacken; \naber die in Qu\u00abrstreifen ruth und weis\u00bb gemalte und mit einem schwalheiiHchwanzartig ausgittelmittemm \n(majaiiuhipti) Ende versehene Schanihinde, sowie di\u00a9 gleichfalls schwalben scliwan znrtig Ausgeschnittenen \nEnden seines NasenstaUes. weisen darauf hin, \u00ablass dieser rothe Tezcatlipoca nur eine Form de\u00bb Gottes Xipe \n\n\nDigitized by Google \n\n\n326 \n\n\n13. R\u00fcckseite. \n\n\nTotec, \u201eunsere\u00bb Herrn dea Geschundenen 41 , des Gottes der Knie, ist. \u2014 Gegen\u00fcber an der linken Seite sieht \nman den schwarzen ( Yayuuhpii') Tezcatlipoca, \u2014 das heisst, er ist eigentlich, \u00e4hnlich dem Tlauizcaiyuntecutli \nder vorhergehenden f\u00fcnf Hl\u00e4tter unserer Handschrift (vgl. Abb. 561 8. 316) halb weis* (und rothgestreift), \nhalb schwarz, indem der Leib und die Beine weis\u00bb und roth gestreift, die Arme und die Grundfarbe des \nGesichtes schwarz ist. Bei dem Tlauizcalpantecutli aber war die diesem Gotte eigentlich zukornmende \nKarbe diu weis\u00bb\u00ab'. Hier d\u00ab>in Tezcatlipoca geh\u00f6rt als seine eigentliche Farbe die schwarze. So ist auch \ndie Decke, die er \u00fcber dem K\u00fccken h\u00e4ngen hat, schwarz. An der Schl\u00e4fe oder am Nacken tr\u00e4gt er seinen \nrauchenden Spiegel. \n\nVor jedem der beiden G\u00f6tter ist ein Thier gezeichnet, das aus einer Schatzkiste, deren Deckel \nauf klappt, eine Edelsteinachnur (cotcatl) horausnimmt. Das Thier vor dem rothen (llntlaulupii) Tezcatli- \njwca , das gleich dem Gotte, mit einer rothen Deck\u00ab 1 bekleidet ist, scheint dem Thiere zu entsprechen, da\u00bb \nwir oben S. 169 bei dom Fulquogotte, dem Regenten des zw\u00f6lft\u00ab>\u00bb TageszeiolxMis abgebildet fanden, das \nman auch in der Abb. 583, mit einer Fahne im Arme auf dem Wege stehen sieht. Ich habo diese\u00bb \nThier, da\u00bb im Codex Borgia durch einen das Auge einschliesaenden, steniartig {cicitlaU< 0, d. h. mit weissen \nScheiben auf schwarz\u00ab*\u00ab\u00bb Grunde, bemalten Streifen gekennzeichnet ist, als cuetlachtli oder Wickel b\u00fcr \nbestimmt. Wenn wir \u00ablas hier vor Tlallauhqui Tezcatlipoca abgebildete Thier in der That jenem gleich \nsetzen k\u00f6nnen, \u2014 und das scharf rechteckig begrenzte dunkle, das Auge einschliesseude Feld spricht in \nder That daf\u00fcr, \u2014 so w\u00fcrde dadurch meine obige Bestimmung eine St\u00fctze erhalten. Denn der cuetlachtli, \nder Wickelb\u00e4r, ist \u00ablas Thier des 8acrificio gladiatorio, der Onkel der im Saerificio gladiatorio Geopferten, \nder sie auf dom runden Stein ( temalacatl ) anbindet, geh\u00f6rt also in der That zu Xipe TottCy und Xipe Totec ist \nder rothe (Tlatiauhqm) Tezcatlipoca. \n\nAuf dor linken Seite vor dem schwarzen ( Yayauhyui) Tezcatlipoca ist das Thier abgebildet, \u00ablas \ndurch spitze Schnauze, kleine scharfe Z\u00e4hne, durch woisae Farbe und einen schwarzen, das Auge um- \nziehenden, nach der Schnauze zu spitzwinklig verlaufenden Streifen gekennzeichnet ist, und da\u00bb wir \noben mohrfach (vgl. Abb. 258, 8. 271, und unsere Handschrift Blatt 9, unten rechts) als Vertreter der \nErde, oder der Richtung nach unten, angetrofTen haben. \n\nUebor diesen Gruppen endlich ist beiderseits, in dom oberen Thoile \u00abliescr Bl\u00e4tter auch das Zeichen \ndos Krieges ( yaoyotl ), Speerb\u00fcndel, Schild, liundfahne und ein anderes, nicht recht bestimmbares St\u00fcck, an- \ngegeben, ein Symbol, das selbstverst\u00e4ndlich zu diesen ihrer Natur nach kriegerischen Gottheit\u00ab\u00ab\u00bb geh\u00f6rt. \n\nIn dein unteren Theile der beiden Bl\u00e4tter ist auf jeder Seite eine Art M\u00e4amlor gezeichnet, \n\u00abler unter dum rothon Tezcatlipoca in rother Farbe, unter dem schwarzen Tezcatlipoca in dunkel- \ngrauer Farbe auBgef\u00fchrt ist. In dem rothen M\u00e4ander zur Rechten sieht man diu Gestalt eines Hunde\u00bb \n(ifecumeli), in dem schwarzen M\u00e4ander zur Linken die Figur eines Affen (ofomatli'), und die zwanzig \nTageszf\u00fcchen sind in dem Umkreis dieser beiden Figuren vertheilt, ohne dass indes, wie es scheint, eine \nbesondere Beziehung dieser Taguszeicben zu bestimmten K\u00f6rpurtheilon der beiden Thiere vursuelit worden \nw\u00e4re. Io dem rothen M\u00e4ander emllich liegt ein gebundener Gefangener, wie es schoiut, tot am Boden. In \ndom schwarzen M\u00e4ander steht dor Affe in einem Wussorgof\u00e4ane, in dem Fische und Schnecken sich tummeln. \n\nDie Gesammtheit dieser Symbole l\u00e4sst wohl keincu Zweifel \u00fcbrig, dass der rothe ( Tlallaufupti ) \nTezcatlipoca hier als der Vertreter de\u00bb Feuer\u00ab oder der trockeuen Jahreszeit, der schwarze ( Yayauhqui) \nTezcatlipoca als \u00abler Vertreter des Wassers oder \u00abler Regenzeit durgcstellt sein soll. \n\n\n25. Noch einmal die zwanzig Tageszeichen und ihre Regenten. \n\nBlatt 87 \u2014 94 (= Kingsborough 10 \u2014 3). \n\nDiese Bilder sind oben in \u00abIon\u00bb zehnton Abschnitt (8. 127 \u2014 190) erl\u00e4utert worden. \n\n\nDigitized by Google \n\n\n\n26. Die Tier Skorpione. \n\n\n327 \n\n\n26. Die vier Skorpione. \n\nBlatt 95 (= Kingaborough 2), rechte* Half tu. \n\nAuf dieser Blatth\u00e4lfto sieht man, in den vier Ecken vertheilt, vier Skorpionfiguren. Die der \noberen H\u00e4lfte lmheii ihre M\u00e4uler denen der unteren zugekehrt, ln Wirklichkeit sollten wohl alle vier \nihre Mfiuler der Mitte zugekehrt haben. Die zwanzig Tngeszoichen sind um sie in der Weise vertheilt, \ndass die TogcHteichen am Schw\u00e4nzende der Figur links oben beginnen, und daun das dritte TageKzeichen \n(call \u00bb, \u201eHaus\u201c) vor dem Maule des Skorpions links unten seine Stellung erh\u00f6h. Und entsprechend dos \nachte Zeichen ( tochtli, \u201eKaninchen\") vor dein Maule des Skorpions rechts unten, das dreizehnte (acut/, \n\u201eHohr\") vor dem Maule des Skorpions rechts oben, und das achtzehnte (tccpatl, \u201eFeuersteinmeasor\u201c) vor \ndem Maule des Skorpions links oben. Dieso vor dem Munde der Skorpione angebrachten Tageszeichen \nwerden wir wohl als die zu betrachten haben, die f\u00fcr diese Skorpione bezeichnend sein sollen. Demnach \nwerden wir als erste Figur die in der Ecke links unten anzusohen haben, und die anderen w\u00fcrden dann \nwieder in einem der Drehung des Uhrzeigers entgegengesetzten Sinne einander folgen. \n\nDie erste Figur links unten, diu das Zeichen calli \u201eHaus\u201c vor dem Maule hat, wird f\u00fcr den \nOsten bezeichnend sein sollen. Sie ist mit rother Farbe gemalt. \u2014 \n\nDie zweite Figur, rechts unten, vor derem Maule dus Zeichen tochtli \u201eKuuiiiclion\" steht, werden \nwir f\u00fcr \u00ablen Norden in Anspruch nehmen m\u00fcssen. Die verschiedenen Theilc \u00ablos Leibes sind hier mit \nverschiedenen Farben gemalt. Als die der Figur eigentlich zukonunende Farbe werden wir aber die \nder Arme anzusehen haben, und die ist schwarz. Das (Sesicht dieses Skorpions ist auf gelbem Grunde \nmit zwei schwarzen Qucrstreifen gezeichnet, die die Augen unten und oben begrenzen, sodass \u00ablie Augen \nselbst in einem gelben Streifen zu liegen kommen. Dadurch kommt eine Art. ixt/an tlntlaan, eine Tez- \nca'/i/wca-Clesichtsbumalung, zu Stande, und diese ist offenbar hier beabsichtigt. \n\nF\u00fcr die dritte Figur, rechts oben, die das Zeichen acatl \u201eRohr\u201c vor dem Munde hat, und die den \nWesten repr\u00e4sentiren muss, scheint entsprechend die gelbe Farbe der Anne als massgebend betrachtet \nwerden zu sollen. \n\nF\u00fcr dio vierte Figur endlich, links oben, die das Zeicheu teepu\u00fc \u201eFeuorstoinmossor\u201c vor dem \nMunde hat, und die den S\u00fcden bezeichnen muss, gilt die woisse Knochenfarbe der Arme. \n\nDor Skorpion (colo\u00fc) ist das Thier des Feuergottes (vgl. oben S. 154). Er bezoichnete aber auch \ndio Kasteiung (vgl. oben S. 226, 227). Und wir fanden ihn auch bei Xochipilli , \u00ablern Gotte der Blumen, dem \nGotte dei Erde, angegeben (vgl. oben S. 190). An welche dieser Beziehungen hier gedacht werden muss, \nist nicht ganz mit Sicherheit zu entscheiden. Wahrscheinlich an die erste, an die Beziehung zum \nFenergott, da wir die ersto der vier Figuren rotb gemalt sehen, und diese Figur allein vor allen \nanderen ganz und gar in der ihr zukommenden Farbe angegeben ist. Wir w\u00fcrden \u00abiieaes Bild also \nvielleicht auch als \u201edas Feuer in den vier Riehtungon* bezeichnen k\u00f6nnen. \n\n\n27. Die vier Viertel des Tonalamatl\u2019s und ihre Richtungen. \n\nBlatt 95 (= Kingsborough 2), linke H\u00e4lfte. \n\nWie um genauer zu bezeichnen, dass wir in der rechten H\u00e4lft\u00ab* dieses Blattes den in der Ecke \nlinks unten ahgohildcten rothen Skorpion als den ersten und den der Himmelsrichtung de\u00ab Ostens ent- \nsprechenden zu betrachten haben, sehen wir in dieser linken H\u00e4lfte des Blattes, um ein grosses Stein- \nmesser. das diu Mitte bildet, die Anfangszeichen \u00ab1er vier Viertel des in f\u00fcnfgliedrige S\u00e4ulen geordneten \n\n\nDigitized by Google \n\n\n\nR. Uflcktpciir. \n\n\n3-28 \n\nTonatamatT* vurtheiU, \u2014 und zwar da\u00ab ernte dieser vier Zeichen (ripactli \u201eKrokodil\u201c), in der Ecke links \nuntan vor dem Steinmessor, die underen drei (ocrfotl ma^aU \u201eHirsch\u201c, jocAiti \u201eBlume\u201c) in einem \n\nder Bewegung de\u00bb Uhrzeigers entgegengesetzten Sinne dem ersten Zeichen folgend\u00bb \n\nVon diesen vier Zeichen gehen diagonale farbige Streifen and, die zur Anschauung bringen, dass \ndiese vier Viertel des Tonnlama tV* den vier Himmelsrichtungen entsprechen, und auf ihnpn deuten zw\u00f6lf \nkleine farbige Seheiben oder Punkte die Anf\u00e4nge der \u00fcbrigen zw\u00f6lf f\u00fcnfgliedrigen SAulen an, die neben \nder Anfmigss\u00e4ule in jedem Tona/anm^-Viertel entbalten sind. \n\n\n28. Noch einmal der Gott der Lust und seine Zeichen. \n\nBlntt % (\u00ab Kingsborough 1 ). \n\nDiesem Blatte entspricht ein Bild, da\u00ab im Cordes Borgift da\u00ab obere Feld der linken H\u00e4lfte de\u00ab \nBlatte\u00bb. 53 Kingsborough 62) eimiiuinit, und das ich hier in Abb. 585 wiedergegeben habe. Die U \u00dcber- \neinstimmung beider Bilder, diese\u00ab Blfttte\u00bb IW5 unserer Handschrift und des Codex Borgia-Hildos springt in \ndie Augen. Auch sieht man ohne Weiteres, dass in beiden Bildern ein mit haarigem Felle bekleidete\u00ab \n\nThier dargestellt ist. Aber eigentlich erst \nin dem Codex Borgia-Bilde ist c* deutlich, \ndass ein Hirsch gemeint ist, und ebenso \ni\u00bbt p\u00bb nur dem Codex Borgia-Bilde zu \nentnehmen, das\u00ab dieser Hirsch als eine \nVerkleidung eine\u00bb bekannten Hotte\u00bb ge- \ndacht ist, de\u00bb Gotte\u00bb, der die obere H\u00e4lfte \ndes Gesichtes gelb, die untere rotli gemalt \nhat und um den Mund in weiaser Farbe \ndie Zeichnung eine\u00bb Schmetterlings tr\u00e4gt. \nDa\u00bb ist der Gott, den wir als Regenten \ndes eil fteu Tagoszeicben\u00bb (ofomatH \u201eAffe\u201c) \nkennen gelernt haben, dem, wie wir dort \ngesellen Italien, der Name Xochipilli zu- \nkomint, der ein Gott der Blumen, der \nLust, der Feste und der Kunstfertigkeiten \nund auch ein Gott de\u00bb Heichtlmms und \nder Lebensmittel ist. \n\nUm die Gestillt diene\u00bb hier in Hirsch- \ngestalt gekleideten Gottes sieht man, im \nAllgemeinen von unten nach oben ein- \numler folgend, die zwanzig Tngoszeichen \ngeordnet. Diese ganze Verkeilung hat \naber augenscheinlich nur den Zweck, drei dieser Zeichen zu bestimmten KArpcrtheilcn dieses Gotte\u00ab in \nBeziehung zu setzen: \u2014 da\u00bb vierte Zeichen cuftzpalin \u201eEidechse\u201c, da\u00bb, wie wir oben S. 145 und 146 \ngesehen haben, da\u00bb Zeichen der Unkeuschheit ist, mit dem Penis; das eilftu Zeichen OfMMhb \u201eAffe\u201c, \nmit dem Herzen, denn dieser Gott ist der Regent des Zeichen\u00bb ofomdtli \u201eAffe\u201c und bringt das Wesen \ndieses Zeichen\u00ab in \u00bbich zum Ausdruck; endlich du\u00ab zwanzigste Zeichen .rochitl \u201eBlume\" mit dem Munde \ndiese\u00ab Gottes, denn XoehipiUi ist der Gott, des Gesanges, der gebildeten Rede und alles dessen, was damit \nztiMim men h\u00e4ngt. \n\n\n\nFTiW y \u201e \n\nMAJ * *V \n\n\nAbb. AKk X\u00bbrhtpiUi als Hlix-li, und die zwanzig Tsgeszeichen. \n( \u2019iulex Borgia Kt (\u25a0 Kingaborougb *i2>. \n\n\nDigilized by Google \n\n\nSchlusetbcinerkung. \n\n\n329 \n\n\nSchlussbemerkung. \n\nUuber du\u00bb Verh\u00e4ltnis\u00bb de\u00bb Vatioanns 3773 zu den anderen Handschriften der Codex Borgia- \nGruppe buhe ich am Schluss meiner Erl\u00e4uterungen zum Codex Fejenrary- Mayer N\u00e4heres angegeben. \nHaas dies\u00ab gesummt\u00ab* Gruppe von Handschriften einer mexikanisch redenden Nation angeh\u00f6rt, scheint \nmir auisor Zweifel zu stehen und wird meiiier Auffassung nach durch die hieroglyphische Darstellung \ngewisser nur aus der mexikanischen Sprache zu begreifenden Phrasen wie atl-tlachinolli \u00bbWasser (Speer- \nwerfen) und Brand\u201c, de\u00bb metaphorischen Ausdruck\u00bb f\u00fcr Krieg, der w r ir in den Handschriften der Codex \nBorgia-Gruppe wiederholt begoguen, klar bewiesen. Ich bube am Schluss meiner Erl\u00e4uterungen zum \nCodex Fejerv\u00e4ry-.Mayer auch darauf hingewiesen, das\u00bb wir die engere Heimath dieser Handschriften in \nder Gegend von Teouacan, CozcaUan und Teotitlan del Camino zu suchen haben. Ich habe oben S. IGft \neine der bemalten Thonfiguren abgebildet, die icli aus Teotithm del Camino heimgebracht habe. Die \nfarbige (iesichtsbcmulung, die das Original dieser Figur auch heute noch erkennen l\u00e4sst, sieht wie \ngeradezu aus dem Codex Borgia ahge\u00bbchriehen au\u00bb. Die Bewohner dieser Gegond waren mexikanisch \nredende Leute, die ihren Ursprung auf eilten Mann Namen\u00bb Xelfiua zuriickfilhrten \u2014 ein Name, der \nvermuthlich weiter nichts als \u00bbHerr der Trennung\u201c bedeutet und diese Gruppe als eine von dem Haupt- \ns tarn me der Nation losgel\u00f6ste, in fremdes, feindliches Gebiet vorgeschobene bezeichnet Sie waren als \naufmerksame Hiinmelsbeobachter und Verehrer de\u00ab Morgensterns bekannt, und dazu stimmt es, dos\u00bb oiu \ngrosser Theil der St\u00fccke, die in den Handschriften der Codex Borgia-Gruppe enthalten sind, \u00bbich mit \nden Bewegungen dieses Gestirns, den ihm zugeschriebeneu Einfl\u00fcssen und seiner Mythologie besch\u00e4ftigen. \nKestzuhalteu ist allerdings, dass alle dieso Handschriften gewisserma\u00dfen Enzyklop\u00e4dien des astrouomisch- \naugurischen Wissen\u00bb darstellten, dass also in ihnen St\u00fccke sehr verschiedenen Ursprungs enthalten sein \nk\u00f6nnen. Als besondere Theile heben sich z. B. diu iu dem zw\u00f6lften Kapitel der obigen Erl\u00e4uterungen \nbehandelten f\u00fcnfundzwanzig G\u00f6tterpaare heran\u00bb, sowie die Gottheiteu der vier Richtungen, die eine \nbestimmte Korrektur der Jahresl\u00e4nge veranschaulichen, und die sechs G\u00f6tterpaare, die ich in meinen \nErl\u00e4uterungen zum Codex Fejerv\u00e4ry - Mayer als die \u201esechs Himmel\u201c bezeichnet habe. In diesen \nbeiden letzten St\u00fccken sieht man im Codex Borgia den Muisgutt mit einer ganz eigenartigen, von \nder dur anderen Bl\u00e4tter abweichenden Gesichtshemalung, und mit einer Taube (?) als Helmmaske ab- \ngebildet. \n\nGegen\u00fcber den eigentlichen mexikanischen Handschriften zeigen diese Handschriften der Codex \nBorgia-Gruppe eine bedeutend vielseitigere Behandlung der von diesen alten St\u00e4mmen ins Auge gefassten \nProbleme. Sie geh\u00f6rten offenbar schon dem Ttiltan Tlapaltan, dem \u201eLande der schwanen und der \nrotheu Farbe**, d. h. dein \u00bbLande der Schrift\u201c an, dem Osten (tanatiuh iixeopa ), wohin die alten St\u00e4mme, \ndie tlamatinime amosuatfu* \u201edie Weisen, die B\u00fccherkundigen\u201c zogen. \n\nquitquitpu' \u2014 indem sie mituahmen. \n\n/fH UHU yn Uapalli \u2014 die sebwarxe und die rothe Farbe, \nyn amoxtli yn tlacuilo\u00fci \u2014 die B\u00fccher, die Bilderschriften, \n\n>{ui!qu>tpte yn tlnmaiiliztli \u2014 indem \u00bbio die Wissenschaft mit sich nahmen, \n\nmoeki . Anfangszeichen der vierten der fttnf \nVeti UHperti \u00ablen 102, 819. \n\nAcolhua, PulquegoM 108. \n\nAcompajados, x. Neun Herreu der Nacht. \nacuacwtzpaiin. Lcgnan. echter i Iguana tuberculata u. verw.J. \n145. \n\nacuecheozcall. Halsband von Schneekengchiiuseii, bei Quetzal- \ncouatl 110. \u2014 bei Xwlotl 270. \u2014 bei L'eueooyutl 251. \naexo/atl. Fichtenzweige, Opfttgabe ftlr Tezcatlipoca 9*\u00bb. \nAchitomttl. ein K\u00f6nig von Tollsn 01 . einer der Tzitximimt 1*0- \nAdler, > quaulitli. \n\nAdlerdauuea, \u00bb quiuihtbu hoayotl. \n\nAdlerisderkrsne, quauhtsonrallL \nAdlarfsdem, \u00ab. quauhiuitl. \n\nAdlsrlnss, b. d. Chanlieo des Code* Borbonicns 34. \u2014 Hegleit- \nbild im zweiten TonalamaU viertel Sit, 84. \u2014 im dritten \n\n\nW. \u2014 im vierten, bezeichnet Kriegertod 51, 55. \u2014 s. qtiaiih- \npaehiuliqui chimalli. \n\nAdlerhelonmaske, b. d. Xochipilli, der die riebente Tagstunde \n(Mittagi und obere Richtung bezeichnet 228, 220. \n\nAffe, h. ufnmiilli. \n\nAflsakopf, an der Stirnseite der Kopfbinde beim Pulquegott \n\n10 . \n\nAgave-PtUsis, Pulqur- Agave, \u00ab. mell; \u2014 wilde \u00ab. nequamctl, \nfziuaetli. \u2014 G\u00f6Uiu \u00abler, \u00ab. Mayauel. \n\nAgaveblittspltxe, s. uitztli. \n\nehau. (Mayal Tageszeichen, = xocbitl; vierte\u00bb Glied der vier* \ngliedrigcn Silule, . \u2014 \nbei dem Plcdvnnau\u00abgoU 1 Fi. \u2014 bei Xipo 27, 28. \nAmatiHan, Stadl und See in t \u00bbimtctnaln, Zackengeftt*\u00bb\u00ab MI. \namoitfi, B\u00fccher 142, M2*J. \n\namonaqua. B\u00fcchcrschreiber. die mythischen Toltekuu, \n\u00bb. tjamatinimo. \n\nAmulto, Kardinal, Bibliothekar der Vutikani-chen Biblio- \nthek I. \n\nA/toala. in der Mixtet\u00ab. Ih re, hu! dem der Himmel ruht, *27 \nAnaunc K\u00fcstenland 108. \n\nAnauaca, K\u00fcstenl\u00e4nder. Zapotckcn. zur Zeit Auitxotl\u2019s be- \n\u00bbicirt 3iU. \n\nanauall, K\u00fcstenland 20 \u25ba. \n\nanauall. weisaei Hing, au rutheni l.ederrienien, Abbild de\u00bb \nAnnes. Briu>t\u00abchinuck Tetctttlipnca\u2019\u00bb H\u00fc, 96. \u2014 der f\u00fcnf \nS\u00fcdg\u00f6tter MIO. \u2014 de\u00bb rot heu Tewatlijiocu (i Xipe) 317. \nTlauizealpanteeiitli* 25 k, MUi. - Mixeouatl'* 317. \n\nAnauall ihcu Xipe \n\nAnfangszeichen, der Jahre 279, 2**u. abweichende in Vm alun \n22kl \u2014 abweichende in Cuicatlan \u2018ISO. der Venu\u00ab- \nPerioden 2Mb, 816. \n\nAphrodislacum, verschiedene Kidcch\u00abenarten 1 15. I hl \nArara, rother, \u00bb. alo. Verkleidung hei dom xiuhcmiatl 121t \nAraraflQgel, N ackenNehniuek l'iniecnyotl\u2019\u00bb 147 \nArmuth, \u00bb. irnoyotl. \n\natamahfuahith. Wafwerkrupfein-wen, alle acht .Jahre gefeierte\u00bb \nFest, zur Krneueriing der l^ehenNfnittel IST, lw.i \nall. Wa*aer, neunte\u00bb Tagea/eielmn 128, 153, \u2014 Symbol der \n\nVorJIndcrliclikcit de\u00bb Dasein* 25H, 2.1:1 urspr\u00fcnglich \nSpeerwerfen, \u00bbein Regent der Feuergott 154 \u2014 156, \u2014 \nbei der Tlagolteoll des Wn.tr\u00bb\u00ab durgc\u00bbte|lt 11 1 2. MtM. \nAnfangazeichen der dritten Venu\u00bbperiode p.tt, \u00e4l.'t \nAllacoaya. Pulqueg\u00d6Uin ltiM. \n\natlacuiWIi, mit Wntwer l>omall, Gewand der Mayauel UM!. \natlan c alaquihitlr, in\u00bb Waaaer tauchen, Bcglcitbild im vierten \nTonalamatl- Viertel 88. \n\nattatl, Wurfbrett, n \u00abumit mun M^liiejuit** 151. in der Hand \nTlauizealpan tecutli'a 1117 Hl'J. Mixeouatl\u2019\u00bb 2ml. \u2014 de\u00bb \nFledermausgotte\u00ab 115. \u2014 \u00f6nteotl'a, de\u00bb Erdgntte\u00bb de\u00bb \nNorden\u00bb W. 81. \n\nAt/aua, Oolt von Cuitluuac, hat Ge\u00bbicht\u00ab>bcmu]ung de\u00bb \nMorgenstern\u00bb 258. \n\nall ayauican. Land de\u00bb Wa\u00abi r\u00bb und de\u00bb Nrliel\u00ab Tumuanclian, \nParadies des Westen\u00bb MM, 165. \nall tlachmoHi. ,W*wr (Speerwerfen) und Brand 1 *, meta- \nphorischer Ausdruck f\u00fcr Krieg, bei Xiuhfecutli angegeben \n154 \u2014 1615, 2h i. bei der FenorgtHtin t\u2019lmntim 27b. \u2014 bei \nder Tlavoltmtl de\u00bb Orten\u00ab ,U*2. ULI bei den\u00bb Hegen- \ngott de\u00bb Norden\u00bb 21 b. dnreh den rauchenden Spiegel \nTe*riiili|HM\u2018a'\u00bb repnWmirl M, Ub. Herahkommen de\u00ab 52. \natonatiuh, Wassenumne, erste der vier pr\u00fckoMiiiw-lien Welt- \nperioden 172, IST\u00bb. \noua Iwptua. Gemeindend tglioder \n\nAufgang, d(*a Monde\u00bb mit einem Fix\u00bbtern 65 \u2014 eine\u00ab Gestirn\u00ab. \n\nhiemgly phiiH-lie Darstellung 221 . 222. \n\nAafh\u00f6ren des Regens, hieroglyphisebe Darstellung 31, 22, :t7. \nAlfle, in der Mitte de\u00bb Zeichen.\u00bb olin, - Sonne 181). - vom \nDunkel umgebene!*. Xaeht oder Stern, auf deni Scheitel \nQuctaal ConaH 1 \u00ab UNI. XoMIk S3U. Xochipilli'\u00ab l-V.\u00bb \n\nTlaloc*\u00bb 22\u00a3L l\u2019rforto di** weiwu Hinge\u00ab, de\u00ab Bru*t- \n\u00bbchtiiiH-ke\u00bb Texrallipoca'h 8f>. \u2014 ausgelaufene\u00bb bei Xolotl \n181. \u2014 bei den CiuateteA b*H - Au\u00bbl>ohrcn de\u00ab, Opfer \n18|, Iff, \u2014 verbundene\u00ab, \u00ab, ix*|uimilli. \n\nAagenscbllti Xipe*\u00ab 86, 965. l\u00ab*i der Tluvnlleotl btt \natimmmi, Freudenm\u00e4dchen, ihre Patronin Xorhiquetzal IHM, \n\n180, 2UL \n\nAuiattoti flott der Lust, M\u00ab* uil xocliitl uLL \n\n\nAuiatl Macuil xochitl -\u2018>11, \n\nAasbohren de\u00bb Auges, = Opfer 184, 122. \natoioll. Larve de\u00bb Amblyntoms niexicanum 182. \n\nOyacachtli, K\u00fcrbiarasscl 221, 222. in der Hand l'euecoyotl'\u00bb \n147, 33L \n\nAyamic Han. Name, de\u00bb Feuergotte\u00bb 2To. \n\na/otapalcatl. SchildkrOte\u00fcBchale, Kreuzspiegel der Xoclii- \nquetaal lHD, 210. \u2014 Schild, bei IJueUalcoimtl 211' \naytl. S hildkroP-, KiuvgMte\u00fc der Mayauel 18, 152. \u2014 Musik- \nindrument 221, 222- \u2014 f\u00fcr da\u00bb Tagc\u00bbseiclicn quiauitl \nillegeni eintretend 128, 181. \n\nAyoUan. da\u00bb pazifische K\u00fcstenland 2UL \u2014 von dort kamen \ndie (|UoU\u00bblpatxactli 2bt>. \n\naitamtcafl. Heiherfeder\u00bbeil, Opfcnteil. bei Xipe angi-geben \n27, 28. \u2014 bei Tlauiixalpantrciitli \u2018318. \u2014 bei dem Feuer- \ngntt 28. \u2014 bei T\u00ab\u00bbn\u00abc\u00bbteeuUi 25. \naztapatxacth. kanimf\u00fcniitger Schmuck au\u00bb Heiherfedvru. lad \n\nXoekipIlU lfit, 194. \u2014 bd TbMeateeiiUi 2 1^. \u2014 *\u00ab i \n\nTecciztecatl 150. \n\naitatapilH, Ueihorfaderstab Iztnc Mixcouatl'\u00bb 2U1L \nattationtli, Heiherfeilcrkamm Tlaloc\u2019\u00bb 100, 2H2. \natfaMilli. gulilig sieh theilerider Schmuck au\u00bb Hciherfedcnt. \nvon den Kriegern getragen, bei Tezcatlipoca 8 , 09, 95, \u2014 \nt\u2019itzilopoc htli IM. \u2014 Mixcouatl 115. \n\ntalam tMayat. Jaguar, vom Speer de\u00ab Planeten V'enu\u00bb ge- \ntroffen, in der zweiten Periode (Norden) 82t. \n\nB\u00bbU, \u00bb. oltelololli. \n\nBallspiel, BsllsplelpUtx \u00ab. tlacliili. \n\nB\u00fcr, grosser, Sternbild. - Tezcat lipora. 9. \n\nBart, bei dem (jnetxalroHatl von Tollan \u00dcL \u2014 bei (Juelzal- \ncouatl. dem Windgott 136. \u2014 bei Tcpeyollotli KM. \u2014 \nliei Tecciztecutl 150. \u2014 bei Tlaluc, Im iToilex Vatirami\u00bb 109. \n\u2014 langer, flainnienartiger, bei Tonacatccutli 11**, \u2014 Itci \n(pietuleoimtl 188. \u2014 beim Sonnengott 185. \u2014 au\u00bb wrUaeii \nHeUierfeilern, bei Tonacatccutli 130. \u2014 bei IzUc Mix- \ncouatl 288 . \n\nB\u00e4om\u00ab, \u2022 Ue Himmelsrichtungen bezeie huend 76\u201481, \n\nBaaa das Ostansf, f\u00fcr <^uetzalcouatl, den Regenten de\u00bb \nenden Tonalumatl -Viertel\u00bb eintretand 7. \n\nBeckeFxche Sammlan| mexikanischer Alterlhilmer 1KI. \nbten >Maya), Tagetaekhen tnexikaniM-h acatl (Hulirh \u00abrat\u00bb \nder vier Anfangszeichen der Jahn- 2SLL \nkttn-i'k i Maya i Gruppe, \u00bbogenannle \u00bb. 6\u2014a-lra'k. \n\nk$tn -t'a'k (May\u00bb) - Gruppe, in Hieroglyphe de\u00ab Sonncn- \nguitc\u00bb 113. \u2014 mit der Hieroglyphe der Flcdermaua kom- \nliinirt UM. \n\nBetruchtnng, r Knie, mit Blut *81. \n\nBagleitande Bilder, de\u00bb Codex Borhonicua 64. \u2014 de\u00ab in f\u00fcnf- \ngliedrige Sttulen geordneten Tonalamatl'\u00ab 6 \u2014 68. \n\nBegraben, \u00ab. tetlalaquiliztli. \n\nBelebte, der Eliebri-cher, bei den Prir\u00ab\u00bbu*m \u00ablor Tlacultcotl ltbt, \nBell, aus Kupfer, \u00bb. tepoztli; \u2014 au\u00bb Stein a. ilztopulli. \nBergg\u00f6tter, Fest der, \u00bb. Tcpeilhui\u00dc. \n\nBergreglOB, mittlerer Hohe, - Tlalotau 1(M>. \n\nBesen, \u00bb. malinidli. \u2014 \u00bb. t'Hcatl, tzquiztli. popotl. \u2014 blutige, \nin Hand der Tlavoltrotl und ihre*\u00ab Gefolge\u00ab am l'cale \nOt hpaniztli \u2014 k\u00e4mpfen mit, \u00bb. yacacaili. \n\nBesealest, - ochpanixtlL \n\nBesessene, von den Ciuatetef\u00bb ergriffen *t0ri, JuL \nBevegang, rollende, s. olin. \nkil i Maya i. haarloser Hund 156. \n\nblau, Farlw de\u00bb Mondgotte\u00ab I6U. \u2014 Xnchipilli\u2019\u00bb I6U. \u2014 des \n(fuetzalcoiiaU der H\u00fcbe uULL \u2014 der Xigel, Hufe, Hom- \nt heile, Geweihe l.V), mit Lilng\u00bb\u00bbtreifen b\u00bb>i t'itRil\u00bb|K>rhtli \n91. Ht;. \u2014 \n\nblae nnd retb. Felder de\u00bb Zeichen\u00bb olin IHlt. \u2014 die kegel- \nf\u00f6rmige Mlitz\u00ab- fjuetzali-ouatl'a 1M5. \u2014 da\u00bb Gesicht de\u00ab Mond- \ngotte\u00bb 150. - der Mixcouatl des Codex Fejerv\u00fcry 116, 207. \n\n\nDigilized by Google \n\n\nIndex. \n\n\n337 \n\n\nBlitl, Begleithild /.im\u00ab in f\u00fcnfgliedrige SAulei\u00bb geordneten \nTonaUmutl 23. 23, HU, Mi, 4SL \nBluse, t\u00bb. xocliitl. \n\nBist, a. oztli. kiik. \n\nBUtkand, Symbol geschlechtlicher Vereinigung 1 17. 301, 21*. \nBlltheabaam im Kopfschmuck Tonacateculli'\u00bb 13\u00bb. \u2014 Ulwl- \nchiuhtlatonac'* 14U. \u2014 KulhuMtiUtc dt\u00ab Maisgotte\u00bb IW. \u2014 \n\u2014 gebrochener, = Hierogly |ihe Tamoancbun 178, 223, \n224. 2\u00dcLL \n\nBlstschlaage, b tlapalcouatl. \n\nBrenner, e. uh tue. \n\nBrennhclibindel, -. UaUMtilquauhqoctxallt. \n\nBringer der Jahre, in den Mayu-Hamlsi-hriftcn 72. \nBrnatschmock, des Sonnengottes, Maiagottea u. \u00bb. w.. e, tco* \nt uiilttcomnlli \u2014 Tkacallipocu'#, Tlamxculpiintecut li\u2018\u00bb u.e.w. \n*. anauatl \u2014 Quetzulcouatr\u00bb. Xolotl'* u. \u00bb. w. a. ecailaCMtz- \n< \u25a0>/<> il \u2014 TUloe\u2019a \u00bb. maquUcouatl \u2014 Xipe \"\u00bb m. yolin. \nB\u00fcsser, mit einer Schlange dargrateUt 1\u00ab, 19. \u2014 s. ne-yo- \nliatli \n\nh\u00fcllender Ehebrecher 18, 19. \n\nc atan (Maya), nach unten gebracht, Krric, Tagt\u00abzeichcn, \n= mexikanisch olin 180. \n\nco\u00c4r, Haus, drittes Tageszeichen 144. \u2014 Sein Urgent Tc|k-- \nyollotli und Tlaolquani 144, 14V \u2014 Anfangszeichen de\u00bb \ndritten der vier Jahre 37U, 2t*.\u00bb. \nc'ama fo'tz (QulchA), kopfuhreiasende Fledermaus 111. \nca\u00ab// coAo* iMayai. - mexikanisch na ui olin. Ende der Sicht- \nbarkeit als Morgenstern liliL \nCipilcum-Pfefler, *. ehilli. \n\ncauae (Maya), Tagcsxeirhcn. mexikanisch i|iiiauiti, in \nYucatan Anfangszeichen de\u00ab vierten der vier Jahre \u2019-Ni. \nc4 (Maya), Tageszeichen. - mexikanisch cozcaquauhtli, \nHieroglyphe enthalt den Nasenhalbmond der Pulquc- \nftttttr 19B. \n\ncoatl u. Ahleit., w. cuuatl. \n\nc ocozqui. Kranker, beim Todtagott darges teilt 158. \nc of au ic xochitta, gelbe Ul u ine. Tlayoltcotl Kd \ncoeijo txapotekisrh.i, - Hegengott, bezeichnet die Anfiinge \nder 1'onalamatl \u2022Viertel Uff, 281. \ncocAa, gr\u00fcner Papagei, Loro, auf dein Baume de\u00bb Stille na 81. \ncochoquau/tl. Baum d\u00abs S\u00fcden\u00bb 81. \n\nCadiz BorgU-Grnppe, Bilderschriften 1. \n\nColhoatzmcatl, l\u2019ulquegott 1\u00bb1H. \n\nce toll. Skorpion, beim Feuergotte dnrgestellt 155, \u00dcH \u2014 bei \ndem rnlhen Tezeatlipoca, dein Kegen ten de\u00bb zweiten \nToualamatl -Viertels 9. \u2014 bei Xochipilli, dem Kegenten \ndes zwanzigsten Tageszctchcns 19\u00bb. \u2014 lfegtvitbikl im \nersten Tnnalamatl -Viertel 35, 2t\u00bb. \u2014 liezoiclim-t Kasteiung \nund Zeit der Kasteiung \u2022Mitternacht! 22\u00bb. \u2014 die vier \nSkorpione 527. \n\nconcuitlatl, Kindetachmutz. gelbe Queratreifen im Gesichte \nTezeatlipoca'\u00bb und ritziloporhtli's liti, 95. \ncopaUiquipilh. Kopalbeutel, bei Tlaloe dargtwtellt _ \u00bb 1 -- m \n\nder Hand Xochipilli'\u00ab 88. \u2014 TonacateciitliV 2J\u00dc. \u2014 des \nflotte\u00bb, der die MitlagM\u00bbtunde bezeichnet 229. \u2014 am \nArme deB B\u00fcsser\u00bb 272. \u2014 der f\u00fcnf SUdg\u00f6tter Hl\u00bb, \nc opilli. kegelf\u00f6rmige M\u00fctze i^uetzaicouatPs 7, 1519. \u2014 s. ocelo- \ncopilli. \u2014 huaxtekischer Schmuck 14\u00bb. von Xolotl ge- \ntragen 1*7, 27\u00fc. - von den Piilquegttttern 1**8. \u2014 von \n\nTonacatecutll 1190. \u2014 von Mixcouatl de\u00bb Codex Fejerv\u00e4ry \n207. \u2014 vom Fledermausgott 114. \ncauatt, Schlange, Symbol des Wassers 135, 148. Zwilling \n220, 27\u00bb. \u25a0 f\u00fcnfte\u00bb Tagcsizeiiiicii 128, 118. Sein Urgent \n\nChalcliiuhtlb'ue 118, 149. Anfangszeichen der zweiten \nVenusperlode 192,31a. Anfangszeichen der viergliedrigen \nS\u00fcule, die f\u00fcr den Morgenstern bedeutsam ist 133. \nc *vs// co$auhqvi, die gelbe Schlange, Foderachlange 87, 139. \n\ncoMccMth. Vogel mit hoher Federhaube, Verkleidung Xochi- \npilli\u2019s 10t. - \u00abingt in der MnrgendHinmeruug f\u00ab, 105. \n\n|s. quetzalcoxcoxtll). \u2014 Xaaenschmuck des Feuergnttes \n80, 87, 2\u00f6\u00fc. \u2014 Kreuzsplegel Xoehipilli\u2019s u. a. G\u00f6tter 1(10. \n\nCozcorth. K\u00f6nig von Colhuucan 101 \n\ncofolti. Schelle, goldene, auf der Backe der Uoyolxunhqui 2llL \n\nCo/olzauhqui. feindliche Schwester l itxilopochtll'\u00bb, der Chau- \ntlco verwandt 27 li. \n\ncozcaquauhtli. .Halsbandudler\u201c, = Geier, Hey de zopilotc\u00bb, \nSarcorhamphiiK papa 177 \u00abechs zehnte\u00ab Tagosxeichen \n\n128. 177. Sinnbild des Alters 177. Sein Kegenl Itz \npupalot). die chichiiiiekiache G\u00f6ttin 177 \u2014 179. \u2014 \u00bb. Tla- \ncacozrnqiiauhtli. \n\ncozcaquauhtli ichao, .Mau\u00ab des Geier\u00bb - Haus der alten \nG\u00f6ttin?, bei der Tlagolteotl angegeben \n\ncozcatl, Halskette, l'eri kette, Grachmeid\u00ab, s. chalchinhcoxca- \npetlatl. \u2014 bezeichnet Lelienamittelftllle 382, 2K1. \nSymbol des Keiclithuin\u00ab gis, 213. \u2014 bezeichnet ein Kind \ngl. 24, 219, glT. g~\u00bb, 25t \u2014 Darrcichcn des. iM\u2019zeicbnet \nKmpfiingnUs 23-5 \u2014 llcnrus/ielien (Im, bezeichnet (Wiurt \n\n2 H. verbindet die TRaneer Mt\u00bb Reigen 2i\\ 222, 2SB. \n\nCozcatlao, Stadt, an den Grenzen de\u00ab Zapotekenlande\u00bb, von \nXacltkoiumen Xelbua'a bewohnt. \u2014 Verehrer de\u00bb Morgen- \nsterns 192. \n\nCroelca Franolsoaaa. von Guatemala, Tage*xclchenli\u00bbtc 127, \n128. \n\nCuchulchaa Tzeltali. Fcden*chlangc. die ini Wasser echt - \ntfuetzalcouatl 1H5. \n\ncuocuotzpalin, I\u00abeguan. der schwarze, Ctcnosuurns completa \n\n14V \n\ncutfallafoualli. radf\u00f6rmiger Nackensclmmck au\u00bb Ararafedcrn \nder Cuexteca 111. \n\nCuopaltzin. die Arara- Feder, die Flamme, Name des Kotier- \ngottes 154. \n\ncuof.aluitoncatl, f\u00fccberf\u00f6nniger Nackenschmuck i^itc t/.alcoual I \u00ab, \nau\u00bb whwurzeii Waldbuhnfederti mit eiuzelucn Aiara federn \n< - coxoliyo uei tepolli) 7, 139. \u2014 von Xolotl getragen \niu. 2IIL \u2014 von den Fulqueg\u00f6ttcm 108. \u2014 von Tonacsteculli \n13\u00bb. \u2014 von dem FlmlermauHgott 114. \n\ncuotlachtli. der Wb kclbftr, l\u2019ercolepte\u00ab caudivolvulu\u00bb, bei dem \nrotben Tvzratlipm-a, dem Vertreter Xipe\u2019\u00bb 32\u00dc. \u2014 bei d:m \nl'ulquegotte 17\u00bb. \n\ncuotlachuSui, der alte Wickel bilr, der Onkel der im Saeriftcio \ngladiatorio Geopferten u2!i. \n\ncuotzpalin. Kidcrli\u00bbe (\u00abig. Ia\u2018guan?l, Symbol der Unkeuschbeit \n145, gl~. g\u2019-H. \u2014 bezeichnet don I\u2019eni\u00bb gi8. 32S. \u2014 bezeichnet \nUterus 115. \u2014 Symbol von Fruchtbarkeit und WnwrR\u00fclr \n15\u00bb, 151, f\u00fcr da* Kaninchen im Bachen der Ferler- \nHehlange cintretend 117. \u2014 vierte\u00bb Tageazeichen 115 bis \n147. \u00bbein Regent l'euecoyoll 147, 118. - Anfang der \nTonalamatlglioderung in zwei Gruppen von 9x9 und zwei \nGruppen von 7x7 Tagen 5. \n\ncuozcochtochimalli. Hosetle au\u00bb Hirob'iipupler, Nackenachmuck \nde\u00bb Todc\u00bbuotte\u00bb 98, 158, 199 u. a. a. O. \u2014 beim Fk-der- \nmau\u00bbgotte 11A. \n\nCutxtoca. Uuaxtcken. Bewohner der n\u00f6rdlichen Vera Cruz- \nKlMe 101. \u2014 ihre Tracht 141. \n\nCuoztlan, lliiaxtekenlantl, im Xordoaten von Mexico gelegen \n143. \n\ncwcaamatl. GesAnge, toltekischer Besitz 142. 323. \n\ncuicacalli. Tanzhaus, \u00bbein Herr Tezeatlipoca :IH. \n\nCuicatlan. Ijindscbiifl, an den Grenxen der Tea|>oteca. audere \nAnfirngszeiclien der Jahre 2BU. \n\n43 \n\n\nDigilized by Google \n\n\nIndex. \n\n\n338 \n\ncuillait, Exkrement\u00ab*, Schinut/. .S\u00fcnde 114 (s. tlaelquani). \u2014 \nin der Hand des BUssers und neben dem, dem Ohr ent- \nstr\u00f6menden Blute 18, 19, 272, \u2014 in der Hand der Ixm-xtli \n2\u00d68, \u2014 bei dem Chalchiuhtotolin angegeben 272. \u2014 in \nder Hand Qimtzakouatl\u2019\u00bb, dm Mensrlienwh\u00f6pfen\u00bb. be- \nzeirhnel Tlayolteotl oder tlaynlli, den obsz\u00f6nen Akt 251. \n(acacali. mit dem Besen kUmpfen, TlagoltcoU und ihr (\u00ab\u25a0- \nfolge am Feste Ochpanixtli, bezeichnet Gebilren 268. \nfacatapayolli. Graabalkn, zum Hiueinalet ken der mit Blut \nbestrichenen Agaveblattspitzen 22t\u00bb, 227. \nfacatl - Besen 2&L \n\nfacatt tlacotl. Halme, durch die duniil\u00f6iin-rtc Zunge zu ziehen, \nin der Kami Qurtxalcouatl's 282. \nce acati \u201eeins Kohr\", Anfang des f\u00fchrten Toualumnll -Ab- \nschnittes, Regent Chalchiuhtlieue 253. \u2014 Anfang des \nersten Viertels der zwciumlf\u00fcnfzigjllhrigpii Periode, den \nOsten bezeichnend 2\u00fctL \u2014 Jahre der PruclitlMirkrit 282- \n\u2014 Tag an dem TopilUin tluetzakoiiat) starb und \u00bbich in \nden Morgenstern verwandelte 257. - - Hieroglyphe de\u00ab \nPlaneten Venus 192, 257, 2j\u00a3L \u2014 Gestirn 47, 4M. \u2014 einer \nder Tzitaimim\u00e4 90. \u2014 = Itscnintli 298. 291. \nce acall ce cipectli Anfang der ersten Venus puriode im ersten \nJahre der zweiundf\u00fcnfzigjfthrigen Periode 286. \nce all \u00bbeins Wasser\u201c, Anfang des siebzehnten Tunalamittl- \nAtieelinittc*. Mein Regent Chalehiuhtotulin 271, 272. \nca colli \u201e\u00ab-ins Haus\u201c, Anfang des f\u00fcnfzehnten Tnmilamatl- \nAhsehnitt\u00ab\u00bb. Sein Regent Itzpapalotl 209, 270. \u2014 Anfang \nde\u00ab dritten Viertels der zweiundf\u00fcnfzigjflhrigeu Periode \n280, \u2014 Jahre der Wasserf\u00fclle 288. \u2014 einer der Tage, an \ndenen die Ciuateteo zur Knie herabkomtnen lk\u00bbi. \nce couall \u201eeins Schlange\u201c, Anfang de\u00ab neunten Tons lau mtl \nAbschnittes. Seine Regenten Xiuhtecutli und Tiatdzi ulpsn- \nt et nlli 200\u2014258. \u2014 erstes Glied der f\u00fcr den Morgenstern \nbedeutsamen viergliedrigen Reihe 12t. \u2014 Anfang der \nSirhtharkeit der Venus ul\u00bb Morgenstern 291, 21*2. \nce coicaqueuhtli \u201eeins Geier\u201c, Anfang , 250. \nce miquiitli \u201eeins Tod\u201c, Anfang des sechsten Tonalamatl-Ab- \nschuittes. Seine Regenten TecciitccaU und Tonatiuh 258, \n254. \u2014 Anfang des zweiten Viertel\u00bb des gew\u00f6hnlichen \nTonalamatl*\u00bb, den Norden bezeichnend ffll, 2t\u00a3L \u2014 Zeichen \ndes Mondes, Zeichen Tezcatlipoca\u2019s 70. \u2014 Name der \nMniecaciuatl 25*8, 291. \n\nCention mimixceua. die vierhundert Nordg\u00f6tter 210. \n\n\nCention tetocktin, die vierhundert Pulqucghtter 152. \u2014 sind \nErnteg\u00f6tter 167. \u2014 ihre Namen ltiM. \n\nCeetion uitmaua, die vierhundert Sfidg\u00f6tter 210. \u2014 die feind- \nlichen Br\u00fcder l'itzilopochtli'a 91. \nce ecelotl \u201eeins Jaguar\u201c, Anfang de\u00ab zweiten Tonalamatl- \nVlertels, den Norden bezeichnend. Sein Regent Tezcat- \nlipoca 8. \u2014 Anfang dM zweiten der zwanzig Tonalamatl- \nAbschnitte. Hein Regent tjuetzalcouatl 248, 219. \nc\u00bb ofomath .eins Affe\u201c, Anfang de\u00ab eilften Tonal amatl - \nViertels. Sein Regent P\u00e4tecatl 25S\u00bb \u2014 261. \u2014 Anfang de\u00ab \ndritten Viertels des gew\u00f6hnlichen Tonalamatl'\u00ab. den \nWesten bezeichnend 281. 282 . - einer \u00ab1er Tage, an denen \ndie Cluateto\u00f6 zur Erde lierahkummen 80 t\u00bb. \nce elie \u201eein\u00bb Bewegung\u201c. Anfang de\u00ab dreizehnten Tonal- \naiiiatl-Absclinitt\u00bb\u00ab. Sein Regent Tlavoltcotl 204, 2t>5. \nce qoauhtti \u201eeins A\u00bbllcr\u201c, Anfang de\u00ab neunzehnten Tonal - \namutl-Aisw hnittes. Sein Regent Xm-hiquetxal 278. \ndrittes Glied der f\u00fcr den Morgenstern bedeutsamen vier- \ngliedrigen Reihe 128, 29t - einer der Tage, an denen \n\ndie Ciuatctc\u00f6 zur Knie hcrabknmmcn JUL \u2014 Name der \nMayauel, der f\u00fcnften der f\u00fcnf Formen der Tlavoltcotl \ni die untere Region bezeichnend i 818. \nce ifuiauitl \u201eeins Regen\u201c, Anfang des siebenten Tonalamatl- \nAbschnittes. Sein Regent Thilo c \u2018i54. 2Vi. \u2014 einer der \nTuge, an denen die Ciuatetc\u00f6 zur Enle herabkommen 306. \nco tecpatl .ein\u00bb Feuerstein\u201c, Anfang dis\u00bb zehnten Tonalamatl- \nVliM liuiiten Seine Regenten Mictlantecutli und Tonatiuh \n'258, 259. \u2014 Anfang de\u00bb zweiten Viertels der zweiund- \nf\u00fcnfzigj\u00e4hrigen Periode, den Norden bezeichnen\u00bb! 280. \nJahre der D\u00fcrre und Hciisehrrckenfraase\u00ab 282. 288. \u2014 \nan ihm di\u00bb\u00bb Tliien- erschaffen 278. \ncell. Killte, Frost, Hieroglyphe 09. \u2014 Gott der, ltzllacoliuh\u00bb|Ui \n2t >2. M. \n\nco techtli \u201eeins Kaninchen\u201c, Anfang de\u00ab zwanzigsten Tonal- \namatl- Abschnitte\u00bb. Seine Rege n ten Xiuhtecutli und Xipc \nTotw 278, 279. \u2014 Anfang \u00abl\u00ab*s vierten Viertels der zwei- \nundf\u00fcnfzigj\u00e4lirigeii Periode, den S\u00fcden bezeichnend 280 \n\u2014 Jahre der Unfruchtbarkeit und M&usefraseei, 288, 281. \n\u2014 an ihm die Erde erschaffen 152. \u2014 Beginn der gegen- \n\u00bbArtigen Weltperiode 18ti. \n\nco leckitl .ein\u00bb Blume\u201c, Anfang des vierten Tonalamatl- \nViertel\u00bb, den S\u00fcden bezeichnend. Sein Regent Tonatiuh \n11. \u2014 Anfang des vierten der zwanzig Tonalamatl -Ab- \nschnitte. Sein Regent Ueueeoyotl 251\u2014258. \u2014 vierte\u00bb \nGlied der f\u00fcr den Morgenstern bedcutaamen viergliedrigen \nReihe 128. 291. \u2014 Tag drw Blumenfcatc\u00bb (xochilhuitli, \nFest Xochipilli's ltil. \u2014 = Cinteotl, der von der TlaQol- \nteotl in Tamoanchan Geborene 101, 166. \u2014 Zeichen und \nName der Sonne II. 12. \u2014 r Hunahpu der Qu'iche 11. \ncicittalli, na\u00ab-h Art \u00bbles Sternhimmel\u00bb gemalt, weis\u00bb\u00ab' Scheiben \nauf schwarzem Grunde. Da\u00bb Wurfbreit tjuetzakouatl's \n140. \u2014 \u00bblas Gewicht des t^uelzalcouatl der H\u00f6he ;l 0 \u00fc. \u2014 dir \nFederkrone Tezcatlipoca'\u00bb 256. \u2014 ein Feld um die Augen \nde\u00ab cuetlachtli 169, ifc\u00e4i, \u2014 das Gewand der Citlaiin icue 28. \ncincaJIi. Maisbau\u00bb Westen 10. t durch Verwechselung?! \nhei dem R\u00ab\u00bbgeng\u00bb\u00bbtte de\u00bb S\u00fcdens 218. \u2014 bezeichnet den \nOsten \u00bb2. *\u2014 eines der Gmrichlcr \u00abler 4 ub- \nxolotl 220. \n\nCiuapipiltin, i Ciuatrte\u00f6. \n\nCruatcoll. G\u00f6ttin des Westens. Hegleitbild im dritten Tonal - \namatl-Viertel 46, 47. \n\nCn/atotod. G\u00f6ttinnen d\u00ab** Westen\u00ab 6, iS\u00bb*, 364, 307. in F\u00fcnf- \nzahl vorhanden IHM, 965. Anwlirn und Tracht 3U4, 365. \n\u2014 Heiligt hiinier auf Kreuxwegen 18. \u2014 an den Anfangs* \ntage\u00bb des dritten Tonalamail- Viertels zur Erde kommend \nSlot\u00bb. \u2014 .Seelen der im Kindbett gestorbenen Frauen \u00abMl. \n\n\u2014 schlagen die Kinder mit Epilepsie H05-.1W. \u2014 ver- \nleiten zum Ehebruch 307. \n\nciuathmpa. Region der Weiher, \u00abler Westen. Ihm geh\u00f6rt das \ndritte TonalainaU-Viertel 6. \u2014 Regent die Erdg\u00f6ttin ln, \n\u2014 Region der Herren \u00abler Zeugung 4.\"*, 219, 220. \u2014 Wohn- \nort der Ciustete\u00f6 306, M07. \u2014 hieroglyphische Darstellung \nj0, 51, 74. \u2014 in der Reihe \u00abler neun Herren durch Chal- \n\u00abiiiuhtiicue und Tlavolteotl \u00bb\u00bbezi*i\u00ab*hnet 111. \u2014 durch \nTlacolUmtl 73, 80. \u2014 durch Xochipilli 116. \u2014 durch \nXochipilli und Xochiquetzal 68. \u2014 durch die blaue \nFederachlange und tRictzah-ouatl 29\" . \u2014 Region des \nAbendstcm* 121 \u2014 127. \n\nfolin, Wachtel, Thier der Erde, Brustschiuuck Xipes 85. \u2014 \nan der Stirnseite der Kopfbinde Xipe\u2019s 204. \u2014 Federn im \nKackenschmuck der Tla?oltll 102. \u2014 Federn im Nasen- \nschmuck und an der llutspilze \u00abler Tlavolteotl 264. \n\nfo'ti, Izo\u2019tz) (Maya) FledertiiMtui, in Maya Hieroglyphen 113. \n\u2014 Veiwchluaa de\u00ab Thorea von Tollan I1H. \u2014 des Tollan's \ndes Westen 126. \u2014 Name eines Jahresfeste\u00ab \u00abler Maya 113. \n\nro/atomalli. Husch au* gelben Federn, bei \u00abler Tlavolteotl \n10*2, 172. \n\nfopatl\u00fcfualli, nulf\u00f6rmiger Kackenschmuck aus Paluiblatt- \nsi reifen der Cuexteea 141. \n\nChocul\u00e4, Hacienda im Distrikte Kenton von Guatemala. \nZacke ngef A sm- 31. \n\nchachanmi. die H\u00fcuser, zwei Gefangene, die am netonatluh- \nvaualli geopfert werden 186. \n\n\nChalco, Sta\u00abit. durch clialchiuitl hieroglyphioch bezeichnet 96. \ncfialcfummichoacan, ,Ed\u00abd*tcin-Mi\u00abhoacan* * Tamoanehan, der \nmythische Westen ltd, 165. \u2014 bei Xochipilli \u00ablargestellt \n161, 165. \n\nchalchiuhatl, das Edelstein wasscr. auch - Blut 100. \u2014 Hiero- \nglyphe 23, 184. durch Blutschlange veranschaulicht \n75, 76. \u2014 bei Quetzalcouatl, dem R\u00fcsser 21. \u2014 hei dam \nChalchiuhtotolin, dem Truthahn 181, 272. \u2014 durch das \nChalchiuhtotolin, den Truthahn reprilsentirt 18H, 2 Li \u2014 \nbei der Chnlrhinhtlirue dargestellt 965. \nchalchiuhcoicapotlatl. mehrreihige Halskette aus Edelstein- \nperlen, bei X\u00abM\u2019hipilli 116, 150 u. a. G\u00f6ttern. \nchalchiuhtotolli. Kopfbinde des Feuergotten 0.5. \nChalchiuhtlalonac. Gott \u00ables fliessenden Wassers, im Codex \nVaticanu* f\u00fcr Chalchiuhtlicue, Regent in dm f\u00fcnften \nTageszeichen* eintretend 14H, 14t). \n\nChalchiuhtotolin , das \u201eEdeletelnhuhn\u201c, der Truthuhn, be- \nzeichnet \u00ablas Wasser 75 und Antn. \u2014 im Hause de* \nRegen* 75, 76. \u2014 Regent de* achtzehnten Tageszeichens \ntcrpatl litt. de* siebzehnten Tonalamatl-Abschnitte* \nce all 27 1,212.\u2014 Abbild TezcatIipoca'*2IL \u2014 Reprftsentlrt \ndas chaichiiihatl otler das Blut 189, 272. \nchalchiuhfQcamitl. Xasenstah aus gr\u00fcnem Edelstein, kostbarer \nNasenstab. Vom Sonnengotte getragen 1*7. \u2014 von Xochi- \npilli I.Y). \n\nchalchiuitl, sogen. Smaragd. Jadeit u. a. gr\u00fcne HalhedeUU-ine. \nIm Wasser vor der Chah-hluhtliciie 10U. \u2014 am Bauine \n\u00ables Ostens 78. \u2014 auf der Kleidung der Chaichiuhtlirwe \n1)51. \u2014 auf TrachtMt\u00fccken Clmlchiuhtlatona\u00ab-'* 1 IG. \u2014 auf \nder Schanibinde Xochipilli'* 160. \u2014 am Nacken des \nSonnengott!-* tl7. \u2014 de* Maisgottea UH. \nchalchiuitl- Kette, s. cozcatl. \u2014 Kopfbinde de\u00ab Sonnengottes \n185. \u2014 des (Juetzalcouatl von Tollan 287. \n\nChalchiuhtlicue. die mit dem Gewand aus gr\u00fcnen Edelsteinen, \nG\u00f6ttin \u00abh's f1i<<\u00bbsenden Wassers. Aussehen un\u00abl Tracht 99. \n\n\u2014 sechste \u00abler neun Herren \u00abler Nacht HD, 100. \u2014 den \nWesten bezeichnend 111. \u2014 Regent in des f\u00fcnften Tages- \nzeichens couatl 148, 149. \u2014 de\u00ab f\u00fcnften Tnnalamatl- \nAliechnitt* ce acatl 953. \u2014 vierter \u00abler vier H\u00fcter \u00abh*r \nvierten Vrnusperiodc, den Westen bezeichnen\u00ab! 9M, 965. \n\n\u2014 vom Speer \u00able* Planeten Venu* getroffen, in der ersten \nPeriode (dem Osten) -I2P \u2014 im WaasergefAs* unter dem \nTlaloc der Mitte 284. \n\nCham\u00e4. in \u00abler Alta Vera Pa*. Bemalte* Thongefi*\u00ab von dort 112. \nChantico, G\u00f6ttin von XochimUco, Feuergottin 273. \u2014 Aus- \nsehen und Tracht 275, 22lL \u2014 Regentin de* achtzehnten \nTonalamail \u2022 Abschnitte\u00ab cc eecatl 272 \u2014 278. \u2014 chichi- \nluekinclu- G\u00f6ttin 228. \u2014 Herrin de\u00ab Capsicum Pfeffer* \n273. 276. \u2014 der Adlerfuas ihr Symbol 34, 55. \u2014 ? Begleit- \nbihi im ernten Tonalamatl -Viertel 15. \neha/auac cozcatl, lang herabfsllende Halskette uu* maliualli \n\u00abler Puiqueg\u00f6ttrr 168. \n\n(47, tti lOuaU-mala-Spraelicui Hund 157. \nchic iTzeltal\u00bb = mexikanisch olin 181). \n\nchicauaztU. Kaaselbrett, Zeichen der Krdgottheitcn, in \u00abler \nHand \u00abler vier ll\u00fcter der Knie 82\u201489. \u2014 der Ciuacuuntl 82, \nsl Cinteotls (|Dtb) 88, 88. \u2014 X1 |m*'n (N|h) 28. 175. \n267. i blau) 4M, 85. \u2014 zwischen dem ersten Menschenpaar, \n\u00bb\u00ab\u2022zeichnet Fruchtbarkeit 83, 134. \nchicchan iMaynt, Tageszeichen, = mexik. couatl, erst\u00ab-* Glied \n\u00abler f\u00fcr \u00ablen Morgenstern bedeutsamen viergliedrigen Reihe \n188. \n\nchicoacolli. das an der einen Seite gekr\u00fcmmte Wurfbreit de* \nWindgotte* 140. \n\nChicomo couatl \u201eHieben Schlange\u201c, Name der mexikanischen \nMaisg\u00f6tlln 20. \n\nchic omo couatl, Gott der Wiener Hands\u00ab-hrift :\u00a3&, 2t\u00a3i. \nchicomo olin \u201eSieben Bewegung*, Gott der Wiener Hand- \nschrift 73. \n\n\nDigitized by Google \n\n\n340 \n\n\nIndex. \n\n\nchicomo tochitl \u201eSichen Itlume\u201c xm -liillmit I \u201eHlunirnfc 1 \u00ab\u00bb\u201c. \n\nFort XnchipilliV 161. Nanu- Toiiacut\u00ab.*\u00ab'Utlt'\u00bb 1.(1. \nChicomollotzin \u201eKleben Kolben*, Nanu- der Maiag\u00f6ttin 2t\u00bb. \nChicomoztoc. Sieben Hohlen, ini Norden gelegene t*rli\u00bb'imuth \nder StAmme. Wohnort Iztac Mix 1 . \u2014 Gewand und Krim\u00ab 1 der Tlacolteoll \n\n864, Sfib \n\nchicuei acatl \u201eacht Rohr*. vierte der f\u00fcnf K\u00f6nnen der Tlin.-ol- \nteotl, den S\u00fcden hcxeirhnend tllil, Name der Mond \ng\u00dfttin 17, 4H. \n\nchicuei mafatl \u201eacht Hirsch\" Xolotl 2\u00dc1. \n\nChicunauhapan, der neunfache Strom. \u00ab1er Strom der 1\u2018nter- \nwelt 1T\u00bb7 . \n\nchicunauhnofwniuhcon, i|*\u00bbn\u00ab'iinfu\u00ab-h verkettete, die neun Himmel. \n\nWohnort \u00abler X\u00abM'hii|Uctznl 1SH. \u2014 = Taiiioam'hun 1NM, \u00b151. \nchicunaui acatf .neun Rohr*, Name der Tiaeoltcotl 17. IS. 313 \nchicunaui etcall \u201eneun Wind*. Narne QuetmlcouatlV 2S7. :*\u00bb\u2022. \n\u00e4flB, 2!M. \n\nchicunaui itzeuintti \u201eneun Hund\u201c, Name der C-hnntien 2*;i \nG\u00fcttin der Strliuchneidrr \u2022'\u25a0-( \u2014 Zeichen der Zaula-rer 273. \nchicunaui teculli \u201eneun Herr\" iHerr der nenn Richtungen), \nName de\u00bb Feilergott\u00ab\u00ab III. \n\nChi ch'on itza t Maya\u00bb, alte Stadt in Yucatan. Schlangen- \npfeiler l\u00abL \u25a0 \u2014 Karyatiden \u2018.Kl. \n\nChichimoca, .liig<'i\u00bbt\u00fciuitie dea Norden\u00bb, kennen \u00ablie Tla\u00bb;oltcutl \nnicht 1WI. \u2014 Gott \u00abler, a. MixcouatL - Gattin der, *. Itx- \npapalotL \u2014 G\u00fcttin der, di\u00ab* dritte NaehtMnnih* und den \nNorden bezeichnend 217, 2IH. \nchichinoa. verwngen, verbrennen 136 Anm. \nchi/ a h. pija (lapnLek-l, G\u00ab-\u00ablrehte\u00bb, Tageswichen - m<*xik \nmalinalli 163. \n\nchi/lla i/.aputek.), mtM Thgemekhen mexik. ripaetli 13U. \nchi tU, Capsicum' Pfeffer. Herrin dea, t'haulieo 27:'.. \u2014 Ent- \nhaltung davon Pn*trti\u00bb|H*W 277. 21a. \nchilmoili. rolhe Pfeffert unke 27t>. \n\nChimalpanecatl. ein Pnlquegott 17s \n\nChtnampantca, Anwohner der I-agunr von Xorhimilco. G\u00fct\u00bb \nlinnen der. M. 33, .V>, 274. \n\nchiqoactn acatl \u201eSreha Rohr 41 , Name der dritten der f\u00fcnf \nFormen \u00abler Tiaeoltcotl, \u00ablen Wwtrn bcw*iehnen\u00abl ULL \nCholollan. Stadt, ihr Gott \u2022Juctzahoiiatl 131. \n\nDan-eichen, ilr\u00bb Abbildes, bedeutet Menschenopfer l'.*2 \u2014 \nein\u00ab*\u00bb eoscall, lietzelchnet Empf\u00e4ngnis* 223. \nDsuaeniederperrttcke. Xlpe\u2019a S5, 263. IliKwntl'i 113. \n\nDel Paso j Troncosa. Untersuchungen de* Codex Vaticana\u00bb 1. \nDonner, Stimme TMocVi 2 *J!*. \n\nDonnerkeil, in der Hand Tlaloc'a \u00a31, 37, 2ttL \nDornbanm, der Raum dea Norden\u00bb 7M, \n\nDreckfresser, S\u00fcnder, a. tlaebpiani. \n\nDrei, Zahl der Honlatrine, f\u00fcr \u00ablen Fonergott lt\u00bb'/.* i\u00bb hm-tul 21\u00fc \n\nDrei Reiche, die 71. \n\nDrelxehamal HLal Veanaperieden, der groaae Zyklu\u00bb :il 1\u2014344. \nDreizehnte Himmel, Wohnort \u00bbler Zciiguug*g\u00abltt\u00abT, \u00bb. Oim- \nyocan. \n\nDreizehn Zahlen, mit \u00ablen zwanzig Zeichen /.um Tonulaniull \nkoniliiniri 3. \n\nDne\u00fces de ln noebe, s. Neun Herren der Narht. \n\nDunkelheit, allgemein\u00bb', am Kn\u00bble \u00bble\u00bb o\u00bb -eint\u00ab \u00bbnur iuh 183. \nD\u00f6rre, ihr Symbol der Hirsch HM, tgt, 13\u00bb\u00bb, 131, -H42, \u2014 Region \nder, der Norden 37, \u00dcLtL \u2014 Hau\u00bb d\u00ab*r 73, 76. \u2014 Folg\u00ab' \ndes Spoerwurf\u00bb des Planeten Vonus in \u00bbler \u00bbIrilteti \nPeriode 323. \n\noh iMhjhi, Tngwiaeieficn, mexikanisch malinalli lti6. \necacozcatl, (keehmeide des Windgutlea, sein Ohmehmuck \n(\u00bb. e|H'ololli) 1 Hl. \n\nocailacatzcozcatl. \u00bblas \u00bbpiralgvdnehtu Gesell meide \u00abI\u00bb\u2014 Wind \n\n\ngotii's, Hniata\u00ab lnnui k aus einem Sehnet kengebttuso ge- \nschliffen M7, \u00dcB\u00bb, 1 10. hmiXtekiacher Schmuck 141. \u2014 \nvon Xololl get tagen 2\u00dc \n\nocatonativh. vierte der prftkosmisehen Weltperioden 172, 18t\u00bb. \n\u00bb\u2022n\u00bbl\u00bb\u00bbt am Tage ce itzcuintli 137. \n\n\u2022 cauictli , die Hacke des Windgoltca, sein an einem Ende \ngekr\u00fcmmte\u00ab Wurfhretl 140, 2IM. 220. \n\nEcho, in \u00ablen Reigen. = Tcpeyollntli 10!l. \u2014 Rerg dea, h. Tepe- \nuenec. \n\nEdelstein, gr\u00fcner. a. rhalrhiuiti. \n\nEdeUtelnkette, a. rmcatl. \n\nee (Caki\u2018hi\u00ab|uel l, Tageazelchen, mexikanisch malinalli lti6. \n\noecatl. Wind, zweit\u00ab'\u00bb Tag\u00ab*\u00bbzeichen 134. \u2014 Sein Regent \ntj'ietzalrnuall RH\u2014 144. \u2014 in Cui\u00ab*atlan, ein \u00ab's der An- \nfangaz.eiehrn \u00abh-r vier .lalire 2HU. \n\nEhebrecher, e. tetlaxinqul. \n\nEhrte, P. F. S. J., rutcraiichungcn \u00fcber die Geschichte des \nCodex Yaticanua 1. \n\nEidechse, s cuelzpalin. \n\nEiavanianmg, \u00abler St\u00e4mme, angeblich \u00fcber die Uuaxteca \n141. 142. \n\nela. gueela ixapotekiiH'l\u00bb), Nnrht, Tageuxeiclten, = mexikanisch \n\u00ab all\u00bb .Hau\u00bb\u201d 111. \n\nEmpf\u00e4ngnis\u00bb, durch Fumapur von oben \u00abiarge\u00abtcMt \u00b11, 21, \n\u00a3C(. \u2014 \u00abluri-h Rarreichen \u00ab\u00bbin\u00ab*\u00bb conratl 223. \u2014 Opfer \nf\u00fcr, 2\u00dc1L \n\nen face -Augen, neben der Sonne darg.-\u00bbi\u00bbllt 11. .'d>. 6U \nunter dein Himmel 36. \n\nepcolelh. aus Muachelnelutle geachliffenea t HirgehAnge l^uelzal- \ncouatl'a K7, I3U, 14*k \u2014 hu\u00abxt\u00abkt*e1ier Schmock 141 . \u2014 \nvon Xololl g\u00ab\u2018trag\u00bb'ii 27t t. \n\nEpileptische, von den Ciuatoteo Beaeaacm' k\u00df \u2014 !)U7. \n\nErbohren, neuen Feuer\u00bb, am Ileginne der zweiundf\u00fcnfzig- \njHlirigen Perio\u00able \u2018il. \n\nErdbeben, tlalolini. \n\nErde, a. tlalli, tlaltisuitli an\u00bb dem cipactli erac-haffcn 127 \nTepey\u00ab\u00bbllotli IUI. \u2014 ihre Well Periode \u00ablir Jaguar \n\u00abiinne tocehitonntiuli) 172. \u2014 ihr\u00ab* vier H\u00fcter S2\u2014 Htt. \u2014 \nihr\u00bb\u00bb Ki\u00ab lilung, \u00abler Xonlen \u00abah*r \u00ablie untere Kcgiun Ulli. \n\nErdgott, \u00bb. Xip\u00ab> Tote\u00ab'- da\u00bb Tlder mit der apitzeu S\u00ab'hiiauze. \n\nENgdttln, a. Tlac\u00abdtcoi]. gek\u00f6pft\u00bb* 72. \u2014 da\u00bb erste Meiwi hcn- \nopfer 174. \n\nErdrzcben, Reptil- icipnctli-i Haelien. H\u00ab i Mii tlante\u00bb utli, \nMictecaciuatl 2!!5. \u2014 in ihm gegraben 74. \u2014 entlilaat den \nStern 2IH, \u00b1>2. \u2014 Ktnf\u00ab*nm\u00e4anderMt1ig auHgebildet \u00bb\u2019\u00bbM, .V.\u00bb, \nKl, S4, 2\u00dcL1 \n\nErllnternngen, zum Tonalamatl 243. \n\nErntefest, da\u00bb Fest ochpunilzli 1 *41. \n\nErntegdlter, die l'ub|u\u00ab*gntter 167. \u2014 Tlacolteutl 173. \n\nErschkeesen mit Pfeilen, Opfer der Krdg\u00f6tlin. Itzpapalotl \n\u00abInrrh Mim ich 171\u00bb. \n\nerste Fraa, Xochiquetzal. \u2014 um Muhlati'in Im\u00fc der Xw'hi- \n\u00bblui'tzal dargeetelll IHM, ISA \n\nerater Mensch, TonaeateculH 131. \n\nerstes Menacbenpaar, Piluintecutli un\u00abl Xochiqneual 133. \u2014 \nim drillen Touahimatl- Viertelt WeaU'n), unter der Himuu*h\u00bb- \ng\u00f6ttin durge\u00bb teilt 44. \u2014 bei T\u00abmae\u00bbl\u00ab*culli, dem Regenten \n\u00bb!<\u2022* ersten TageazeU'lmn\u00bb 132, 133. \u2014 bei Tonacat\u00ab*cutli, \ndem Regentoii \u00abJe\u00bb ernten Tonalamatl -Alja\u00ab'hnilte\u00bb 247, \n21.H, \u2014 bei Xochlijuetzal 133. \u2014 im Pulquelnpf 13R, \n\nErwtlrger, \u00bb. u\u00bb]uechnie(-uuiani. \n\net cohtlla. Reben, a. malinalli. \n\no'tznab i Mayat, Tagci\u00bb7.\u00bb'i\u00ab , ben - iiiexlkaniM'li teepat), Anfang\u00bb \nZeichen de\u00bb zweiten der vier Jahre 22\u00dcL \n\nEule, \u00ab. tccoloti. \n\neuch iTzeltal l, Tage \u00bb/.eichen, a moxikanhic h inuhnalli 166. \n\nEva, veilaboene, a. Ixnextli. \n\noztii. Blut, durch Blume vemnachaulicht. \u2014 durch \u00ablie rothe \nSchlange \u2014 \u00bb. chalcliiuhatl. \u2014 durch Clial\u00bb hiuhtololi\u00bb \n\n\nDigitized by Google \n\n\nIndex. \n\n\n841 \n\n\nreprtwntirt IK1, 272. \u2014 bei der Tla^olteotl dargestellt \nl!K \u2014 hei der Chalcliiuhtliciie \u00fcnfi. \n\nfaciea Hippocratica, l\u00f6s. \n\nlallender Mensch, bei l.*eueeoy*tl II\u00ab. 1 IN. \u2014 Iwi Itxtla- \nroliuhqui a*i|. 2t*4. \u2014 bei Itxpapalotl dlK\u00bb. \n\nFaatea, \u00bb. ncraualli. \n\nPastenbrecherin, ('bantlen 273, 27 7. 27S. \n\nFastender,'-. mogatiani. \n\nFastenspeise, die ahne l*feffer\u00abauce i\u00bb\u00ab\u2018n\u00ab\u00bbK\u2018rt\u00bbnen Tortilla\u00bb. 277. \n22H. \n\nFederschlange, *. \u00ab|uetxalc\u00abmatl. \n\nFederschlangan, die vier 2!ft-\u00e4W. \n\nFells trellen, im Federxelinuak des Sonnengott\u00bb \u00fc7, IN.*\u00ab. \u2014 \nder Pulqueg\u00d6ttin 2\u00bbW. \u2014 Tlaloe'\u00bb lUH, HO. \n\nFeaer, *. tletl. \n\nFeoerbobren, *. ilenuimalili/.ili. \n\nFenerbohrer, \u00bb. llcquaiiitl. mamalhuaztli. \u00ab\u00bbme \u00abluummaiualitli. \n\nFeaergollss, - tloruilli \n\nFeuergott, - Xiuh(\u00ab-|ulauill, tiiNpiiauilli. \n\nFeuersteinmesser, s. tecpatl. \n\nFiaca Pompeya, l\u00ab.*i Antigua in Guatvinulu. Thonbildcr von \ndort 104. li ft. \n\nFisch, \u00ab mithin. \n\nFischen, \u00ab. mlrhmalo. \n\nFlamme, *. fiel], tlexochtli, tlepapalotl. \n\nFledermaus, s. go\u2019ts. \u2014 kupfabrei\"\u00bbendc s. r\u2019ania <.\"'tz. \n\nFiedermausgott, a. Tla> atxinar anrli. \u2014 der Maya-Siiiminc 112. \n\nFo, Fochagott der Chilx-lia NH. \n\nFr\u00f6sche, an Kullu\u00bb*tAtt\u00ab*n ik\u00ab Rcgengntt* I In. \n\nProst, s. cell. \n\nFacha, Tanxgott der Chilx-lia MH. \n\nHat s. maruilli. \n\nIlni Fennen der VofoHaoU 41^ \u00dcUL \n\ntttai G\u00f6tter des S\u00fcdens -ins Uli. \n\nIlni Glttlanen dea Westens :wi-:u\u00bb7. \n\nttnfte Rlchtaag, Richtung nach unten Kt, Hl. \n\nIfinite Weltgegend, Witt\u00ab-. durch Xiuhtc-cntli reprflaentirt HO, \n111. - durch lxtac Mixrouatl 212, 24\u00ab\u00bb. \n\nIlniandavanilg G\u00f6tterpaare, 211\u2014212. \n\nIftal Vennsperioden, ltW, 314. 31\u00d6. \u2014 ihre H\u00fcter \u00c4ft\u2014 \u00c4W. \u2014 \ndie viermal f\u00fcnf IW\u00bb -210. \u2014 die dreizehnmal f\u00fcnf \n\n314\u2014 IM. \n\nf\u00fcnf Weltgegenden, durch neun Herren der Nacht reprfsrntirt \n111. \u2014 den f\u00fcnf Venusperioden \u00ab\u2018ntaprccliend Ulli. \n\nFussspur, bezeichnet den Weg \u00d6O, \u00f6l. \u2014 beaeichnet Erd\u00ab* \n\u00c4h\u00bb auf dein Gewarnte der KnlgOttin \u00f6l), \u00f6l, \u2014 auf der \nHacke der Krdgtttlin he raliki .111 n i\u00ab*n\u00able, Itcxi-irlim-t \n\nEnipfAn^nit\u00bb 23, 21, 2:21. \u2014 diakritische* Zeichen *\u00bb. \n\nGeblren = K\u00fcmpfen 2GI1, \u00abMNi. \u2014 \u00ab. yac\u00e4cali. \n\nGebirende, Tlagolteotl 2:t, 24, 2i>\u00ab. Xtzal 211\u00bb. \n\nGehart Krln'iiten eine\u00bb (b-fangem-n 27s\u00bb. 2\u00f6l. \u2014 \u00ab*rh\u2018iehtert \ndurch tlaqoatzin 2111. \u2014 bei der Gehurt gestorbene \u00bb. \nniociuaquetX4|iie. \n\nGebartaslellnng imantav*mhticaci, Tlacoltcotl 271, 24, 2\u00bb>-, \u2014 \nXocbiqueUal 210. \u2014 Tonacatccutli 247. \n\nGelangener, gvbundenrr - .Sklaverei Ul 2 , :\u2018d.l. \u2014 Erbeuten \nein\u00ab*\u00ab, a. temanL \u2014 am Huiiiu gebunden. liegldtbild xuiu \ndritten Toualaiuatl -Viertel 4t\u00bb. \n\ngehlmmertes Geld, a. tlacauaualli. \n\nGeheul des Jagaart, in den Hcrgen, unbeilrolle\u00bb Vorzeichen \n1UC4. \u2014 c Tcpcyollotli IUI. \n\n\nGeier, \u00bb. rozcaquanlitll. \n\nGeiermeasch, \u00bb tlacaco\u00ab-a\u00ab|uanhtIi. \n\ngelb, Farbe d\u00ab*r Weiber Ul. \u2014 de\u00bb Maiagottea UH. \u2014 der \nTlagolb'otl 1112, 7113. d\u00ab** Gc*icl\u00bbte\u00bb de\u00ab KeuergoUes l\u00f6l. \n\n\u2014 \u00ab1er oberen Hfllfle \u00abl\u00ab*>\u00ab Gewicht\u00ab* Xochipilli\u2019\u00bb l\u00f6l\u00bb. \u2014 \nde\u00ab Sonnenkult\u00ab INI. \u2014 toten Fleische\u00ab 22U \n\ngelbe Blfltbe (rogauic xm-hitlai - Tlagoltootl 101. \n\ngelbe Federe, in\u00bb Kopf*fhmu\u00ab-k \u00abler Tlagoltaotl, *. yoyatemnlli. \n\ngelbes Peld, um \u00ablen Augen, bei IVuecoyutl 147. \u2014 bei \nMacu\u00fcxochitl \u20183H \u2014 bei den f\u00fcnf (lottern des S\u00fcdeiui \n\u25a0ww. iim \n\ngelbe Fraa - Cbantico -'7:1. \n\ngelb and gr\u00fcn, Gewand und Putz de\u00ab Mnisgott\u00ab*\u00ab IMl \n\nGelenk, an KrUmmungMSlcIlcn gewidmet |H\u00bb\u00bb. \n\nGeminationen, x xolotl. \n\nGesichtsbemalung. de\u00ab Sonnengottes 72, Ul*, W. \u2014 de\u00ab Sonnen- \ngottes bei dem Xuchipilli de\u00ab S\u00fcden\u00ab 205, 3ia\u00bb. \u2014 Xochi- \npilli'a I.V.\u00bb. \u2014 Cinteotl\u2019a HH, UH. \u2014 Tluuuculpant<*\u00ab i ulll'N \n*. niixciilalliuiticac. \u2014 Tezcatlipoca\u2019s und ritzilupochtli'\u00bb \n\u00ab. ixtlan tlatlaan und pilneebiualli. \u2014 Quetzalcouatl\u2019\u00ab HW \n\u2014 \u2022 \u00ab1er l\u2019ulqueg\u00f6tter \u00ab. cbictlu|Minqui. \u2014 der Chaleliiiih* \ntlicue IW. \u2014 der Tzapotlan tenan \u00ab. omc \u00abluipilhi. \u2014 \nMacuilxoc-ldtl'a und M-iner (teiiowtcii \u00bb. nuiti-iuma\u00ab palimi- \nticac. \u2014 Maciiilxorhitra bei Xtdoll 1H1, ISt. \u2014 der Tanz- \ng\u00f6tter 221, 222. \u2014 de\u00ab Krucrgotte* bei Itzpapalotl I7H. \u2014 \nbei der Cb\u00bbnti\u00ab:o 27\u00ab*\u00bb, 270. \u2014 Ihm der \u00ab -biciiitnekiia lieu \nFeuorjgOtiia 22 * \n\ngeschlechtliche Terelnigaog, durch Blutbami bezeichnet 147. \n201, 24s \u2014 durch aus der Schale trinkenden quctzult\u00ab\u00bbt\u00ab\u00bbtl \n22\u00d6 \n\ngltanaa iTreltal\u00bb, Taa\u00ab*\u00abeiehen - tuexik. \u00ab\u2018uetzpalin 147. \n\nGold, \u00ab. ttHicuitla\u00dc. \u2014 gclj\u00fcmmerte\u00bb s. thu-anauiilli. \n\nGoldicheibe, - teocuitlai-omalli. \n\nGrab, a. tetlalnquilixtli. \n\nGraben, \u00ab. tlatauquilixtli. \n\ngr&a, Farbe de* PledernnaMgotte* \u00ab!\u00ab\u2022* Codex Fejervary ll-L \n\ngr\u00fcn and Raatschnk betroptt, Oewand und Fntx de\u00ab K\u00ab\u00bbgeu- \nKi\u00bbtlet\u00ab 10U, 242. \u2014 Tepeyolhttli'a IOI. \n\nGuacamayo, *. alo. \n\ngutela. ekr (zapnt<*k j, Na\u00ab ht. Twgew.\u00ab*i\u00ab i hi*n a mexik. ealli, \nHaus 144. \n\nHaarflechte, lange, hi\u00ab zum Hoden reichende Ihm Tcpcyollotli \n\nHO. \n\nhaarloser Band, - xoluitzeuintli. \u2014 a. Iiil. \n\nHand, mcnwchlich\u00ab*, Oiirpflork de\u00ab Tode* g\u00f6lte\u00ab l\u00f6N. \u2014 weisoe, \nZeichnung am Munde \u00ab. mot\u00ab'inntae|*alhuiticac. \u2014 Hiero- \nglyphe f\u00fcr f\u00fcnf I\u00dc\u00dc \n\nHandschriften, mexikaniarhe, Aunwhen \u00abm\u00abl Beochaffenlielt 1. \n\nHandwaise, \u00ab. nieilapilli. \n\nHart, Symbol alle\u00bb Harten itxtlacoliuhqui 2\u00bb 12, 2tW. \n\nHauch Athem, Leben, Gntndhegriff \u00able* Zdchona eecmtl \nUM, lift. \n\nHaas, - ealli. \n\nHaus der Dlrre 77\u00bb, 7C. \n\nHans der Erde, * t ecolot I ieban, rozraquauhtli ichan. \n\nHaas des Regens 7\u00f6, 7ii. \n\nHans der 8onae, *. tnnatiuh ichan. \n\nBerabkouien, dun-h Hild der Spinne brzeichn\u00ab\u2018t Tu. \u2014 der \n(Jiuateten INNi. \u2014 de* Kinde* 23, 24, 2.W. \u2014 de\u00bb Kriege\u00ab \n\u2022ri. \u2014 der Txitziniime xur Zelt der Sonnenflnetornisa HO \nund Anin. \u2014 zum Opfer, l\u00fc*g|eitbild im ernten Tonal* \namatl-Viertcl 22, 2H, 2\u00bbi. \u2014 im zweiten :IU, 4(\u00bb. \u2014 im vierten \nAI, \u00f6l, <53. \n\nHerabstfirxen, uetziliztii, tzontemuc. \n\nHeraasaiehen, derUlume, des Edelstein\u00ab Hcranaw-hnehhui \nde* Herzen\u00bb ltH \u2014 \u00able* /,tall _ (leburt eine* Kiude\u00bb. \n\nHerdsteine, t\u00ab*namaxtli. \n\n\nDigitized by Google \n\n\nIndex. \n\n\n34*2 \n\nHerold, i*. tecpoyotl. \n\nHerr der Thier\u00ab, Tepeyollolli Iftt. \n\nHerren der Hiebt, die neun W\u2014 111 \nHimmel, e. illuiu all \n\nHlmaelailtter, Teacatlipnra, Citzilopmlitli t?.i \nHlmaelagfitlln 1\u00bb, R \u2014 a. XoehJqurtxaL, * Tonacaiiuatl. \nHimmelsrichtungen, vier. f\u00fcnf. weh\u00ab Himmelsrichtungen. \n\n\u2014 ihre Hedputung TU, 77. durch den Hegengnti rcprll- \nM-ntirt 2*1 \u2014 -2M. \u2014 ver\u00e4nderter Anfang 7t. \n\nHlmmelstrftger, die vier, *2. Hl *ti. - Sterngfitler, Txitziininie \nH5\u00bb, HO. \u2014 ihre Bilder die steinernen Karyatiden U2, \u00dcB. \nHimmel and Erde, lieben und T\u00abl ;ux> - -:hi2. \n\nHinabgehn, xu \u00ablen Toten. Xolotl i\u00fcil \nH faterheiptireeetle, \u00ab. \u00ab uex\u00ab\u00bb\u00ab hi\u00ab-\u00ab liimalli. \nHlBterbeeptiscblelie, \u00bb. tla\u00ab|uechpanyotl. \n\nHlppocretice, farim IAA \n\nHirsch, \u00bb. nia<;atl \u2014 \u00ables Ostens und \u00abIr\u00bb Norden\u00bb litt*, mtl. \n\n\u2014 toter, weinte r KAuelu-rwerk, LebetiMmittclf\u00fclle !K\u00bb2. \n\nrttfl. \n\nHirschgeweih, Schl\u00e4gel f\u00fcr SehildkriMenpnuke 221, 222. \u2014 \ndn|i|>i'lt\u00ab\u2018s auf dem Blatte Xolutl\u2019s 2LL \nHlrechg\u00f6ttin, * niacat\u00ab.*otl. \n\nH\u00f6hlt, OStotl. G\u00f6tl \u00abIrr. S. T\u00ab*pryo|l\u00abitli. \n\nH\u00e4hlontempel, \u00bb*l TepeyoMotli nt'*, HK. \n\nholcan (Maya) Krieger, vom Speer des Planeten Venns ge- \ntroffen, in der f\u00fcnften Periode (die untere Region tm* \noirhwmd). \n\nHonigtopl, heim Feurrgott\u00ab* den .S\u00fcden* Hl\u00bb, H7. \n\nHuaitekeo, V\u00f6lkerschaft, s. t'uexteea. \u2014 Diener der Tlaful- \nteotl, s. icuexuan. \u2014 Ihre Traclilat\u00fccke im Kost\u00fcm des \nWindgolte\u00ab 14(1, 141. \n\nHun ahau iMayai = mexik ee xoehiti. Name \u00ablen Tod\u00ab*\u00bb- \ng\u00f6lte\u00ab 11. \n\nHun ahpu (Quiche) \u25a0 mexik. w* xmdiitl, Sonnenherus 11. \n\nHun hatt iQuicliei m\u00ab*xik. ee \u00abiv'iiniitli, Fl\u00f6tenspieler, Singer. \n\nK\u00fcnstler, winl in Affen verwandelt IAH, I.V.*. \nhun chic chan (May ul = mexik. ee couatl. Anfang der Sicht- \nbarkeit der Venus als Morgenstern 21M. \n\nHun chcuen (Quirltet, s mexikanisch ee o^nmatli, Fl\u00f6ten* \nspieler, SBnger, K\u00fcnstler, in Affen verwandelt l.Vt. I.Vl \nHund, s. iuruintli. \u2014 haarlooer, s. xoloitu-uintli. \n\nHun hau. n. Hun ahau. \n\nicneyotl. Amiuth, durch \u00ablas Wasser, \u00ablas ver\u00e4nderliche Element \nangezeigt. 2-Vi. -tut \u2014 durch ein B\u00ab*il ttepnztli) bezeiohnet \n:t| 1, Mg, m \n\nicpatli, Stuhl, bezeichnet tl\u00e4kicayntl. Knniglhum 2\u2018W, \nicunnan \u201eihre Huaxtekcn\u201c, Begleiter \u00abler Tlae\u00abdte\u00ab>tl \u00abm Oi li- \n\npaublli 100, UH \n\nichcatl. uiigt*s|smnene Raumw\u00ab>lle. Ohrpflock der Tlagolteotl \n102 U. a. a. O. \u2014 der Cluatete\u00f6 UliL \u2014 des Todesgottc\u00ab \nUM, M \u2014 P\u00e4tecatl'fl 2(1\u00bb. Halsband \u00ables den Toten be- \ngleitenden Ilumles l, f \u00bb7. \n\nichcazochitl, Kopfliimle aus ungespnnm-iicr Baiimwnlle, der \nTlafolteotl HU, 102, 172 u. a. a. O. \u2014 der CiuateteA JUL \n\n\u2014 der Mayauel 196 . \u2014 de\u00bb Quetialcouatl der H\u00f6he :WQ. \ni'k (Maya), Wind, Tagwueichen, mexikanisch ceeatl UM, l\u00fcn. \ntlamatncutli. un\u00ab! Tonaraciuall. die sechste Himnx*Ugeg\u00ab*nd. \n\ndie \u00abinl\u00ab*re Region bezeichnend 70. mit Ixtac Mixcouatl \ndie Mitte und \u00ablie dreizehn!\u00ab- Tag- und Nachtstunde be- \nzeichnend. \u2014 am Mahlstein, hei der Xoehiqiietzid dar- \ngestellt PJO. \n\nIlancunyf. \u00bb. Ilamatc\u00ab utli. \n\nHhuicac y out i. \u00abler zum Hiliitiiel geht, die S\u00ab*eh* \u00ables toten \nKriegers 2\u00d6H, \u2014 - maqtii, da\u00bb Freudenm\u00e4dchen. die \nzw\u00f6lfte Nachtstunde und die obere Region beseirhnend \n2\u00dc7. \u2014 f\u00fcr Mucuil xochill, *l\u00ab-n dritten d\u00ab*r vi\u00ab*r H\u00fcter der \nfliuftcn Vratmperiode eintreteiid 2\u00bb Kt. \u2014 \u00bb. tonutiuh Llxro \nyauli. \n\n\nilhuieatitlan. SB ule mit \u00ablern Bilde \u00abIm\u00bb Morgenstern\u00bb 1H2 \nHJiuicatl. Hiiiimel. Sitz der Z\u00ab*ugiingKK\u00dctter 44 . \u2014 \u00abiureh den \nadletk\u00f6pfigen Gott macuil \u00ab|uaulitli bezeichnet? 74. \nilhuicavi .Herr \u00ables Himmel\u00ab*. Name des FeuergoMe\u00bb 111. \u2014 \nTonacate\u00ab -utli\u2019s PIO. 240. \n\nilhuill. Fest, Muster a\u00abif dem Mantel Xnc hipilli\u2014 und Macuil \nxochitl\u2019s MB, I\u00dft. \n\nIrdische und blmmllscbe Liebe H\u00fc. \n\niticuintnpotzotli. bucklig\u00ab*, terkelartigc Hunderasse Int\u00bb. \nitzcuintli, \u00abler einli\u00ab*imim'hr niexikuni*\u00ab lie Hund. Verschiedene \nRassen ln\u00df. \u2014 Schlacht- und Opf\u00ab*rlhier 157. \u2014 \u00ablein Toten \nins Grab mitgrgeben l\"i7. \u2014 daa bebwende Thier, be- \nzeichnet \u00ablas Feuer I.Y7, 27*. \u2014 zehnte\u00ab Tagesunchen 12*. \nIAA. \u2014 Sein Regent Mi\u00ab*tlant\u00ab*rntli 1**7. IAA \u2014 In \u00abeiner \nGestalt erscheint Xolotl 1*1, 2*(l. \u2014 \u00ablie Feuerg\u00f6ttin \nChnntico in ihn verwandelt 270. \u2014 Bei \u00ablern rotlien Tez- \niiitlipors (Vertreter Xipc'si. dem Repr\u00e4sentanten dei \nTrocken teil, g\u00ab\u2018zi*irlin\u00ab*t \u2022)- l i;. \u2014 in seiner Maske \u00abler \nPlanet Venus in \u00abler \u00ablritl<*n Periode idem We.\u00abt\u00ab*n\u00bb Ml*. \n\n\u2014 ein Gott von Meztitlan I\u00dc7. \n\nitztucayan, \u00abler Ort der frischen Winde, der Himmel. Wohn- \nort der X\u00ab>chiquetiuil l**t, 2\u00c4t. \n\nHipapaloti, ) )lw\u00abi\u00ablians4'linieiicrling, ch ichimekiache G\u00fcttin in \nSchmeMerlingsg\u00ab\u2018Nlalt , mit \u00abler Grwirh Isbemalung de\u00ab \nFeuergotUs* 17*. 17U. \u2014 setzt in NV<|uatm*y\u00ab>e*n die \u00e4ltest\u00ab- \nChirhimekenhcrrschaft ein 17*. \u2014 von Mimich durch Er- \ns4'hi\u00ab*\u00abMen g\u00bb*opfert IP.\u00bb. \u2014 Regent de\u00ab aechssehnten Tagea- \nzeiclien* <'ozca\u00ab|uuiihlli 177\u2014170. Regent \u00able\u00ab f\u00fcnf- \nz\u00ab*linten Tonalatuatl -Abschnitte\u00ab ce calli \u2019AiH. 2lli \u2014 mit \n\u00ablein gebrochenen Raum - Taumam-han al\u00ab\u00ab*bihlet 17*. \nSSL \n\nftztlacolnihqui , das gekr\u00fcmmte Oli\u00bbi 1. - der KBit\u00ab* 202. 2ii\u00dc. \u2014 der Ktrafemlen \nGerechtigkeit 2\u00dcL \u2014 Regent \u00ables zw\u00f6lften Toiialaniatl- \nAlwchnittes ce cuetzfialin 2\u00dc1\u2014 2(M. \u2014 Maske CinteotF\u00bb. \n\u00abIiw am Ochpaniztli von . \u2014 \u00bbeine Gestalt zeigt \u00ablie Spitze de\u00ab Dach\u00ab*\u00ab de\u00ab \nH\u00f6lilent\u00ab'mpp|s T\u00ab*peyollotli's ln\u00f6. \ntUHi, Steinnicssergntt, zweiter d\u00ab*r neun Herren der Nacht \n\u00fcft, i. \u2014 den Osten bezeirlm\u00ab*n\u00abl 111. \ntiltoJti, Ghichirnekenf\u00fcmt, in Mac*t e l M> \u00bb' zuiTx-kbleiliend 170. \nititopotli, Steinbeil. \niuitopilti. Kederstab der Chantico 27\u00f6 \n\niuilzoncalti cicitlailo. mit Smnthinimel bmislte Kinierkron\u00ab* \nTez\u00ab atlipora's 2\u00f6ti. \n\n\u00bb \u00abMayat. Tag<*sz\u00ab*ichen mexikanis\u00ab'h ucelotl, in Yu\u00ab*ataii \nAnfangszeichen \u00ables dritten \u00abler vier Jahre 2HU. \nIzcufauhqut, \u00abler Gelbge sichtige, Name \u00ables Keuergotte\u00ab IM. \nitcidaltchtualh , Steriigesiihtnlieinalimg des Morgenstern\u00ab \n\n\u2014 inixvitlalhuiticac. \n\nIzntztli. die verlassene Eva. \u00ablern Gotte Ueuwoyotl gegen- \n\u00fcber dargestellt 2.'i\u00fc. \n\nizquimilti. mit verbundenen Augen, s. Tczr-atlipoca ixquimilli. \n\n\u2014 a. Itztla\u00ab oliuhi|Ui - \u2014 bei llzpapalotl im f\u00fcnf\u00bb*hnten \nTonalamatl -Abschnitt dargestcllt 'J\u00fct\u00bb. \n\nirttan tiatlaan. quere Streifen in gelber Farbe, Geaichl\u00ab- \nhcinalung T\u00ab*z\u00ab atlip! und a. a. O. \u2014 auf der Backe Xuchi- \npilli\u2019s un\u00abl \u00abler X\u00abN bi\u00ab|uetzal. in der siebenten Tagstunde \ni Mit tagt, \u00ablie \u00abler filieren Region geh\u00f6rt 22*. 22!) \nizquizUi, Renen, Abzeiclien der Tlacolnmtl 1U2. \n\nIztac eiuatl. Schneebvrg UW. \n\n\nDigitized by Google \n\n\nIndex- \n\n\n343 \n\n\ntztac Mticouall. \u00ablio Wolkcnwhlunge, der l'rgntt, der \n\nHimmelxgott. Stammvater der Xatumen, in OhUmmnzloc \nwohnend :;\u00bb> \u2014 Aimdnn und Ttadrt jg| ML \u2014 tr\u00e4gt \ndir Tahakkalehnaa* \u00abler l'riwrtpr 14, 21H. \u2014 die Milt\u00ab und \ndir dreizehnte Sii\u2019lil- und Tagxtunde bezeichnend 212. \n!\u00bb8\u201424i\u00bb. \n\nittae nchitta. weiane Hl\u00fcthe, Nalne der Tlayullcotl 101. \niztapalli. flwrlii'r Stein Knie 2 \u00c4h. \n\nIztapaltotec - Xipr 2\u00dcS. \n\nJagaar, *. wflull; \u00bb. lutluni. \n\nJagaariell. auf telpochllt. \n\nKaiaoschotea, am Baume dm Stttlcn\u00bb Hl. \n\nKalaaiar, - Toniilumatl, \u00bb. xippoaili. xiiihamutl \nKilta. s. evtl \u2014 Gott \u00abIrr, k ltxtlacn]iuh\u00ab|ui. \n\nkammartlgsr Schnick, >. jwtlxnolli \nkimpieD = gehfircu liili. h. vucuiali. \n\nKan \u00abMaya\u00ab. TugcHzcicheii inexik cuctzpuliii 117. \u2014 \u00bb*\u2022\u2022 \nzeichnet Mais 147. \u2014 in Yurataa Anfangszeichen dca enden \nder vier Jahre \n\nKanalbaltsmas, a. tlacatlaolli. \n\nKaa-Eeichea, Gott mit dem. ii i. rum Speer dm l\u2019laneien \nVenus getroffen, in der dritten Periode (Wetten) IV-H. \n\nKaryatiden Kl \n\nKastelang, m-y\u00ab>li/tli, netctcquizpan \nKatttna, Tunzg\u00f6ttcr der Hopi 1 |s \nKaatachak, *. olli. \n\nKaulachakball, h. oltelolotli. \n\nKanlichnkbemalang, *. motennh-opinticwe \n\nKautachakkugel, h ultrlolotli. \n\niantschakpIlaatBr, auf der Baekr, *. tlaxapochtli. \n\nkii\u00e4 |Uaya), Blul KaNtachuk XI \n\nkiik hoban \\ Maya), \u201eerloschenes Blut* - Kuut\u00abehuk !tt. \n\nKind, durch rin cosratl bezeichnet 23, 24, 21\u00bb, #1\u00bb, 2jn. 2iL \ndurch rin \u00abpieualli 211\u00bb. Empfangen eint\u00ab, durch \nherabkum tuende Fu.-oNpur 21, 24. 221. \n\nKindbett, darin gestorbene Frau. 8. moeiuai|uelx\u00ab|Ut. \nKindergesichtsbemalaag, a. pilnechiual\u00fc. \n\nKindsrackmut\u00ab, \u00ab. conrcuiUatU \nKnocksadolck, *. omitl. \n\nKnopf, in den Nasenfl\u00fcgeln. bei Tepeyollutli und den Stammen \nder pazifischen Kegion IlM. |(fi \nKolibri, uitzitzilin. \n\nK\u00f6nige, K\u00f6algtham, - tl\u00e4touani, tlatocayut). \n\nK\u00d6rpsriheUe und Tageszeichen 2W. 21m. \n\nKoyote, der alte, Tanzgott, s. IVuecoyutl. \n\nKoyoteich vom. um den Tanzg\u00f6tlcrn der Hopi getragen llH. \nKraakor, a. cocoxqui. \n\nKreut, aus gekreuzten Tut enl Keinen entstanden. Todcwsymhol \n\nyy. \n\nEreasveg, s. btlimuxa* \n\nKrieg, s. yaoyotl. metaphorische Bezeichnung, a. atl \ntlaehinnlli. -- muss Opfer schaffen 176. \n\nKrieger, \u00ab. vaotl, n. i|ii*iihtli. \u00abjiiauhtli-occlotl, *. holcan- \ngeopferter, \u00bb. tonatiuh Uxco yauh, illiui\u00ab\u00bb\u00ab yauh. \nKriegerlrtsar, *. izotiucolli, txotzuculucyar. \n\n\nKrtegertanxkopfschmnck, a. uztaxrllk. \n\nKriegertod, Opfortod .Vi. 217. 2 ~>s, \n\nKriagertolenacbmuck, hei TlauixcHlpuntccutli 2\\s. hri \nTonatiuh. \n\nKrokodil, \u00ab. ciportli. \n\nKruteaachae, HehMlerm\u00ab. *. aealtrtrpontli. \n\nK ucumati it^uichei - Ouetzalcouatl 2\u00bb, 1;V\u00bb \n\nKucukan (Mayai = ijm-tzulrouatl I3.V \n\nKiplerbell, \u00bb tepmttli. \n\nKlrbiaaraaael, ayarachlli. \n\nK\u00fcstenland, h. Anima\u00ab . Anauatl. \n\nKlateallnder, s. Anauaea. \n\nlaa \u00abxapotrk i \u201eFeuer\u201c = mrxik. cccatl, Wind HU. \n\nlamat tMnyai, Tagmzeichen = inrxik. tochtli, Kaninelirn. \n\nAnfangHzrhrhen des vierten der vier Jahre *- J > \n\nLaniette?, I\u00bbei Oxumoru. t'ipactonal 227. \u2014 l\u00bbei drin Priester, \nin \u00ab1er Zeit der Mitternacht 227. \n\nLapllll, - teciuitl. \n\nLava, hlasigc. h. treondi. \n\nLebensmittel, h tonacayotl. Herr der. Tonacateeutli 131. \nLebeaamlttelftlla. K4-gi\u00ab>n der, \u00ab1er Osten 7H. 2 Kt. 11KL Zeit \nder, die Jahre des Ostens - > H- > . \u2022 durch Kkuchrrwcrk un\u00abl \n\nRlueherwcri t Uschen lH,\u2018zcl\u00ab hnet 2V\u00bb. \n\nLeben and Ted 9\u00bb b-HOt \n\nLegaaa, s. cmH iieUpalin. ucuih uetxpulin. \u2014 \u00fcber die Knie \nkriechend, erzeugt Fruchtbarkeit 14A \nLeichs, miccu-\u00ab|iiimil\u00ab\u00bblli. \n\nLelcheaverbrenuang, s. tetlatiliztll. \n\nLiebesg\u00f6ttin, a. X\u00abK'hiqurtzal. \nlinks, s. o|M>du-opu. \n\nL\u00f6llelrelher, s. tlnuliquechol. \n\nLast, O\u00fctter der. *. Auiatl, Xorhipilli, Mac-ui|x\u00abM-hitl. \u2018Ilagol \nIrotl. ihre Zeichen \n\n\nmaana, macht \u00bbich breit, OeluirtrHleliung 2C;. \nmacuil coicaquauhih .f\u00fcnf < leier\u201c, zweiter \u00abler f\u00fcnf Slhlgbttrr, \nden Norden Iwseirhnond dllL \n\nmacuil cuttzpahn .f\u00fcnf Kiilechsr\u201c, erster \u00abler f\u00fcnf Kadg\u00f6tter, \n\u00ablen Osten bezeichnend 3U1\u00bb, 310. \u2014 Hann\u00ab'rtriiger vor \u00ablein \nSakrarium ritxilopoehtli's 3111 lAhhildung :blH|. \nmeeuith, die genommene Hand - f\u00fcnf Durch Zeichnung \neinpr Hund hiemglyphisrh ilargcsii-llt JU\u00fc \nmacuil malinalli .f\u00fcnf (\u00bbedrehlm*, f\u00fcnfter der f\u00fcnf Slhlg\u00fctter, \ndie untere Kegiun bezeichnend :tl 1 , \u2014 Maisgott 31 1. \u2014 \n\u00ablas Zeichen verb\u00fcrgt Heichthum 22!i \nmacuil oha .f\u00fcnf Hewegung\u201c =\u2022 Cliah'liiuhtot'din 2 Kl, 2U. \nmacuil quauhtli \u201ef\u00fcnf Adler\u201c, adlerkOpfiger Gott, liezeichnet \n\u00ablen Himmel 74. \n\nmacuil tochtli .f\u00fcnf Kaninchen\u201c, dritter der f\u00fcnf S\u00fcdg\u00fcttci. \nden Westen bezeichnend .'IH>. \u2019dll (Abbil\u00abiung otri), \u2014 \nPul\u00ab|Uegott 3LL \n\nmacuil zochitl .f\u00fcnf Iflutne\u201c, vierter \u00abler f\u00fcnf S\u00fcdg\u00fcttcr. den \n.S\u00fcden bezeichnend, der r\u00ab.\u00abthe Gott, der Gott der Lust \nund dm Spiels 3U. \u2014 dritter der vier H\u00fcter der f\u00fcnften \nVenusperiode, \u00abJen S\u00fcden bezeichnend 2>i7, \u2019JiH. \u2014 in der \ngcltwn Feth'rsch lange, \u00ablen S\u00fcden iMwiclineml 2itx \nmit Xocliipilll xusammen verehrt l\u00fcl. \u2014 F\u00ab>uer\u00ab|uirler? \n\u2022Kl, tit\u00bb. \u2014 Steinbild'' 47. IS. \u2014 ini dritten Tonulamatl- \nViertel f\u00fcr Ciunteotl \u00ab\u201cintretend 4\u00abl. 17, Begleitbild im \nvierten Tonulamatl \u2022 Viertel \u00ab>\u00bb\u00bb. l\u00bbl. dem W\u00fcrfelspiele \nIpatollit prflaidireml 161, 1113. Steinbilder auf \u00ablern \nBallspiel platze 1H1 . 162. \u2014 Auxachen und Tracht 2HH. \u2014 \ndurch Zeichnung der weis*en Hand am Munde aua- \ngezeichnet 161. \u00abeine Gmichtslmnialimg tu-i Xolotl 1 \n181, HCl. - Steinbilder 161, 161, 166. \n\nMofatootl. X2. - bei dem Hinimclatriigcr d\u00abi> Nordens dar- \ngestellt SS, 8!>. \u2014 Verkleidung Xochipilir\u00ab 112h. \nmachoacotl, Obcrumiring in der SehaJe vor Xnchlpilli \n114k \n\nlljiej, Agavepflanze \u00bb. nu ll. \n\nMahlstein, s motlatl. \n\n\u25a0als, DIUthe *. miaust! \u25a0\u2014 Kolben \u00bb. cintli. Staude *. \ntoctli, ouutl. \u2014 Bemalung auf dem liuume de\u00ab Westen* \n\nho. \n\nMalsgott, a. G'intcotl; a. Gott mit dem Kan-Zciclicti. \nMalsg\u00f6tttn, s. Cbieome eouiitl, Chicomollotzin. \n\nMalshaus, s. cincalli. \n\n\u25a0alstrageade Erde, auf dem enden Blatte der Weslregion \n\n120 , 121 . \n\n\u25a0aler, Teobart, rntcrsiichi mgen in Chich\u2019en-itza tut. \nmaliaalli, Gedrohtes, Ums IltMO. Zweifle\u00bb Tagfszi-ii lien \n128, BE\u00bb. \u2014 Sein Regent l\u2019utecMtl UW\u2014 170. \u2014 in t'uicatluu \neine* der Anfangszeichen der vier Jahre 2HQ. \u2014 in der \nHand der Tlayulteotl 35131, \u2014 der Ciuaeouatl Kl. \u2014 \u00abler \nf\u00fcnf Oiusteteft l 1 \u00bb\u00bb!- \u2014 der f\u00fcnf S\u00fcdgtttler um Oodvx \nVutieanuMi :Ui>. \u2014 Xnchipilli'\u00ab 87, SH. \u2014 des Kranken \n158. \u2014 bildet den Ohrpfluek \u00ablit\u00bb Todesgotlea 1WH. \u2014 du* \nR\u00f6chelten des Todesgottes M, lnH, IS\u00ae. \u2014 \u00abler Ciiiuteotl \nder unteren Region :loV. \u2014 da\u00ab chayaunc cuzcatl \u00abler \nl'ulqiH'g\u00fctter WH. \u2014 \u00ablen Drustschmuck XolotF\u00ab 1HI. \u2014 \nltztla\u00aboliuliqui'\u00bb 20 1. \nmamafouhticac. Geburts-Heilung 2*\u00bb'i \n\nmamathaaztli. Feuertmhrer, dttreb imi Pfeilschilfte veran- \nschaulicht fti \n\nmaqu t \u201edie in die Reiben eintn-ti-n\u00abl\u00abt\u201c, die Freuilerinii\u00ablcben. \nGenossinnen der Krieger. Ihre l'atronin Xm-hnpictzal \n12V 1HH, 180, 2\u00dcI_ \u2014 Tknzerin, die dritte Nachtstunde und \n\u00ablen Norden bezeichnen\u00ab! 217, 218, \u2014 nl\u00ab ilhuieac yauh \n\u25a0lio zw\u00f6lfte Nachtstunde und die oben- Region hezeu'h- \nnend 2:1\". \n\nmaquizeoaatt. zweik\u00f6pfige Schlange. BriiMiu-hniiick de* Kegen- \ngottea 1\u00d67, 1HB. \u2014 \u00ablen rothen Regengottes de\u00ab S\u00fcden\u00ab \n2 Id, \u2014 Nasenscluimck der Chalrhiuhtlirue Kl, 14s. \u2014 da\u00ab \nRJiuchcrwcrk bezeichnen\u00ab! \" V| \n\nmatlactli oJin \u201ezehn Bewegung*. Anfangstag der f\u00fcnften Venus- \nperiode 2ftV \n\nmactlactli omii ac all \u201edreizehn Rohr*, Geburtsjahr der Sonne \n\nist; \n\nmatlactli omomi cozcaijuauhtli \u201ezw\u00f6lf Geier\u201c, G\u00f6ttin \u00abler Wiener \n\nHan da\u00ab luifi JA \n\nmatlactli omomt ticpatt .zw\u00f6lf Feuersteinmeaaer\u201c. Name des \nErdgotte\u00ab oder Todesgoltes 20 t \nttatla/cue/4 \u201edie mit \u00ablern Mauen t*ewinnl J , Name eine\u00ab \nBerge\u00bb im Gebiet von Tlaxcala l\u00fcti. \u2014 Wum*- rgoltin IHti. \n\n\u2014 1\u2018atronin der Zauberer, zweite Gemahlin Tlaloc\u00ab IHH. \n\n\u2014 im W a\u2014 \u00abrge fthi g unter den\u00bb Kegengotte \u00abler Mitte dar- \n\ngaitaMt i- \n\nmatlava \u201eHerr der Nuttt* Name T\u00ab*na\u00abatecutliV I3U\u00bb, 1312. \nmatotott. Vogel mit Hitnden, bei der 4'halrliiulitlieue dar- \ngaataNt l in, \n\nmaxahufiqui am Kn\u00abh- \u00abperren\u00abl. \u00abehwaltM-nschwanrarlig aus- \ngearlmitlen, \u00ablie Schamhinde Xipc* \u00c4 Ho, 171. - \u00abler \n\nNftwnstab Xipe'a 102, 2 \u00a3l \n\nmarttatl, Sehambimle \u00abler M*nn\u00ab'i. von den dualete\u00f6 ge- \ntragen :my ;at?. von \u00abh*r Mkiecachiall getragen 2\u00bb\u00bbl. \n\n\nmayaaalizth, Hungcrsnotl\u00bb. \u00ablurrli xiulieouatl \u00abymholisirt 3fiS. \n\n20L \n\nMayaual. G\u00f6ttin der Agavepflanze, Erfinderin der Piilque- \nbereitung 152. \u2014 PulqiicgOttin ItW. \u2014 im zweiten Tonal- \nainatl Viertel f\u00fcr du\u00ab l\u2019ulqucgcfAse eintrrten\u00ab! 41, 42. \nHegentin d\u00ab'a a\u00ab'liten Tageszcit-lu-ns lochtli 152, l.VI. \u2014 \nde\u00ab achten Tonalamutl- Abschnitte\u00ab c-e malinalll 2-W 2'*;. \n\n\u2014 vierte der vier H\u00fcter der ersten Veniwperiode, die \nuntere Region bezeichnend l'Jii. \u2014 f\u00fcnfte der f\u00fcnf Formen \nder Tlavolteotl, \u00ablie untere Region bezeichnend 'Hi\u2018. 31LL \n\u2014 Aussehen und Tracht 152, ltft. \u2014 (liier einer Schild- \nkr\u00f6te sitzend 18, lf\u00bb2. \u2014 \u00ab\u00c4ugt einen Fisch 11k\u00bb. \n\nmayiccopa recht\u00ab Nonien Hl. \n\nmtcapalli, lih\u00ab*r die Stirn gehende\u00ab Tragliand f\u00fcr Riicken- \nI Maten A\u2019\u00bb \n\nMtchoacan \u00ab. Micliilacan. \n\nHearsckaackeiigehlaae, \u00ab. teccixtii. \n\nMelonen, Opfergaben f\u00fcr iBietzaleouatl 1-4*\u00bb. \nmm iMayai, Tageazeichen, - mexikanisch \u00abpiauhtli, \u00abIntt\u00ab 4 \u00ab \nGlied \u00abler f\u00fcr \u00ablen Morgen\u00abtern bedeulaamen ReUie 12V \nMenschenfresserei. -. tlacaliaolli. \n\nMenschenksat. s. tlacaeuatl. \n\nMonschenhaatmaike Xipe\u2019e KV ~ \u00ab. mex-xayucatl. \nMenschenopfer, \u00ab- t)a\u00abamictiJiztli. \n\nMenschenschinder s. tlaraxi|a-uaUxtli. \n\nmitt. Agavepflanze, liefert den Fuhiue l.Vt \u2014 Ihn- G\u00f6ttin \nMayauel l.VI. \u2014 f\u00fcr Muyuuel cintretend 42\u2014 4.'l. llk\u00bb. \nmitlapilh. Hand walze f\u00fcr \u00abJen Mahlstein l\u2018.*> \nmetlatt Mahlstein HM \n\nmetzth, Mond. Seine Hieroglyphe 1HU. \u2014 bei der Tltu-olleoll \nangegeben 1 IV. I!M. \u2014 bei den Nachtatundeii \u00ab!\u2022\u2022\u00ab Nonien\u00ab \nangegeben 217. 218, 22V 22ti, 2U. \u2014 \u00abein Gott, \u00ab. Tacr\u00fct- \ntecatl. \u2014 \u00abein Zeichen. \u00ab. ce miquiztli. \u2014 Geburt naeli \n\u00abler der Sonne IH\u00dc. \u00abceh\u00ab 1\u2019haM\u2018n \u00abi*. \u00abeine I\u2019erinden \n\u00fcV, tk\u00bb, ~'-\u00bbl \u2014 Abbild um netuiiatiulivaiiwlli geopfert IHti. \nMezica, letzte Einwanderer 175\u00bb. \nmintotl. doppelte Agavepflanze 1S2. \n\nmcnayacatl SchenkellinutmaHke. von Cint\u00ab'ot] itztlucoliuliqiii \nam Ochpaniztli g\u00ab- trugen 2\u00fc2. 2\u00bbi.\u2019V \nmttxayaca tlauiztli, Kriegenli-vi\u00abe 2\u00dc2. \n\nmiyotti. Ro\u00bbette. vier am Kopf\u00abehmui-ke Tlalnc'a 1dl. \u2014 \nR\u00fcckendevise der Chantieo 2 IZl \nMiztitlaa. I^mdwhaft an \u00ablen Grenzen \u00abler Huaxteea. Tages- \nzeiehenli\u00abte 127, 128, \u2014 Gottheiten lttl\u00ab, lt*7. \nmiauatt, Miiinbl\u00fcthe. Schmuck der Erdg\u00f6ttin der Regi-ntjn \ndi-s Westens 10. \u2014 im Kopfschmuck des Maisgotte\u00ab 1IB. \n\n\u2014 an den Zweigemlen des Baume\u00ab des Westens hm. \nmiccaqvimilolli. einueb\u00fcndi-lte la-iehe. la-i dein ToiU-sgotte \n\n\u25a0 hirui-tellt IVB, ' , -Vl \u2014 falsche\u00bb f\u00fcr \u00ablen tuten Krieger 157. \nMictecaduatl . die Herrin des Tutenlande\u00ab. Regentin \u00ables \nzehnten Tageszeichen\u00ab itzcuintli 157, IVB. \u2014 vierte der \nvier H\u00fcter der dritten Vennsperiode, den Norden be- \nzcichncn\u00ab! 2\u00bb\u00bb1. gegen\u00fcber Mietlunt\u00ab , <'utli, die erste \nNatitlslumle uml \u00ablie \u00abinten- Region hcn-ichm-nd 2U. \nmictlampa. Gegend des Totenlandes. Norden. Ihm geh\u00f6rt \n\u00abia\u00ab zweite Tunulamatl- Viertel, \u00ab\u00ab'in Regent Tezcatli|MM.-a \ndurelt Mi\u00ab\u2018tlHnte\u00ab , utli diUKceteUt 731,75\u00bb. -- durch Tlac\u00abd- \nl\u00ab-otl und Mi\u00ab'llaiit\u00ab > eiitli (!\u00ab. \u2014 in der Reihe der neun \nHem-n durch ('inteutl und Mi\u00ab tlante\u00ab'iilli 111. \u2014 \u00ablurrli \nMixcouatl 115. \u2014 durch den braunen Hirsch 31U2. \u2014 durch \ndie mthv Blulsiiilange und Thivoltootl 25i7. \u2014 K\u00ab\u2018gion \n\u00abler D\u00fcrre 517, \u00dc\u00a3L \u2014 Jahre d\u00ab-s, .fahr\u00ab 1 der D\u00fcrre und Heu- \nM'lirii'ktnfraHNW 2H2, 2 s.'., \u2014 HieroglypliUche 1 \u00bbamn-lliing \n:w. \u2014 ist \u00ablie rechte Seite \u00abler Welt Hl. \n\nMictlantecotli. \u00abler Herr dea Totenrrich\u00ab*\u00ab, \u00abler Todesgott. Au>*- \n\u00ab\u00ab-lit-ii und TnM'bt 5\u00bbH, 15t!t, 2 ~\u00bb 8 , 2 .V\u00bb. \u2014 f\u00fcnfter der neun \nHerren H8. HU. \u2014 Herr de\u00bb zelinti-n Tagcm-ichen* ilzruintli \n|V7, IVB. \u2014 \u00ab|e\u00ab zehnten Tonalamatl-Abnclinitta ce tecpali \n2 Vh, 2,\u2018i'j. etwter \u00abler vier Htlter \u00abler \u00abIritten Venusperiode, \n\n\nDigitized by Google \n\n\nIndent. \n\n\n345 \n\n\nden Norden bezeichnend 199. \u2014 den Norden bezeichnend \n(7, TS\u00bb T9, Ul \u2014 H\u00fcnmdatrlfK den Nordens 88, \u2014 \n\nErdgott dee S\u00fcdens 87. \u2014 mit. Xochiqnetxal (Cmacouatl) \ndie erst\u00ab Nachtstunde und die untere Region bezeichnend \nSIS. \u2014 f\u00fcr die l'nlerweit \u00abIahend Ti. \u2014 R\u00fccken all Bflafc\u2014 \nmit Qnetzalcouatl die untere Region und den Tod be- \nzeichnend 900\u2014802. \n\nmichin, Fisch, von der Mayaucl ges\u00e4ugt ISA\u00ab. \nmichmalo, Fischfang, bei XochipIlU dargeatellt 101. s. chal- \nchimmichuacan. \n\nMiehuaqut, Bewohner der westlich von M fafc o gelegenen \nLandschaft 179. \u2014 kennen die Tluvolteotl nicht 101. \n\u25a0UchBtraue TonacatecutU 131. \n\nMimicA, Ohichimeko, opfert Iupapalntl durch Erschiessen 170. \nmiquiztli. Tod, aechstes Tageazeichen 188\u2014149. \u2014 sein Regent \nTeccixtocaU 149, 150. \n\nMitla, tatndHchufl an der Grenze von San Salvador, von Pipil \nbewohnt 186. \n\nmill-chimalli, Schild und Speer, Zeichen de\u00ab Krieges, im Tempel \ndesFenergottes 94.\u2014 vorTinuiicalpantecutli, dem Himmola- \ntrllgor daa Wutoi S4, 86 - twi IfircoBStl 808. \u2014 bei \nTepeyollotli 250. \u2014 bei l\u2019eueeuyotl 252. \u2014 bei dem rothen \nund dem schwarzen Tezcatli|ioca 326. \nmitotiani. macauani. T\u00e4nzer, bei der Xorhiquetzal dargestellt \n2 18. \u2014 in der dritten Nachtstunde, dem Norden 217, 21 H. \n\n\u2014 in emalung der Pulqucg\u00f6tter 16H. \nmin/atl, Zinne. Abbild der Wo\u00dcM 148 \nUnltca, Ln der Rezeichnung Sahagun's = Olmeca 101. \nmizzoll. Zinne, Abbild der Wolke 108. \n\nmizcitlahchiuh. Sterngesichtsbemalung des Morgensterns 25K. \nMizqwc. Stadt, ihr Gott (juetzalcouatl UVV \nmofauani. Fastender 185. \n\nmociuaquetzqut. im Kindbett gestorbene Frauen 2.71, 258. \u2014 \n= Ciuatete\u00f6 306, 307. \n\nmamortli, Krdpynmide, KultusatAttc Tezcatlipoca\u2019s 96. \nMonats, zw\u00f6lf, im sechsten Tnnulamatl- Abschnitte dargestellt \n\n8 y. \n\nMond, s. metxtll. \n\nMondgott, \u25a0*. Teecixtecatl. \n\nMorgenstern, Periode seiner Sichtbarkeit 291\u2014294. \u2014 t***i \nden Huichol 89. \n\nMotecuhfoma sendet Cortes die Kost\u00fcme der vier G\u00f6tter 158. \nmotamaepuhtotiqua, die mit einer menschlichen Hand tanzen, \nZaubererspitzbuben ;W7- \n\nmotommacpalhuiticac , Zeichnung einer weissen Hand um \nMunde, Macuil xochitls und der f\u00fcnf (.Ritter des S\u00fcdens \n\nlei, 907, 808) 808-811. - bei XolaU 181. \n\nSator Codas VsUcanu\u00ab Nr. S7T3, \n\n\nmotanmaxaloticae. offener Mund Xipe's 96.V \nmottno/copin ticac, m:lmne Kautachukbemalung um den Mund, \ndes Feiiergoitt-s 91. \u2014 der TlagoltaoU S>. 9*2, J72 \nmotatauana, sie macht sich breit, Geburtsstollung 2\u00dcL \nmotlavAofac, rotbe K\u00f6rporbemalung des Feuergottes 91. \nMofocojratzin. der mirli Willk\u00fcr Handelnde, Name Tezcatli- \npoca\u2019s 171. \n\nmuluc (Maya), Tageszeichen - mexikanisch atl Wasser, in \nYucatan Anfangszeichen des zweiten der vier Jahre 2\u00b11 \nMoa\u00fcenbtLndel, falsches, f\u00fcr den toten Krieger 167. \n\nMond Winkel, eingekniffener, alter Leute, Darstellung im \nCodex Borgia ISO, 149. \n\nMafiox Ganargo, Diego, tlaxkaltekischer Geschichtsschreiber \n106. \n\nMuchslkora, \u00ab. tecciztli. \u2014 Zeit des Blasons - Mitternacht \ns. tlatlapitzalizpun. \n\nMusik, G\u00f6tter der, in der f\u00fcnften Nachtstunde, dem S\u00fcden \n\n221, 222. \n\nnackt* G\u00f6tter, Mixeouatl 116, 906. 207. \u2014 der Kegnngnti der \nunteren Region 244. \u2014 Tlacnlteotl 101. \nnacacAtli, Ohrpflnck 5H, .VI. \u2014 blauer a. xiuhnncocbtli. \n\nHackt, Neun Herrn der 91 111. \n\nNacbUtandea, dreizehn 211\u2014242. \n\nHachtvogel, Abbild Tezcatiipnca\u2019s 2\u00a3j. \n\nManacatitzatzin (?) Gott von Meztitlan 167. \n\nManauatzia, der syphilitische Gott, wird Sonne IBS. \naaualli, Zauberer - Jaguar 96. \n\nMaualpt/li, Gntt der Steinschneider von Xochimiico, ein Pulqu\u00f6* \ngott 168. \n\nMauatlaca 179. \n\nnauh/o (acuth, Herr der vier Richtungen, der Feuergott 111. \nnaui atl \u201evier Warner\u201c, Zeichen des Almiatuih 185. \n\nHaai eouatl _vi\u00abr8cldange*.Gott der Wiener Handschrift 287, 2SS. \nnaui cuatzpalin \u00bbvier Eidechse\u201c, Anfang der Tonalamatl-Zer- \ntheilung in zwei Gruppen von 9x9 und zwei Gruppen \nvon 7x7 Tagen 6. \n\nnaui aacatl \u00bbvier Wind\u201c, Zeichen des ecatonatiuh 186. \nnaui ocaloti \u00bbvier Jaguar\u201c, Zeichen des ocelotonatiuh 185. \nnaui a\u00fcn \u00bbvier Bewegung*, Tag des Verschwinden* de* \nMorgensterns in den Strahlen der Sonne 299. \u2014 Zeichen \nder Sonne 180. \u2014 Zeichen de* olintonatiuh, der gegen- \nw\u00e4rtigen Wellperiode 184\u00bb. \u2014 Tug de* netonatiuh^aualli \n186. \u2014 bei Xolotl dargesteilt 2IL \u2014 mit diesem Namen \nbvzeichneter Gott der Wiener Handschrift 99! I \nnaui quiauitl \u00bbvier Regen\u201c, Zeichen des quiauhtonatiuh 186. \nnaui tacpatl \u00bbvier Feueiwtelnmemer*, zweite der f\u00fcnf Formen \nder Tlayolteot], den Norden bezeichnend 5LL \nnofaualealli. FastenhAuschen (juetzalcouatls 9-Hl. \nnafaualli, Fasten 17. \u2014 bei Tonatiuh dargestellt 185. \u2014 bei \nChantico 276, 277. \n\nnafchztli, Kasteiung, Rlutentziehung zu Ehren der G\u00f6tter \n88) 98) 69. \u2014 beim t'bulchiuhtntulin dufHt\u00e4llt 181, 212. \n\u2014 durch Skorpion veranschaulicht 226, 227. \n\nMamcatacoa (Chibcha), Tanxgott der Chibeha 118. \nnanacazttquihztli, sich Einschnitte in das Ohr machen (zur \nRluteulxiehung) 58, 59. \n\nnapantlatonatn/h, Mittag, Zeit der IUuclu-ningen 228, 229. \nnaquamatl. wilde Agave 129. \n\nMaquamafocan, enter K\u00f6nigsaitx der Chicltiiueken von \nQuauhtitlan 178. \n\nnetataquizpan, Zeit, wo man sich zerschneidet, sieh kasteit \n= Mitternacht 2211. \n\nnattatitiztfi, sich ins Feuer st\u00fcrzen 50, U0. \nnotona tiuhfaualh, Fasten zu Ehren der Sonne, zum Tage naui \nolin 186. \n\nNeun Herren dar 8tandon der lacht 5, 95\u2014111. \n\nNorden, t>. mictlaiupa. Raum des, s. quauhquiiuitl. \n\nHat, Hitnmelsg\u00f6ttin der Acgypter II. \n\n44 \n\n\nDigitized by Google \n\n\nIndes. \n\n\n946 \n\nobere Reglos, \u00bb. ilhuioutl. \noc i Maya , Tageuzeichen = mexik. itzcuintli. zweites Glied \nder f\u00fcr den Morgenstern bedeutsamen viergliedrigen \nReihe IS\u00bb. \n\nocpatli, Pulqticw\u00fcnee, narkotische Wurzeln 1trftnk aus dem Safte der \nAgave gewonnen 1.72. \u2014 Hieroglyphe 290, \u2014 Oetrfnk der \nn t\u00fcrken Keule \n\nocolocopilli. mit Jnguarfell \u00fcberzogene kegelf\u00f6rmige M\u00fctze \n(Juetzulcouatl's 87, KID. \noc tlotuatl, Jaguarfell, auf dem K\u00f6nigsstuhl. \noctloicpalli, .Jaguarfel hiitz tiil. \noc&loquauitl, Kaum den S\u00fcdens Hl. \n\noetlotl, Jaguar, Verehrung bei den Indianern der Alta Vera \nPa* lO\u00c4. \u2014 Geheul in den Bergen, unheilvolles Vor- \nzeichen KW. \u2014 das Tiner, da\u00bb die Sonne frisst. Sinnbild \ndes Dunkel\u00bb KM, 17*2. \u2014 f\u00fcr die H\u00f6hle eiutretend 57, 5H. \n\n\u2014 \u2014 Tepejollotli, Gott der H\u00f6hlen KW, 17*2. \u2014 auf dem \nKreuzwege vor Tescatlipoca 96. \u2014 auf dem Baume des \nS\u00fcdens Hl, \u2014 bei dem Pulquegotte dargrstellt, die Krieger \ntn-zeii iinend 260. \u2014 vierzehntes Tageszeit-hcn 128, 172. \u2014 \nSein Regent Tlaynlteotl 172, 179. \u2014 f\u00fcr Mixcouatl, die \nzweite der vier Formen der Gottheit des Planeten Venus \neintretend 125. \u2014 f\u00fcr das Haus der D\u00fcrre liezeiehnond \n76. \u2014 vom Speer des Planeten Venus getroffen, in der \nzweiten oder f\u00fcnften Periode ( dem Norden oder der \nunteren Region entsprechend) 32\u00bb. \n\nocolotenatiuh, Juguareonne, zweite der vier prflkoemiwlicn \nWeltperioden, Welultor der Erde 1*2, 185. \noeeloyataztli. Jaguarfussfelltasche f\u00fcr R\u00e4urherwerk, in der \nHand Ixtac Mixi-ouatl\u2019s 232. \u2014 liei Tlaloe abgebildet, \nLebcnsmittclf\u00fcllo bedeutend 254, 2V>. \nofomaih Affe, in rnalinulli gekleidet 159. \u2014 In-deutet Tanz, \nSpiel, Kunst, wie xochitl < Blume) KW, 150, KM. \u2014 bei dem \nschwarzen Tezeatlipoea dargestellt, die Regenzeit bezeich- \nnend 326. \u2014 mit seinen Z\u00fcgen der Kranke abgebildet 158. \n\n\u2014 cilftes Tageszeichen 128, 159, KM. \u2014 Sein Regent Xochi- \npilll 159\u2014 KB. \n\nechpaniztti .Wegfegen, Beneidest,*, Fest der Tlavlteutl. im \nHerbst gefeiert 101. \u2014 Erntefest 173. \u2014 Fest des hart- \ngewordenen Maises 202, 263 (vgl. itctlacoliuhr|iii >, \n\nOffener Mond Xlpe\u2019e, s. motemmaxaloticac. \n\nOhrgehlnge Quetzalr-muttls, s. t-|>c(dnlli. \u2014 der Tanzg\u00f6tter \ns. oyouallL \n\nOhrpllock, \u201c. nacorhtli, xiuhnacochtli, xiuhroyolnnrochtli. \nObrplatte, viereckige, mit diagonalen Furchen bei Tlaloe HM, \nWX \u2014 bei den Pulqueg\u00f6ttern 1\u00dc8. \u2014 bei Topeyollotli KM. \n0 //ff, Bewegung, siebzehntes Tageszeichen 128, 179, 1HU. \u2014 \nSein Regent Xolotl 181 \u2014 189. \u2014 Anfangszeichen der f\u00fcnften \nVenusperiode 192, 315. \u2014 in Cuicatlan Anfangszeichen \neines \u00ab1er vier Jahre 280. \n\n\u00abMl/, rollende Bewegung, auch von M\u00ab*nM-hcniiMi>*cn gesagt \n179, 1HU. \u2014 \u00bb. tlalolini. \n\nohntonatibh . Krrihcbcm-mnc. die gegenw\u00e4rtige Weltperiode \nI8\u00dc. \n\nollamaaalH, Opfergabr von Kautschuk IMS, 42. \n\nolli, Kautschuk, daraus Ball f\u00fcr das Ballspiel gefertigt 179. \n\n\u2014 bei \u00abler Xochiquetzul durgi-*t\u00ab-llt 27 H. \n\nOlmaa, Kami \u00abler Olmeca G3, 249. \n\nOlmtca UisUHin, Bewohner der stldlichen Vera Cruz-K\u00fcste \n101, 143, 179. \u2014 verehren die Tlayolteotl 101. \nolpi/auac, mit Kautschuk betropft, Gewand und Schmuck \n\u00ablea Kegengntic* KM, 109, 212. \n\nolttlololli, Kautschukluall, Opfergabc 30, 42 U. a. a. \u00dc. \u2014 auf \n\n\n\u00ablern Brennholzb\u00fcndcl bei \u00ablen neun Herren der Nacht \nIM. \u2014 Spielball bei Maciiilzocbitl angegeben 311. \u2014 bei \nder Xochi\u00ab|uetzal *278. \nomarae, Kreuzung, s. \u00f6tlimaxac. \n\nomo acatl .zwei Rohr*, an ihm der Himmel geschaffen 27 H. \nom\u00bb itzcuintli .zwei Hund*, alter Gott der Wiener Handschrift \ntr\u00fcgt die Tat\u00bbakkalebasiM\u2018 der Priester 14. \nam\u00ab quammamalitli, zwei h\u00f6lzerne Bohrer, der Feuerbohrer, in \nd\u00ab\u2018io Kopfschmuck des Feuergottes 95, 250. \u2014 der Chal- \nchiuhtlicue 100. \n\namt quotzalli, zwei Federb\u00fcsche, auf dem Scheitel der Xochi- \nquwtxal 189, UM, 195, 217. \u2014 der Chalchiuhtlicue *2tM. \u2014 \nbedeutet zwei Kinder? 219, 2*30. \nomo quipill\u00bb, zwei Kautschuktropfen, auf der Backe der Tzopotlan \ntrnan 99. \n\nOmntncatli, Omtciuatl, Zeugungsg\u00f6tter, im dreizehnten Himmel \nwohnend 4t, 181. \n\nomctochcuoitl, zweifarbige Enagua der Tla^olteotl 172. \nomttochchimalli, Schild der Pulqueg\u00f6tter 168. \nomctochtHmatti, Mantel mit dem Muster der Pulqueg\u00f6tter 42, \n\n167, 168. \n\nomotochUauiztti, Devise der Pulqueg\u00f6tter, Kriegerabzeichen \n41. 4*3. 167, KM. \n\nwnt tochtli .zwei Kaninchen*. Name des Pulquegotto* 168. \n\u2014 Gott von Meztillan, von Texcatlipoca get\u00f6tet, aber \nwie\u00abler erwachend 167. \n\nOme/ocan, Ort der Zweiheit, Sitz der Zciigungag\u00f6tter, der \noberste Himmel *23, 44, 131. \n\n\u2022 mi\u00fc, Knochendolch, Werkzeug der Kasteiung, am Ohr de* \nI\u2019rie.Ntcn* angegeben 229. \u2014 als Pflock in den Nasen- \nfl\u00fcgeln -12*2. \n\n\u2022 mitl-uitztii , Knochendolch und Agaveblattspitze, Werkzeuge \nder Kasteiung, in dem Kopfschmucke Ouetzalcouatl's 7, \n87, 140 und a. a. O. \u2014 Xolotl's 27n. \u2014 des Fledermaus* \ngottes 114. \u2014 in der Hand yimtxalcouatl'a *232. \u2014 Toua- \ncatecutli's 21s. \u2014 der Ciuutet\u00abo und der f\u00fcnf G\u00f6tter des \nS\u00fcdens 304, 310. \u2014 bei Tlaloe angegeben 2,'M. \u2014 den \nS\u00fcden bezeichnend 111. \n\nOpfer, f\u00fcr die Geburt eines Kindes 233, 234. \u2014 in Form \neines Kampfe\u00ab, s. Sacrifido gladialorio. \n\nOplerblntachale s. quauhxkalll. \n\nOplerizhne, s. amapamitl. \n\nOpfergabea, s. tlamanalli. \n\nOpfennexaer, a. tccpatl. \n\nOpferpriester, s. tlenamacuc, a. temictiani. \n\nOplarasll, h. aztamecatl. \n\nOpterstelo, - techcatl. \n\nOpfertod, in der unteren Reihe de* vierten Tonalamatl- \nViertels, gegen\u00fcber Tonati uh dargcwtellt 11. \u2014 = Krieger- \ntod. \n\nopochcopa. links, - S\u00fcden 91. \n\nOpochtU der Linke, \u00ab1. h. der S\u00fcdgntt 91. \n\nOrcbexter, (las indianische 221, 222. \n\nOsten, a. ilapcopu. \u2014 Bauin de\u00ab, s. quetzalquauitl. \nitli \u00bb.Weg\u201c, die Erde bezeichnend 230. \u2014 auf der Backe der \nErdg\u00f6ttin 313. \u2014 auf 5, \n\nOiomi, Volk 179. \u2014 ihr Gott Ueuocoyotl 148, \n\n04ia(t, die Maisstaude, durch den geopferten Krieger reprfl- \nsentirt 2>I8. \n\nozitl, Terpentinsalbe, von der Tzapotlan tenan erfunden 99. \nOnomoco Cipac tonal , dir alten Weisen , die den Kalender \n\u00bbi baffen 179. \u2014 in Tamoanchan, die sechste Nachtstunde \nund die obere Region bezeichnend 224. \no/otiaM. spitzer, rasselnder Ring aus Muschelschale, Brust- \n\n\nDigitized by Google \n\n\nIndex. \n\n\n347 \n\n\nschmuck und Ohrgeh\u00e4nge der Tanzg\u00f6tter 222. \u2014 Ueue- \ncoyotl's 202. \u2014 Teccutecatl's IDO. \noztoticpac, der Gott auf der H\u00f6hle 87, 38. \noitott, H\u00f6hl\u00ab, hicroglyphlschc Daratellung 17, . f *7, 144. \u2014 \ndurch Tepeyollotli vertreten 17. \u2014 durch den Jaguar \nvertreten 57, 58. \n\nPa mal, der eilige, Vorl\u00e4ufer l'itzilopochtli\u2019s, tr\u00e4gt die Ge- \nsichtsbemalung de\u00ab Morgenstern\u00bb 258. \n\nPalnbaxa, a. quauhcoyolli. \n\npantwa/a \u201ewo man Uber das Wasser geht** 142. \n\nPom quotzaliztli, Fest Uitzilopochtli's 91. \n\nPantittao, Strudel in iler l.agunr von Mexico, Opferet\u00e4tto \nTlaloc\u2019s 110. \n\nPantla oder Pamtla - Land der Huaxteken 142. \npafitoyaualli, geknickte Papierfahne. Lcichenschmuck, am \nNacken MictlantecutliV 98, lim, 3. \nquotzalcouatl, die Ft-dertwhhinge, im Wasser vor \u00abIs-r Chal- \nchiuhtlicue lOtt. \u2014 gegen\u00fcber Xipe Tot\u00ab \u00ablargc\u00bbt\u00ab , llt, \u00ablie \nErneuerung der Vegetation b\u00ab-zei\u00ab-hnciul 176, 177, 268, SH\u00bb. \n\u2014 gegen\u00fcber d\u00ab\u2019in A\u00abller, der vierten Form \u00ab1er Gottheit \ncIcm Planeten Venu\u00bb 116, 117. \u2014 Die Figur Tlaloc\u2019s um- \nschlierwnd, den G\u00bbten bezeichnend 2911 \nQuotza'couatl. \u00ab1er Wlmlgott. Auaaeben und Tnwht 87, 1JW \nbis 14\u00ab. \u2014 mit huaxt\u00ab-ki\u00ab<-tien Tra\u00abbt\u00abtfti\u2019keu geklei\u00ablet \n\n\nDigitized by Google \n\n\n846 \n\n\nIndex. \n\n\n140, 141. \u2014 Herr von Tollan l.'U. \u2014 der Kaufmann, der \nTolteke 90, 21. \u2014 Gott von ClioloUan 134, 135. \u2014 der \nPipil 135. \u2014 der Maya-linder 135. \u2014 Gott de* Wniww, \nHerr de\u00bb Leben*. Mejiwhenwhftpfcr 135, 1136. \u2014 K\u00fccken \nan Rochen mit dem Todasfott\u00ab dniyeololH 800 008. \n\nf\u00fcr Tlaculteotl, die GebArerin eintretend 951 . \u2014 der Beter, \nder Belader, der Priester, Erfinder der Kasteiungen 19, 90, \n21, 44, 45, 136, 232. \u2014 verwandelt sieh in den Morgen- \nHtcm llft, 119, UM. \u2014 einer der Tzitzimim\u00f6 90. - Regent \n(Ir* ersten Tonalamatl- Viertel*, der Kegion de* Osten* 7. \n\u2014 Hin\u00bb meist r\u00c4p-r des Osten* 87, H8. \u2014 \u00bb\u00abeine Karyatide \nin der Stadt Mexico gefunden 93. \u2014 Regent des \u00bbweiten \nTagc*mchcn\u00bb Mcatl 134\u2014 144. \u2014 de\u00bb \u00bbweiten Tonalamatl- \nAbschnitte\u00bb ce ocelotl 248, 9 t\u2018.t, \u2014 erster der vier H\u00fcter \nder vierten Venuspttriude, den Westen bezeichnend 202. \nin der blauen Federte blange des Westens 997. \u2014 Regen- \ngott de\u00ab Westen* 943. \n\nQuitialcouatl, der kost bare Zwilling 220. \u2014 seinen Schmuck \ntrAgt Xolntl, der Gott der Zwillingn 970. \u2014 mit dem \nMui*kolb\u00abn an der Schlafe = xnlotl 220. \n\nQaotzalcouatl von Tollan, H\u00fcter \u00bb1er ersten Venu \u00bbperl) ule, \u00abb*n \nOsten bezeichnend 287, 2K8. \u2014 erster der vier H\u00fcter der \nzweiten Venuspcriodc, den Osten bezeichnend 197. \nquttialcoicotth. s. coxcoxlli. \n\nquetzalli, Schwanzfeder des i|uetzaltototl 135. \u2014 bezcicluu-t \nKostbarkeit 116. \u2014 bezeichnet Wasserf\u00fclle uml Vege- \ntation, s. tlaquetzalpatia. \u2014 bezeichnet ein Kind 23, 219. \nquitzalmanalli, fAcherurligc Fedenclunucke, von \u00ablen Cuexteca \nan den Seiten de* Kopfe* getragen 141 . \nquotzalpatzactli, kainmurtiger Schmuck au* (jucUalfcdnm. \nder Anauaca Tzapoteca. \u00abler Bewohner der pazifi*rhen \nK\u00fcste (Ayotlan), unter Auitxotl nach Mexico gekommen \n966, \u2014 Schmuck Xipe\u2019s 965. \nquottalquauill, Baum de\u00bb Osten* 78. \n\nquotzaltototl, Pharomacru\u00bb moeinnn, Vogel mit glAnrcnd \ngr\u00fcnen hingen Schwanzfedern. Auf dem Raume de\u00bb \n(Mens 78l \u2014 Helmmaske der XocbiqueUai 189, 219. \u2014 \nf\u00fcr Xochipilli, \u00ablie dritte \u00ab1er vier Formen der Gottheit \nde\u00ab Planeten Venu* eintretend 195. \u2014 au* der Schale \ntrinkend. *. Hcrabknmmen zum Opfer. \u2014 au\u00bb der \u00ablar- \ngebotenen Schule trinkend, .Symbol geschlechtlicher Ver- \neinigung 925. \u2014 Tanzende, die eilfte Nachtstunde und \nden S\u00fcden bezeichnend 935. \n\nquij (zapotekiach), Feuer, Tugc*zeichen, - mexikanisch eecatl \n\u201eWind\u201c UM. \n\nquiouhtonatiuh, Keuerreg\u00ab-n*\u00ab>nne, dritte der vier prilknsmUchen \n\nWaltporlodem 151, 172, 186. \n\nqviauitl, Regen, durch Schlangen bezeichnet 31, 39, 45, 46, \n18 . \u2014 die vier Arten 995. \u2014 neunzehnt\u00ab 1 * Tageszeichen \n128, 184. \u2014 bedeutet Fcuerrrgrn IST\u00bb. \u2014 nein Rcg\u00ab-nt \nTonntiuh 185. \n\nQuilaztli, *. Ciuacouatl. \n\nQuincaux. Hieroglyphe der Venu* 193. \u2014 Gesichtsbcnialung \nder Gottheit des Planeten Venus 316. \n\nRastel, \u00bb. ayacachtli. \n\nRasselbrett, s. chicauaztii \n\nRasselnde Geh\u00e4nge, *. oyounlli, *. citlaleueitl. \n\nRauchender 8plegel, an \u00abler Si-hlSfe und dem abgerissenen \nFusm\" Tezcatlipoca'i\u00ab, bezeichnet all tlachinnlli, \u00abI. h. Krieg \ns, 95, 96. \n\nRluchergefisse, s. tlceuillL \nRiucherl\u00f6flel. s. tlemuitl. \n\nRlucheropler, \u00bb. tlupopoeliuilli. \n\nR\u00e4ocherpriester, s. tlenumacac. \n\nRlucherwerk, s. tlupopochuilli. \n\nRinchenrerktssobe, *. copalxiquipilli oceloyatartli. \nrawa. ra warnt i fliliclinl), Stern im Werten 89. \n\nRechts, \u00bb. mayecvopu. \n\n\nRegen, \u00bb <|uiauitl. \u2014 Haus \u00abIo*. Haus de\u00bb Truthahn* 75, 76. \n\u2014 vom Speer des Planeten Venu\u00bb, in der zweiten PerUxle \ngetroffen \n\nRegengott, *. Thilo\u00ab- \u2014 die sechs Regeng\u00f6tter 249\u2014244. \n\nRegenlosigkeit 31, 32, 83. \n\nRegonschlangen. im dritten Tonalamatl- Viert\u00ab-] 45, 48. \nRichtung \u00bbunterschied 297, 998, iUKt- iVrl \nringf\u00f6rmiges Anh\u00e4ngsel, unt-i der Oberlippe, im Codes \nBorgia f\u00fcr den eingekniffenen Mundwinkel alter GAttcr \ndatrateed 34, t -n \u25ba. 119. \n\nRohr, s. aciitl. \n\nr\u00f6hrenf\u00f6rmiger Masenstab, ln-l dem Mixcouatl des Codex \nFejerviry 207. \u2014 Ohrpflork. s. xiubcoyolnaeoehtli. \nRosetten, am Knpf*chmncke Tlaloc\u2019o, s, meyotli. \u2014 an den \nSelten de* Kopfe* der MacuilxochitMtilder 908. \nrotb, Farbe de\u00ab Feuergotte* 91. \u2014 des Sonnengottes 96, 185. \n\u2014 Xochipilli's und Macuiliockiil'\u00bb 160, 907. \u2014 Xipe\u2019* \n905. \u2014 ei den Mandan-lndiancm, \nlassen regnen 184. \n\nSchinden, der Opfer, am Feste Xipe\u2019a 173. \u2014 der Tla^dte-otl \n176, 2t \u00bb9. \n\nSchlange, *. countl. \u2014 Fodersehlange. \u00bb. i|uetzalcounll. \u2014 \nFeuerschlange, \u00bb. xiuhcouatl. \u2014 rothe oder BlutM-hlange, \na. tlapalcouatl. \u2014 an \u00ablen Kultu*\u00bbUitten \u00abh-\u00bb Regengottes \n148. \u2014 Figur, unter \u00ablern Auge Tlauizcalpiuitoculli's 317. \n\n- H\u00ab-lmmuMke der Chakhiuhtlicue 99. \u2014 dos Quetzal- \n4-ouatl von Tollan 197. \u2014 dos Gottes Naui couatl 9tiL \nSchlaugenkopf 7 \u00ab-ipactli 129, 130. \n\n8chlugenrachen, GoM mit \u00ablen\u00bb, boseichnrt ilen Osicn 72, 73. \nSchmetterling, \u00bb. papalotl. \n\nSchneckengehlnse, schelltenf\u00f6rmlge, am < iew-and der Mayauel \n190. \u2014 \u00abler t\u2019liantko und zu ihrem Kult geh\u00f6rig 273. 973. \n\u2014 Halsband daran\u00bb, s, acueehcozcatl. \u2014 grosse, de\u00bb \nMeere\u00ab, *. ten-iztli. \n\nschwalbenschwansartlg au*g\u00ab -schnitten\u00ab?) Enden der Scham- \nbinde und . - Gott der Hohlen \n104, 144. \u2014 ftlr die Hieroglyphe Halde eintretend 17. \u2014 \nAussehen und Tracht ltM. \u2014 mit der Gewandfarbe und \nder Ohrplatte des Regengottes KM. \u2014 achter der neun \nHerren der Stunden der Nacht 102\u201410\u00bb\u00bb. \u2014 den S\u00fcden \niH'zeichnend 111. \u2014 Regent des dritten Tagvwteichene calli \n144, 145. \u2014 des dritten Tonalamutl-Ahwchnitie* ce mayatl \n250, 251. \u2014 eine\u00ab der Gesichter de\u00ab Jantiskopfew der \nQuaxoloU 21t\u00bb, 220. \n\nTtpozlocatl. ein Pulquegott 168\u00bb \n\niopozUi. Kupferbei), in der Hand des Sonnengottes 11. \nTlaloc's 2W2. \u2014 auf seiner Schneide ruht der Himmel 27. \n\n\u2014 /.eichen der Strafe 171, 201. \u2014 bedeutet Armuth 311, \n\n\u00bbi\u00e4. m \n\ntoquochmoeauianl, \u00bbler Krwfirger, der Pulquegott 200. \u2014 Be- \ngleitbild in dem in f\u00fcnfgliedrige SAulen geordneten \nTonalamatl 29, 30, 31, 35, 8t\u00bb, 41, 42. \nttquiua, KricgshMuptling, Frisur \u00bb. txotzocolueyac. \n\nTotoo innan, Mutter der G\u00f6tter, = Tlayolteotl 101. \ntotouitl, mit Kautschuk bctropftc Papiere, am Puh|Uetopf 152. \ntotl, MB, Zeichen der Unfruchtbarkeit ]>\u00bb, 1 f\u00bb l . \ntotlalaquilitzli. Begraben. Beglcithild im vierten Tonalamatl- \nViortel 55. \u2014 beim 1\\idhfntf 158. \n\nTottanman. Tempel der Cliantico 273. \n\ntetiatihztli, Ix\u2019ichenverbrennung. Hei dem Todeagutte dar- \ngestellt ilft, 158. \n\ntotlarinqui, Ehebrecher, gehen zu den Priestern der Tlaynl- \nteotl beichten 101\u00bb, 101. \u2014 ertappte, gesteinigt 2\u00fc\u00b1 \u2014 die \nTage der Ciuatete\u00f6 ihre Zeichen 3ilL \u2014 btUsender 18. 19. \ntirali ItU\u00e4kami (Hulehol), s\u00fcdlicher Grossvater, Stern, Welt- \nh\u00fcter des S\u00fcdens HD. \n\nt\u00f6rali foami (Huicholj, n\u00f6rdlicher Grossvater, Stern, Welth\u00fctcr \ndes Nordens Itl. \n\ntOMolotl, au den tn-ideii Enden kuglig geformter, steinerner \n\nSttaasl 18-2. \n\ntazcacuitlapilli , Kreuzspiegel, hat die Gestalt eines coxi'oxtli, \nbei Xoehipilli 160. \u2014 hei Chalrhiuhtlatunac 149 u. a. \nin Gestalt einer Schildkrfitenscbale l\u00bbei Xochiquetxal \n189, 210. \n\nTtzcatlipoca, als rnthcr und schwarzer emhcinend 176, 325. \n\n\u2014 Aussehen und Tracht 8, Uli. - tr\u00fcgt die Stcrnhiiiirnel- \nfederkrouc 256. \u2014 Gott des Toxcatl-Festes 9. \u2014 der \nKrieger iin Nordhauso und der Krieger im N\u00fcdhause 77, \n210. - an dem Baume des S\u00fcdens 81, \u2014 mit (Jitzilopoclitli \n\n\ndie obere Region oder den Himmel bezeichnend 89. \u2014 \neiner der Tzitximlmf* 90. \u2014 = Ursa mujor IM\u00bb. \u2014 Feuer- \nqulrler 38. \u2014 der Sehende, allwissende 96. \u2014 Zauberer \n96. \u2014 Sein Abbild Tepeyollotli 249, 250 \u2014 Sein Abbild \nChalehiuhtntolin 271. \u2014 Sein Abbild der Geier (?) 265. - \nf\u00fcr Xochiquetxal eintretend 40, 41. \u2014 mit dem Pfeil im \nAwgo 47, 61. \u2014 Regent de\u00ab zweiten Tonalamatl- Viertel\u00ab, \nder Region de\u00ab Norden\u00ab 8. \u2014 =- Itxtli, zweiter der neun \nHerren der Stunden der Nacht, im Osten %, 96. \u2014 mit \nverbundenen Augen, Gott der strafenden Gerechtigkeit, \nRegent des dreizehnten Tageaxeicheiu\u00bb acatl 171. \u2014 gegen- \n\u00fcber Itxtlncoliuhqui, dem Regenten des zw\u00f6lften Tonal- \nantatl-Absehnitte\u00bb ce cuetzpalin 261. \u2014 mit vrrbund\u00ab*nen \nAugen, dritter der vier H\u00fcter der dritten Venuaperlode, \nden Norden bezeichnend 200, 301. \u2014 vom Speer des Pla- \nneten Venus getroffen, in der zweiten Periode (der de\u00ab \nNorden\u00bb) 32t\u00bb. - t\u00f6tet Ometorhtli 167. \u2014 mit der Maeke \nde\u00bb Windgottes, Begleiter tJuetxaU-ouat]'* in \u00abIrr Unter- \nwelt 119. \u2014 Geburtshelfer 234, 335. \n\nTezcatzomatl, ein Pulquegott 168, \n\nThier nlt 4er apltien Schnaci\u00ab Gott der unteren Region 71. \n\n\u2014 bei der gek\u00f6pften Erdg\u00f6ttin ahgrbitrlet 72. \u2014 bei dem \nschwarzen Tezcatlipoca 326. \u2014 Seine Maske tr\u00e4gt der \nPriester, der die siebente Nachtstunde (Mitternacht) und \ndie untere Region bezeichnet. 227. \u2014 Bei der Mayaucl \nMusik machend 153. \u2014 Der Bringer der Jahn* in der \nDresdener Maya-Handschrift 72, 153. \n\ntipati. weiaae Erde, Bemalung des Taaxgottes 221, 222, 2 52. \ntiacacozcaquauhth, Griermensch, bezeichnet die dritte Tng- \nstundr und den Nonien 218. \n\ntlacaeuatl. Menschenhaut. von Xipe als Waius getragen 27, \n28, 86. \u2014 von der Tlayolteotl 2t\u00fc \ntlacamictilirtli , Menschenopfer 16. \u2014 bei der Tlayolteotl de\u00ab \nS\u00fcdens 312, 313. \u2014 symbolische Darstellungen 192. \ntlacazKuzalli. geh\u00e4mmerte\u00ab Gold, bildet die Verzierungen an der \nKnpfbinde Xipe'a 265, 267. \n\nTlacaocolotl. Gott in Jaguargestalt (mit Jaguarhelinmaske) \n\n- TonacutecutU, bezeichnet vierte Tagstunde und den \nWesten 220, 221. \u2014 di\u00ab sechste Nachtstunde und dio \noliere Region 221. \n\nIlacapillachnialoya. wo die Kinder der Menschen gemacht \nwerden = Tarnoanchan 101, 165. \ntiacatlaolli, Menwhenfleiitchmaisgericht, im dritten Tonal- \nanmtl- Viertel von dem quacuilli gebracht 44, 45. iin \nvierten Tonalamatl- Viertel dargestellt 54, 55. \u2014 bei Xnlotl \n183. \u2014 durch Topf mit zerhmchencm Hoden bezeichnet, \n214. \n\nTlacatrinacantli. Fledermausgutt, Ansehen und Tracht 113 bis \n115. \u2014 als QuctxalcouaU kost\u00fcmirt 114. \u2022\u2014 erste der vier \nFormen der Gottheit de\u00bb Planeten Venu\u00bb, den Osten be- \nzeichnend 112\u2014115. \u2014 im xochicalli, das den Norden der \nRegion de\u00bb Abendstems bezeichnet 125. \u2014 herabkommen- \nder. bei der Mayauel, der f\u00fcnften der f\u00fcnf Formen der \nTlayolteotl, die untere Region bezeichnend 312. 313. \ntlacazipoualiith, Meuschenschinden. Fest Xipe\u2019s 175. \u2014 Fest \nder Aussaat, der Erneuerung der Vegetation dienend 267 \nllacochcalco yaot/, der Krieger im S|H*erhause, im Nordtempcl \n= Tezcatlipoca 210. \n\ntlacochtli, Pfeil, S)>ecr, bedeutet Tod im Kriege 312, 313. - \nan der blauen Federschlange, neben dem blauen Wurf- \nbrett gezeichnet 29L \u2014 bei TUuizculpantecutli, ihn als \nschiessenden Gott bezeichnend 317 \u2014 \u00bb19. \ntlacuiloJIi, \u00dfilderscli ritten, toltekiacher Kulturbtwitz 1 12, 329. \nIlacuihtfuiauifl. der bunte Hegen 46. \n\nT/apolttatl, die G\u00f6ttin des Unrath\u00ab, die Erdg\u00f6ttin. Andere \nNamen HM), 101. \u2014 an der atlantischen K\u00fcste heimisch \nl\u00bb\u00bbl . in Tumnant-tian heimisch gedacht 101, 165. \nAussehen und Tracht 101, 102, 172, 198, 250. 264. iHS. \u2014 \nmit Trachtst\u00fccken Xipe\u2019s ausger\u00fcstet 102. \u2014 ihr Tempel, \n\n\nDigitized by Google \n\n\nIndex. \n\n\n351 \n\n\n*. Tocititlon. \u2014 ihr Fest, w. Ochpanixtli. \u2014 ihm f\u00fcnf \nFormen 311*2, il\u00dcL \u2014 diu* Innen der Erde bezeichnend \n102, 14V \u2014 Ernteg\u00fcttin 123, \u2014 ihr Abbild geschunden \n176, \u2014 Repr\u00e4sentantin der Weiber und der Ninnenluat, \nbesch\u00fctzt die Ehebrecher \u2018J, 10(1, 101. \u2014 Gclr\u00e4rende 23, \nIM, 198, \u2019i-V ' \u2014 gebiert in Tamoanchan den MatagoU 101, \n16V \u2014 Kriegerin, weil sie ein Kin\u00abl geboren hat 2 .\u00bb, 23L \n\u2014 p-ljirrt am Ochpanistii den t\u2019intentl itxUacnliiihqui, \nden harten Matt* 262, 2121- \u2014 durch Quetxalcouatl, den \nMenEchenjsehOpfer vertreten 25L \u2014 Patronin der Medizin \n173. \u2014 mit Mictlantecutli den Norden bezeichnend 67. \u2014 \nden Westen (\u00ab\u00abzeichnend 73. \u2014 in der Reihe der neun \nHerren, iin Westen stehend *\u25a0\u00bb>, 111. \u2014 ln der rollten \nFederschlange (Blutschlangel den Norden bezeichnend \n297. \u2014 die sechste Tagstunde und die untere Region be- \nzeichnend 225. \u2014 Regent de** vierzehnten Tageszeichcns \noceloll 172, 173. - de\u00ab dreizehnten Tonalamall-Absrhniltc\u00ab \nce olin 264, 205. \u2014 Tepeyollotli, dem Regenten des \ndritten Zeichens gegen\u00fcber dargestellt 144. \u2014 demselben, \ndem Regenten de\u00ab dritten TonalamatI- Abschnitt\u00ab*, gegen- \n(IImv 23* i. \u00a3\u2018il. \u2014 vierte der vier Hilter der zweiten \nVenusperiode, den Osten bezeichnend 1118, 1119. \ntlafoinochiil, Koptbinde aus zerzupftem Stoff, der Chantico 275. \ntlafopilli, Prinz von k\u00f6niglichem Oebllit 173. \u2014 Name Xochi- \npilli's 149, 161. \n\ntlachitlooi , Sch Werkzeug Texcatlipoca\u2019s 96. \ntlachmca, versengen, verbrennen l.o, Amu. \ntlachiaotli , a all tlacldnolli. \n\nttachifvHiitli, Puiquefabrikation, von der Mayauel erfunden 152. \ntlachtli, Ballspiel und Ballspiel platz, sein Gott Xolotl 181, \n\n183 Hmb\u00fc soehltl Kl, 168, .n i. iM-i X o cMg iwt\u2014l \n\ndargestellt 278. \u2014 himmlischen, mit der Figur Tonacate- \ncutli's 119. \n\nHaalli, Dreck, Unrath - S\u00fcnde 144. \n\ntlailfwaiu, Dreekfresser. S\u00fcnder. Bei Tezca\u00fcipoca ixqui- \nmilli dargestellt 17t), 171. \u2014 Name und Hieroglyphe der \nTlacolteotl Um, 144. \n\nHaiticopetialli, a. tlaitzcopintli. \n\n(le\u00fcticopintli, mit spitzwinkligen Papieren bemalt, die Opfer\u00ab \npapiere 132, 153. \u2014 der Stab der Chantico 273. \nttalchi tonatiuh , die erdnahe Sonne, bei Xolotl dargestellt \n\n270, 21L \n\nTlaUmiea, Volk im S\u00fcden des Hochthals von Mexico. Fest \nder Xochiquctzal 187, 189. \n\nHaiti, Erd**, durch Heptilrachen dargestellt 74 u. a. a. O. \u2014 \ndurch einen Weg bezeichnet 230 (a. \u00f6tlij. \u2014 ihre Gott- \nheit, \u00ab. Tlavokeot 1. \u2014 durch die vier Farben bezeichnet \u00fcL \nTfatti iyollo, Herz der Erde, Name der TI*$oltooU 101, 172. \nTWac, Berg dieses Namens, s. Tklowil \u2014 Bedeutung des \nNamens 106. \u2014 andere Erkl\u00e4rung 230. \u2014 Regengott, seine \nerat* Gemahlin Xuchii|uetzal, \u00abeine zweite Matlalcueyv 188. \n\u2014 Gott de\u00ab quiauhtonatiuh, des Feuerregens 131. \u2014 auf den \nBergen mittlerer H\u00f6he hausend 106. \u2014 Steinbild auf dem \nBerge Tlalocan 106. \u2014 im Osten heimisch 199. \u2014 Aus- \nsehen und Tracht 107\u2014109, 151. \u2014 sein Gesicht aus zwei \nSchlangen gebildet 107, 1UH. \u2014 tr\u00fcgt die Hieroglyphe des \nJahres auf dem Scheitel 151. \u2014 der Truthahn s**\u00bbne Ver- \nkleidung 183. \u2014 mit seinem Kopf die Krdgmtin ubgcbildet \n10. \u2014 seine Farben tr\u00fcgt TepeyoUotli UH. \u2014 die vier \nRichtungen hez*\u00abichncnd 2&L \u2014 Wohnung in vier Zimmern \n293. \u2014 neunter der neun Herren, im S\u00fcden stehend 81, \n106 \u2014 111. \u2014 Regent de\u00ab siebenten Tageszeichen* ma^atl \n151. \u2014 de\u00ab siebenten TonalamatI- Abschnitte\u00ab ce quiauitl \n234. 233. \u2014 zweiter der vier H\u00fcter der zweiten Venus- \nperiod\u00ab, den Osten bezeichnend 197. \u2014 H\u00fcter der vierten \nVenusperiode, den S\u00fcden bezeichnend 2221 \u2014 in der \ngr\u00fcnen Federsch lange, den Osten bezeichnend 206. \u2014 \nsein Bild, mit der Helmmaak* der Zeichen der vier Rich- \ntungen, bezeichnet die vier Jahre 281 \u2014 281. \n\n\nTlaloeaa, da* Reich des Regengottos, die mittleren H\u00f6hen \nder Berg* 106. \u2014 der Osten 198- \u2014 ein Berg zwischen \nTetzcoco und Uexotsinco mit einem Bild\u00bb des Gotte\u00ab au\u00ab \nweiasem Stein 106. \ntlalocayott, Ostwind 199. \ntlalolin, Erdbeben 181. \n\nHaipa\u00df uouaH, Fellpauk\u00ab 221, 222, 232. \n\nTlalttcayouo. Pulquegott 168. \n\nTlaltoeuHi, der Gott der Erde, aus dem cipactli erschaffen \n130. \u2014 a. Thier mit der spitzen Schnauze. \n\nTlaltotoeuia, einer der vier allen Weisen, die in Tamoanchan \nden Kalender schaffen 179. \n\nHalticpaqut, Herr der Erdoberfl\u00e4che, der Feuergott 111. \u2014 \nTonuratecutli 130. \n\nttamacaiqvi, Priester, schwarz, mit roth\u00ab-m Fleck an der \nSchilfe 7. \u2014 ln der Fastenelnzlunung, sich kasteiend \n184. \u2014 die siebente Nachtstunde und die untere Region \nbezeichnend 227. \u2014 gegen\u00fcber der chichimel\u00fcachen Feuer- \ng\u00fcttin, die acht*! Nachtstunde und den Osten bezeichnend \n228, 229. \u2014 bei der Chalchiuh\u00fctcue \u00a333. \u2014 des Regen- \ngotte\u00bb 62. \u2014 bestrafter, beim Regengolt 233. \u2014 des Regen- \ngotte\u00ab, f\u00fcr Wuetxalcouatl, den Regenten des ersten Tonal- \namatl -Viertel\u00ab eintretend 8. \u2014 = Piltzin tecutli oder \nXochipilli, in der Reihe der f\u00fcnfundzwanzig G\u00f6tterpaare \n211\u2014242. \n\ntlamamalli. RUckenlast.ReLsehUndel, der wandernden (l\u00fctter SV \nHamaaaUi, Opfergaben. Begleitbilder in dem in f\u00fcnfgliedrige \nS\u00e4ulen geordneten TonalamatI 16, 17, 31, 83, 44. 45, 46, 67. \ntlamatitiitii, WisM-nschufL, tolLekiacher Kulturbesitz 142, 329. \nHamatiniato amtniaqva, die Weisen, die B\u00fccherinhaber, die \nmythischen Tolteken 142, 3211 \ntlaal, unten, f\u00fcnft\u00ab Weltgegend 83, 84. \n\nHaut- acc, unten, oben, im zehnten TonalamatI- Abschnitt bei \nMictlantecutli-Tonatiuh angegeben 259. \n\nHaaamietitittti, Verkauf in die Sklaverei, bei der Chalchiuh- \ntlicue, Zeichen der Ver\u00e4nderlichkeit des Wassers, ihre\u00ab \nBMMH -U2, JLL \nHaalli, Maisk\u00f6rner, s. tlacatlaolli. \n\nHapalcaaatl, di\u00ab rothe Koralleaschlange, bedeutet Blut 19. \u2014 \nRegleithild fan ersten TonalamatI -Viertel 14. \u2014 bei dem \nB Unser angegeben 272. \u2014 bei dem Priester, mit dem \nKnochendolch am Ohr 229. \u2014 bei Quetzalcouatl 143. \u2014 \nain Hause des Regen\u00ab 75, 76. \u2014 bei der Tlacolteotl 101 \nu. a. u. 0. \u2014 bei der Ciuatootl des S\u00fcdens IHM. \u2014 die \nFedenshlauge de\u00ab Nordens bildend, die Tlayolteotl um- \nschli essend 297. \u2014 bei TonacatecuLll 218. \u2014 ini Munde \nt'ouecoyotr\u00bb 147. \u2014 Xochiquctzal und den llamacazqtu \nverbindend, in der neunten Nachtstunde (Norden) 231. \nHapapalti, die vier Farben, auf \u00ablern Mantel Macuil xochitl's \n162, 163. \u2014 auf dem Gesicht und dem H\u00fcfttuch des \nSonnengottes 96, 97. \u2014 auf der Backe Xochipilli'\u00bb 159. \n\u2014 auf dem Gesicht\u00ab und der Schatxkiste TonaiatecullkV \n247, 218 . \u2014 auf der Backe der Tlacolteotl 172. \u2014 bei \nXolotl, die vier Richtungen, d. h. die Knie bezeichnend \n2LL \n\nHapeopa, Gegend des Hell Werdens, der Osten, durch Xolotl \nund Xochiquctzal bezeichnet 67. \u2014 durch Tonatiuh 79. \u2014 \ndurch ItzLli und Tonatiuh 111. \u2014 durch den Gott mit \ndem Schlaugenrachen 72, 73. \u2014 durch den Priester \nQuetzalcouatl 7. \u2014 durch den Fledermausgott 113. \u2014 \ndurch die gr\u00fcne Federschlange und Tlaloc 296. \u2014 durch \nden (juetzalcouatl von TolUn \u00dcL \u2014 durch den weissen \nHirsch 3*12. \u2014 b*'zcichnet Lebeiisniittelf\u00fcllo 78, 302. \u2014 \nseine Jahre fruchtbare 282. \n\ntlapitialli, Fl\u00f6ten, d. b. Musik, toltekischer Kulturbealtx 142, \n\u00a3*L \n\ntiapopochuitli. Raucherwerk, dem Snnnengotto gebracht 31, \n97, 228. \u2014 durch weissen Hirsch des Osten\u00bb veran- \nschaulicht uU\u00df- \u2014 durch die zweik\u00f6pfige Schlange 23.V \n\n\nDigitized by Google \n\n\nIndes. \n\n\n352 \n\n\ntlapoyaua, Ahcnddunkcl, durch halbe Sonnenscheibe und \nNacht veranschaulicht, bezeichn\u00ab-* die Nachtstunden SIL \n\n\u2014 bei Ixtuc Mixcouatl angegeben JIM. \u2014 bei Qnctiudcouat] \n219. \u2014 bei dem XochipiUi, der dritten den WwIod t\u00bbe- \nseichnenden Form der Gottheit des Planeten Venu\u00bb Utk \n\n\u2014 bei Mayam-4 255. \n\nTlappapalo. die mit dem rothen Schmetterling. Name der \nfliantico 213. \n\nHapuatiin, Beutelratte. erleichtert die Geburt 219. \n\ntla*uechpanyotl . Hintcrhauptsechlcifc der Kegcng\u00f6ttcr, ls-i \nCinteotl angegeben UH. \n\ntlapuetzaJpatia, ex hat alch in Quetzalfedern gewandelt, ixt \ngr\u00fcn geworden 268. \n\ntlatataqoihitli. Graben, die G\u00f6tter in den drei Reichen 74. \u2014 \ndie Ciunconatl mit ehicauastli, uitxtli, rnalinulli auf dem \nteomilli 82, 88. \n\ntlattcpio, .Steinschneider, Juweliere, au\u00bb Xocbimilcu stammend, \nihr\u00ab G\u00f6ttin Chan\u00fccu 273. \n\nTlateblco, Schwe\u00bbter\u00bbt\u00abdt von M^iiro. Kuufleute tttcblltMtO \nAyotlun, die pasUlnche K\u00fcste, und bringen von dort du\u00bb \nquetzalpaUuctli 266. \n\n(latipoUca, die hinter (den Bergen), Tlaxealteca. Chololtcca \nund ihre Nachbarn, verehren QneUalcotuitl 154, 155, \n\nttolbpitzalizpan. wenn man die MiiNcbolh\u00f6nier blitxl - Mitter- \nnacht 226. \n\ntlaUatiliztti, Verbrennung, Begleitbild im vierten Tonalnmatl- \nViertel 63. \u2014 bei Mictlantecutli dargestellt 67, 158. \n\ntlatlatilpiauhfu$ttalli, Brennholzb\u00fcndcl, Feoeropfcr bei den \nneun Honen der Nacht IM. \u2014 hei dem G\u00f6tterpaar, da\u00bb \ndie neunte Tagstunde und den Norden bexeiehnet 252. \n\ntlatlatlaqualiitti. N\u00e4hren der G\u00f6tter mit dem Blut, durch \ns\u00e4ugende G\u00f6ttinnen veranschaulicht 192. \n\nTlatlau/ipii Tucatlipoca. der ruthe Tezratlipocm, \u00ablern schwarzen \nTezcatlipoca gegen\u00fcber auf dem Halbpidplatz 176. \u2014 f\u00fcr \nden schwanon Texcatlipoca al\u00bb Regent des zweiten \nTonal um\u00bb tl \u2022Viertel\u00bb eintretend 9. \u2014 der Xochiquetud \ngegen\u00fcber, die zweite Nachtstunde und den Osten be- \nzeichnend 215. \u2014 den rothen Krdgott Xipe Tot\u00ab und \nden Gott der Yopi darstellend 175, 2t >7, 52t\u00bb. \u2014 ul\u00bb solcher \ndas f\u00fcnfzehnte Tageszeichen quauhtli und den vier- \nzehnten Tonalumatl-Abechnitt ce itzcuintli regieren\u00ab! 175, \nAiL \u2014 al\u00bb solcher, dem schwanen Tewwtlipoea gegen- \nOber, die trockne Jahreszeit bnHdnwod 526. \n\nTlalloyan, der Ort, wo Quetzal couatl den Scheiterhaufen be- \nsteigt 65, 187, 257. \n\nIlatocayoll, K\u00f6nigthuin, durch den teoicpalli veranschaulicht, \nbeim Feuergotte dargestellt 956, 257. \u2014 vom Speer dt* \nPlaneten Venu\u00bb getroffen, in der vierten Periode, dem \nS\u00fcden &M, 522, \n\ntl\u00e4tovani, \u00ablor Sprecher, der K\u00f6nig 173, \u00dc22. \ntlauanam. der Trinker, bei der Mayauel dargestcllt 255. \ntlauhqutchol. der rnthe L\u00f6ffelreiher, liefert die Federn f\u00fcr \nden Schmuck Xipe'* 28, 174, 265. \ntlauhqwcholtZMtli, Fi-derkriuie Xipe'\u00bb 2t>l, 26L \nflaoittfuiliztti, der Blitz, Begleitbild in dem in f\u00fcnfgliedrige \nS\u00e4ulen geordneten Tonalamatl 22, AI, 39, 40, 49. 61, 62. \nTlauizcalpan ttcutfi. \u00abler IlerT in den\u00bb Hzum* dt* Hellwenlcns, \nder Gott de\u00bb Planeten Venus, des Abend- und de\u00bb Morgen- \nstern\u00bb. Auweben und Tracht 85, \u2014 Zwei verschiedene \n\nGc\u00bbi<-ht*lM*mutungen: al\u00bb Morgenstern 25L \u2014 diese trug \nauch Mixcouatl. der Gott der Chichimeken nn\u00abl der Jagd \n115. \u2014 und als Als-nd\u00fcrm, mit dem Quintiini, der \nHieroglyphe de\u00bb Planeten Venus 198. \u2014 whiewomler Gott \nHM. 28\u00ab, 31\u00bb. 512. \u2014 einer der Tzitzimim\u00f6 90. \u2014 Himmel\u00bb- \ntrAger de\u00ab Westen\u00bb \u00bb4, KV \u2014 int Codex Borgia f\u00fcr Xoelii- \npilli ein tretend, als \u00abIritt\u00ab\u00ab der vier Formen \u00abler Gottheit \n\u00bb Planeten V'eim\u00bb 116. \u2014 im i|iiMuhcalli, \u00ablern W\u00ab**ten \n\u00abler Westregion, darge-tellt 122. \u2014 gegen\u00fcber XiuhleeutlL \ndem Regenten des neunten Tonalamatl- Abschnitt\u00bb ce \n\n\ncouatl 257 . 25H. \u2014 zweiter der vier H\u00fcter der vierten \nVenusperiode, \u00abl\u00ab*m Westen entsprechend 2t *2, 900. \u00ab\u2014 \nRepr\u00e4sentant \u00abler dreizehnmal f\u00fcnf Venusperioden ILlii \n\nhi\u00bb :ns. \n\ntlarapichtti, Pflaster, runde Scheibe au\u00bb Kautschuk, auf der \nBacke der Tla^nltentl 1M2. \u2014 auf der Backe dee Sonnen- \ngottes 25\u2018J. \u2014 der X\u00ab>chi\u00ab|iicizul 210. \u2014 l'itziloporlitli'a, \nde\u00bb Himmelst rfigcr'a du\u00bb S\u00fcden\u00bb H6. \n\nTlazcallan. Landschaft, Karyatiden von dort 93. \ntltcuilli, Feuergeftts\u00bb, RAuehcrgefils\u00bb, unbemalte ZackengefAssc \n30, 81. \u2014 Begleilbild im dritten Tonalamatl- Viertel 46, \n\u2022IH. \u2014 Sm T\u00ab v mpel de\u00bb Sonnengottes 97. \u2014 vor der Chuntico \n277. \u2014 vor \u00ablen f\u00fcnf S\u00fcdg\u00f6ttern 3 tu. \ntbmaitl. R\u00e4ucherl\u00f6ffel, in der Hand der X\u00abM'hi\u00ab)uetzal 232. \ntltmamahni, Feucrqnirler, f\u00fcr Xiuhtecntli eintretend 28. \u2014 \nTczcatlipocn 88. \n\nflemamalilizth. Feueripilrlen, am Beginn \u00abler zw\u00ab*iun\u00ablfflnfzig- \njfthrigen Periode 91. \u2014 der Feuergott auf dem xiuh- \ncouatl 28. \u2014 im xiuhcoua\u00ab-alli auf dem Leibe der Feuer- \ng\u00f6ttin 123. \n\nHenamacac, R\u00e4uch er priest er, trllgt die Riiu-hert*\u00bbclie oceloya- \ntaztli cueclu bo, au\u00bb Jaguarfussfell 255. \ntlepapa/otl. der Feueracbmettcrling, die Flamme 29. \u2014 am \nEnde des tlaeliinolli-Symbol\u00bb \u00bb. atl tiachinolli. \u2014 bei \nTecciztecatl und Tonatiuh 2ZtL \ntlepapalot/av/ztlr, Kriegenlerixe, Tribut der Cliinampaneca 84, \n\n224. \n\ntbpilli, Fackel, bei Tonatiuh 2-59. \n\ntbpiauitl, Feuerbohrer, f\u00fcr Xinhtecutli eintrptend 28. \u2014 bei \n\u00abler Tlacolteoll de\u00bb Nordcnx angegelam 312. 318. \ntlfuiauilli - \u00abjuiauhtouutiuli 157. \n\ntlefviavitl. Feuorregen, endet die Zeit de\u00bb ipiiauhtonatiub 186. \n\n\u2014 durch Tlaloc veranschaulicht 151, av*. \n\nII* tl, Feuer. Begleitbild in dem in f\u00fcnfgliedrig\u00ab.* S\u00e4ulen \ngeordnet\u00ab*n Tonalamatl 16, 17, 86, 37, 61, 62. \u2014 Durch \nifirachkopf veranschaulicht 16, 17, 86, 37. \u2014 durch einen \nHund veranschaulicht 16, 17, 157. \u2014 bei TlaW* angegeben \n151. -- bei Tonacatccutli 2is. \n\ntbzachtli. Flamme, durch Blum\u00ab* veranschaulicht 62. vor \ndem Munde de\u00bb Sonnengottes 259. \n\nTliihva. ein PulqtiegoU UV. \ntlHlan, da\u00bb llaus \u00abler Cbantico 973. \n\nTUllan tlapatla\u00bb, das Land der M-hwarr.cn und der rothen \nFarbe, da\u00bb Lun\u00ab! der Schrift, da\u00bb iiq 0\u00bbten gelegene land, \nwohin die Tulteken wundem und wo Quctzak-uuatl \u00bbtirbt \n137, 142, 949. 257. jfcSL \n\ntlilli (tapalli, die schwarze und die rothe Farlie, \u00ablic Schrift 142. \ntlo . | 4 \u2018il. \u2014 \nAnfangszeichen de\u00ab vierten der vier Jahre 279, \u2014 in \n\nHeiner Maske der Planet Venu\u00ab ln der vierten Periode, \ndem S\u00fcden l'dx. \n\nTollan. pr\u00e4historische* Kulturzentrum, Karyatiden von dort 43, \nToltoca. mythische* Kulturvolk, *. tlamatinimft nmoxuaqn#. \n\n\u2014 ihr Gott ljuetzulcimiitl 131. \n\nWlKa, historische. Bewohner von Xocotitl&n und Tollan 179. \nTolttcatl ein Pulqucgott 168. \ntonaca , in Hieroglyphen - Mai* 131. \n\nTonacaciuatf. Gemahlin TouacatCCitUi's Xm hiqnctznl, die \nerste Tagst unde und die obere Region bezeichnend 214. \n\n\u2014 und lluniHtccutli, di\u00ab unter\u00ab Region bezeichnend 70. \nTonacatecuth .Herr unseres Fleische\u00ab-. Hch\u00f6pfergott, Herr \n\nder Zeugung, Gott der I\u00ab*hen\u00abrmttel, enter Mensch. tiott \nder Uneit Uh) \u2014 182. \u2014 im oberste\u00bb Himmel wohnend, \nv t'itlallatonac 131. \u2014 einer der Txitzimim\u00a3 90. \u2014 Auf- \nsehen und Tracht 13t\u00bb, Regent des ersten Tage*- \n\nzeirbcn* cipactlt 180 \u2014 UVI. \u2014 des ersten Tnnnlnmatl Ab* \nschnitte\u00ab ce clpuctli 2\u00fc, 2 \u00dc \u2014 die vierte Tsr\u00bbliindi* und \nden Weiten bezeichnend 220, 221. \u2014 = Xocliipilli 132. \u2014 \nRcgleitbild im Tonslainatl 24. 25. 44. \ntonaca/ott, Ixdicnsmittcl, Mais 131, 224 \n\nTonalamatt. Kalender der Mexikaner, Schicksnlshiicli, Wahr- \nsagebuch, seine Grdtne und sein l\u2019rsprung 3, 4. \u2014 von \nden alten Weisen in Tamoanrhan geschaffen 179, 329. \u2014 \nda* in zwanzig dreixehntAgige Abschnitte geordnete und \nseine Gottheiten 24A 279. das in f\u00fcnfgliedrige SAulen \nnach den vier Himmelsrichtungen geordnete und seine \nbegleitenden Bilder 4 \u2014 65, i\u00ab27. \u2014 das in viergliedrige \nSAulen, nach den f\u00fcnf Weltgegenden geordnete 292. \nBonderung in zwei < \u00bbnippen von 7x7 und zwei Oruppen \nvon 9x9 Tugen 5. \n\ntonallo, Sunnenzeichen auf dem Mantel Macuil xoehitl's 1H2, \nUM. \u2014 auf seinem Schild und seiner Fahne I\u00dft. \ntonaltopamitt, Fahne Macuil xochitlV 2UM. \n\ntonamttl der brennende, licivw tonatiuh. die Sonne 97, 173. \nTonan. unsere Mutter, \u00bb. Fei tonantzin. \n\ntonan teomtchchaui. unsere Mutter, die mit dem Schenkel \nbemalte G\u00f6ttin = Thu.oilcotl 101. \ntonatiuh. Sonne und Sonnengott. Bezeichnet die Tagstunden \n211\u2014240. \u2014 Begleitbild im Tonalumatl 2t\u00bb, 27, Ai\u00bb, 00. \u2014 \nbei der Tlncolteotl de\u00ab S\u00fcdens angegeben G 12, 313. \u2014 \nAussehen und Tracht 11, 90, 97, 185. 197, IU8, 253, 2.*iW. \u2014 \nseine Gcftlchtsheuialung bei dem Xocliipilli des S\u00fcdens \n295, 200. \u2014 Regent des vierten Tunalamatl- Viertels rc \nxochitl, der Region des S\u00fcdens 11. \u2014 dritter der neun \nHarren der Stunden der Nacht, im Osten stellend 79, 96, \n97,111. Regent des neunzehnten 'fcgcmeir hem i|iuauiti \n18fi. \u2014 gegentllier Teeelatecntl, im wehsten Tonalninatl- \nAbschnitte dargestcllt 253, 251. \u2014 gegen\u00fcber Mictlnntrcutli \nim zehnten Tonahim\u00abrl- Abschnitte dargi-tellt 25K. \u201c-\u25a0\u00bb \u2014 \ndritter der vier H\u00fcter \u00abIrr zweiten Venusperiode, den \nOsten bezeichnend 197, 198. \u2014 di\u00ab olwro Region bezeich- \nnend 197. IIK. \u2014 im Jahre mollaclli ornei aratl geboren \n186. \u2014 ihr Zeichen der Tag naui olin 180. \u2014 ihr Ahhild \nan diesem Tage geopfert 186. \n\ntonatiuh ichan. \u00bblas Haus der Sonn\u00ab, der Himmel, wohin en\u00abn \nFrauen kommen, s. ilhuicac yauli und mociiia>|iH-tzi|iii. \ntonatiuh Uten, iin Angesicht der Sonne, Richtung nach Osten. \n\nZiel der Tnlteken Wanderung 136. \ntonatiuh lixco yauh. s. Uhuieac yauli. \ntonatiuh iitco jraqui - Tolteken 197. \n\ntonatiuh 9 ualo. Sonnenfinsternis\u00bb vom Jaguar gefressen \nworden 172. \u2014 in ihr erscheinen die Tzitzimim^ 90 und \nAnm. \u2014 der Sonne Zwerge geopfert 1KI. \nton\u00f6ami iHuichot). der Singer, der Morgenstern 89. \n\nTopf, mit zerbrochenem Boden tlacatlaolli 214. \n\nMac. Cmlcx tattraiiu\u00bb Nr. 3TTS \n\n\nTopittzin .unwr Sohn*, Name (juetzalcouatl'a 131. \n\nTota, unser Vater. Name de\u00ab Feuergottc* l\u00e4l. \n\nTctenkult 157. \n\nTotoltecatl, ein Piilquegott 168. \n\nTotoaaf ue, Bewohner der atlantischen (Solfk\u00fcste. Nachbani \nder Cuextcca 143. \ntouoro = Huazlek\u00ab 143. \n\nToxcati, f\u00fcnftes Jahresfeat, Fest Te/.iatlipocu's 9. \n\nTrapez und Strahl, Abbreviatur des .Sonnenbilde*, Ohrgeh\u00e4nge \nde\u00ab Feuergottes 278. 279. \u2014 Tepeyollotli's 250. \u2014 Ueue- \nrovotl\u201c\u00ab 147. der Chantico und \u00abIrr Coyolxaubqui 27t,. \n\u2014 Zeichen des Jahres, auf dem Scheitel Tlal \u00ab><\u2022'\u00ab 282. \nTraambach, h. temicaruatl. \n\nTrinker, *. tlauanani. \n\nTratfaahs, \u00ab. nexolotl, Clialchiuhtotolin. \n\nTlrkiiplatle, H nistschmuck de\u00ab Feuergotte\u00ab 95, 278, 219. \u2014 \nFitzilopor hlli's, de\u00ab Himmeln rllger\u2019s de\u00ab S\u00fcdens 80, 87. \nTutpam. s. Tochpan. \n\nTiapocuntl. KOckrhcn Xipo\u2019\u00ab aus ZapotchlAttern 8 . 8t5, 207. \nTxapotoca Anauaca. Volk der pazifischen K\u00fcste, ihr Gott Xip\u00ab \n2t\u00fc \u2014 zur Zeit AulLzotl's besiegt 26t\u00bb. \n\nTxapottan, Stadt an der Lagune von Xochimilco 99. \n\nTiapottan tonan. Mutter von Tzapotlan. G\u00fcttin 99. \ntz\u2019i oder (17 4 Guatemala-Sprachen l, Hund 157. \ntzicotiuhqvi nacochtli. da\u00ab dornig gekr\u00fcmmte Ohrgeh\u00e4nge \nV^uctziilcouatra (= epcululli\u00bb 139 \nTzitzimimi, Hinim\u00able.tr\u00e4ger, Sterngottheiten, D\u00e4monen der \nFinsternis* 9t\u00bb. \n\ntzitZimitli, einer der Tzitzimimi, etwa.-\u00ab Ungeheure\u00bb, Schreck- \nliches 9U. \u2014 den Westen (die untergehende Sonne\u00bb be- \nzeichnend 111. \u2014 die Mitte, die Richtung nach unten be- \nzeichnend 2 \u00ab.l.v \n\nTxiuactopotl. mythisrher Ort 129. \ntihiactli, StMchi-lpflnnx\u00ab, Art Agave 129. \ntzompantli, Sch Adel gertist 158. \n\ntzontocomatl. Sch&del = miquiztli \u00bbTod\u201c, sechstes Tngesxnchen \n128, 149. \u2014 Maske de\u00ab Planeten Venus, in der f\u00fcnften \ndie untere Region bezeichnenden Periode 318. \ntxontomoc, der abwArt* st\u00fcrzende. Begleitbild in dem in \nf\u00fcnfgliedrige Sftulen geordneten Tonnlainatl s\u00a3\u00bb, 26, fA \u2014 \nbei der ltz|Mipalo 1 l angegeben 26U. \u2014 die f\u00fcnfte Himmels- \nrichtung, Bewegung mich unten bczeiclutend 83, 81. \u2014 \neiner \u00abIrr TziLzimime 90. \ntiotxocotli, s. tzotzocul ueyac. \n\ntiotxocol uoyac. Kriegerfriatir, bt*i Trzcatli|\u00bboca 8 , 9o, 216. \u2014 \nbei dem Sonnengott\u00ab 90. \u2014 bei der Ciuateotl des Ostens \n\u2022I\u00dc\u00dcl \n\nUoi toepatt. da\u00ab growM* Opfemiesser, ein Gott von Meztitlan \n167. \n\nUoi tocuilhuitl. \u00bbIns grosse Herrenfest, da\u00ab achte Jahretrfeat \u00abler \nMexikaner, Fest Xocliipilli'\u00bb 161. \n\nUoi Ufoxtli, das grosse Wachen, da\u00ab vierte Jahresfest, Feet \nder Maisg\u00fcttin IS\u00bb. \n\nUoi tcnantzin, unwn 1 gr\u00f6sst- Mutter, G\u00fcttin der Isandschaft \nMeztitlan I\u00df?, 172. \n\nuotzitizth. der Fall, bei Ueuocojrotl angegeben 118, 2\u00e4L \u2014 \nbei Itztlacoliubqui 2*iL \n\nUouocofoti. der alte Coyote, Tnnzgott, Gott der Otumi, Regent \nde* vierten Tag*-szeiebens cuetzpalin 147, 148. \u2014 de* \nvierten Tnnalamall- Abschnitts ce xo<-hitl 'AM\u2014 283. \u2014 \ndem Tanzgotte, gegen\u00fcber der Hirsehgftttin, die die \ndritte Nachtstunde und den Nonien bezeichnet 217, 218. \nUouotoott. der alte Gott, der Fwwgolt IM. \nuouotl oder tlalpan utuetl, die Fellpauke 221, 222. \nuozoiott, 'l'nithuhn, Vogel Tlaloc's, \u00bb>ezeiehnet das Waaaer 75, \n7:* Anm., 183. \n\nuietti, Hacke zur Bodenbearbeitung, s. ecaulctli. \nuitoncatl. Fl\u00fcgel?, Nackenschnmck Macuil xochitl 1 \u00bb 208, \n\n45 \n\n\nDigilized by Google \n\n\n354 \n\n\nIndra. \n\n\nUitzilopochtli, HitumeUtr\u00e4gcr \u00ab1\u00ab*\u00ab S0\u00abicn\u00bb 87. \u2014 Keuergott Ul. \n\u2014 Feuergott dt*\u00bb S\u00fcden\u00bb 122. \u2014 einer der TziUtimimA 30. \n\n\u2014 mit Teacatlipoca die obere Region, den Himmel be- \nzeichnend flu. \n\nuittitiilln, Kolibri, in der Kcgenzcil erscheinend Ul, Anm. \nauf dem Baume \u00ab1\u00ab*\u00bb Westen\u00ab HO. \u2014 in \u00bbeiner Verkleidung \nQuctzalcoiiutl, der die f\u00fcnfte der Formen der Gottheit \nde\u00bb Planeten Venn\u00bb dar\u00bbtellt 125. \nyitzitlilfuauitl, Huum \u00able\u00bb We\u00bbten\u00bb HO. \n\nuilineuac /acll. der Krieger im S\u00fcdhuuse, Tezcatllpoca 210. \nuitzoHi. Kopfbinde, mit dreieckig aufragendem Stirnhlatt. \nAu\u00bb Affenfell, mit einem Affenkopf, hei l\u2019atecutl lflO. - \n\u00bb. aiuhuitzolli. \n\nuitiVampa. Region der Domen, der S\u00fcden, ihm geb\u00fcrt da\u00bb \nvierte Tonalamatl- Viertel, \u00bbein Regent Tonatinh 11. \u2014 \nund die f\u00fcnf G\u00f6tter der Maeuil xncliitl- Reihe All. \n\n\u2014 durch die gelbe KnoelienM'hlange, die Maeuil xoehitl \neinwhltc\u00bb\u00bbT, reprk\u00bbentirt. \u2014 in der Reihe der neun \nHerren durch Tepcyollotli und Tlalor vertreten 81. III. \n\n\u2014 in der Keilte der Formen der Gottheit der Venu* \ndurch Adler und Federuchlange 114\u00bb, 117. durch Xochi- \npilli 71. \u2014 durch die Tanzg\u00f6tter <58, t!*J. \u2014 seine Jahre \nbedeuten Infnichtbaikoit und MAutu-fraas 2\u00fcL \u2014 be- \nzeichnet die linke Seite der Welt 31. \n\nuititti. Dorn, Aguveblatl\u00bbpltze, die man bei der Kasteiung \nmit dem Blute beschmierte, *. omitl uitztli. \u2014 iiu Uraa- \nballen steckend 226, 227. \n\nUigtoti* . *. OlmecM. \nungosponsese Bsarawolle, - icbratl. \nunten, f\u00fcnfte Richtung, \u00bb. dam. \n\nUitenrflrllgkeitstteUung 2 >1. \n\nuotan iTzelial i, Herz, Innerst\u00ab**\u00bb, TttgmwichcD, = mexik. calli. \nHau\u00bb 141. \n\nDrbelmatli, der St\u00e4mme, a. Chicomoztoc, Tamouncliau. \n\nUrea major - Tezcatlipocu U. \n\nDraelt, Zeit der Fr\u00f6mmigkeit 2411 \n\nVenus, Planet, von den Leuten von Teouaean, Cozcatlan, \nTeotitlan del Camino verehrt 1U2- \u2014 \u00bbeine Sichtbarkeit \nab Margnutant 831 SM. -\u2022\u2022im* Mythologie n* 187 \n\n\u2014 mit dem Gotte tjuetzalcouatl identifizirt 101. \u2014 \u00bbeine \nGottheit, \u00bb. Tlauizralpantecutli. \u2014 die vier Fonneu \u00bbeiner \nGottheit 112 \u2014 118. \u2014 \u00abeine Hieroglyphe, die nach den \nf\u00fcnf Weltgegenden geordnete F\u00fcnf, il**r tjuincunx 133. \n\nVenus periode, die \u00bbynodlsche l'mlaufszcit de\u00bb Planeten, [in \nder Dresdener Maya-Hund\u00bb\u00ab In ift und in den Ilaiulw briftt-n \nd\u00abir Codex Borgia-Gruppe dargestellt 131. \u2014 ihre L\u00e4nge \nhei der Konatniktinn de* Tonalamatl'\u00bb massgebend ge- \nwesen 4. \u2014 ihr Anfang f\u00fcr den Anfang \u00abIr\u00bb TfiniilamaUV \n286, lllii \u2014 die f\u00fcnf Perioden und ihre H\u00fcter 285 \u2014 290 l \n\n\u2014 die viermal f\u00fcnf lltlter der Perioden 133\u2014210. \u2014 der \ngrosse Zyklus von \u00ablreiz\u00ab-hnmai f\u00fcnf Perioden 31 1 1124 \n\nVerluderlicbkelt, de\u00bb Duaeiu\u00bb, \u00ablurcli da\u00bb Element de\u00bb Waanem \nveratiM'haulicht 253, U\u00fc \n\nVerbrennung, \u00bb. tctiatiliztli \u2014 de\u00bb xiuhcouutl am Pani|iu*1zal- \nizlli Ul. \n\nverbundene Augen, ixtiuimilli. \n\nVerg\u00e4nglichkeit, ihr Sinnbild da* Zeichen malinalli !<\u00ab*\u00bb, 1457. \nVerschiebung, der G\u00f6tter der Tonalamatl-Abschnitte gegen- \n\u00fcber dimvn \u00ab1er Tagi-\u00bbzci\u00ab'hcn 245, 2lfl. \n\nVerschlossenseln. de\u00ab Wasoent \"Hk, '\u00bb7. \n\nVia 41 San Glacomo. Milch\u00bbtra\u00bb\u00bbe, - Tonacatecutli 131. \n\nTier Blume, die, Symbole der Himmelsrichtungen 76 \u2014 81. \nviereckiges, verschiedenfarbiges Feld. \u00bb tlapapalli. \nviereckige Ohrplatle, Tlnloc'a, der Pul\u00ab|ueg\u00abHter und Tepe- \nyollotli'\u00bb 168, \n\nvier Enden, de\u00bb Himmel\u00bb, und die der Erde 81 \u2014 Oft. \n\nvier Federschlangeii 835 \nTltr Himmelsrichtungen 76\u201481. \n\n\nvier Jahrs 281\u2014 385. \n\nviermal f\u00fcnf Hilter der Venusperioden 190\u2014210. \n\nvier Hosettei. an\u00bb Kopfnclauucke Tlaloe\u2019e 10U, 137, 138. \n\nvier Skorpions 327. \n\nrinak itjii'iclie), Mcnsc li, = Name \u00ab1er Zahl zwanzig 127. \n\nvulkanische Asche, \u00bb. xaltctl. \n\nWachen, hieroglypliinche Darat cilung Ki. \n\nWschathnm. \u00bb. izcitlli. \n\nWichtel. \u00bb. ?olin. \u2014 Federn im Schmuck der Tlacolteotl 102- \n\nWsldhnhnfedera. im Nacken\u00bbclin>uck\u00ab> (Juetzaleounti'a UH*. \n\nWandernde G\u00f6tter IV\u00bb. \n\nWandernder Priester 14. \n\nWasser. *. atl. \u2014 bemalung auf dem Gew\u00e4nde der Mayau\u00ab-!, \nn. atlHcuilolli \u2014 Kultusst\u00e4ite des Rcgcng\u00ab\u00bbttr\u00bb 110. \n\nWaaaergeliaa, verschlossenes 33. \n\nWassergottheit, der Maya \u00bb. Ah bulon tz'a\u00ab-ab. \u2014 der Mexi- \nkaner \u00bb. t'halchiuhtlieue. \n\nWeg, \u00bb. \u00f6tli. \n\nWebnrolf, \u00bb. niiunlli. \n\nWeihrauch, Trinken, der G\u00f6tter 38. \n\nvelas, Farbe der K\u00e4uchcrgef\u00e4HM* 30, 31. \u2014 mit gelben \nHecken oder rotli punktirt. Knochenfarbe 1\u00d68, 284, 2ULL \n\n\u2014 \u00ab>der weine und rotli gestreift, Farbe Tluuizcalpan tecutli\u2019a \n2V, 31lt\u00ab.mtl (eigentlich \nCiuat\u00ab*otl?) 102- \u2014 der Ciuatete\u00f6 -107. \u2014 der Mayauel \n136, LiliL \n\nwelaae Boaatsat\u00e4cks, an der Knpfbinde Tlauizcnlpan tecntli'\u00bb \n\n858 . 31 > 5 . \n\nwellte Blttthe, \u00bb. izqiiixnchiLl. \u2014 liztac xochitlui, Name der \nTla?ulteotl 101. \n\nWesten, \u00bb. ciuatlampa \u2014 Baum des, e. uitzitzilqnnuitl. \n\nWild, a. cccatl. \n\nWladgott, \u00bb. tjuetxalrnuiitl. \n\nWladst&rme, iiiaehen \u00ablern ccatonatiuh ein Ende 186. \n\nWolken, ihre Abbilder, die Zinnen 108. \u2014 die Zackenkrone \nTlaloc\u2019* 108b \n\nWolkonhaus, dos Himmel\u00bb, *. Hau\u00bb de\u00ab Regen*. \n\nWolkenhimmel, in den Jahren de\u00bb 0\u00bbten* und de* Westen\u00ab \n282. 283. \u2014 \u00fcber den aoclin Regeng\u00f6ttern 242, - 13. \n\nWolkenschlaage, s. Mixcouatl. \n\nWollust, \u00ablie G\u00f6tter \u00ab1er, und ihre Zeichen 2U0, 328. \n\nXacupan calupi, einer der Tzitzimimfc 30. \n\n*a/fefA vulkanische Asche, Uu quiauhtoualiuii entstanden 186. \n\nX\u00bblhua, Ahnherr der Leute von Teouaean, Cozcatlan, Teotitlan \ndc-I Camino 329. \n\nlicaa pitao mani tzapotckb\u00ab I\u00bb., da\u00bb Tbier der Opfcrblutmhnle, \ndie rothe Schlange 114. \n\nXipy Totec .murr Herr der Geschundene\". Gott der Zapo- \nteken 2t 2\u00bb. \u2014 der Yopi 173, \u2014 der Gohlsrhrau-de 20.5, \u2014 \nAufsehen und Tracht Nj, 865\u2014267. \u2014 al\u00bb Tlutlauhqui \nTezcatlipoca \u00abncbeliusul 171, 2ii7, 3211 \u2014 Erdgott 8U, 17.\u00bb, \n176, 278. \u2014 der Tlavolteotl verwandt 102. \u2014 erh\u00e4lt di\u00bb \nErstlinge de\u00bb Feldes 2liL \u2014 und \u00bbeinen Theil von der \nErnte 268b \u2014 an seinem F\u00ab!*te die Opfer ge\u00bb<-hunden 175. \n\u2014 Gott \u00ab!>\u2022\u00bb Sacrifieu\u00bb glailiatorio 176, 177. \u2014 Regent des \nf\u00fcnfzehnten Tagesoteichens quauht\u00fc 174 \u2014 177. \u2014 de\u00ab \nvierzehnten Tonalaniatl-Ahscbnitte\u00bb cc itzcuintli 265\u2014263. \n\n\u2014 mit dem Fi*u\u00ab*rgotte, Hegeul de\u00bb zwanzigsten Tonal* \namatl -Abschnitte\u00ab ce tochtli 278, 273. \u2014 H\u00fcter der dritten \nVenuxpcriode, dom Westen \u00ab*nt\u00bbpr\u00ab>chend -W8. \u2014 dritter \nder vier H\u00fcter \u00abler vierten Wnunperiode, die \u00ab1cm Westen \ngrh\u00f6rt 211, 801- \u2014 Knigott de\u00bb Westens 85. \u2014 Begleitbil\u00ab! \nim ernten Toualamatl-Viertel 27, 28. \n\nXippiHi , der TUrkisprinz, der junge Feuergott, Name der \nSonne 175. \n\nuppvualti , Jahrr.illiluug, zaeiundf\u00fcnfzigj\u00e4hrige P\u00ab;noca'\u00ab 146. \nxocoicbtlamatioualh, eine au\u00ab Maismasse hergestellte Speise, \nOpfergabe f\u00fcr die CiuatcteA 300. \n\nXocotl uotzi, da* Herabkommen Xneotl'is zehnte* Jahrrafewt \nder Mexikaner, Feuerfest 27:1. \n\nlochicalli. Hlumenhaus, der Norden der Region des Abend- \nstern\u00ab 121. \n\nXochicauacan, einer der vier alten Weisen, die in Tamoanchan \nden Kalender schaffen 179. \n\nzoehithvitl, Blumenfest, Fest Xochipilli'\u00bb und der Xoehiquetzal \n\n161, 190. \n\nXochimilca, am Ufer der N\u00fcsswasaerlagune. Stadt der 4'hinnm- \npaneea. Heiiuuth der Steinschneider, Stadt der Feuer* \ng&ttin Chantico 27-L \n\nXochipilli, der Blumenprinz, Gott der Blumen und der Lebens- \nmittel, Gegenst\u00fcck zu Xorhiquetxal 169. \u2014 Gott de* \nBl uniert feste\u00ab ixochilhuitl) HU. de\u00bb grossen Herrenfcste\u00ab \n\n(uei tecuilhuitli des achten Jahre-festes der Mexikaner \n161. \u2014 in Liedern al\u00ab Cintcotl angerufen UH, 165. \u2014 im \n\n\nCodex Fejerv\u00fcrv mit dem echten Cinteotl verwechselt \n194. \u2014 Aussehen und Tracht 116, l.VJ, 10). \u2014 ln der cox- \ncnxtli-Helinniuske erscheinend 161. \u2014 bemalte\u00ab Thonbild \nau* Tentitlan del Camino 160. 161. \u2014 Steinbild in Mexico \n161, 163. \u2014 Regent de* cilften Tagmzeichena ovomatli \nlfif) \u2014 163. \u2014 im Codex Vaticanus f\u00fcr Xochiqtietzal. die \nRegentin de\u00ab zwanzigsten Tagesxeiohen* xocliitl, eintretend \nIMS\u00bb, 190. *- dritte der vier Formen der Gottheit de* \nPlaneten Venus, den Westen bezeichnend 116. \u2014 (der \nblaue i zweiter der vier Hliter der enden Venuaperiode. \ndie der unteren Region entspricht 11M. \u2014 (der gelbe) \ndritter der vier H\u00fcter der ersten Vrnuaperiode, die der \nunteren Region entspricht 195. \u2014 (mit der Gesiclit*- \nbemalung des Sonnengottes) erster der vier H\u00fcter der \nf\u00fcnften Venusperiode, die dem S\u00fcden entspricht 206, 2041. \n\n\u2014 Knigott di** Osten* 88. \u2014 zusammen mit der Xochi* \nquetzal, f\u00fcr den Westen stehend 68. \u2014 der erste der sechs \nim Tempel, den S\u00fcden bezeichnend 71. den Baum de\u00ab \nWestens umklammernd NI. \u2014 der Xuchiqueual gegen\u00fcber, \nin der 1 teilte der f\u00fcnfundzwanzig G\u00f6tterpuare 211\u2014242. \u2014 \nBegleit I ol<] in dem in f\u00fcnfgliedrige SUulen geonlneten \nTonalamatl 37, :W. II, 42, I\u00bb, .V), 5|, 52, 51$, .VJ, 60, tS2, 6\u00ab. \n\n\u2014 \u00abeine Zeichen 328, \n\nXochiguettal , G\u00f6ttin der Blumen und der Kunstfertigkeit. \nF\u00fcrstin, im neunten Himmel, in Tamoanchan wohnend \n188. \u2014 urspr\u00fcnglich Wasserghttin, Gemahlin Tlaloc'o, aber \nvon Texcatlipoca geraubt und zur Liebesg\u00f6ttin gemacht \n1 m6, ISS. \u2014 Geliebte des Sonnengottes, erste Frau Bin. \n134. \u2014 mit der Tonacuciuatl idcntifizirt 27M. \u2014 als Himmel** \ng\u00fcttin dargeatellt 13, 44. \u2014 G\u00f6ttin der Liebe, Patronin \nder Freudenm\u00e4dchen 188. 189, 237- \u2014 Aussehen und \nTracht 134, 189. \u2014 von den Tlalhuicu am Tepeilhuitl. von \nden Tlaxcalteca am (juerholli. in Mexico am xochilhuitl \ngefeiert 186, 189, 190. \u2014 ltcgeniin des zwanzigsten Tage*- \nseichen\u00ab xochitl 186. \u2014 de\u00ab neunzehnten Tonalamatl* \nAbschnitte* ce quauhtli 279. \u2014 im Codex Borgia, zweite \nder vier H\u00fcterder enden, der unteren Region entsprechenden \nVonuspenode 194. \u2014 vierte der vier HUter der f\u00fcnften \nVenuaperiode, dem S\u00fcden entsprechend 210. zusammen \nmit Xochipilli, den Westen bezeichnend 68. \u2014 im xochi- \ncalli, im Norden der Region des Abendstems dargeetellt \n125. ihre Kmcheinungsfonnen in . der Mexikaner, der Toltekc 142. \nYauhttcatl. ein Pulquegott 168. \n\nYayauhqui Tezcatlipoca, rlrr schwarze Tezcutlipnra, iler echte \nTezcatlipoca. *. Tezcatlipoca. - dem rothen Tezcatlipoca \ngegen ii her auf dem Hall.spielplutz 176. \u2014 dem rothen \nTezcatlipoca (dem Vertreter Xipe'sl gegen\u00fcber die dunkle \nZeit, die Regenzeit bezeichnend 32t 1. f\u00fcr Ilxtli. den \n\nSteinmeswrgott, den zweiten der neun Herren der Naeht, \nelntreleml 95, 96 \u2014 im Codex Vallcanua fQr den vierten \nder f\u00fcnf G\u00f6tter den S\u00fcdens, Macuil xocbitl, den echten \nS\u00fcdgott eintretend. Verwechselung mit dem Gott\u00ab des \nNonlens '/ 311. \n\n/\u00abcm. kil tupfen 2ihl. \nyecoa vollenden 263. \n\nyti eecatl \u201edrei Wind\u201c. Name des Affen 2HL \n/\u00bb/ itzcaintU .drei Hund\u201c, Zeichen und Name des Feuer- \ngottes l.VJ. 2 ia. \n\nyetecomatl, Tabakkulchassc, Abzeichen der Priester 1 1, 236. \n\n\u2014 von dem siel\u00bb Kasteienden getragen 184. \u2014 von Iztac \n\n\nMixenuwtl 238, 23U. von dem Fenergott 11. bezeichnet \nl^eliensniittelfCllle '-V\u00bb \n\nyollotop'lh. der Stab mit dem Herzen, Abzeichen Xnchipilli\u2019a \nund Macuil xochitl\u2019s 161. \u2014 bei dem Trinker, gegen\u00fcber \nMayauel angegeben 2\u00f6\u00f6, 2j\u00fc \n\nYtpi, den Zuj.iiti-ken verwandte\u00ab Volk, veiehren Toteo Tla- \ntlaubqui Tezcatlipoca 17\"\u00bb. \n\nYapico. Tempel Xipe's ln Mexico 17,7. \n\n/opitiontli. \u00bbpitxe M\u00fctze Xipe's 28. \u2014 ihre Form hat die \nNasenplaltc XijM-'s H\u00f6. 175, 265. \n\nyoua/ntpanlla, Mittemaclit, durch ein von I>unkel umgebenes \nAuge bezeichnet 226, 227. \u2014 durch einen Skorpion be- \nzeichnet 226, 227. \n\nYoualttcutli, Herr der Nacht, der Sonnengott in der Nacht \nUH, \u2014 einer der Tzitziinime INI. \n\nYucatan, andere Anfangszeichen der Jahre 2S< i. \n\nZacata dal carbouero, Grasart, zu Strohaeilen und S\u00e4cken \ngeflochten - malinalli 166. \n\nZackengefias\u00ab, k\u00e4uchergefaMte ;wi, 31. \n\nZackenkanun, auf dem Hute itxtlacoliuliqui, bezeichnet die \nZ\u00e4hnelung des geschlagenen Stein\u00bb 262. \n\nZackaukraa\u00ab, der Regeng\u00f6tter - Zinnen. Abbilder der \nWolken US. \n\nZahlaystem, v igesimale\u00bb, der Mexikaner 127. \n\nZapoteken, k Tzapoteca. \n\nZauberer, - nauulli \u2014 tanzender bei der Xochiquetzal 27s \n\nZerbrochene, das Alte 190. \n\nZaugangsg\u00f6ttar, a. Ometecutli, s. Tonacatecutli. \n\nZinnen imixovotl. mixxotl), Abbilder der Wolken ltW. \n\nzwanzig Abschnitte, dreizehntflgige, des Tonalamatr\u00ab, ihre \nGotthnton 245 jlk \n\nzwaasig Tagea seichen, ihre Namen 127, 128. \u2014 mit dreizehn \nZahlen zum Tonalamntl kunibinirt 3. \u2014 ihre Gottheiten \n\n127- UW. \n\nzweifarbige Bemalung, \u00ab. chictlapanqui. \n\nSWei Geweihe, tr\u00e4gt der Hirsch, auf dem Xolotl-Blatte 271 \n\nzwei Haarflechten, auf dem Scheitel aufrugrnd, Md Tcpc- \n\ny.dl.ali lul. HM. \n\ntwel FoderbBsche, auf dem Scheitel [der Xochiquetzal s. \nome quetznlli. \n\nzweik\u00f6pfige Schlange, \u00bb. muquizcotiatl- \n\nxwel Pfeilschifte, bezeichnen den Feuerhohrer 83. \u2014 in der \nKrone des Feuergottes \u00bb. ome quammumulitli. \u2014 bei dem \nersten Mcnschcnpaare UW. \n\niwel 8trellen, auf der Racke, Goichtshi-malung der Chal- \nchiiihllicue IW. \n\nzweinndl\u00fcnfzigl\u00e4hrige Pariode, 2?J\u2014 285. \u2014 von den vier alten \nWeisen inTamoanchan geschaffen 17U.33U. \u2014 (*. Xippnualli, \nxiuhamatl). \u2014 Md ihrem Beginne neue\u00ab Feuer erbohrt Ul. \n\nZwerge, bei Sonnenfinsternis* der Sonne geopfert 183 \n\nZwillinge, - cmuitl, a. xolotl. \u2014 von der Xochiquetzal ge- \nboren. Bezeichnet die vierte Nachtstunde und den \nWesten 21U. \n\n\nKrack von Gebr. Kagor in Berlin. Beniburger Str- 10. \n\n\nDigitized by Google \n\n\nDas in ftlnfgliedrige S\u00e4ulen geordnete Tonalamatl. \n\n\n\nDigitized \n\n\nErstes Tonalamatl-Viertel, ce cipactfi \u201eeins Krokodil\u201c, Region des Ostens. \n\n\n\nZweites Tonalamatl -Viertel, ce ocelotl \u201eeins Jaguar\u201c, Region des Nordens. \n\n\nf\u00fcnfgliedrige S\u00e4ulen geordnete Ton uluni utl. \n\n\n\n\n\nf\u00fcnfgliedrige S\u00e4ulen geordnete Tonalaraatl \n\n\n\n\n\nViertes Tonalamatl-Viertel ce xochitl n eins Blume\u201c, Region des S\u00fcdens. \n\n\nDie G\u00f6tter der sechs Richtungen. \n\n\n\nDie G\u00f6tter der sechs Richtungen. 4. Die drei Reiche. \n\n\n\nDigitized by Google \n\n\nEine andere Liste von HUtem der sechs Richtungen. \n\n\n. Vorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\n\nDigitized by Google \n\n\n\nVorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\nA. Vorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\nA. Vorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\nDigitized by \n\n\n/. XiuhtecutH, der Feuergott //. fiztli, der Btelnmeisergott Ui Tonatiuh -Piltziniecut/i, der Sonnengott IV. Cinteotl, der Melsgott \n\n\n\n\n. Vorderseite der Handschrift (Lesung- von links nach rechts). \n\n\nw \n\no \n\n\nfl \n\nw \n\n\n\nDigitized by Google \n\n\nVorderseite der Handschrift (Lesung von link\u00bb nach recht\u00ab). \n\n\n\n\n\n\nVorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\nZweite\u00bb Tonalamatl -Viertel Drittes Tonalamatl -Viertel \n\n\n\nDie vier Formen der Gottheit des Planeten Venus. 10. Die zwanzig Tugee Zeichen und ihre Gottheiten. \n\n\n\n\n10. Die zwanzig - Todeszeichen und ihre Gottheiten. \n\n\n\n10. Die zwanzig- TngcRzeichen und ihre Gottheiten. \n\n\n\nDigitized by Gtiogle \n\n\nVorderseite der Handschrift (Lesung in der oberen H\u00fcllte von links nach rechts, in der unteren von rechts nach links). \n\n11. Die viermal f\u00fcnf Htlter der Venusperioden. \n\n\n\nviermal f\u00fcnf H\u00fcter der Venusperioden. \n\n\n\n12. Die f\u00fcnfundzwanzig G\u00f6tterpanro. \n\n\nVorderseite dor Handschrift (Lesung in der oberen Hillfte von links nach rechts, in der unteren von rechts nach links). \n\n\n\n12. Die f\u00fcnfundzwanzig Gutterpaare. \n\n\n\n. Die viermal f\u00fcnf H\u00fcter der Venusperiodeu. \n\n\n\n12. Die imnlkindzwanziK G\u00fctterpimrc. \n\n\n\n\nf\u00fcnfundzwanzig G\u00f6tterpaare. \n\n\nVorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\n\n\nDer Regengott des Ostens 2. Der Regengott des Nordens. \n\n\nVorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\nDer Regengott des S\u00fcdens. 4. Quetz\u00fclcouutl, der Regengott des Westens. \n\n\n\n\n\nVorderseite der Handschrift (Lesung von links nach rechts). \n\n\n\nDer Regengott der oberen Region. G. Der Regengott der unteren Region. \n\n\n\n14. Das in zwanzig dreizehnt\u00e4gige Abschnitte geordnete Tonalamatl. \n\n\n\n\nII. R\u00fcckseite der Handschrift (Lesung von rechts nach links). \n\n\n\n14. Das in zwanzig dreizehntilgige Abschnitte geordnete Tonalamail. \n\n\n\nDigitized By G\u00f6ogle \n\n\nder Mondfloll \n\n\n14. Dum in zwanzig: dreizehn tilgte Abschnitte geordnete Tonalanmtl. \n\n\n\n\n14. Das in zwanzig dreizehntiigige Abschnitte geordnete Tonalnmatl. \n\n\n\nins Wasm-r hinabatoasen dar Sonnengott UAioeni/otl, K\u00f6nijrthiun \n\n\n14. Pas in zwanzig drcizehntityjigo Abschnitte geordnete Tonalamatl. \n\n\n\n14. Das in zwanzig- dicizchntftgigc Abschnitte geordnete Tonnlnmatl. \n\n\n\n14. Da\u00bb in zwanzig: dreizehntilgige Abschnitte geordnete Tonalamatl. \n\n\n\n\nR\u00fcckseite der Handschrift (Lesung von rechts nach links). \n\n\n\n14. Diih in zwanzig dreizchntil\u00df-i^e Abschnitte jreordneto Tonalamatl. \n\n\n\n14. Du\u00bb in zwanzig dreizehnt\u00e4gige Abschnitte geordnete Tonalamatl. \n\n\n\n\n4. Da\u00ab in zwanzig dreizehnt\u00e4gijre Abschnitte geordnete Toiiuhimutl. \n\n\n\n\n\n\n14. Da\u00bb in zwanzig: dreizchnt\u00e4g-igre Abschnitte greordnote Tonalaraatl. \n\n\n\nDigitized by'Google \n\n\n\nDigitized by Gbogle \n\n\n\n16. Die fllnf VenuKperioden. 15. Dan Tonalnmntl und die ziveiundttlnfzi^jilln^rc Periode. \n\n\n\nuiiftcr Herr, der < \u00bb\u00ab\u2022\u25a0\u00ab\u2022liundeiu-, der Krduott der HcKenieotl \n\n\n\n\n7. Der Planet Venus in seiner Sichtbarkeit als Morgenstern. \n\n\n\n\n18 Die vier Fodcmchliinfrcn. \n\n\n\n\n\nB. R\u00fcckseite der Handschrift (Losung von recht* nach links). \n\n\n\n\n\n\n22. Die f\u2019Unf G\u00f6ttinnen des Westens und die f\u00fcnf G\u00f6tter des S\u00fcdens. 21. Der Hirsch des Ostens und der Hirsch \n\ndes Nordens. \n\nViertes Ton ul amatl -Viertel = S\u00fcden. Zweites Tunulumatl -Viertel = Norden. \n\n\n\nDigitized by tjOOgle \n\n\nDie dreizehnmal ftlnf Venusperioden. 22. Die f\u00fcnf G\u00f6ttinnen des Westens und die f\u00fcnf G\u00f6tter des S\u00fcdens. \n\n\n01 \n\n\n\nDigitized byXloogle \n\n\nDrittes Tonalamatl-Viertel = Westen \n\n\n23. Die dreizehnm&l f\u00fcnf Venusperioden. \n\n\n% & \n\n\n*c \n\n9 \n\nC- \n\na \n\n\n\n\nqO O \no\u00a70\u00b0 \n\n\n\n\no \n\no cPo \n\n0 ooo \n\nooo \n\nO 0 oo \n\no o \n\no oo \n\no o oo \no OOoO \n\nooo \n\noo oo \n0 o o o \n\n0\u00b0o \n\n\n\n\n\n23. Die dreizehnmal f\u00fcnf VenuRperioden. \n\n\n5 \n\nca \n\n\n\n\n\n-5 \u2022 \n\nK i \n\n\no \n\n\nDigrtized by \n\n\n\n24. Der rothe und der schwarze Tczcatlipoca. \n\n\n\nDigitized \n\n\n\nOtomAtli, tl\u00ab*r \n\n\n2. r ). Noch einmal die zwanzig Tageszeichen und ihre Regenten. \n\n\n\n\nB. R\u00fcckseite der Handschrift (Lesung; von rerhtR nach links). \n\n\n\n\n\n\u00abm Uat/miza/fitilia \n\nI o\u00bb hielt in (JneUrtlfodern \n\n\n\nDigitized by \n\n\nB. R\u00fcckseite der Handschrift (Lesung von rechts nach links\u00bb. \n\n\n\nDigitized by (^\u00d6ogle \n\n\n\nH. KUckHeite der Handschrift (Lesung von recht\u00ab nach links).","title":"Codex Vaticanus nr. 3773 (Codex Vaticanus B) eine altmexikansiche Bilderschrift der Vatikanischen Bibliothek;","tradition":"Mesoamerican Mythology","translated_text":"Codex Vaticanus No. 3773\n(Codex Vaticanus B)\n\nEduard Seler\n\nDigitized by Google\n\nDigitized by Google\n\nCodex Vaticanus No. 3773\n\n(Codex Vaticanus B)\n\nAn ancient Mexican picture manuscript of the Vatican Library\n\nPublished at the expense of His Excellency the Duke of Loubat,\nCorresponding Member of the Institut de France\n\nExplained by\n\nDr. Eduard Seler\nProfessor of American Linguistics, Ethnology and Antiquities\nat the University of Berlin\n\nSecond Half.\nText of the reverse side and explanatory plates.\n\nBERLIN\n\nMDCCCCII\n\nPresented by\n\nTHE DUKE OF LOUBAT\n\nAn acknowledgment of receipt is requested, to be sent to him at\n53, rue Dumont-d'Urville, Paris (France).\n\nF\nI Zfi\n,M3\n1 / 3 /\n\nWith the Compliments of\n\nTHE DUKE OF LOUBAT\n\nwhom you are kindly asked to acknowledge receipt\n53, rue Dumont-d'Urville, Paris (France).\n\nDigitized by Google\n\nCodex Vaticanus No. 3773\n\n(Codex Vaticanus B)\n\nDigitized by Google\n\nCodex Vaticanus No. 3773\n\n(Codex Vaticanus B)\n\nAn ancient Mexican picture manuscript of the Vatican Library\n\nPublished at the expense of His Excellency the Duke of Loubat,\nCorresponding Member of the Institut de France\n\nExplained\nby\nDr. Eduard Seler\nProfessor of American Linguistics, Ethnology and Antiquities\nat the University of Berlin\n\nSecond Half.\nText of the reverse side and explanatory plates.\n\nBERLIN\n\nMDCCCCII\n\nDigitized by Google\n\nF\n1 Z\\3 ;\n.F\\3\nV 3 \\\n\nDigitized by Google\n\nB. Reverse side.\n\n14. The Tonalamatl arranged into twenty thirteen-day sections.\n\nLeaves 49\u201368 (= Kingsborough 48\u201329).\n\nThe Tonalamatl arranged in this manner has the advantage that the opening days of its sections all bear the number one joined to their sign. This is evidently the form that in ancient times was the most favored for the books of divination. Of it, indeed, half a dozen different recensions have come down to us. A recension quite similar, in the style and arrangement of the figures, to that of our manuscript is found on leaves 61\u201370 (= Kingsborough 54\u201345) of the Codex Borgia. A somewhat different representation is offered by the Codex Telleriano-Remensis (fol. 8\u201324 = Kingsborough II, 1\u201333) and its copy, the Codex Vaticanus A (No. 3738) (fol. 12 verso\u201333 = Kingsborough 17\u201356). And again somewhat different are the Tonalamatl of the Aubin Collection and the one depicted on leaves 3\u201320 of the Codex Borbonicus. While this larger number of recensions allowed for a more extensive comparison, an exact determination was made possible by the interpretations that accompany these leaves in the Codex Telleriano-Remensis and in the Vaticanus A. And finally, the proof I furnished \u2014 that the divine figures depicted in the individual sections of the Tonalamatl arranged in this manner correspond in essence to the series of the twenty deities of the day-signs \u2014 made it possible to draw in, for comparison, three further sections of picture-writing. If anywhere in the picture-writings, then here we stand on firm ground. From this point I have likewise proceeded throughout in the various investigations directed toward explaining the entire content of the picture-writings.\n\nJust as the old priestly scholars recognized the hidden meaning of the individual day-signs \u2014 each of which of course denoted a particular natural object, mostly an animal \u2014 in the image of a deity whose nature was conceived as one with the nature of the sign, so too it was believed that the nature and power of the Tonalamatl-sections, or rather of their opening days, were embodied in particular deities, who were then regarded as governing for all thirteen days of the section in question. As I have just stated, and as I already pointed out above in connection with the day-signs, there is the remarkable fact that the series of deities of the twenty day-signs is essentially identical with the deities of the twenty Tonalamatl-sections \u2014 but with one exception: \u2014 In transferring the deities of the twenty day-signs onto the twenty Tonalamatl-sections, Xochipilli, the regent of the eleventh day-sign, was left out; the regents of the twelfth through the twentieth day-signs that follow were then assigned to the eleventh through the nineteenth Tonalamatl-sections, and for the twentieth Tonalamatl-section a new deity was added, the Fire God, accompanied by Xipe Totec. I have set this out for inspection in the following overview: \u2014\n\nSeler, Codex Vaticanus No. 3773, II.\n\nDigitized by Google\n\nB. Reverse side.\n\n246\n\nDay-signs and their deities: Opening signs of the Tonalamatl-sections and their deities:\n\n1. cipactli. \u2014 Crocodile. Tonacatecutli, the Lord of Life.\n1. cipactli. \u2014 Crocodile. Tonacatecutli, Tonacaciuatl (Xochiquetzal), the Lords of Life.\n\n2. ecatl. \u2014 Wind. Quetzalcoatl, the Wind God.\n2. ocelotl. \u2014 Jaguar. Quetzalcoatl, the Wind God.\n\n3. calli. \u2014 House. Tepeyollotli, the Heart of the Mountains, the God of Caves, and Tlazolteotl, the Earth Goddess.\n3. mazatl. \u2014 Deer. Tepeyollotli, the Heart of the Mountains, the God of Caves, and Tlazolteotl, the Earth Goddess.\n\n4. cuetzpalin. \u2014 Lizard. Ueuecoyotl, the God of Dance.\n4. xochitl. \u2014 Flower. Ueuecoyotl, the God of Dance, and Amimitl.\n\n5. coatl. \u2014 Serpent. Chalchiuhtlicue, the Goddess of Flowing Water.\n5. acatl. \u2014 Reed. Chalchiuhtlicue, the Goddess of Flowing Water.\n\n6. miquiztli. \u2014 Death. Tecciztecatl, the Moon God.\n6. miquiztli. \u2014 Death. Tecciztecatl, the Moon God, and Tonatiuh, the Sun God.\n\n7. mazatl. \u2014 Deer. Tlaloc, the Rain God.\n7. quiauitl. \u2014 Rain. Tlaloc, the Rain God.\n\n8. tochtli. \u2014 Rabbit. Mayauel, the Goddess of the Agave Plant.\n8. malinalli. \u2014 Twisted Thing. Mayauel, the Goddess of the Agave Plant.\n\n9. atl. \u2014 Water. Xiuhtecutli, the Fire God.\n9. coatl. \u2014 Serpent. Xiuhtecutli, the Fire God, and Tlauizcalpantecutli, the Morning Star.\n\n10. itzcuintli. \u2014 Dog. Mictlantecutli, the God of Death.\n10. tecpatl. \u2014 Flint Knife. Mictlantecutli, the God of Death, and Tonatiuh, the Sun God.\n\n11. ozomatli. \u2014 Monkey. Xochipilli, the God of Flowers.\n\n12. malinalli. \u2014 Twisted Thing. Patecatl, the Pulque God.\n11. ozomatli. \u2014 Monkey. Patecatl, the Pulque God.\n\n13. acatl. \u2014 Reed. Tezcatlipoca-Itzquimilli, the God of Punishment.\n12. cuetzpalin. \u2014 Lizard. Itztlacoliuhqui, the God of Punishment.\n\n14. ocelotl. \u2014 Jaguar. Tlazolteotl, the Earth Goddess.\n13. olin. \u2014 Movement. Tlazolteotl, the Earth Goddess.\n\n15. quauhtli. \u2014 Eagle. Xipe Totec, Our Lord, the Flayed One.\n14. itzcuintli. \u2014 Dog. Xipe Totec, Our Lord, the Flayed One, the Earth God.\n\n16. cozcaquauhtli. \u2014 Vulture. Itzpapalotl, the Obsidian Butterfly.\n15. calli. \u2014 House. Itzpapalotl, the Obsidian Butterfly.\n\n17. olin. \u2014 Movement. Xolotl, God of Twins and of Malformed Births.\n16. cozcaquauhtli. \u2014 Vulture. Xolotl, God of Twins and of Malformed Births.\n\n18. tecpatl. \u2014 Flint Knife. Chalchiuhtotolin, the Turkey.\n17. atl. \u2014 Water. Chalchiuhtotolin, the Turkey.\n\n19. quiauitl. \u2014 Rain. Tonatiuh, the Sun God.\n18. ecatl. \u2014 Wind. Chantico, the Fire Goddess.\n\n20. xochitl. \u2014 Flower. Xochiquetzal, the Goddess of Flowers.\n19. quauhtli. \u2014 Eagle. Xochiquetzal, the Goddess of Flowers.\n\n20. tochtli. \u2014 Rabbit. Xiuhtecutli, the Fire God, and Xipe Totec, Our Lord, the Flayed One, the Earth God.\n\nDigitized by Google\n\n14. The Tonalamatl arranged into twenty thirteen-day sections. 247\n\nIt is now clear, to begin with, that of these two series the one listed first, that of the day-sign gods, must be the original one. Ecatl \"Wind\" and Quetzalcoatl, the Wind God; xochitl \"Flower\" and Xochiquetzal, the Goddess of Flowers and of Love, are in fact identical. And that throughout \u2014 even where one would least suspect it \u2014 there is an agreement between the nature of the sign and the essence of the deity representing it, I have endeavored to demonstrate above, in the discussion of the series of the day-sign gods. But it is equally clear that at several points in the second series, identities must likewise have presented themselves to the ancient priestly scholars. I recall \u2014 to consider for the moment only the first half of the signs \u2014 (7) quiauitl (rain) and Tlaloc, the Rain God; xochitl \"flower\" and Ueuecoyotl, the God of Dance; tecpatl \"flint knife\" and Mictlantecutli, the God of Death; also mazatl \"deer\" and Tepeyollotli, the Jaguar, the Lord of Animals. And it may be that such observed or supposed correspondences also gave the first occasion for transferring the series of day-sign gods onto the Tonalamatl-sections. But there can be no doubt that responsibility for the remarkable displacement found in the series of the deities of the Tonalamatl-sections must be attributed either to an obvious incongruity, which the ancient scholars thought it advisable to avoid, or to such an observed or supposed correspondence between the nature of the sign and the essence of the deity. Which of these possibilities was actually decisive is hard to say. A worse incongruity between the nature of the sign and the nature of the deity, such as occurs at several points in the first half of the Tonalamatl-sections, would not, it seems to me, have resulted from a direct transfer of the gods of the second half of the day-sign series onto the second half of the Tonalamatl-sections. On the other hand, it is certain that in the displacement as it was carried out, a number of striking correspondences \u2014 or, if one prefers, outright identities \u2014 emerge. I point to olin \"earthquake\" and Tlazolteotl, the Earthquake Goddess; to atl \"water\" and the turkey Chalchiuhtotolin, which, as we have seen, in the series of the twenty day-signs in fact represents the chalchiuhatl, the blood. However one may judge the matter, there can be no doubt of the fact that, taking this displacement into account, the two series of gods agree with the utmost exactness, and I have therefore also been able to use the interpretations available for the series of Tonalamatl gods directly for determining the day-sign gods.\n\nThe series of the regents or guardians of the twenty Tonalamatl-sections, and in particular the manner in which they are represented in the picture-writings that are to be designated, in the narrower sense, as Mexican, I have discussed in detail in my commentary on the Tonalamatl of the Aubin Collection.\u00b9) I therefore confine myself here to compiling only what is necessary for understanding the relevant leaves of our manuscript, drawing for comparison chiefly on the related Tonalamatl recension of the Codex Borgia.\n\nThe regent of the first Tonalamatl section, ce cipactli, \"one Crocodile,\" is Tonacatecuhtli, the Lord of Life, of whom I have spoken in detail above on pp. 130\u2013132. He is depicted here in the Codex Borgia (page 61, bottom) in general similarly to the figure given for the first day-sign (fig. 334 above, p. 180) (fig. 408), but differs from the figure there in posture. For the god is here in the Codex Borgia drawn mamafouhticac, with legs spread apart \u2014 that is, as we have seen above (cf. fig. 455 above, p. 210), in the birth-giving posture \u2014 evidently in order to mark him as the god of procreation. The strings of precious stones (cozcatl) that one sees emerging from beneath him perhaps therefore signify that which is born from him. He has painted, both on the cheek and on the white cloth that he has knotted about his hips, the small, rectangular, particolored field that probably represents the three or four colors of Xochipilli (cf. fig. 462b above, p. 162), and wears as a breast-ornament, on a necklace made up of precious-stone (chalchihuitl) beads, a treasure chest adorned with a large chalchihuitl disc and furnished with step-shaped feet, which marks him as Lord of Riches, but perhaps also as giver of precious stones (chalchihuitl) \u2014 with the particular meaning,\n\n1) Berlin 1900, pp. 37\u2013126.\n\nDigitized by Google\n\n248\n\nB. Reverse.\n\nwhich we must always bear in mind especially with this god, namely of children \u2014 that he characterizes. In his hand he holds the usual priestly implements \u2014 copal pouch, sacrificial knife, grass bundle, bone dagger, and agave-leaf spine.\n\nIn the picture that our manuscript (page 49) gives of this god, one is almost led to the conjecture that it arose, through misunderstanding, from pictures similar to our figure 498. For instead of standing with legs spread apart (in the birth posture), the god is here represented sitting with legs crossed. The hips are similarly wrapped in a cloth. But that above this, on a band around the neck, a treasure chest is meant to be worn \u2014 this one can no longer divine from the picture in our manuscript. The treasure chest has here simply been transformed into a blanket pattern. But in this blanket pattern, the square-ring-shaped design in the middle evidently reproduces the chalchihuitl disc in the middle of the treasure chest of the figure in fig. 498. \u2014 Otherwise this Tonacatecuhtli of our manuscript is drawn similarly to the Xochipilli figures, and in particular also shows the characteristic chimney-like white feather ornament of this god on the back.\n\nFig. 498. Tonacatecuhtli, the Lord of Life, the Lord of Procreation, regent of the first Tonalamatl section, ce cipactli, \"one Crocodile.\" Codex Borgia 61 (= Kingsborough 51).\n\nIn front of the god, in the Codex Borgia, a burning house is drawn, and above it a red serpent. I formerly regarded both as symbols of fire, but I am now inclined to view the red serpent \u2014 and thus also the red serpent before the god in our manuscript \u2014 as, in other instances, an emblem of blood, in that I assume here a connection with the red serpent that one finds depicted with Tlazolteotl (cf. fig. 293 above, p. 99), and with the penitent adulterer (cf. figs. 35, 36 above, p. 19).\n\nFinally, one also sees, in our manuscript and in the Codex Borgia, just as with the god of the first day-sign, the first human pair depicted. This, however, is here brought into view in a different manner than there with the first day-sign (cf. figs. 336\u2013339 above, p. 133). The pair is here likewise drawn in a transverse position relative to the main direction of the page, that is, lying down. But they are not concealed beneath a blanket; rather, they are two naked figures. One sees, particularly clearly in our manuscript (fig. 499), that the man is drawing the woman to himself. In the Codex Borgia (fig. 500), moreover, the two figures are connected by a stream of blood running from mouth to mouth, a clear symbol of the mingling of blood, the union of the life-energies.\n\nThe second Tonalamatl section, ce ocelotl, \"one Jaguar,\" stands in the Codex Borgia in the lower half of page 62, in our manuscript on page 50. Its regent is the god of the second day-\n\nDigitized by Google\n\n14. The Tonalamatl arranged into twenty thirteen-day sections.\n\n249\n\nsign, Quetzalcoatl, the Wind God, concerning whose nature and appearance I have expounded in detail above (pp. 135\u2013140). The god is here represented with human features, with his fan of black raven or wood-grouse feathers at the nape of the neck, but without the conical cap, his hair wound about with two yellow rattlesnakes, above which, in the Codex Borgia, one still sees the eye surrounded by darkness, the symbol of the dark sky or the starry heaven. A further peculiarity of our manuscript is that the ends of the strands of hair falling down the back are set with snail shells.\n\nBefore the god one sees, in both manuscripts, a kind of adoring figure, whose hair at the back of the neck is adorned with a large flower, and who perhaps represents one of the iteepoyouan, \"his heralds,\" of whom so much is said in the legends of Quetzalcoatl. Between the two figures stands a house with a dark doorway, and beneath it, in the Codex Borgia, one sees a sphere painted in a dark color, enclosing a red core.\n\nFig. 499. The first human pair. Codex Vaticanus No. 3773, page 49 (= Kingsborough 18).\n\nFig. 500. The first human pair. Codex Borgia 61 (= Kingsborough 54).\n\nIn our manuscript, by contrast, one of the merlons of the roof of this house is replaced by a black ball. One could take the latter for rubber, and explain this as the Olman, the land of the Olmeca. I believe, however, that one must rather think of the Tlillan, or the Tlillan tlapallan, the \"land of the black and the red color,\" of the legends. Both the \"land of rubber\" (olman) and the \"land of the black and the red color\" (Tlillan, tlapallan), that is, the \"land of writing,\" denote incidentally the same thing: \u2014 the land situated tonatiuh ixco, \"in the face of the sun,\" the Atlantic Gulf coast, whither Quetzalcoatl and his Toltecs emigrated, and where Quetzalcoatl died or vanished into the water.\n\nAs for the other objects that are further indicated with this god, we may perhaps connect the symbol composed of a half sun and the sign of night, which one sees in the Codex Borgia in the upper left corner of the picture, with the notion that the god Quetzalcoatl is the star that shines now in the morning, now in the evening, the planet Venus. The bowl with the chalchihuitl and the quetzal-feather ornament marks the god as the Lord of Riches or of offerings. It is more difficult to give a satisfactory explanation for the two spear bundles that one sees in both manuscripts beside this god. The\n\nSeler, Codex Vaticanus No. 3773. 32\n\nDigitized by Google\n\n250\n\nB. Reverse.\n\ntortoise-shell that lies beside one of these two spear bundles is of course to be regarded as a warrior's shield.\n\nThe third Tonalamatl section, ce mazatl, \"one Deer,\" is depicted in the Codex Borgia in the lower half of page 63, in our manuscript on page 51.\n\nIts regents are the two gods of the third day-sign, Tepeyollotli, the Jaguar, the god of caves, and Tlazolteotl, the old earth goddess. The latter is here represented not merely hieroglyphically, but as a full figure and as a warrior woman. She brings to the god the captive whom she has taken.\n\nThe god Tepeyollotli himself is, as with the third day-sign, drawn as a jaguar, and here also still upon his mountain cave. In our manuscript he wears in the wings of the nose the yacaxihuitl, the warrior's death-ornament (cf. fig. 358 above, p. 156); in the ear an axe-shaped peg, and beneath it a pendant consisting of a trapeze and a ray, the abbreviation of the sun-image; at the nape of the neck a fan-like ornament of black feathers, similar to the one we shall meet with Tlahuizcalpantecuhtli, the deity of the morning star; and around the neck a strap with white snail shells. In the corresponding copies of the properly Mexican manuscripts, the Codex Telleriano-Remensis and the Codex Borbonicus, this god is represented \u2014 as I have shown in more detail in my explanation of the Tonalamatl of the Aubin Collection \u2014 as a disguise of Tezcatlipoca and with the insignia of that god. In the Codex Borbonicus (cf. fig. 501) he likewise wears the warrior's death-ornament, the yacaxihuitl, in the wings of the nose. Beside the god, in both our manuscripts, the implements of war are indicated, evidently to characterize his nature. Among these, in both manuscripts, is a curious striking and thrusting weapon that looks like a swordfish's sword, to the end of which a stone point has been attached.\n\nThe goddess facing him is drawn in the Codex Borgia in the typical manner of Tlazolteotl, with her black rubber paint around the mouth, the golden nose-crescent, the bands of unspun cotton in the hair and in the ear, the spindle and the neck-ornament of quail feathers, and the enagua patterned with crescents. Beneath her finally the red coral snake, her constant companion. \u2014 The goddess has a somewhat peculiar appearance in our manuscript. The white (yellow-striped) color of body and face, the black rubber-paint around the mouth, the band of unspun cotton in the hair and in the ear, and the ornament of quail feathers on the crown of the head, from which hangs a tuft of large yellow poyatl feathers, allow one to recognize the goddess here too without difficulty. But instead of the golden nose-crescent, she wears the blue nose-plate of Xochiquetzal in the pierced nasal septum. Her cape (quechquemitl) and her skirt, both white, are each marked with a large bloodstain. At the small of the back she wears a death's-head, and attached to it a curious structure which, however, is undoubtedly to be thought of not in this upright, but in a transverse, position. It represents the so-called citlalcueitl, a girdle-pendant of snail shells hanging from cords or plaited thongs, which is quite regularly indicated in the properly Mexican manuscripts in connection with the earth goddesses, and as a rule is also to be seen on the stone images of the earth goddess originating from the narrower Mexican region, e.g. on the well-known colossal image of Coatlicue, the so-called Teoyaomiqui, from Mexico. The rattling snail shells are drawn, in the picture of our manuscript, so to speak, swinging upward. And with this whole structure, here in our manuscript, the companion of Tlazolteotl, the red blood-serpent, is connected.\n\nJust as Tepeyollotli is characterized by the implements of war, so here in both manuscripts Tlazolteotl is characterized by a cozcatl, a necklace of precious-stone beads set with golden bells, which in our manuscript also has a centerpiece in the form of a small gold plate. This characterization appears at first glance somewhat striking for a figure that is represented in the Codex Borgia with shield and spear bundle in hand, dragging along a bound captive. But the striking quality vanishes at once if we merely recall the particular mode of thought of the Mexicans and their phraseology. The cozcatl, the necklace, simply signifies the child that is born of the goddess. And the bound captive signifies the same thing, and the\n\nDigitized by Google\n\n14. The Tonalamatl Arranged in Twenty Thirteen-Day Sections.\n\n251\n\nthe warlike apparatus of the goddess signifies birth. For the bearing of a child by a woman was compared to the capture of a prisoner by the warrior. When the birth has been successfully accomplished, the midwife raises a war cry \u2014 \"and by this the midwife means to say that the patient has valiantly carried off victory, and that she has captured a child\u00b9).\" \u2014 And when a woman died in childbirth, she was called mociuaquetzqui, \"she who has arisen/acted as a woman, who appears in the role of a woman,\" i.e. the warrior in the guise of a woman, or \"mujer valerosa,\" as it is always translated in the Spanish writers. The woman who has borne a child is the warrior who has taken a captive; the woman who has died in childbed is the warrior who has fallen into the hands of the enemy and been slaughtered upon the sacrificial stone. In the funeral orations she is therefore addressed thus: \u2014 \"O my daughter, thou hast fought valiantly with shield and sword, like thy mother Ciuacoatl-Quilaztli. Arise! Already it has become morning; go to the House of the Sun, where all the blessed dwell\u00b2).\" \u2014 From this point of view the warlike adornment found everywhere among the earth goddesses is above all to be understood. It denotes in general, and denotes here too, the Tlazolteotl only as the one who gives birth. And that is why the cozcatl, the neck ornament, is here shown beside the goddess. It denotes the one captured by her, i.e. the child born of her.\n\nFrom this point of view the relationship of the two persons who are set forth, at the third sign, in the series of day-signs and in the series of Tonalamatl sections likewise appears in a new light. To the god of the caves, Tepeyollotli, is joined Tlazolteotl, because she represents the maternal womb. And because this is the relationship of the two persons, one also understands why, in the properly Mexican pictorial manuscripts in the narrower sense \u2014 the Codex Telleriano-Remensis, the Codex Borbonicus, and the Tonalamatl of the Aubin collection \u2014 the Tlazolteotl at this sign is replaced by the wind god Quetzalcoatl, who is dragging along one captive, or more likely a small human figure. Instead of the child-bearer Tlazolteotl, these manuscripts have drawn above the creator of mankind, Quetzalcoatl. And when these same manuscripts place in the god Quetzalcoatl's other hand the sign cuitlatl, which means \"excrement, filth, dirt, sin,\" this is surely nothing other than a reference to Tlazolteotl, the \"goddess of filth,\" the Tlaelquani, the \"filth-eater.\" It is meant to say that through Tlazolteotl, or if one will, through the cuitlatl, through the obscene act, the child has come into being. And this is also the reason \u2014 which was not clear to me earlier \u2014 why beside this Quetzalcoatl of the Codex Borbonicus the sea snail shell (tecciztli) is depicted, since \u2014 \"as\u00ed como sale del hueso el caracol, as\u00ed sale el hombre del vientre de su madre.\"\u00b3)\n\nBetween the two gods of the third sign, in our manuscript as in the Codex Borgia, a large vessel with maize is also to be seen. And above it a jug painted in the colors of precious stone, from which a brown drink, studded with blossoms, foams forth. We are perhaps to take this as cacao, perhaps as fragrant resin or incense, as a symbol of abundance of food. The god of the caves and the child-bearing goddess are here further illustrated by the maternal womb of the earth, which brings forth food in abundance. For the dark womb of the earth, the tlalli itlollo, is indeed in fact what constitutes the essence of the third sign, the day-sign calli \"house,\" which the Maya render with akbal \"night.\"\n\nThe fifth Tonalamatl section, ce xochitl \"one flower,\" is depicted in the lower half of leaf 64 of the Codex Borgia and on leaf 52 of our manuscript.\n\nIts regent is the god of the fourth day-sign, Ueuecoyotl, the old Coyote, the god of sexual desire and of jest (cf. above p. 145\u2013147). He is depicted here in both manuscripts not entirely as an animal, but only with a coyote head, wears a collar set with white snail shells, on his breast, on a strap, the likewise snail-shell-fashioned pendant oyohualli, and a precious loincloth trimmed at the ends with eagle feathers, like that of the sun god. The sign of war is given with him, as with the god of the previous sign, and besides the usual weapons one finds here too the jagged swordfish-sword fitted with a stone point, which evidently is meant to represent a weapon of foreign tierra caliente tribes. At his feet, as with the god of the fourth sign, a man is seen falling to the ground.\n\nOpposite the god a dancer is depicted (fig. 502, 503), who wears the same leather collar set with white snail shells and has the same white rattle-ornament oyohualli hanging on a leather strap on his breast as the old Coyote himself, and in addition has fastened at the temple or on the crown of the head an animal ear (coyote ear, jaguar ear), and has bound before his face a mask on which, in white chalk (t\u00edzatl), a ring is painted around the eye and a field tapering to a point toward the back around the mouth, exactly as we have already encountered before with the dancer (fig. 460, above p. 221). In the Codex Borbonicus, where the old Coyote himself is depicted making music with the rattle (ayacachtli), the dancer is replaced by a singer and drummer (fig. 504). In the Tonalamatl of the Aubin collection we even see two figures setting rattle, drum, and a third, not certainly identifiable, instrument in motion.\n\nIn our two manuscripts, finally, a third figure is joined to the old Coyote and the dancer, one who in the Codex Telleriano-Remensis stands as the sole figure opposite the old Coyote and is likewise not absent from the Tonalamatl of the Aubin collection, though there rendered somewhat differently. It is a woman, who both in our two manuscripts and in the Telleriano-Remensis\n\n14. The Tonalamatl Arranged in Twenty Thirteen-Day Sections. 253\n\nis depicted with her face turned backward and wiping the tears from her eyes with one hand, while the other hand holds a bowl in which, in the Codex Telleriano-Remensis, again the symbol cuitlatl \"excrement, filth\" is given. The interpreters give her the name Ixnextli, identify her with Xochiquetzal, and compare her with the biblical Eve, who is said always to weep in this manner and to look about for her husband Adam. And the name Ixnextli which she bears is said to mean \"eyes full of ashes.\" She is said to have received this name only after she had sinned, by breaking the flowers [in the paradise Tamoanchan or Xochitlicacan], and for this reason, the Mexicans said, they could no longer look toward heaven, and it is a memory of the lost paradise.\u00b9) \u2014 The interpreters thus identify this figure with the female half of the first human pair. But it is, as inspection shows, the abandoned Eve. The figure refers to a tale or a legend of which, unfortunately, nothing more precise is known to us.\n\nThe fifth Tonalamatl section \u2014 [sic, sixth] ce acatl \"one reed\" is depicted in the lower half of leaf 65 of the Codex Borgia and on leaf 53 of our manuscript.\n\nThe deity of this section is the goddess of the fifth day-sign, Chalchiuhtlicue, \"she whose skirt is of green precious stones,\" the mistress of flowing water. The outward appearance of this goddess, her adornment and her attire, are the same as in the other places where we have already met her. In particular she is here too depicted in both manuscripts with her serpent-helmet mask. Above this, however, one sees in our manuscript two short feather tufts, of which one does not quite know whether they are meant to sit upon the nostrils of the serpents, as with the feathered serpent on leaf 27 of our manuscript, or whether they are perhaps meant to correspond to the ome quetzalli, the two quetzal-feather tufts on the crown of Xochiquetzal's head, with which we in fact found Chalchiuhtlicue equipped on leaf 42 of our manuscript (cf. fig. 430, above p. 204). As in the properly Mexican manuscripts, finally, the goddess is depicted above a stream of water, at whose other end one sees a priest (tlamacazqui) with a bundle of spears in his hand \u2014 a figure perhaps meant to illustrate the \"shooting forth,\" the swift movement of the water. In the water one sees a woman, a bundle of spears, and a string of precious-stone beads. This signifies, as the interpreter (Pedro de los R\u00edos) states, sale into slavery, death in war, and loss of property and goods, i.e. poverty and want. For water is the mobile element, that which sweeps everything away with it, and thus an expression of the transience of earthly existence.\n\nA chest or vessel, out of which quetzal feathers emerge, is given in our manuscript; a house and a bundle of spears besides are given also in the Codex Borgia, concerning which, however, I know nothing particular to say.\n\nThe sixth Tonalamatl section, ce miquiztli \"one death,\" is depicted in the lower half of leaf 66 of the Codex Borgia and on leaf 54 of our manuscript.\n\nAs regent of the sixth sign we had encountered, in the day-sign series, Tecciztecatl, the moon god. He is likewise to be seen here as regent of the sixth Tonalamatl section, but he does not stand alone; rather the sun god is set opposite him \u2014\n\nThe moon god Tecciztecatl is depicted in our manuscript as an old man with white hair and staff in hand, who raises himself from his seat only with effort. As a special emblem or special ornament only a wreath of flowers is to be mentioned, which encircles the hair, and to which at the forehead a tuft of quetzal feathers is added. Quite analogously the Codex Borgia depicts him, except that here he is marked as a priest (tlamacazqui) by the red spot at the temple, that the hair is not white but black and curls up over the forehead in two locks, and that the aged face, as generally throughout this manuscript, is expressed by the ring-shaped appendage beneath the upper lip. He too holds in his hand a staff curved at the tip, which, however, is short and painted blue (encrusted with turquoise mosaic), a xiuhcoatl [sic].\n\n1) Codex Telleriano-Remensis fol. 11 (= Kingsborough II, 7).\n\n254\n\nVerso.\n\nOpposite the moon god, who sits upon his seat, the sun god is depicted in our manuscript in the well-known posture of submission, with arms crossed beneath the breast; in the Codex Borgia in what seems to be a posture expressing greeting, the left knee bent to the ground, and the right hand extended as if in salutation. Attire and adornment are the usual ones. He is painted in both manuscripts in yellow, and in the Codex Borgia in the manner characteristic of the sun god, with a small red disk on the cheek and a red half-ring encircling the eye, upon the yellow ground of the face.\n\nAs characterizing symbols, a bundle of spears and a stone knife are given for the moon god, and for the sun god a priest who carries a bundle of spears on his back. In the middle between the two, moreover, a bowl with a red fire-butterfly, which here perhaps is meant to signify blood, in the form appropriate to the sun god and moon god. Below that a bowl with maize. And finally a rabbit in a dark field, surrounded by twelve dots that yield the number twelve. With this, it seems to me, the twelve synodic months that go to make up one course of the sun, i.e., one year,\n\nFig. [506], Tlaloc, the rain god.\nRuler of the seventh Tonalamatl section, ce quiauitl, \"one Rain\". Codex Borgia 67 (= Kingsborough 46).\n\nare meant to be seen. For the rabbit was, to the Mexicans, the man in the moon. With a rabbit the gods struck the moon in the face, in order to darken its brilliance, which had originally been equal to that of the sun.\n\nThe seventh Tonalamatl section, ce quiauitl, \"one Rain,\" is depicted in the Codex Borgia on the lower half of leaf 67, in our manuscript on leaf 55.\n\nThis is one of the cases in which the initial sign of the Tonalamatl section appears entirely to correspond to the god who, as a result of the transfer of the gods of the day-sign series onto the Tonalamatl sections, falls to this Tonalamatl section. It is the god of the seventh day sign, the rain god Tlaloc.\n\nThe god himself is depicted here in the same characteristic manner, described in detail above, as the ruler of the seventh day sign (cf. above pp. 105, 106 and p. 151). But beside him a mighty stream of water is shown here as well, in which the figure of a priest is being swept away. And at the end of this stream of water a cave is depicted, on which, in the adoring posture of Huehuecoyotl of the second Tonalamatl section, a second priest crouches, holding a tuft of grass in one hand and a copal bag and two arrow shafts (the sign of the fire-drill) in the other (cf. fig. 505). And in front of the god himself a second copal bag (copalxiquipilli), a bone dagger (omitl), and an agave-thorn point (uitztli) are shown, with a flower at the upper end of these two instruments of penance, illustrating the blood that has been drawn. Beside it one sees a torn-off jaguar paw,\n\nDigitized by Google\n\n14. The Tonalamatl arranged into twenty thirteen-day sections. 255\n\nfour agave-thorn points (uitztli) stuck onto a rod, and at the upper edge of the leaf a double-headed serpent, painted in the color of fire but bearing along its entire back a white foam-marking.\n\nThe rain god was the god of the great fast that was observed at the beginning of the rainy season, toward the end of our month of May, with great rigor by the entire priesthood, the youngest priest-novices included, in order to obtain favorable and sufficient rainfall for the period of the growth of the crops then beginning. In this fast, which is described in detail in Sahag\u00fan, strict watch was kept that not the smallest oversight, not the slightest impropriety occurred. Not a speck of dust was allowed to be on the priests' clothing, not the least error was to occur in the performance of the ceremonies, and the officiants were not permitted to stumble on the way to their duties. Whoever had committed an error in this respect had it atoned for, in order to appease the wrath of the god, by having these offenders led by the hair to the water on the day before the closing and actual main feast, rolled in every puddle, and finally ducked in the water so long that they could only be pulled out again half dead. \u2014 This fast, and the punishment of the priests who had not carried it out exactly, seems to me to be depicted on our leaf as well. At least I would not know how the figure of the priest plunging into the water, or being swept away by the water, could be explained otherwise or better. In the procession at this feast the incense priests (tlenamacaque) carried their incense (pellets made of incense-herb) in jaguar-skin bags hung with snail shells (oceloyaltactli euecheh), which were probably made from the entire pelt of a jaguar's foot, just as we do indeed see such an incense bag made from a jaguar's foot-pelt in the hand of the old god in deer form, fig. 496 (above, p. 239). Just such a jaguar foot-pelt bag for incense is, I believe, meant to be illustrated here by the torn-off jaguar paw. And the double-headed serpent, painted in the colors of fire and bearing a white foam-marking on its back, perhaps directly denotes the incense, the tlapopochhuilli, tlenamactli, that was brought to the god in great quantities at this feast. For in the symbolism of the Mexicans, incense signified abundance of food. The jaguar foot-pelt bag and the tobacco gourd denote the old gods, the sky gods, the gods of foodstuffs. In the temple of the West, in the house of maize and the maize deity, the tobacco gourd is drawn in the Codex Borgia.\n\nThe eighth Tonalamatl section, ce malinalli, \"one Twisted-thing,\" is depicted in the Codex Borgia on the lower half of leaf 68, in our manuscript on leaf 56.\n\nIts ruler is the deity of the eighth day sign, the goddess of the agave plant, called Mayahuel. We see her, as with the eighth day sign, sitting before or within her agave plant. The face here is painted blue in the lower half, and yellow in the upper half, like the rest of the body. The well-known blue stepped-plaque of the goddess Xochiquetzal hangs down from her nasal septum. At the front and back ends of her headband two rosettes are shown, as in certain images of the rain god (cf. fig. 307, above p. 110), which here alone, like the frontlet, are painted in cross-stripes alternating blue and white (in the colors of water) rather than in the colors of the rain god, but which, as with the rain god, evidently suggest a four-cornered headdress, at whose corners \u2014 illustrating the four cardinal directions \u2014 the rosettes are placed (cf. the image of the rain god, fig. 414, above p. 198).\n\nIn front of the goddess the pulque pot (octecomatl) is shown, drawn and furnished in a similar manner as with the goddess of the eighth day sign (cf. above pp. 152, 153). As the ring that keeps the round-bottomed, bulging vessel from tipping over, a black-spotted rattlesnake serves in our manuscript. In the upper part of the leaf is seen the sign of twilight or evening, composed of the images of the sun and of night. That is the time when the pulque revels took place. And opposite the goddess, seated on a chair, the drinker is depicted, who, by the heart skewered on a rod that one sees before, or beneath, him, seems to be brought into connection with Xochipilli, the god of flowers, who in the Sahag\u00fan manuscript and in\n\nDigitized by Google\n\n256\n\nD. [R\u00fckkocitc?]\n\nthe pictorial manuscript of the Florentine Biblioteca Nazionale carries the yollotopilli, the staff with the heart. \u2014 In the Codex Borbonicus and in the Tonalamatl of the Aubin Collection, this drinker is replaced by a figure who carries the staff with the impaled heart on its back and a feather banner in its hand, and who in the Codex Borbonicus wears the star-sky crown (xiuhtzoncalli citlallo) of the god Tezcatlipoca. In the Codex Telleriano-Remensis there stands instead a figure likewise holding a feather banner in its hands, marked as a warrior, or as Tezcatlipoca, by an aztaxelli on its crown, but which carries not an impaled heart but a bundle of maize ears on its back, and is therefore designated by the interpreters as Cinteotl, \"maize god.\"\n\nThe ninth Tonalamatl section, ce coatl, \"one Snake,\" is depicted in the Codex Borgia on the lower half of leaf 69, in our manuscript on leaf 57.\n\nIts ruler is the god of the eighth day sign, Xiuhtecutli or Ixcozauhqui. He is depicted entirely analogous to the manner in which we came to know him at the ninth day sign \u2014 red, with his face-painting mixed of red and black, and fire-colored hair, with the descending turquoise-bird (xiuhtototl) at the front of the headband, and the two, [namely] two arrow shafts,\n\nFig. 506. Xiuhtecutli, the fire god, and Tlahuizcalpantecutli, the morning star.\nRulers of the ninth Tonalamatl section, beginning with ce coatl, \"one Snake.\" Codex Borgia 69 (= Kingsborough 46).\n\ni.e., the feather tufts in the crown that mark the mamalhuaztli, the fire-drill. As a peculiarity there is here, only in the Codex Borgia image (fig. 506), the nose ornament formed in the shape of the head of a coxcoxtli bird, which we already came to know with the sky-bearer of the South (cf. fig. 271, above p. 86), but which in our manuscript, as quite generally e.g. in the Codex Borbonicus, has degenerated into a blue volute. And a peculiarity in our manuscript as well is the structure attached to the nape of the god's neck, in which we can recognize a short crest of red points enclosing three feather tufts, and which perhaps arose from a transformation of the xiuhcoatl, the fire serpent, which in the properly Mexican manuscripts (cf. the image in the Codex Borbonicus, fig. 507) the fire god wears on his back as a disguise (nahualli).\n\nAs with the ruler of the ninth day sign, so too here, with that of the ninth Tonalamatl section, a scorpion (colotl) and the symbol atl-tlachinolli, or teoatl-tlachinolli, \"water (spear-throwing) and fire,\" the metaphorical designation of war, are depicted \u2014 the latter in a somewhat different manner than with the god of the ninth day sign, as I have already specially drawn out above on p. 154 in fig. 354. \u2014 Besides this, however, we also see a wood-carved chair, mounted with metal and inlaid with precious stones, over which, as a seat cushion, a jaguar skin has furthermore been thrown in the Codex Borgia, and which evidently stands here as an emblem of royal dignity, while\n\n14. The Tonalamatl arranged into twenty thirteen-day sections. 257\n\na bowl with maize illustrates abundance of food, i.e., wealth. For those destined for rulership upon their knees, them the god places at the side of the fire god \u2014\n\nM teteu innan in teteu inta\nin tlalricco onoc\nin xiuhtotoatica mirtsatzaeuil\u00fcica\nin veveteutl in aiamictlan in xiuhtecutli\n\n\"que es el padre de todos los dioses, que reside en el albergue del agua, y entre las flores, que son las paredes almenadas, envuelto entre unas nubes de agua. Este es el antiguo dios que se llama Ayamictlan y Xiuhtecutli.\" \u2014 ')\n\nFig. 507. Xiuhtecutli, the fire god, and Tlahuizcalpantecutli, the morning star, rulers of the ninth Tonalamatl section, beginning with ce coatl, \"one Snake.\" Codex Borbonicus 9.\n\nFinally, here in our sections yet another god is set opposite the fire god, and this is, as the interpreters state, and as is also clearly indicated alongside by the hieroglyph ce acatl \"one Reed\" in the picture of the Codex Telleriano-Remensis (fig. 508), Tlauizcalpantecutli, \"the Lord in the House of Dawn,\" the deity of the Morning Star, who bears the name Ce acatl \"one Reed\" because the Morning Star is Ce acatl Topiltzin Quetzalcouatl, because the heart of Quetzalcouatl was transformed into him when this god, in the year ce acatl \"one Reed,\" in Tlillan Tlapallan, in the land of the black and the red colour, that is, the land of writing, in Tlatlayan, the place of burning, mounted the pyre and burned himself.\u00b9) It is noteworthy that here, in the Codex Borgia picture, the fire god is shown opposite the Morning Star in the repeatedly mentioned posture of submis-\n\n1) Sahagun, lib. cap. 17. Ms. Biblioteca Laurenziana.\n2) Anales de Quauhtitlan.\n\nCodex Vaticanus No. 3773. 258\n\nDigitized by Google\n\nB. Reverse side.\n\n258\n\n-sion, with the arms crossed beneath the breast.\n\nThe Morning Star is everywhere depicted with white (or white, red-striped) body and face colour and with a deep-black, half-mask-like painting around the eyes, ringed by small circles, which is indicated in the Sahag\u00fan manuscript also for other gods (Mixcoatl, Painal, Atlaua) and is there described as ixcuitlacihuallo, ... miccatlaliuhticac molhueua tlatoatli, that is, \"the star-face painting which is called Darkness.\" With this the god combines a brow-band which, at the places where in other gods blue or green discs (made of turquoise or chalchiuitl) are set upon the red leather strap, bears white ornaments, mostly somewhat elongated, becoming pointed and egg-shaped, and in the Codex Borgia with four projecting ends running out into a feather-tuft, such as we found in this manuscript in the case of the Sun God, of Ueuecoyotl, and also of Xochiquetzal. And the headdress is completed by a crown of black feathers provided with a white end-spot, among which, in our manuscript and in the picture of the Codex Borbonicus, individual yellow or red feathers project out at length. On the breast, finally, the god as a rule wears the eye, the white ring (anauatl) of the god Tezcatlipoca.\n\nThe Morning Star stands here before the fire god because the fire god too, like the Morning Star, belongs to the time of dawn, the time when the sun was not yet born. But above all the Morning Star stands here because, opposite the fire god, the representative of war, he illustrates the warriors and the warrior's death. For into the eastern heaven, into the region of the Morning Star, into the tonatiuh ichan, the \"House of the Sun,\" comes the soul of the warrior who was sacrificed, or fell in battle, or died on the march, the tonatiuh iixco yauh. There these blessed ones greet the rising sun and escort it with songs and dances up to the zenith, where the female counterparts of the fallen warriors, the mociuaquetzque, the women who died in childbed, receive them, in order likewise to lead them down to the west amid dances. This deity of the Morning Star thus represents here the fallen warrior or the warrior's death, and this is also clearly shown in the picture which the Codex Borbonicus gives of this Tonalamatl section (fig. 507), in that we see depicted there, at the lower edge of the leaf, the warrior's death-adornment, as complete as the mummy of the dead warrior in fig. 358, p. 156, showed it to us: the xiuhuitzolli, the blue crown with the triangular brow-plate, the axe-shaped blue ear-plugs (xiuhnacochtli), the blue nose-plugs (yacaxiuitl), the shoulder-band of white paper (amatzapanalli), and the little blue dog, the xolocozcatl, of which I have spoken above (p. 157).\n\nThe tenth Tonalamatl section, ce tecpatl \"one Flint-knife,\" is depicted in the Codex Borgia in the lower half of leaf 70, in our manuscript on leaf 58.\n\nIts regent is the god of the tenth day-sign, Mictlantecutli, the god of death, lord of the underworld, who here, however, has set opposite him, as his counterpart, Tonatiuh, the sun god, lord of heaven.\n\nThe god of death is depicted in both manuscripts as a black god with a skull for a head, seated upon a chair formed of blood, bones, and tzatzayanqui-grass. His adornment\n\nFig. 508. Tlauizcalpantecutli, deity of the Morning Star, shown opposite the fire god, the regent of the ninth Tonalamatl section.\nCodex Telleriano-Remensis fol. \u2014 verso (= Kingsborough II. 14).\n\nDigitized by Google\n\nII. The Tonalamatl Arranged in Twenty Thirteen-Day Sections. 259\n\nconsists, in our manuscript, of the neck-shield (cuaxcochtechimalli) and the banner bent forward over it (pantzitzimitl); in the Codex Borgia, of the neck-shield (cuaxcochtechimalli) and a little wing of feathers. Before him, or beneath him, there is shown in both manuscripts a corpse wrapped in blankets and bound round with cords, a little paper banner (pyre ornament), and a cross that appears to be knotted together from strips of cloth or paper.\n\nThe sun god is shown, opposite the god of death, upon a dais covered with a jaguar skin, in what appears to be the same posture expressing a greeting as before the moon god in the sixth Tonalamatl section (fig. 509). The colour, painting, and adornment, and also the facial painting with the red disc on the cheek and the red half-ring surrounding the eye, are the same as in the sun god who, in the sixth Tonalamatl section, stands opposite the moon god. Before the god, or above him, one sees a flower set in a handle, which is presumably meant to represent a torch. And before his mouth, in the Codex Borgia, as though it were the breath streaming forth from it, a figure resembling an \"ewiya\"-sign is drawn, bearing yellow clouds of smoke at its end.\n\nCodex Borgia 70 (= Kingsborough \u2014).\n\nA figure almost exactly like this one is used in the Codex Bologna, among the signs of the Nine Lords who there accompany the day-signs of the Tonalamatl, as a hieroglyph or symbol for the first of the Nine Lords, the fire god, and therefore doubtless signifies fire.\n\nBetween the two gods, finally, one sees a man who is being thrust down into the water by another with a staff which, in the picture in our manuscript, has the shape of a shovel. In the Codex Borbonicus, and in the Tonalamatl of the Aubin Collection, this picture is replaced by a tree or post rising up out of the water, up which a man is climbing. Both pictures seem intended to express nothing other than the difference in direction embodied by the two gods of this section, namely the below or downward (tlani) and the above or upward (ana).\n\nThe eleventh Tonalamatl section, ce ozomatli \"one Monkey,\" is depicted in the Codex Borgia in the upper half of leaf 70, in our manuscript on leaf 59.\n\nFrom this section onward, it is no longer the deities of the corresponding day-sign but of the one following it in the series that are transferred onto the Tonalamatl section, since the god of the eleventh day-sign, Xochipilli, has been allowed to drop out. The regent of this eleventh Tonalamatl section is thus the god of the twelfth day-sign, Patecatl, the pulque god. \u2014 This one, however, is not here depicted as the bar-\n\nB. Reverse side.\n\n260\n\n-barian god, with the royal band of monkey fur, as at the twelfth day-sign, but resembling the other gods in appearance and in dress. In our manuscript he is marked by his two-colouredness (chictlapanqayotl), the half-black, half-red colouring, and by the golden nose-crescent (yacametztli). The two-colouredness, however, is oddly not expressed here in his face, which is simply red, but in his feather ornament, his feather crown (iuitzoncalli), and in the great fan-like neck feather ornament.\n\nIn the Codex Borgia (fig. 510) a woman is depicted who wears the golden nose-crescent (yacametztli) of the pulque gods and, like Tlazolteotl, a strip of unspun cotton in the tube of her ear-plug, has a simply red face and fire-coloured hair, which is wound about with the gem-strap bearing the stylised bird's head at the front, and is adorned above it with a crown of eagle feathers (quauhtzoncalli), similar to that of the sun god (cf. fig. 308, above p. 191), out of which fur-\n\nFig. 511. Patecatl, the pulque god. Regent of the eleventh Tonalamatl section, ce ozomatli.\nCodex Borbonicus 11.\n\n-strips hang down, again like those of the feather headdress of the sun god. Her Knagua is simply red and provided with the pattern of the golden nose-crescent. Judging by the totality of these attributes, one might call this figure a Tlapalteotl in the character of a sun god.\n\nBeside the deity of this section, the implements of war are depicted in both manuscripts, and among them again the curious striking and thrusting weapon that appears to be made from a swordfish's sword, which we found depicted with Tepeyollotl and Ueuecoyotl, and already also with Patecatl, the regent of the twelfth day-sign.\n\nOpposite, or before, the pulque god a striding jaguar is depicted, with a paper banner in its arm. This is an image of the warrior, for pulque is the drink of the strong. In the properly Mexican manuscripts one sees here, opposite the pulque god, not merely the jaguar, but the eagle and the jaguar (fig. 511). This is an expression of the well-known combination quauhtli-ocelotl, by which, in Mexico, in the elevated speech of the capital, the valiant warriors were designated. The little paper banners in the arms of these animals mark them, or rather\n\nII. The Tonalamatl Arranged in Twenty Thirteen-Day Sections. 261\n\nthe warriors represented by them, as destined for sacrifice. For it does indeed seem as though the Mexicans could not conceive of a warrior at all without at the same time thinking of the warrior's lot, captivity, and death by sacrifice.\n\nThe twelfth Tonalamatl section, ce cuetzpalin \"one Lizard,\" is depicted in the Codex Borgia in the upper half of leaf 69, in our manuscript on leaf 60.\n\nThe regent of this section must be the god of the thirteenth day-sign, and that is Tezcatlipoca-ixquimilli, the Tezcatlipoca with the bound eye, the god of punitive justice. Him, however, we do not see appearing here in the form in which we came to know him at the thirteenth day-sign. In the Codex Borgia, in this Tonalamatl section, the god of the thirteenth day-sign is, so to speak, split apart, in that two persons are set opposite one another, Tezcatlipoca on the one side and an ixquimilli, a god with bound eyes, on the other. And in our manuscript, as well as in the properly Mexican manuscripts, only the latter is depicted. This one, however, has here a very peculiar form. One sees, both in our manuscript (leaf 60) and in the Codex Borgia (fig. 512a), a kind of bundle, to which, in the Codex Borgia, a pair of malinalli strips are tied on as a breast ornament, while a covering falling far downward conceals the legs and feet. As a head, this bundle has set upon it a form drawn with two black longitudinal stripes, which at eye level\n\nFig. 512a. Codex Borgia 69 (= Kingsborough 46).\u3000\u3000Fig. 512b. Codex Borbonicus 13.\n\n[is itztlacoliuhqui, the curved obsidian knife, the god with the bound eyes, the god of punitive justice. Regent of the twelfth day-count section ce cuetzpalin \"one Lizard\".\n\n\nwears a band, while upward \u2014 in our manuscript directly, in the Codex Borgia above a wig-lock and a headband adorned with two precious stones \u2014 the structure, drawn in the same way with two black longitudinal stripes, continues and ends in a tip that curves backward and curls in. In a similar, only somewhat more complicated way, this head is drawn in the properly Mexican manuscripts (cf. fig. 512b), but there the front edge of the hat-like tip is regularly furnished with a jagged crest, and just as regularly there is shown, stuck in this tip, an arrow. In the Codex Borbonicus (fig. 512b) and in the Telleriano-Remensis, the face of this structure is also given a golden crescent-shaped nose ornament (yacametztli), in the manner of that of the pulque gods and of the Tlazolteotl. The figure furnished with this head is called by the interpreters Itztlacoliuhqui, \"the curved sharp stone.\" Indeed, one is reminded, by this structure encircled with black longitudinal stripes, of flint or firestone or banded agate.\n\n\nDigitized by Google\n\nB. Reverse side.\n\n\n262\n\nThe jagged crest with which this structure is drawn in the properly Mexican manuscripts is merely a conventional rendering of the serrated edge of struck flint. We must therefore regard this figure simply as the personification of hard pebble-stone or flint.\n\nThis figure is drawn here with a band over the eyes, i.e., it is characterized as the god of punitive justice, like the Tezcatlipoca itzquimilli, the god of the thirteenth day-sign, whom it does indeed represent. That this role or this task is assigned to the figure personifying the hard stone has its reason simply in the fact that the stone and the club are the instruments of punishment. With the club the unauthorized pulque-drinkers were struck dead; with the stone, i.e. by stoning, adulterers caught in flagrante were put to death, as is indeed shown in all of the properly Mexican manuscripts in the case of the Itztlacoliuhqui, in more or less realistic images (cf. fig. 515).\n\nThis figure has then, moreover, become in general a symbol of everything hard, and is therefore explained by the interpreters as the god of cold. Indeed, we see in the Sahag\u00fan manuscript frost, ice, cold (teil) illustrated by a small manikin with the itztlacoliuhqui hat upon his head (fig. 514). The Itztlacoliuhqui god is, however, named in yet another very curious role or connection, which I have earlier attempted to explain in various ways, but which, as we shall presently see, likewise comes down in the end to the fact that this god is the representative of the hard.\n\nFig. 513. mixcoatlaneuiUeh, [the warrior death-mask]. Fig. 514. cetl \"cold\". Fig. 515. The stoned adulterers.\nSahag\u00fan Ms. Biblioteca del Palacio (Madrid). Codex Borbonicus 1.\nSahag\u00fan Ms. Academia de la Historia (Madrid).\n\nTo the goddess Tlazolteotl \u2014 or Toci, or Teteoinnan, as she is usually called here \u2014 a great festival was celebrated in Mexico in one of the autumn months, which, because the broom is the emblem of this goddess, or for other reasons, was called Ochpaniztli, \"the sweeping-out,\" the broom festival. At this festival an image of the goddess was sacrificed, and indeed in the manner customary with the earth deities, or at least with this earth goddess, namely by cutting off the head, and afterward, as also seems to have been the general custom with the earth deities, the victim was flayed. The skin as a whole was drawn on by a large and strong priest (Ixtzquacuitli / Uitzquacuitli), who, clothed in this skin, represented the goddess in the further ceremonies. From the skin of the thigh, however, a mask was made, which was called m\u0101cayacatl \u2014 properly messayacatl, that is metz-yacatl \"thigh-mask\" \u2014 and with this mask, and with a hat made of feathers and joined to a feather garment, which \u2014 \"had a long tip curling backward, and a crest formed after the manner of a cock's comb, and was called itztlacoliuhqui, i.e. god of frost\" \u2014 Cinteotl (maize god), the son of the goddess Toci, was clothed, who had his temple in the quarter\n\n1) \"a la punta del capillo que era larga, estaba hecha una rosca como culebra; ten\u00eda un lomo como cresta de gallo en la rosca\" (Sahag\u00fan 2, cap. 30).\n\n\nDigitized by Google\n\n14. The Tonalamatl arranged into twenty thirteen-day sections.\n\n\n263\n\nof Uocu\u012blan. There the priest, clothed in the skin of the victim and representing the goddess Toci, goes to fetch Cinteotl. Running hastily, the goddess (i.e. the priest representing her) then turns toward the temple of Huitzilopochtli. She is accompanied by her Huaxtec servants (icuxtoan, cf. fig. 294 above p. 100), and war-captains run before her who, striking their shields, challenge the goddess to battle, but flee before her. The goddess and her retinue carry, meanwhile, blood-spattered brooms in their hands, with which they fight (yn ica ca \u00e7acatl, ca popotl yn immac tetenteuh, teco tlaquauh) and \"fighting with the broom\" (tla\u00e7ucatl) is therefore what this ceremony is called. And when the goddess then tlacxitlan in icxitlan Huitzilopochtli \"arrives, below, at the foot of Huitzilopochtli,\" i.e. of Huitzilopochtli's temple, niman ic mahana, motetzahuana, mamahua in icxitlan Huitzilopochtli, contlanamiquitimoquetza \"she then stretches herself wide, extends herself, spreads out arms and legs, at the foot of Huitzilopochtli, facing toward him.\" Beside her stands her son Cinteotl, who had awaited her there, clothed in his mask metzayacatl and in the hat itztlacoliuhqui \u2014 quacoltic, yhuan tzitziquiltic, auh in imotoca-yotiaya itztlacoliuhqui, ycuel cetl \"which is curved at the tip and furnished with a jagged crest, and bears the name itztlacoliuhqui, i.e. 'frost.'\" Both then go slowly, without running, back to their house.\n\nThis mahana, motetzahuana mamahua I formerly interpreted as a coital posture. We must, however, rather understand it as a birth posture, as in the picture fig. 455, which I have reproduced above, p. 219. For the preceding combat too signifies, as we have seen above (cf. p. 251), birth. It is the combat in which the goddess takes her captive, i.e., bears her son. The goddess Tlazolteotl is precisely the great bearer of children; that is shown us clearly enough also by the picture in the Codex Borbonicus (cf. below fig. 517). At the foot of Huitzilopochtli, then, she does not receive her son Cinteotl, but bears him. For maize is born of the earth. This was also said in the song which I have already quoted once above:\n\nyccoc ye tonan\nyccoc ye Toci\ntlapaltehuia\nohuaya ohuaya\n\nfought has our mother\nfought has the goddess\nTlapaltehuia\n\n\notlacatqui centeotl\ntamoanchan\nxochitlicacan\nte yxochitli\n\nborn is the maize god\nin the house of descending\nwhere the flowers stand\nhe (the god) of the flower.\n\n\n\u2014 whereby it is to be noted that here the verb yecoa has the double meaning of \"to fight\" (y\u0113coa, with short first syllable) and of \"to complete the work\" (yeco\u0101, with long first syllable).\n\nBut what are we to make of the fact that the maize, the son of the earth, wears the hat itztlacoliuhqui, of \"the god of frost,\" as the reporter explains? What has frost to do with this festival, which fell in our month of September, at the time of the equinox? Even in the more elevated regions of Mexico, frost occurs only in the middle of winter. And what sense did this whole ceremony have at all? \u2014 The difficulty resolves itself if we recall the original meaning of itztlacoliuhqui, that he is the hard stone and the representative of the hard. The Ochpaniztli was the harvest festival, the time when the maize had become ripe, i.e. hard.\n\nIt seems to be a further development of the stone into the general concept of the earth, when the interpreter of the Telleriano-Remensis gives Cipactonal as another name for this god. But when the god is further designated as lord of sin and of blindness, when, as one interpreter relates, one was afraid, during the thirteen days of this Tonalamatl section, to bring any matter before a court, because the judges have their eyes bound and would not be able to see \u2014 these are in any case only late and perhaps rather unfounded reinterpretations on the basis of the\n\n\nDigitized by Google\n\n264\n\nB. Reverse side.\n\npictures present here, which show us the god with bound eyes and as god of punishment. \u2014 This god must have been a well-known hieroglyphic figure. His image was also recognized in a star in the southern sky \u2014 \"que fingen que va vuelta del rev\u00e9s y los ojos tapados\" [which they picture as going turned backward with the eyes covered] \u2014 whose appearance was interpreted as portending coming wars \u2014 (ten\u00edan la por grande ag\u00fcero para guerras).\n\nBefore the god we see, in both manuscripts, a human being depicted falling to the ground, as with Huehuecoyotl, the god of the fourth day-sign and of the fourth Tonalamatl section. And if there the interpreters spoke of the fall of the first man, of the transgression of Adam, then, given the occurrence of the same image here, one will be inclined, as I have already indicated above, to grant them their point and to regard the falling to the ground here, as there, as transgression, as sin (tlatlacolli). The nature of the transgression is shown by the other pictures, which show us, in our manuscript and in the Codex Borgia, the pulque pot, and in the Telleriano-Remensis and in the\n\nFig. 516. Tlazolteotl, the earth goddess.\nRegent of the thirteenth Tonalamatl section\nce ollin \"one Movement\".\nCodex Borgia 68 (= Kingsborough 47).\n\nFig. 517. Tlazolteotl, the earth goddess.\nRegent of the thirteenth Tonalamatl section\nce ollin, \"one Movement\". Codex Borbonicus 16.\n\n\nBorbonicus the adulterers, and in the Tonalamatl of the Aubin collection the adulterers with the pulque cup in hand.\n\nThe thirteenth Tonalamatl section ce ollin \"one Movement\" is depicted in the Codex Borgia in the upper half of leaf 68, in our manuscript on leaf 61.\n\nIts regent is the goddess of the fourteenth day-sign, the old Huaxtec earth goddess Tlazolteotl. Her characteristic features, described often on the preceding pages, in particular the black painting around the mouth and the strands of unspun cotton that must serve as her hair-band and her ear-pendants, are clear here too. But even more than elsewhere Tlazolteotl is here shown as the countrywoman of the pulque god, in that she not only has the crescent-shaped ornament (yacametztli) in the nose, as he does, not only has the garment (cf. fig. 516) colored in the two-tone fashion of the pulque gods, half black, half red, with the golden nose-crescent in the middle, but also, like the pulque god of leaf 59 of our manuscript,\n\n\nDigitized by Google\n\n\n14. The Tonalamatl arranged into twenty thirteen-day sections.\n\n265\n\n...her feather diadem (iuitzoncatl) painted in the two colors, red and black \u2014 Also in the properly Mexican manuscripts, the two colors of the pulque-goddesses are indicated throughout in the goddess's attire, but here she is, without exception, also clothed, like Xipe, in the flayed skin of her sacrificial victim. In the Codex Borbonicus (fig. 517) she is depicted as giving birth. One sees, from above (to be understood as from the thirteenth heaven), a child coming down, which is to enter her body, and at the same time one sees, issuing from the vulva of the goddess who crouches with outspread legs (nomahuiticac) upon the mat, an image of herself stepping forth, holding two chain-links in its hands, evidently thereby indicating the continuation of life.\n\nBefore the goddess one sees, in our manuscript and in the related Codex Borgia, the goddess's red serpent depicted. And beside it, not, as with the ruler of the fourteenth day-sign, a house with an owl (tecolotl ichan), but a house with a vulture (cozcacuauhtli ichan). The house with the owl doubtless denoted the dark house of the earth, of which the goddess is the personification. The house with the vulture we shall perhaps have to interpret as the house of the old goddess. For this connection was, as we have already seen above (cf. p. 177\u2013179), quite definitely intended in the case of the bald-headed bird. \u2014 In the properly Mexican manuscripts, facing the goddess a black bird is depicted, namely as the vestment of Tezcatlipoca. This god, indeed, according to the conception of the peoples of the narrower Mexican territory, lay at the root of all apparitions, especially of everything ghostly, terrifying, uncanny, and almost all the figures of their mythology were terrifying, ghostly, uncanny. But in none of the images can one divine what animal species is meant by the black bird.\n\nThe fourteenth Tonalamatl section, ce itzcuintli, \"one dog,\" is depicted in the upper half of folio 67 of the Codex Borgia and on folio 62 of our manuscript.\n\nIts regent is the god of the fifteenth day-sign, and that is Xipe Totec, \"our lord, the flayed one,\" who only at two of the relevant places is not depicted in his usual form, but was represented by a red (Tlatlauhqui) Tezcatlipoca. Here we have him presented at both places \u2014 admittedly again not with his human skin, but otherwise in a thoroughly typical manner \u2014 with red body, red limbs, and red garment; before the face the mask of yellow, that is, dead, human skin, with the wide-open mouth (motenmaxaltihticac), the narrow eye-slit, and the red stripe running straight across the eye along the whole length of the face, which perhaps is meant to denote the cut made at the flaying. In the nose sits a rod whose disk imitates the yopitzontli, Xipe's pointed cap, while the rod itself reproduces the red-and-white, swallowtail-cut (maxaliuhqui) fluttering ends of the cap. From the ear hang two bands which, like everything on the god, are painted red and white, in the colors of the tlauhquechol, the red spoonbill. The hair is wound about with a band, upon which in our manuscript, instead of the gem disks, two ornaments made of hammered gold are set. For Xipe is, as is well known, the god of the goldsmiths. Above the hair, in the Codex Borgia, a continuous down-feather wig becomes visible. And attached to this is a feather ornament that is evidently comb-like, of the kind the Mexicans called patzactli.\u00b9) In our manuscript this consists of one continuous part, worked in feather mosaic, red and white, in the colors of the tlauhquechol, and one (actually two) rows of quetzal feathers rising above it. In the Codex Borgia, however (fig. 518), it is composed of one (actually two) rows of red feathers, in any case meant as tlauhquechol feathers, alternating with gem (chalchihuitl) bands and ends of rattle-boards (chicahuaztli). Xipe Totec was regarded as the lord of the coastal land and properly as the god of the Zapotecs \u2014 anahuatl yteuc tzapoteca yn uel ynteouh catca.\u00b2) \u2014 The feather ornaments called quetzalpatzactli, however, were, as Sahag\u00fan expressly attests,\u00b3) Zapotec ornaments, and only came\n\n1) Cf. my treatise \"On Ancient Mexican Feather Ornament and Military Rank Insignia.\" Proceedings of the Berlin Anthropological Society, 17 January 1891. Zeitschrift f\u00fcr Ethnologie XXIII, p. (122).\n\n2) Sahag\u00fan 1, chap. 13. Ms. Biblioteca del Palacio (Madrid).\n\n3) Sahag\u00fan 9, chap. 2. Ms. Biblioteca Academia de la Historia, Madrid.\n\nCf. Codex Vaticanus No. 3171\n\nDigitized by Google\n\nB. Reverse Side.\n\n266\n\nto Mexico only after the conquest of the Zapotecs, which took place in the time of King Ahuitzotl through the armed expeditions of the merchants: \u2014\n\nauh tlein iuhcauac centlapouh in ixquich anauaca tlalli\n\n\"and only then was the land of the various Anahuac (coastlands) fully opened up,\n\nin aocmo toyaouh omochiuh in tzapotecatl in anauacatl\n\nso that there was no longer any enemy for us among the Zapotecs, the Anahuaca (the coastlands).\n\nauh in quetzalpatzactli ompa malli mochiuh in ayotlan\n\nAnd the comb-like quetzal feather ornament was captured there in Ayotlan (in the Pacific coastal district);\n\nFig. 518. Xipe Totec, \"our lord, the flayed one\" \u2014 Regent of the fourteenth Tonalamatl section ce itzcuintli, \"one dog.\" Codex Borgia (Kingsborough).\n\nayatle catca in nican mexico. Quin iquac itz\n\nthere was nothing of the kind here in Mexico yet; they only became known at that time\n\niyc mamalo tlatilolco. conmotlatquiti in auitzotzin\n\nThey were worn in Tlatelolco (the merchants' quarter) as back-devices, and Ahuitzotl adopted them as his own attire.\u00b9) \u2014\n\nAs a breast ornament, the Xipe Totec of our fourteenth Tonalamatl section wears, in our manuscript, a disk of hammered gold; in the Codex Borgia, on a necklace made of a mosaic of differently colored feathers, an ornament of a special form that appears to be ground from a snail shell. Finally he has his loincloth (maxtlatl), whose ends are likewise red and white and cut in swallowtail fashion (maxaliuhqui).\n\nIn the properly Mexican manuscripts he also wears, in addition, his human skin, and, as usual also, the apron or girdle of zapote leaves, the so-called \"little women's skirt of zapote leaves\" (tzapocueitl). In the Codex Borbonicus (fig. 519) he is again depicted half as Tezcatlipoca, with the facial painting of the red (Tlatlauhqui) Tezcatlipoca, with the smoking mirror at\n\n1) \"Y con esta conquista qued\u00f3 el campo seguro y libre para entrar en la provincia de Anahuac, sin que nadie lo impidiese, ni los Tzapotecas, ni los Anautecas; y los penachos y plumas ricas, desde entonces se usan por ac\u00e1; primeramente los trajeron los mercaderes ricos de Tlatelolco y los usaron, y tambi\u00e9n el se\u00f1or de Mexico Ahuitzotzin.\" (Sahag\u00fan 9, cap. 2.)\n\nDigitized by Google\n\n14. The Tonalamatl Arranged in Twenty Thirteen-Day Sections.\n\n267\n\nthe temple, also with the white ring (wa\u00e7otl) of this god and the special form of the back feather-ornament, as it is to be seen in the Tezcatlipoca images of these manuscripts. In addition, however, the ornament hammered from gold (instead of the gem disks) on the head-band, the crown of red spoonbill feathers (tlauhquecholtzontli), the swallowtail-cut (maxaliuhqui) band-ends, and other pieces belonging to Xipe's special attire.\n\nThe nature of the god is expressed in our manuscripts, first of all, through the spear-bundle and through his red rattle-staff (chicahuaztli). The former designates him as a warrior, as the god of the sacrificio gladiatorio \u2014 \"il guerreggiatore attentato\" the interpreter of the Codex\n\nFig. 519. Xipe Totec, \"our lord, the flayed one.\" Regent of the fourteenth Tonalamatl section ce itzcuintli, \"one dog.\" Codex Borbonicus I.\n\nVaticanus A (No. 3738) calls him. The chicahuaztli, on the other hand, marks him as the agrarian god, the god of the tilling of the fields, whose principal feast, the \"flaying of men\" (tlacaxipehualiztli), was a feast of preparation of the field for sowing. For this dreadful cult meant to the Mexicans, as clearly emerges from the song that was sung to him at his feast, the renewal of vegetation. The fourth strophe of this song is paraphrased by the commentator with the words: \u2014\n\nnotenh ceppa tlatlacotian in mochiuh in itonacayuh\n\n\"o my god, some of the sustenance (the maize) ripens during the tilling of the field.\n\nauh in tlein tlatlacotian achto mochiuh\n\nAnd what ripens first during the tilling of the field,\n\nmuchi tlacatl achto mitzoalmaca\n\nall the world offers it to you first.\"\n\n94*\n\nDigitized by Google\n\n268\n\nB. Reverse Side.\n\nauh iniquac ye o muchi mochiuh\n\nAnd when everything has become ripe,\n\noccepa no muchi tlacatl mitzoalmaca yn motonacayuh\n\nagain all the world brings you your sustenance (your maize).\"\n\nThe warrior who was sacrificed in combat \u2014 that is the maize plant, which dies and rises anew. For, as it says in the song: \u2014\n\nma niauia, niauia poliuiz niyoatzin\n\n\"let me go, let me go to perish, I, the maize plant\n\na chalchiuhtla noyollo\n\na green gem is my heart\n\na teocuitlatlococoyoltic noyol\n\na pierced gold bead is my heart\n\nce izqui tlacatl achtoquetl tlaquauaya\n\nall the world first toiled hard\n\notlacatqui yaotlatoaquetl oviya\n\nborn is the war chief.\"\n\nOne understands that the cult and the person of this god touched most closely upon the cult and the person of the old earth goddess, Tlazolteotl.\n\nFinally we also see, as with the regent of the fifteenth day-sign, so too with this regent of the fourteenth Tonalamatl section, the feathered serpent (quetzalcoatl) depicted. But whereas there (cf. fig. 380, above p. 174, and our manuscript, folio 30, lower left) one saw a rabbit emerging from the jaws of the serpent, here (figs. 518, 519, 521) one sees a human being plunging headfirst into the jaws of the serpent. I have long wavered over how this image, given with such regularity in connection with Xipe Totec, is to be explained. That the feathered serpent must represent the precious properties of water follows \u2014 apart from what is actually reported in the Maya sources about the meaning of this mythical being (cf. above p. 135) \u2014 already from the fact that we see it depicted in our manuscript before Chalchiuhtlicue, the sixth of the nine lords, in the water (fig. 520), in the same place and in the same manner as, before the parallel figure of the Codex Borgia (cf. fig. 292, above p. 99), the green gem (chalchihuitl).\n\nIn the already-mentioned song to Xipe, the second strophe runs: \u2014\n\nnoteuh chalchiuh atl temoaya\n\n\"my god, the gem-water has come down\n\noy quetzalauehuetl\n\no quetzal feathers, the old tree\n\nay quetzalxiuhcoatl\n\no quetzal feathers, the fire serpent\n\nnechinyauh ynocauhqui, oviya\n\nshe (the fire serpent) has abandoned me\"\n\nwhich the commentary explains thus:\n\no tinoteuh, otemoc yn mauh, ovalla yn mauh\n\n\"you, my god, your water has come down, your water has come\n\nye tlaquetzalpatia, ye xoxouhqui, ye xopantla\n\nalready it has turned into quetzal feathers, already it has become green, already it has become summer,\n\nca ye otechcauh yn mayanaliztli\n\nalready famine has left us.\" \u2014\n\nDigitized by Google\n\n14. The Tonalamatl Arranged in Twenty Thirteen-Day Sections.\n\n269\n\nHere I believe, on the strength of the commentary, that one can translate ay quetzal rivicoatl practically as \"into the quetzal-serpent has the fire-serpent transformed itself,\" and, in order to be able to supply the word xivicoatl \"fire-serpent\" as subject to the following nechiya yqmnocavhquetl, oviyo \"she has cheesed me\" \u2014 [that] the commentary's explanation ca yc otocheauh yn mayanaliztli \"already has the hunger-need left us\" yields an excellent sense. And for quetzalamatl we would then likewise obtain here \"water,\" or more particularly \"the greenery called forth through the water,\" \"the freshly arisen vegetation.\"\n\nBut if this is indeed the sense and meaning of the mythic feather-serpent, then we can scarcely interpret otherwise the images that show us, on the one occasion, a rabbit emerging from the jaws of the feather-serpent, and on the other, a human being plunging into the jaws of the feather-serpent, than that the earth clothes itself with green. And this, after what I was able to report above concerning the god Xipe Totec, the terrible god clad in human skin, is a symbol entirely fitting to him, appropriate to his nature.\n\nFig. 520. Fig. 521.\n\nquetzalcohuatl, the feather-serpent, in the water, opposite the fleeing feather-serpent, before the Chalchiuhtlicue, the water-goddess. Xipe Totec, the regent of the fourteenth section. Codex Vaticanus B (No. 3773) leaf 21 (= Kingsborough...). Codex Vaticanus B (No. 3773) leaf 62 (= Kingsborough 3c).\n\nThe fifteenth tonalamatl section ce calli \"one house\" is depicted in the Codex Borgia on the upper half of leaf 66, in our manuscript on leaf 63.\n\nIts regent is the goddess of the sixteenth day-sign, Itzpapalotl, the obsidian butterfly, the Chichimec goddess, concerning whom I have given some information above on pp. 178, 179. In the Codex Borgia she is depicted at this place almost exactly as at the sixteenth day-sign (cf. fig. 383, above p. 178). In our manuscript the insect, the butterfly, is brought to view more clearly and in a rather curious manner. As with the sixteenth day-sign, here too, in both manuscripts, and likewise in the tonalamatls of the properly Mexican manuscripts, the broken tree is depicted, with blood flowing from the break, which, as we have seen above (cf. p. 178), designated to the learned the Tamoanchan, the \"house of descending,\" or Xochitlicacan, the \"place where the flowers stand,\" the region of the mythic west, the homeland of maize and the seat of the primal gods, in which the wandering tribes too are said to have long tarried.\n\nA few other symbols are given beside the regent of the fifteenth tonalamatl section that are absent at the sixteenth day-sign. These are, first, a house with a dark doorway, then an ixquimilli, a human being with bound eyes, and finally a tzontemoc, a human being falling headfirst, and indeed, as is clearly drawn in the Codex Borgia, falling from his seat or together with his seat. In our manuscript, however, what is clearly recognizable in the Codex Borgia as the back of a seat has been transformed into a kind of reptile- or earth-dragon. Yet this is evidently a drawing arising from a misunderstanding. For as an earth-dragon the figure would have to have its opening directed upward. The draftsman has here evidently drawn onto the back of the seat the earth-dragon \u2014 which in reality is often formed quite as a step-fret pattern, into which one sees the Tzontemoc plunging (cf. e.g. leaf 23 of our manuscript).\n\nDigitized by Google\n\n270\n\nB. Reverse side.\n\nThe house with the dark doorway is probably meant to signify the dark house of the earth, or perhaps also the time of darkness \u2014 chi ek\u02bcekum chi akab \u2014 the primeval time, the time before the birth of the sun. The other two images, however, evidently refer to the tale touched upon here by the interpreters, which is so strikingly reminiscent of the biblical account of Adam's transgression: \u2014 \"This place which is called tamoanchan and xuchitlicacan is the place where these gods were created, whom they held to be almost as much as saying the earthly paradise, and thus they say that these gods being in that place transgressed in cutting roses and branches from the trees, and that for this the Tonacatecutli and his wife Tonacacihuatl became greatly angered, and cast them out of that place, and thus some came to the earth and others to the underworld, and these are the ones who inflict fears upon them.\" \u2014 The one falling is evidently the one cast down from heaven, from his seat, and the one with the blindfold before his eyes is the deluded one, who sins out of lack of understanding. And it seems the sinner is here brought to view in this manner and not, as above (leaf 60 of our manuscript), by a falling human figure \u2014 partly because in fact one wished to designate the one sinning out of lack of understanding, but then also because here anyway an actual fall, the plunge from heaven, already had to be shown.\n\nThe sixteenth tonalamatl section ce cozcaquauhtli \"one vulture\" is depicted in the Codex Borgia on the upper half of leaf 65, in our manuscript on leaf 64.\n\nIts regent is the god of the seventeenth day-sign \u2014 Xolotl, the god of twins and of malformed births, who is also named as the god of the ballgame (cf. above p. 181). He is drawn here (fig. 522) somewhat differently, and indeed in both manuscripts fairly consistently, as a dog-headed figure equipped with the attire and adornment of the wind-god Quetzalcoatl. That it is meant to be a dog is seen from the cropped ears, which in the Codex Borgia have a yellow border, that is, painted with the color of dead flesh. But that it is not meant to be an ordinary dog, but rather the dog that goes down with its master to the dead, that helps carry him across the stream surrounding the actual dwelling-place of the dead, is proven by the yacaxihuitl, the blue peg in the nostrils, the warrior's death-adornment (cf. above pp. 208, 209 and 258), which one finds depicted in the image in our manuscript as in the Codex Borgia. Otherwise, as said, this god is here equipped throughout with attributes of Quetzalcoatl, with his curved ear-plug (epcololli), the breast ornament ground from the shell of a winged snail (teoilacatzcozcatl), the necklace of snail shells, with the headband of the wind-god, in which, in our manuscript, a bone dagger (omitl) and an agave-leaf point (huitztli) are stuck, above it in our manuscript a cone-shaped hat (copilli), in the Codex Borgia the eye surrounded by darkness, which designates the night sky or a star, and with the fan-like neck ornament made of black wood-grouse feathers. All this whole apparatus presumably signifies nothing further than that Xolotl is the god of twins, and that the wind-god Quetzalcoatl too contains the twin (coatl) in his name.\n\nIn the properly Mexican manuscripts one sees opposite this god a curious group, consisting of an earth-dragon or an earth-toad, into whose jaw-opening sinks a figure bearing the sun, which in the tonalamatl of the Aubin collection is simply drawn as Tlaloc, in the Codex Telleriano-Remensis represents a strange mixture of the insignia of Tlaloc and of the wind-god Quetzalcoatl, and finally in the Codex Borbonicus (fig. 523) appears as a bundled corpse, upon which is set a Xolotl-head equipped with the eye of Tlaloc as well as this god's cheek-markings, but otherwise with death-symbols. The interpreters designate this group as Tlalchitonatiuh, the \"earth-near sun\" \u2014 \"properly, between light and darkness, and thus they paint him with the sun upon his shoulders and death below at his feet as appears here. They say that this is the warming or heat that the sun gives to the earth. They say that when the sun sets, it goes to give light to the dead.\" \u2014 Thus the sun that goes down to the dead, and this again is but a symbol of what, as we have seen, in fact lies in the nature of this god.\n\n1) Codex Telleriano-Remensis fol. 19 (= Kingsborough II, 23).\n2) Codex Telleriano-Remensis fol. 20 (= Kingsborough II, 25).\n\nDigitized by Google\n\n14. The tonalamatl arranged into twenty thirteen-day sections. 271\n\nThis image, however, I believe, we must draw upon in order to understand what is further given with this god in our manuscript and in the Codex Borgia. In the Codex Borgia we namely see before the god the sign nahui olin, i.e., the day \"four movement,\" which, as I have already once indicated above, is the day and the symbol of the sun. Immediately beneath it we see a rectangular field, which is divided crosswise into four stripes painted in different colors (green, yellow, blue, red). I explain this image as follows: \u2014 the four colors are the four directions; the whole rectangular field, then, that which is extended in the four directions, that is, the earth. Accordingly this whole group, very simple in its elements, signifies the same as the complicated figures of the properly Mexican manuscripts, namely the earth-near sun. Of this image, which in the Codex Borgia, although it is throughout hieroglyphic, is clear and intelligible, only the sign nahui olin remains in our manuscript, which, given there alone and above the main figure, is in itself entirely puzzling, unless only the general relation to the sun was meant to be indicated, which indeed, as I have set forth in more detail above on p. 183, does in fact hold for the god Xolotl.\n\nFig. 522. Xolotl, god of twins and of malformed births, regent of the sixteenth tonalamatl section ce cozcaquauhtli \"one vulture.\" Codex Borgia 65 (= Kingsborough 50).\n\nFig. 523. Tlalchitonatiuh, \"the earth-near sun,\" \"the sun that goes down to the dead,\" depicted opposite Xolotl, the regent of the sixteenth tonalamatl section. Codex Borbonicus 16.\n\nFor the other three symbols still to be seen here \u2014 the dish with the deer's foot, the reclining incense vessel with the quetzal-feather bundle projecting from its mouth, and the red serpent torn into pieces \u2014 I know no explanation that would satisfy me. \u2014 It is noteworthy that on this leaf, where the god of twins and of every kind of double formation is depicted, one of the thirteen day-signs belonging to this section, that of the deer, is drawn with two antlers.\n\nThe seventeenth tonalamatl section ce atl, \"one water,\" is depicted in the Codex Borgia on the upper half of leaf 64, in our manuscript on leaf 65.\n\nIts regent is the regent of the eighteenth day-sign, Chalchiuhtotolin, the jewel-hen or the turkey. He is drawn in both manuscripts quite characteristically, in some details even fairly realistically. To the draftsmen of the properly Mexican manuscripts he counts, as usual, as the image of Tezcatlipoca and is therefore equipped with the smoking mirror at the temple and other insignia of this god. We have seen above, at the eighteenth day-sign,\n\nDigitized by Google\n\n272\n\nB. Reverse side.\n\nChantico was the fire goddess, so we regard the turkey and, in particular, the chalchiuhatl, the jewel-water, i.e. the precious liquid of penance, the blood, as being represented. At the eighteenth day-sign we found this illustrated by the hieroglyph chalchiuhatl and by the priest who bores out his eye. Here, in the Codex Borgia, a simpler tangle formed of a fasting-cord is drawn (fig. 524), in which a pair of agave-thorn points are stuck, marked as bloody by the red liquid running down them and by the flowers at their upper end. In the properly Mexican manuscripts the penitent himself is depicted with the sign cuitlatl, \"excrement, sin,\" in his hand (figs. 525, 526). We see this same sign, cuitlatl, in our manuscripts, the Codex Borgia and the Vaticanus, handed to the Chalchiuhtotolin by an eagle's claw (fig. 527), where evidently the idea is present that the turkey, i.e. the precious liquid, the blood drawn off in penance, is meant to take away the filth of sin.\n\nFor the interpretation of other figures, especially the red serpent, which appears as the companion of Tlazolteotl and elsewhere frequently, as we have seen, in these manuscripts, it is not without interest that the turkey here, which represents the blood, is drawn with smoke- or fire-clouds at its beak, or respectively upon its crown.\n\nFig. 524. Chalchiuhatl, the precious liquid of penance.\nCodex Borgia 64 (= Kingsborough 58).\n\nFig. 525. The penitent.\nCodex Telleriano-Remensis f. 21 recto (= Kingsborough II, 27).\n\nFig. 526. The penitent adulterer (before the Chalchiuhtotolin).\nCodex Borbonicus 17.\n\nThese smoke- or fire-clouds we may take as an expression of the hot blood or of the burning pain during penance. But this occurrence proves that when we see, for example, similar smoke- and fire-clouds at the tail-end of the red serpent that stands on folio 68 of the Codex Borgia before its goddess, Tlazolteotl, we may not simply conclude without further ado that this serpent must signify fire. It is, as I have repeatedly stated above, entirely probable that this red serpent, colored in the manner of the coral snake, denotes rather the blood. And the smoke- or fire-clouds prove nothing to the contrary, since, as I noted, we see them likewise here with the turkey, in whose case any relation to fire is simply excluded.\n\nThe eighteenth Tonalamatl section, ce ecatl, \"One Wind,\" is depicted in the Codex Borgia in the upper half of folio 63, and in our manuscript on folio 66.\n\nThis section ought, according to the theory that has so far been confirmed throughout, to have the same regent as the nineteenth day-sign. But that is apparently not the case here. The regent of the nineteenth day-sign was Tonatiuh, the sun god. Here, however, a female deity is depicted as regent of the Tonalamatl section, who, as we shall see, has directly nothing in common with the sun god. Indirectly, though, a connection must nevertheless exist between these two deities, since, as we shall see, the accompanying representations express the same idea.\n\nThe goddess ruling here in the eighteenth Tonalamatl section is called by the interpreters Chantico or Quaxolotl, because she wears the ornament of Xolotl upon her head. She was also called, after the day of her birth [Chicunaui Itzcuintli, i.e.], \"Nine Dog.\" The day \"Nine Dog\" does indeed belong, as the ninth day, to this eighteenth trecena, and it is furthermore stated of this day that the sorcerers who can transform themselves into animals, into snakes, and into other such things have special power on it. Further, the interpreter (Pedro de R\u00edos) states that this goddess of the eighteenth Tonalamatl section was called \"Mistress of the Capsicum Pepper\" and \"Yellow Woman.\" She was said to have been the first who, after eating a roasted fish, made an offering (that is, she sacrificed without first fasting, as is proper), and that this smoke rose to heaven, whereupon Tonacatecutli grew angry over it and pronounced a curse upon her, that she should be turned into a dog \u2014 and so it came to pass. And she is called Chantico, which is as much as [to say] Mictlantecutli.\n\nSo much for the interpreter. We fortunately now have other reports concerning this goddess as well. Sahag\u00fan states of her that she had a temple in Mexico called Tetlanman, and priests who dwelt in the Tetlanman calmecac, and that it was the task of these priests, the Tetlanman teohua \u2014 \"de apretar las teas para hacer hachones, y tambi\u00e9n almagre, tinta, [...], unas xaquetas y caracolitos mariscos, lo cual todo era necesario para esta fiesta de la diosa del fuego.\" \u2014 This deity, thus designated by Sahag\u00fan as \"fire goddess,\" was also the chief idol of the tlatecque, the stone-cutters, stone-polishers, jewelers, who worshipped this goddess under the name Chicunaui Itzcuintli, \"Nine Dog,\" or Papaloxaual, \"Butterfly-painted,\" [or] Tlappapalo, \"She of the Red Butterfly.\" And Sahag\u00fan expressly states in this connection that the festival of this goddess was celebrated in Xochimilco, for the entire guild of stone-cutters originated from there. Concerning this goddess of Xochimilco and her festival we have in Dur\u00e1n a detailed description. Dur\u00e1n, however, names her with a different name. He calls her Ciuacoatl or Quilaztli, which is the name of the goddess of the city of Culhuacan, situated not far from Xochimilco, on the other shore of the lake. I believe that Dur\u00e1n has here wrongly applied the name of the goddess of Culhuacan to the goddess of Xochimilco. Ciuacoatl was a goddess of the earth and patroness of warriors. As such we come to know her in the song preserved for us by Sahag\u00fan, from which I translated a few stanzas above, pp. 82, 83 (cf. p. 173). In the goddess of Xochimilco, however, the devouring fire was thought to be embodied, and she was therefore, quite fittingly, associated with the biting animal, the dog.\n\nThat Chantico is a fire goddess, illustrating the devouring fire, is already shown by the stone image of her that Dur\u00e1n describes to us, which depicts the goddess with wide-open mouth and long, bared predator's teeth. This is shown above all, however, by the character of her festival, in which, as a foundation for the main offering of the image of the goddess, four captives were thrown alive into the fire \u2014 exactly as at the Xocotl huetzi festival in Mexico \u2014 and after this sacrifice the priests mortified themselves in such a way that they let the resin melting from burning copal torches drip onto the bare skin of their limbs.\n\nThe idol of the goddess was kept locked away in the tlillan, in a lightless, dark house. This, as well as the name Chantico, meaning \"in the house,\" may allude to the fact that the fire burns within the house, and that it must be well guarded. The other name, Quaxolotl, which can mean \"two-headed\" or \"splitting at the tips,\" could refer to the flame's dividing at its tips. And doubtless designations such as Papaloxaual, \"painted with the butterfly on the face,\" or Tlappapalo, \"she of the red butterfly,\" used by the stone-cutters for their goddess, are to be understood as names of a fire goddess. For the butterfly is the image [footnote reference]\n\nFig. 528. [Feather-butterfly] war-emblem Fig. 529. Chantico, fire goddess of Xochimilco.\n\"Feather-butterfly\" and the quauhpach ichimalli, Regent in the eighteenth Tonalamatl section ce ecatl,\nthe shield with the eagle-foot, \"one wind.\" \"one wind.\"\nTribute of the chinampaneca. Libro de Tributos = Codex Borgia 61 (= Kingsborough 58).\n= Codex Mendoza 48.\n\n\u2014 of war-emblems that were worn on the back in the shape of a butterfly made of feathers. They were tribute of the chinampaneca, that is, the dwellers of the Xochimilco lagoon, and belonging to them was a shield bearing an eagle's foot as emblem (quauhpach iuhqui chimalli). (Cf. fig. 532.)\n\nThe goddess Chantico is also depicted in Sahag\u00fan's chapter on the attire of the gods (fig. 530), and her adornment is described there.\u00b9 According to this, she is black in the lower half of the face, smeared with rubber, and red in the upper half of the face. That corresponds to the customary coloring of the fire god in the manuscripts. She wears a red garment, axochiauhpilli; her hair is wound with a band of teased material (tlazolxochitl), and on her back she wears as her device the [meyotl], the \"arrow-like,\" \"ray-like thing.\" In her hand she holds a feather-staff (ihuitopilli), whose paper covering is painted with sharp-angled figures, and in the other hand the shield with the eagle's foot (quauhpach iuhqui chimalli).\n\nThis well-characterized figure, entirely clear in its basic conception, is now also matched very well by the images of this goddess given in our manuscript and in the other manuscripts. In the Codex Borgia (fig. 533) and in our manuscript the goddess is painted with a yellow body and yellow face, thus as \"mujer amarilla,\" but in our manuscript she has two thin red cross-strokes at the level of the eye, which recall the narrow black stroke seen at the same height in the face of the fire god. Her cape (quechquemitl) is red in the Codex Borgia, her skirt (cueitl) white, like the garment of Chantico, of Ciuacoatl Quilaztli, and of the Chalmeca cihuatl, the three goddesses of the chinampaneca in the Sahag\u00fan manuscript. In her nose she wears the step-shaped blue plate (yacapapalotl), and her head is covered with a red cloth bordered all around with white mussel-shell discs. Here we must recall Sahag\u00fan's statement (cf. above, p. 273) that the priests of Chantico had to keep red and black paint, sandals, a garment, and small sea-snails (caracolitos mariscos) ready for the festival of this goddess. Over the cloth the goddess wears her feather ornament. Beneath her seat, in the Codex Borgia, an overturned jug painted in the colors of the jewel (chalchihuitl) is drawn; in our manuscript, a downward-pointing flower fastened to a ball is drawn instead.\n\nStill more characteristic are the images of this goddess that we see in the properly Mexican manuscripts. Her face is painted yellow in the Codex Telleriano-Remensis (fig. 534), and\n\n1) Publications from the Royal Museum of Ethnology, Vol. I, Issue 1 [1890], p. 190.\n\nII. The Tonalamatl Arranged in Twenty Thirteen-Day Periods. 275\n\nFig. 535. Chantico, fire goddess of Xochimilco. Fig. 536. Chantico, fire goddess of Xochimilco.\nRegent of the eighteenth Tonalamatl section ce ecatl, Regent of the eighteenth Tonalamatl section ce ecatl,\n\"one wind.\" \"one wind.\"\nCodex Telleriano-Remensis f. 21 verso (= Kingsborough 29). Codex Borbonicus 18.\n\n[verso] 276\n\nis divided by red lines into a number of fields, each of which contains a red ring in its centre. It also shows the long, sweeping predator's-tail teeth which von Buron in his description of the stone idol of the goddess of Xochimilco. In the Codex Borbonicus (fig. 535) she is depicted with more human features, and in the lower half of the face painted black, in the upper red, like the fire god, exactly as Sahag\u00fan, as we have seen, describes and depicts her with this goddess. In the Codex Borbonicus she wears in her nostrils the blue peg yacaxiuitl, which we came to know above (cf. p. 208, 209) as a warrior's death ornament. In the picture of the Codex Telleriano-Remensis, however (fig. 534), she has both in the nose and in the ears a golden pendant, composed of ring, trapeze and ray, which evidently represents an abbreviation of the sun symbol. This is an ornament that we likewise see on a colossal head of stone that was found on the site of the great temple in Mexico (fig. 536), which probably represents Coyolxauhqui, the hostile sister of Huitzilopochtli. For we see on it, on both cheeks, the sign gold (teocuitlatl) and bell (coyolli) indicated. The face of this head is thus in fact painted with bells (coyolli) (xaualli). The sister of Huitzilopochtli named with this name will probably not stand far removed from the nature of the goddess of Xochimilco.\n\nFig. 536. Stone head of the fire goddess, the hostile sister of Huitzilopochtli\n\n(from the temple in Mexico).\n\nIn all three, in the narrower sense properly Mexican manuscripts finally, she wears above the red cloth, which in these pictures too covers the crown and neck of the goddess, the sign atl-tlachinolli, \"water (spear-throwing) and burning\", the symbolic designation of war, and thereby proves herself again to be the female counterpart of the fire god, who indeed in these manuscripts is the expression of atl-tlachinolli, and is connected both with the ninth day-sign and in the ninth Tonalamatl section with the image of atl-tlachinolli (cf. figs. 353 and 506 above pp. 154 and 256). After all this there can therefore be not the slightest doubt that this goddess is a fire goddess.\n\nAt the nineteenth day-sign, which bears the name quiauitl \"rain\", I had pointed out (cf. above p. 135) that the sun god, who stands there as image and regent of this sign, is indeed a fitting expression of this sign, because quiauitl \"rain\" represented to the priests the fire-rain (tlequiauitl) or the time of the fire-rain, the third of the four prehistoric or pre-cosmic periods. And the sun god is indeed the fire falling from heaven. One will understand that our goddess Chantico, although she is really a quite differently constituted deity, could nevertheless have been the expression of the same conception, that is, symbol and image of the fire-rain. Indeed perhaps with even greater justice, since volcanism, the volcanic rocks,\n\nDigitized by Google\n\nII. The Tonalamatl arranged in twenty thirteen-day sections 277\n\nthat is, fire in the earth, is in the accounts always brought into connection with the fire-rain. If that is so, then one will not find it any further surprising that here with Chantico, the goddess of the eighteenth Tonalamatl section, the same ideas are brought to view in the accompanying pictures as those we found represented with Tonatiuh, the regent of the nineteenth day-sign. For we see here, both in the Codex Borgia and in our manuscript, first a burning house, that is, tletl \"fire\"; then in a censer a red, burning mass, which is meant to be eztli \"blood\"; further a snail-shell (tecciztli), which of course denotes \"she who is enclosed in the house,\" that is, Chantico, and perhaps also the being-shut-off of water, the parched, heated, rainless earth. We see finally in the opening of a treasure chest a human figure, which in one hand holds a bunch of grass, in the other bloody maguey-leaf points (uitztli ez[?]). This at first somewhat puzzling image becomes immediately understandable through the others, the properly Mexican manuscripts, which depict Chantico facing the penitent Quetzalcoatl in the golden house. This picture is thus a direct counterpart to the fasting figure sitting in the enclosure that we found depicted with the sun god, the regent of the nineteenth day-sign (cf. fig. 893 above p. 185).\n\nFig. 537. Xochiquetzal, regent of the twentieth Tonalamatl section ce quauhtli, \"one Eagle.\"\nCodex Borgia 62 (= Kingsborough 53).\n\nIn the case of the sun god I explained to myself the association with a representation of fasting from the fact that on every 260th day of the Tonalamatl, namely the day naui olin, a great, general, rigorously conducted fast was held for the sun god, which had the purpose of averting the destruction of the world that threatened on this day. Here with Chantico, we are to believe the interpreters, the representation of fasting, respectively of the penitent Quetzalcoatl, had another reason. According to the interpreters, Chantico is the goddess of the capsicum pepper. This is as readily understood as one understands that the fire god is brought into connection with the scorpion. The capsicum pepper (chilli) is the red, burning spice. The interpreters further say, however, that Chantico was the first fast-breaker, who, although she had previously roasted a fish, that is, without having first fasted, sacrificed to the gods, and who was therefore turned into a dog as punishment by Tonacatecutli. This, then, is the association of ideas that would explain the notion of fasting in this goddess, if we did not have better and simpler reason to assume that fire and the fire goddess are meant to embody self-mortification in general, the parched empty stomach, the burning pain of self-inflicted penance. That the interpreters characterize her as a fast-breaker follows simply from the fact that she is precisely the goddess of the capsicum pepper. For this was so much, and\n\nDigitized by Google\n\n278\n\nII. Reverse side.\n\nstill is today, the universal spice used at every meal, that abstinence from this spice in ancient Mexico had the same significance as, in Christian times, abstinence from butter and meat dishes. Tortillas eaten without capsicum-pepper sauce (chilmolli) were fasting food.\n\nThe nineteenth Tonalamatl section ce quauhtli \"one Eagle\" is depicted in the Codex Borgia in the upper half of leaf 62, in our manuscript on leaf 67.\n\nIts regent is the goddess of the twentieth day-sign, the already much-mentioned Xochiquetzal, the goddess of flowers. She is depicted in the Codex Borgia (fig. 537) and in our manuscript in rich attire, with face painted in artificial patterns, with the blue yacapapalotl in the nose and with her serpent-helmet mask, from whose nostrils the two feather tufts (ome quetzalli) of the goddess rise up.\n\nFacing her one sees a dancer, who is painted over with black colour and presumably represents a dancing sorcerer. For the goddess, as the embodiment of all artistic skill, is therefore also the great sorceress. A similar meaning perhaps has the curious interlaced figure that one sees between the two figures, with the four half-eyes that are indicated beneath it. But it is also possible that this refers to some unknown game. I have, in my commentary on the Tonalamatl of the Aubin collection, pointed to some occurrences of this same interlaced figure in the pictorial manuscript of the Imperial-Royal Court Library in Vienna, where it is brought into connection with the day-sign olin and the rubber ball (olmaitl), thus, as it seems, with the ball game (tlachtli). Rubber (olli) also seems to be the bound black ball that we see drawn next to this interlaced figure in our manuscripts. In the properly Mexican manuscripts, the Codex Borbonicus and the Tonalamatl of the Aubin collection, we indeed find in its place, next to the interlaced figure, the ball-game court (tlachtli) depicted.\n\nThe twentieth section ce tochtli \"one Rabbit\" is depicted in the Codex Borgia in the upper half of leaf 71, in our manuscript on leaf 67.\n\nWith the Xochiquetzal of the previous section the series of day-sign gods had come to an end. Therefore two new deities are here introduced as regents of this twentieth section. They are Xiuhtecutli, the fire god, and Xipe Totec, our lord the Flayed One. They stand here presumably because ce tochtli is the sign of the earth and Xipe Totec is the god of the earth; and because the third day in this thirteen-group, the day yei itzcuintli \"three Dog,\" is the day and sign of the fire god, since three is the number of the hearth-stones (tenamaztli) and the dog, the hot animal, is the image of fire (cf. above pp. 157 and 273).\n\nXipe Totec is depicted in both manuscripts in typical fashion, but with a stone knife as helmet-mask, holding his red rattle-staff (chicauaztli) in one hand, a stone sacrificial knife in the other, and clothed in the flayed human skin. The interpreters here call him Iztapaltotec, that is, \"our lord, the flat stone,\" and they explain, evidently referring to his helmet-mask: \u2014 \"pedernal o cuchillo del guerreador, el desdichado o dolorido, mas propio es dezir pedernal sangriento del dolorido\" \u2014, that is, in short, sacrificial knife. But they then add: \u2014 \"yztapali propriamente es losa, de este asiento de la tierra\" \u2014, that is, they identify our god with the earth. And the occurrence of this god here is then finally justified by the remark: \u2014 \"In two Reed (ome acatl) heaven was created, and the animals in one Flint (ce tecpatl), and the earth in one Rabbit (ce tochtli).\"\n\nRegarding the image of the fire god, it is noteworthy that this god here in the Codex Borgia is depicted with the blue nose-plate executed in turquoise mosaic, with which he is quite generally depicted in the properly Mexican manuscripts (cf. fig. 342a, above p. 137), and that he as\n\n1) Berlin 1900, p. 122, 123.\n\nDigitized by Google\n\n15. The Tonalamatl and the fifty-two-year period. 279\n\near-pendant here too, only in blue colour, wears the trapeze and the ray, like Chantico, the fire goddess, of the Codex Telleriano-Remensis and like the stone head of the Coyolxauhqui of Mexico. In both manuscripts he holds his blue throwing-stick (atlatl) in one hand, in our manuscript correspondingly in the other hand a bundle of spears. Before him in the Codex Borgia is drawn a vessel painted in the colours of the precious stone (chalchiuitl), out of which precious-stone neck-bands (chalchiuhcozcatl) set with golden bells emerge. For the fire god was the lord of riches. \"El que nacia en un conejo [ce tochtli],\" says the interpreter, \"seria hombre de luenga vida, y el que nacia en 5 malinalli seria mercader y rico.\"\n\n15. The Tonalamatl and the fifty-two-year period.\n\nLeaf 69 (= Kingsborough 46).\n\nOn the first eight leaves of the manuscript, and on the twenty leaves immediately preceding the present one, the Tonalamatl had been treated in two different arrangements, together with the deities pertaining to the individual sections. And interspersed among these, the deities of the twenty day-signs, the various world-directions and their deities, the Lords of the Night, and the hours of the day and of the night, and finally also the five Venus periods and the four forms of the deity of the planet Venus, had been set forth. Now, on leaf 69, there follows for the first time the solar year and the period that results for the solar years, in that it is established what significance, from the augural standpoint, attaches to the individual years and to the individual sections of this period.\n\nThe nations of ancient Mexico reckoned their year at 365 days. Since 365 = 28 \u00d7 13 + 1 and = 18 \u00d7 20 + 5, it follows that if, for example, a year were to begin with a day bearing the number 1 and the I. sign (cipactli), then the initial day of the following year would have to bear the number 2 and the VI. sign (miquiztli), that of the third year the number 3 and the XI. sign (ozomatli), that of the fourth year the number 4 and the XVI. sign (cozcaquauhtli); the initial day of the fifth year, on the other hand, would again be named with the number 5 and once more with the I. sign (cipactli). One sees that, on the assumption of a year of 365 days, only four of the twenty day-signs fall upon the initial days of the years, namely four signs each five signs apart from one another. It further follows, however, that from the assumption of a year of 365 days there necessarily results a period of 52 years. For since 365 = 5 \u00d7 73, and 73 is a prime number, it can only occur after 5 \u00d7 73 days, that is, 52 years, that the same number and the same sign of the Tonalamatl again falls upon the initial day of the year. Within this period the successive years were exactly determined by the numbers and signs that fall upon their initial days. And it was therefore only natural that these successive years should simply have been named after the names of their initial days. Thereby a degree of precision in the naming sufficient for a human lifetime was attained. For the historian and the chronologist, however, who had greater spans of time in view, there was still lacking a system for distinguishing from one another the identically named years of different periods.\n\nIt now appears that the Mexicans did not begin their years with the initial sign of the Tonalamatl, and that at the time when the Tonalamatl system was invented and, according to some principle, came to be used for designating the actual days \u2014 at the time when it first became apparent to the learned that only four of the twenty day-signs fall upon the initial days of the years \u2014 it was precisely the signs, each five signs apart from one another, acatl \"reed,\" tecpatl \"flint knife,\" calli \"house,\" tochtli \"rabbit,\" that at that time fell upon the initial days of the years, or that were chosen for some reason or other as the initial days of the years. For it is the days named with these signs after which, throughout the whole Mexican region, the years were named. And I have furnished proof that likewise all the dates occurring on the monuments of the Maya region, as well as, in like manner, the dates of the Dresden Maya manuscript, presuppose a beginning of the year with the signs been, etz'nab, akbal, lamat, which correspond to the Mexican signs acatl, tecpatl, calli, tochtli\u00b9) \u2014 that it was only subsequently, or only in Yucatan, that the shift of the beginning of the year to the days kan, muluc, ix, cauac, which correspond to the Mexican ce\u00b7, tochtli [sic], atl, ocelotl, quiauitl, took place, which confronts us in the Codex Tro-Cortesianus and is transmitted in the reports of Bishop Landa. This latter, as has been said, must be regarded as a subsequent shift. But it may also be merely a regional difference. For yet another shift of the beginning of the year is found, for example, in the Codex Porfirio Diaz, which was published in 1892 by the Junta Colombina in Mexico, and which is said to originate from the region of Cuicatlan, thus belonging to a people of Zapotec kinship. In this manuscript the years are named with yet four other signs, namely ecatl, mazatl, malinalli, ozomatli [sic].\n\nThe most general and ordinary designation of the years, however, is that after the signs acatl, tecpatl, calli, tochtli. And the years beginning with these signs arrange themselves according to their initial positions as follows:\u2014\n\n1. acatl | 1. tecpatl | 1. calli | 1. tochtli\n2. tecpatl | 2. calli | 2. tochtli | 2. acatl\n3. calli | 3. tochtli | 3. acatl | 3. tecpatl\n4. tochtli | 4. acatl | 4. tecpatl | 4. calli\n5. acatl | 5. tecpatl | 5. calli | 5. tochtli\n6. tecpatl | 6. calli | 6. tochtli | 6. acatl\n7. calli | 7. tochtli | 7. acatl | 7. tecpatl\n8. tochtli | 8. acatl | 8. tecpatl | 8. calli\n9. acatl | 9. tecpatl | 9. calli | 9. tochtli\n10. tecpatl | 10. calli | 10. tochtli | 10. acatl\n11. calli | 11. tochtli | 11. acatl | 11. tecpatl\n12. tochtli | 12. acatl | 12. tecpatl | 12. calli\n13. acatl | 13. tecpatl | 13. calli | 13. tochtli\n\nThat of the twenty day-signs only four fell upon the initial position of the years must have appeared to the ancient scholars a very remarkable fact. But a particular mystery it must evidently have been to them that, as the above table shows, the period of fifty-two years divided itself of its own accord into four quarters, each of which begins with the number one and, in proper sequence, with one each of the four signs acatl, tecpatl, calli, tochtli. Thus the fifty-two-year period arranged itself of its own accord according to the four world-directions, just as the Tonalamatl, written down in columns of five members, likewise of its own accord, as we have seen, fell into four sections corresponding to the four world-directions. It is this distribution of the fifty-two-year period according to the four world-directions that is set forth on leaf 69 of our manuscript and on a leaf of the Codex Borgia exactly corresponding to leaf 69 of the Vaticanus, the beautifully drawn leaf 27 (Kingsborough 12).\n\nWe see on these two leaves the four days that form the initial days of the four quarters of the fifty-two-year period, the days ce acatl \"one Reed,\" ce tecpatl \"one Flint,\" ce calli \"one House,\" ce tochtli \"one Rabbit\" \u2014 in the Codex Borgia large and distinct, in our manuscript less conspicuous, yet recognizable \u2014 indicated in the four corner compartments. But to these four signs there have been added, curiously, on both leaves, the days that would fall upon the beginnings of the four quarters of the fifty-two-year period if the first year began not with ce acatl \"one Reed,\" but with ce cipactli \"one Crocodile,\" the initial day of the Tonalamatl \u2014 that is, the days ce cipactli \"one Crocodile,\" ce miquiztli \"one Death,\" ce ozomatli \"one Monkey,\" ce cozcaquauhtli \"one Vulture.\" This fact seems intended to confirm the statements of certain Mexican writers, in particular of Crist\u00f3bal del Castillo \u2014 (from whose works Sig\u00fcenza y G\u00f3ngora and Le\u00f3n y Gama took their account of the Mexican calendar) \u2014 namely, that the Mexicans began their years with the initial day of the Tonalamatl. I have, however, already pointed out, in the treatise of the year 1891 mentioned at the beginning of this section, that it would indeed be quite strange if the Mexicans had named their years after days that stand at a fixed number of days removed from the initial days of the years, and I have emphasized that the dates of the Maya monuments and those of the Dresden manuscript presuppose a beginning of the years with the signs acatl, tecpatl, calli, tochtli. I have further, in my commentary on the picture-manuscripts of Alexander von Humboldt in the Royal Library at Berlin\u00b9) of the year 1893, on the basis of the concordances between Mexican and European chronology given in the reports on the siege and the fall of Mexico, likewise been able to furnish proof that the Mexicans of the city of Mexico too began their years with the signs acatl, tecpatl, calli, tochtli. We shall accordingly have to explain in a different way the occurrence of the days ce cipactli, ce miquiztli, ce ozomatli, ce cozcaquauhtli here on our leaves 69 of the Codex Vaticanus and 27 of the Codex Borgia. Either that the intervals of the actual days falling upon the beginnings of the four quarters of the fifty-two-year period were measured by the signs which, reckoned from the initial day of the Tonalamatl, would fall upon these beginnings. Or that, alongside the beginnings of the four quarters of the fifty-two-year period, those of the four quarters of the ordinary Tonalamatl, arranged in twenty divisions of thirteen days each, were placed, comparing the one with the other, or, so to speak, employed the known relation of the Tonalamatl quarter-beginnings to the world-directions east, north, west, south as a hieroglyph for these world-directions. That this is the meaning of these leaves, and that this is the true role assigned here to the days ce cipactli, ce miquiztli, ce ozomatli, ce cozcaquauhtli, is evident from the fact that the god-figures which, on these two leaves of the Vaticanus and the Codex Borgia, represent the world-directions, appear, painted in accordance with the world-directions in different colors, correspondingly, and, moreover, in the mask of cipactli, miquiztli, ozomatli, cozcaquauhtli respectively.\n\nWe see on these two leaves, leaf 69 of the Vaticanus and leaf 27 of the Codex Borgia, distributed in the four corners, four Tlaloc figures, which denote the four world-directions, and in the middle a fifth Tlaloc figure, which of course must represent the fifth region of the world, the center, or the direction from above to below. That it was precisely images of Tlaloc, the rain god, that were chosen to designate the world-directions is understandable. The rain god is indeed at home in the four wind-directions. On account of this relation of the rain god to the four world-directions, in the Zapotec calendar the initial days of the four quarters of the Tonalamatl are directly called cocijo \"rain god\" or pitao \"the Great One,\" \"the god.\" But here, too, there probably comes into consideration in a particular way the fact that the significance of the period-sections corresponding to the four world-directions, or of the years distinguished by the signs, for the welfare of mankind, is meant to be portrayed, and this welfare depended precisely upon Tlaloc, the rain god, being conditioned by the more or less abundant or favorable rainfall. \u2022\n\nThe first four figures are painted, in both manuscripts, corresponding to the four world-directions east, north, west, south, in the colors black, yellow, blue, red, and are furnished with the helmet-mask of cipactli (crocodile), miquiztli (death), ozomatli (monkey), cozcaquauhtli (vulture). Above this helmet-mask one sees, in the Codex Borgia, flanked by two (actually four) rosettes (meyotl),\n\nSeler, Collected Essays on American Linguistics and Antiquities. Berlin (A. Asher & Co.), 1908, Vol. I, pp. 177\u2013186.\n\nSeler. Codex Vaticanus No. 3773.\n\nDigitized by Google\n\n282\n\nB. Reverse side.\n\nHeron-feather crown (aztatzontli) of the god, and above it the sign of the year composed of the trapeze (the ring that has become angular) and the ray (cf. figs. 538, 539). Only in the first figure, the black god of the East, is this heron-feather crown and the hieroglyph of the year replaced by the eye surrounded by darkness, the sign of the dark sky and of the starry sky, above which a feather tuft rises. In our manuscript we see, in all four figures, above the cipactli-, miquiztli-, ozomatli-, cozcaquauhtli- helmet-mask, a loop, and above that the eye surrounded by darkness, above which a feather tuft rises. The features of the face are the same in all four figures in the Codex Borgia. In our manuscript, however, the rain god of the East, West, and South have before the mouth the coiling structure, almost resembling a serpent's jaw, of which I spoke above on page 108, while this is lacking in the rain god of the North. The figures of the Codex Borgia (cf. fig. 539) hold in one hand a jug formed in the shape of a Tlaloc-head, whose form probably corresponds to actually used vessels of the kind that I reproduced on p. 107 in figs. 300 and 301. In the other hand, an axe formed in the shape of a fire-serpent, and a kind of thunderbolt in the form of a spindle-shaped but sinuous, black staff, bordered on the side with a narrow yellow stripe, which one finds used as the hieroglyph for Tlaloc, the ninth of the nine Lords, in the tonalamatl of the Codex Bologna arranged in columns of five, and which we have also seen above on pp. 23 and 57 in the hand of the small Tlaloc figures, figs. 48 and 209. In our manuscript the god holds in one hand a flowering plant, which is probably actually meant to represent a maize plant, and in the other hand a real axe.\n\nThe god representing the fifth direction is, in the Codex Borgia (fig. 539), costumed in just the same way, except that, since no real year and no quarter of the tonalamatl corresponds to him, he naturally wears no helmet-mask. In our manuscript he also has a different headdress, a kind of copilli, which, however, is probably to be thought of as actually derived from the trapeze and the ray, the sign of the year. The weapons too, and the jug, or rather the plant, in his hands, are entirely the same as with the other figures.\n\nThe rain god of the East, who represents the first quarter of the fifty-two-year period, beginning with ce acatl, \"one reed,\" occupies the lower right corner in the Codex Borgia, and the upper right corner in our manuscript. A dark sky, rich with rain clouds, spreads above him. The black god, whose face looks out from the jaws of a cipactli, likewise stands upon a cipactli, which in the Codex Borgia is drawn in the usual manner, but in our manuscript has the same shark-like form as with Xochipilli, the third form of the deity of the planet Venus, on folio 26 of our manuscript. On the cipactli one sees maize ears sprouting up in abundance, and healthy, well-formed maize ears can be seen in the stream of water that flows from the jug in his right hand down onto the earth. The East, as the region of fertility and prosperity, is evidently made visually apparent through this image. \u2014 In our manuscript the maize ears are missing, but since one sees the god here holding, together with the maize plant, a string of precious stones (cozcatl), the same idea is expressed with sufficient clarity.\n\nThe rain god of the North, who represents the second quarter, beginning with ce tecpatl, \"one flint knife,\" of the fifty-two-year period, occupies the upper right corner in the Codex Borgia, and the upper left corner of the page in our manuscript. In both manuscripts a cloudless sky formed of light and rays is to be seen above him. The yellow god, wearing a skull (miquiztli) as a helmet-mask, stands in our manuscript upon a curious monster's maw, painted in black, opening downward. In the Codex Borgia, however, one sees beneath him the earth burst open into clods, and locust-like winged creatures devouring the maize ears, while one sees another of these insects carrying off a maize ear in the air. The maize ears, too, that stream out with the water from the god's jug, are gnawed, showing a broad eaten-away patch in the middle; and beside them one sees, just as in the other stream of water that trickles down from the rain god's other hand, an axe fitted with a shining yellow (copper) blade. The North as a region of drought is thereby indicated, and likewise the years of the North as ones that will suffer from locust devastation.\n\nDigitized by Google\n\n15. The Tonalamatl and the Fifty-two-year Period\n\n283\n\nThus we also see, in our manuscript, a curious animal painted in red gnawing at the maize plant that the rain god holds in his hand.\n\nThe rain god of the West, who represents the third quarter, beginning with ce calli, \"one house,\" of the fifty-two-year period, occupies the upper left corner in the Codex Borgia, and the lower left corner of the page in our manuscript. In both manuscripts the same dark, cloud-filled sky is drawn above this god as above the rain god of the East; indeed, in the Codex Borgia he seems to be marked as even richer in clouds than the god of the East, in that here, in the blue cloud-curling, the eyes are also missing that were indicated there in the clouds. The blue god, furnished with the ozomatli helmet-mask, stands here in a water vessel. The vessel is clearly drawn as such in our manuscript, but in the Codex Borgia it is only suggested by the fact that the water is bounded below by the same sequence of red, white-fringed, yellow, and green stripes that also, for example on folio 14\n\nFig. 508. Eight-year period \u2014 Relief on Mausoleum III in [Ititlun\u00fcsv] (After a photograph by Teobert Maler).\n\nFig. 539. Tlaloc, as representative of the fifth cardinal direction, the direction from above to below. Codex Borgia 27 (= Kingsborough 12).\n\nof the Codex Borgia, form the wall of the water vessel in front of the water goddess Chalchiuhtlicue depicted there (cf. fig. 292, above p. 179). In the water, in the Codex Borgia, stand maize ears, which are almost drowned by it. The West and the years of the West thereby seem to be characterized as a region, or a time, of floods, of excessive rain. But the maize ears that one sees emerging with the stream of water beneath the god's jug in the Codex Borgia appear to be well-formed, and so in our manuscript too one sees the god holding, together with the maize plant, once again a cozcatl, a necklace of precious stones, as a sign that the years of the West, like those of the East, are to be regarded as fruitful.\n\nThe rain god of the South, who represents the fourth quarter, beginning with ce tochtli, \"one rabbit,\" of the fifty-two-year period, occupies the lower left corner in the Codex Borgia, and the lower right corner of our page in our manuscript. Here, above the god, spreads the same bright, cloudless sky, composed of elements of the sun-image, of blue and red rays, as above the god of the North. The red god, wearing the cozcaquauhtli as helmet-mask, stands above a yellow, scorched soil, which in our manuscript is marked, through the black bone-pattern, as hard and infertile, and in the Codex Borgia through yellow color and through feather tufts scattered\n\n36*\n\nDigitized by Google\n\nB. Reverse side.\n\n284\n\nat its edge and upon it, as dry, dead ground. In it, in our manuscript, one sees flames and a bundle of stone knives, whereas in the Codex Borgia maize ears do indeed grow in or on it, but these are evidently meant to be marked as morbidly altered or dead through white, red-dotted efflorescences painted in the color of bone, and on top of that one also sees long-tailed animals (mice or other rodents), furnished with death's-eyes and death's-jaws, busy at them. A maize ear furnished with similar white, red-dotted bone-efflorescences is additionally indicated specifically to the right of the rain god, in that compartment, and the maize ear that one sees coming down with the stream of water beneath the god's jug shows the same character. As years, then, in which the maize is threatened by diseases and by mice gnawing at it, these years of the South are thus meant to be characterized. And so we also see, in our manuscript, sitting on the maize plant that the red god of the South holds in his hand, a hairy, white little animal, which here is more clearly recognizable as a kind of mouse.\n\nAbove the rain god who represents the fifth cardinal direction, and who occupies the middle of the page in both manuscripts, one recognizes in the Codex Borgia (fig. 539) a dark sky, set with eyes and stone knives, that is, a night sky or starry sky, and in its middle the sign composed of a bright sun disk and the image of night, which denotes evening or, generally, twilight and darkness. The god is naturally represented without a helmet-mask. Body, limbs, face, and clothing are of white color (furnished with red longitudinal stripes). From both of the god's hands streams of water likewise trickle down here, and beneath the right hand, which holds the jug, one likewise sees a maize ear here. On the stream of water to the right, the implements of war are depicted \u2014 shield, bundle of spears, hand-banner, and swordfish-sword \u2014 while on the one to the left a skeleton and a death's-bone are depicted. The third stream of water, however, which trickles down beneath the god, falls into a vessel painted in the color of the precious stone (chalchihuitl), and in it sit two small figurines of the water goddess Chalchiuhtlicue, of which one is painted blue and the other green \u2014 that is, if one likes, Xiuhtlicue and Chalchiuhtlicue \u2014 each, however, marked as a water goddess by her wreath of shell disks in the hair and by the blue nose-plate, which has the form of a two-headed serpent.\n\nIn our manuscript the rain god of the fifth cardinal direction is likewise painted as white (with yellow longitudinal stripes). No sky is indicated above him, but an earth-dragon is indicated beneath him. Still further below one sees a pair of crossed death's-bones and the implements of war, which would thus correspond to the figures indicated to the right and left of the god in the Codex Borgia picture, namely the skeleton and the bundle of weapons.\n\nI note further that what I have said, in interpreting the leaves of our two manuscripts, about the significance\u2014following from the nature of the cardinal direction\u2014of the four quarters of the fifty-two-year period must, strictly speaking, presumably hold good for all the years bearing the same signs, for the Mexicans applied the differentiation according to the four cardinal directions not only to the whole quarters of the fifty-two-year period, but also to the four successive years named with different signs. They accordingly depicted the years of the fifty-two-year period (cf. Duran, Tratado 1, L\u00e1mina 1) as a kind of wheel or swastika, in that they arranged all the years bearing the same sign in a line, which was made equivalent to one of the four cardinal directions, so that, in order to obtain the sequence of the years of the period, one had to trace spiral lines in a sense opposite to the rotation of a clock hand.\n\nThe fifty-two-year period thus fell into thirteen sections of four years each, after whose completion the same cycle repeated itself, the augural significance of the years being to be assumed in the same manner as before. This augural significance of the successive years was attended to in a particularly meticulous fashion among the Maya tribes. The last five days of the year, the so-called xma xaba lein or \"nameless days,\" were there, as Bishop Landa tells us, devoted to elaborate ceremonies which were meant to modify, in a sense favorable to the welfare of the community, the significance\u2014conditioned by the nature of the cardinal directions\u2014of the years bearing the various signs. And of the Mexican tribes we know that everywhere in the fourth\n\nDigitized by Google\n\n16. The five Venus periods.\n\n285\n\nyears the great festivals of the community were held with especial solemnity and under more elaborate ceremonies. The fourth years were those bearing the sign acatl, in which the cycle renewed itself, the same cycle that is likewise present in the leaves of the Codex Borgia discussed above and of our manuscript.\n\n16. The Five Venus Periods.\n\nLeaf 70 (= Kingsborough 27).\n\nWhereas on the preceding leaf the four years were considered from the point of view of the cardinal directions, on this leaf\u2014to which, again, another leaf of the Codex Borgia, the beautifully and grandly drawn leaf 25 (= Kingsborough 14), exactly corresponds\u2014the five Venus periods are presented to the viewer in their relation to the four, or rather five, cardinal directions. For just as it follows, for the (somewhat inexactly assumed) solar year of 365 whole days, that of the twenty day-signs which the Mexicans counted, only four fall upon the initial days of the solar years, so, as I have already indicated above on p. 4, an easily performed calculation shows in the same way that upon the initial days of the Venus period\u2014likewise not quite exactly assumed at 584 whole days\u2014only five of the twenty Mexican day-signs fall. The solar year and the Venus period are the two time-periods that were given preferential consideration by the Mexicans and the other tribes of Central America, whereas the moon and its periods were, it seems\u2014or at least so one must conclude from the content of these picture-writings\u2014given less attention. It is also, I believe, from a computational combination of the solar year and the Venus period that the basic period of Mexican and Central American time-reckoning and time-notation, the Tonalamatl, arose.\u00b9 Note that, just as here in our manuscript leaf 70, which subjects the Venus periods to a like consideration, follows upon leaf 69, which treated the solar years in their relation to the cardinal directions, so in the Codex Borgia the leaf 25 corresponding to the latter leaf of our manuscript actually stands immediately before the leaf that in the Codex Borgia forms the exact parallel to leaf 60 of our manuscript. For it is separated from it by only one leaf (26), which represents, so to speak, a reproduction of the content of leaf 25 reversed in toto.\n\nWe see on these two leaves (of the Vaticanus and of the Codex Borgia), distributed at the four corners, four large god-figures. Beside them the twenty day-signs are recorded in a peculiar arrangement, namely such that a definite sense of rotation, opposite to the movement of a clock hand, is thereby prescribed. This is the same rotation that is likewise followed on the previously discussed leaf representing the four years, as well as in the representation of the fifty-two-year period that Duran has transmitted to us. In the middle of the leaf, in a small square, from whose upper edge the counting of the day-signs proceeds (in that the first day-sign, cipactli, stands immediately above it), and to which, after a single traversal of the four sides of the leaf, the day-signs also lead back, one sees, drawn large and handsome, the seventeenth day-sign, ollin, \"movement,\" but this one now not alone, but accompanied by twice five dots, which represent the numeral ten and, together with the sign ollin, represent the name of a particular day. This at least is correctly given in the Codex Borgia. In our manuscript one counts eleven dots, which, however, is doubtless to be regarded as an error and corrected to ten. This day, matlactli ollin, \"Ten Movement,\" is precisely the day with which the fifth 584-day period must begin, if the first began with ce cipactli, \"One Crocodile,\" the initial day of the Tonalamatl.\n\n1) Cf. what was remarked on this above on p. 4.\n\nDigitized by Google\n\n286\n\nB. Seler.\n\nIt follows accordingly that on these two leaves (the Codex Borgia and our manuscript) the five Venus periods are indeed represented, as I said at the beginning of this chapter. But something else follows too. The successive years were, as we have seen, named with signs which all stand at a certain smaller or larger number of signs removed from the initial sign of the Tonalamatl. The initial days of the years never coincide with the initial day of the Tonalamatl. For the Venus periods, however, it here follows that from the day which must mark the beginning of the fifth period, it must necessarily be inferred that the first period began with the initial day of the Tonalamatl. The same thing is taught us by the leaves of our manuscript, with which we shall soon have to occupy ourselves, on which the 5 \u00d7 13 Venus periods are represented. There too we see these periods take their starting point from the first day of the Tonalamatl. This is the secret, the hidden reason why, in the picture manuscript of the K. K. Hofbibliothek in Vienna and in its sister manuscript, the Codex Nuttall, one so often sees the year ce acatl and the day ce cipactli united. This union, or this day, simply designates the starting point of the Venus-period reckoning in the first year of the fifty-two-\n\nFig. 601. Quetzalcoatl-Ehecatl, the god of Tollan. Regent of the first Venus period and of the East. Codex Borgia 25 (= Kingsborough 14).\n\nyear period and is, as can be demonstrated, always the starting point of a special computation which, in the Codex Nuttall, always amounts to a correction, at one time of the length of the solar year, at another of the length of the Venus period.\u00b9\n\nThe four god-figures that one sees pictured on these two leaves of the Borgia and the Vaticanus, distributed into the four corners, must of course, like the Tlaloc figures of the previous leaf, represent the four cardinal directions. But here they are not, as there, four different images of the rain god\u2014the successive Venus periods have nothing to do with the years and the meteorological conditions changing within the years\u2014but rather they are the images of four different deities. Were the arrangement of these four figures on the leaf the same as that on the leaf representing the four years, we should have to begin counting, in the Codex Borgia, in the lower right corner, and would have to ascribe the figure in the lower right corner to the East. But this is evidently not the case, for the sign cipactli, the initial sign, stands at the upper edge\n\n1) Cf. on this my essay in the current volume of the Zeitschrift f\u00fcr Ethnologie (XXXIV, 1903).\n\nDigitized by Google\n\n16. The five Venus periods.\n\n287\n\nof the middle square, and thus points to the figure depicted in the upper right corner as the first. And indeed, whereas in the leaves representing the four years a difference between the Codex Borgia and our manuscript came to light in that the Codex Borgia began in the lower right corner, our manuscript in the upper right corner, on the leaves designating the five Venus periods the figures are evidently distributed into the corners in the same manner in both manuscripts. This is proof that the beginning of the count, as it held for leaf 69 of our manuscript and is a priori probable for leaf 70 of our manuscript, must also hold for the Codex Borgia leaf corresponding to leaf 70.\n\nThe first figure, which must correspond to the East, is thus the one standing in the upper right corner on both leaves. It is depicted, as are likewise the three other figures on the leaf, with the throwing-board (atlatl) in the one hand, the bundle of spears in the other. This again has reference to the fact that\n\nFig. 612. nahui ehecatl, chicunahui ehecatl [sic]. Vienna manuscript.\n\nhere the Venus periods are brought to view. For the morning star was regarded as the shooting god. It is said of him in the Anales de Quauhtitlan:\n\nauh yn iuh quimatia \u2014 and as they learned (the elders, the ancestors)\n\nyn iquac hualquiztiuh \u2014 when he appears (rises),\n\nyn tleyn ipan tonalli \u2014 according to the sign in which he rises,\n\nquenmania ynic quimina \u2014 sometimes accordingly he shoots them (with his rays),\n\nquinmina, quintlahuilia \u2014 he shoots them, casts his light upon them.\n\nThe first figure, in the upper right corner, then, which corresponds to the East (fig. 540), is represented in both manuscripts with black body and limbs and a two-colored face, in the forward half (the middle of the face) red, in the rear half black in the Codex Borgia, brown in our manuscript, and with a long beard framing the chin. Hair and beard are colored fire-red in the Codex Borgia, black in our manuscript. The hair is, in the Codex Borgia, bound about with the chain of precious-stone (chalchihuitl) disks, with the stylized bird's head at the forehead, which the sun god wears in this manuscript. And the feather ornament on the crown, too, is the eagle-feather ornament (quauhtlenatli) of the sun god. But combined with this, this figure also has a blue\n\nDigitized by Google\n\nThe wheel's course.\n\n288\n\nDeath's-eye arched over by a brow-ridge. In the mouth the god has a bundle of stone knives, next to which a serpent also emerges in the Codex Borgia. Stone knives also form the crest of the stylized bird-head on the front of his headband. A stone knife is stuck into his armband, serving, as it were, as a feather. A stone knife (or, in our manuscript, a bundle of stone knives) likewise forms the lower end of his breast ornament. \u2014 A figure exactly like this one, that is, with precisely this equipment, is nowhere else to be found in our manuscripts. But comparable is the figure that is depicted in our manuscript and in the Codex Borgia as the first of the four guardians of the \"second Venus period\" (cf. above p. 107, figs. 411, 412), which there, however, still appears with a cipactli or a feathered serpent as a helmet-mask. And comparable too is the god Chicome couatl, \"Seven Serpent,\" likewise wearing a cipactli- or perhaps a serpent-helmet-mask, who on folio 5 of the Vienna manuscript is depicted opposite the god Naui couatl, \"Four Serpent\" (fig. 541), and who at another place, on folio 33, opposite the god Naui couatl, seems to be represented by the god Chicunaui ecatl, \"Nine Wind,\" that is, by Quetzalcouatl, the wind god. I am indeed of the opinion \u2014 and have already stated as much above in connection with the first of the four guardians of the second Venus period \u2014 that in this figure, which unites the facial paint and the beard of Quetzalcouatl with the costume-insignia of the sun god, and which appears in a cipactli- or serpent-helmet-mask, we are to recognize the Quetzalcouatl of Tollan, who, as I have already pointed out above on p. 138, was also a fire god, and presumably became the wind god \u2014 as which he was usually and later generally depicted \u2014 only through a derived train of ideas. One will understand, then, that if this first god of our folio does indeed represent the leader of the Toltecs, the \"in tonatiuh iixco yauh,\" the one who emigrated in the direction facing the sun, he is indeed eminently suited to embody the cardinal direction of the East and at the same time to serve as the representative of the first Venus period. For this Quetzalcouatl of Tollan, according to general belief, transformed himself into the morning star.\n\nThe second figure, in the upper left corner (fig. 543), must now correspond to the North. This is a well-known figure \u2014 the white (red-striped) god of the Chichimeca and of the hunt, Mixcouatl, painted with the star-face paint (mitzitlalhuiticac moten\u0113hua tlayahualli) of the morning star, also depicted with its curling locks flickering up over the forehead, but otherwise adorned as a warrior \u2014 whom we have already met above (cf. fig. 310, above p. 115, and folio 28 of our manuscript) among the four forms of the deity of the planet Venus, likewise as the representative of the North.\n\nThe third figure, in the lower left corner of both folios, must now correspond to the West. This too is a very well-known figure, that of the earth god Xipe Totec, whom we have already met as the representative of the cardinal direction proper to him, as the third of the four guardians of the fourth Venus period (fig. 427, above p. 204). Here too he is depicted in entirely typical fashion, with his human-skin jacket, his human-skin mask, the yopitzontli nose-plate, the red and white swallow-tail-shaped cut ends of the loincloth, and with his quail as breast ornament. Whereas in our manuscript, like the other figures on this folio, he holds the spear-bundle in one hand and the throwing-board in the other, the draughtsman of the Codex Borgia has put into his hand, instead of the throwing-board, his red rattle-staff, the chicahuaztli.\n\nThe fourth figure, in the lower right corner, corresponding to the South, is the rain god Tlaloc, depicted here not with his usual weapon, the axe, but, like the other figures on the folio, with the throwing-board and spear-bundle in hand. His appearance is otherwise that already familiar to us from other pictures. But it can be seen very clearly here in the Codex Borgia figure that the form which, in the rain-god pictures of our manuscript, is drawn in front of the mouth as a specially set-off shape curling up at the end, and is furnished, serpent-jaw-like, with teeth and even with an eye, is nothing other than the rear end \u2014 actually invisible in profile view \u2014 of the blue lip-stripe. \u2014 Tlaloc, the rain god, here stands for the cardinal direction of the South presumably because this god represented for the priests not only the rain that fertilizes the fields, but also the rain of fire that put an end to the third of the four prehistoric or pre-cosmic world periods.\n\n*Digitized by Google*\n\n16. The Five Venus Periods. 289\n\nThe fifth cardinal direction, the Center, or the direction from above to below, and the ruler corresponding to it for the fifth Venus period, has not been drawn on the two folios of our Vaticanus and of the Codex Borgia. It has only been pointed to by means of the hieroglyph of the initial day of the fifth Venus period (matlactli olin, \"Ten Movement\"). \u2014 There is, however, one folio on which we also see the fifth of the rulers of the five Venus periods represented in full figure. This, however, is not one of the folios of these Mexican picture-manuscripts, but folio 46 of the Dresden Maya manuscript.\n\nI shall have occasion below, as soon as I come to folios 80\u201384 of our manuscript, on which the 13 \u00d7 5 Venus periods are depicted, to point out that not only the initial days of these 13 \u00d7 5 Venus periods, as they are recorded on the said folios 80\u201384 of our manuscript,\n\nFigs. 544\u2013548.\nFigs. 544\u2013548. The rulers of the five Venus periods and of the five world-regions (Center, East, North, West, South). Dresden Maya Manuscript, folios 46\u201350.\n\nare set down likewise, and indeed in a still more complete way, on certain folios of the Dresden Maya manuscript, on the famous folios 46\u201350, but also that the figures which one sees struck by the spear of the deity of the planet Venus on folios 80\u201384 of our manuscript, and at the corresponding place in the Codex Borgia and the Codex Bologna, have their parallel in certain figures on these folios 46\u201350 of the Dresden Maya manuscript. These folios 46\u201350 of the Dresden Maya manuscript, however, differ from folios 80\u201384 of our manuscript and the corresponding folios of the Codices Borgia and Bologna, among other things, in that on them, in the five sections, it is not always the deity of the planet Venus that is brought to view in variations corresponding to the cardinal directions, as in the aforementioned picture-writings of the Codex Borgia group, but rather that there, in the sections where we should expect to meet with the deity of the planet Venus, five different deities stand. Now these five different deities of the Dresden\n\n*Digitized by Google*\n\nB. Verso.\n\n290\n\nmanuscript correspond, I believe, to the five deities who are brought to view here on folio 70 of our manuscript and on folio 25 of the Codex Borgia \u2014 four of them in full figure, the fifth, however, only by way of suggestion through the initial day of the fifth period \u2014 namely, the rulers of the five Venus periods that I have discussed in this chapter. Only, in order for the parallel to emerge, one must make the assumption that on our folios of the Vaticanus and of the Borgia the fifth cardinal direction, or the Center, has been regarded as governing for the fifth Venus period, whereas on the folios of the Dresden manuscript \u2014 just as on the folios discussed in more detail above (p. 190 ff.), on which the 4 \u00d7 5 guardians of the Venus periods are depicted \u2014 the Center, or the fifth cardinal direction, has formed the starting point, so that this cardinal direction has there been claimed for the first Venus period. If, on this assumption, one arranges \u2014 as I have done here in figs. 544\u2013548 \u2014 the five rulers of the five Venus periods depicted on folios 46\u201350 of the Dresden manuscript, one will see that, at least at some points, the parallel with the two folios, 70 of our manuscript and 25 of the Codex Borgia, is indeed a striking one. \u2014\n\nThe god drawn in the upper right corner with a skeletal rib-cage and dead-bone lower jaw, but bearing the hieroglyph of the planet Venus in the string of beads hanging down forward from his headdress, can well be set alongside the Quetzalcouatl of Tollan (fig. 540), who is trimmed with stone knives and drawn with a death's-eye.\n\nThe god depicted in the upper left corner with animal-like facial features, who in his hieroglyph shows the elements of the hieroglyph of the deer,\u00b9) seems to me without doubt to be a parallel to the hunting god Mixcouatl.\n\nThe god in the lower left corner, with the Tezcatlipoca-like facial paint and the jaguar skin about his hips, who also contains in his hieroglyph the element chac, \"red,\"\u00b2) can be compared, if not to the typical Xipe, then certainly to the red (Tlatlauhqui) Tezcatlipoca, whom we have come to know above as another manifestation, and also as another name, of Xipe.\n\nThere remains, then, in the lower right corner, a god of somewhat different character, who, however, with his bandaged eyes perhaps evoked, in a different way, the same conception of the South as does the Tlaloc of the two Mexican folios. I recall here that the Itztlacoliuhqui of the Mexicans, likewise a god with bandaged eyes, of whom I have spoken above on pp. 261\u2013264, was recognized in a constellation in the southern sky.\n\nFor the Center or the fifth direction we would then get the black god, fig. 544, who in his hieroglyph contains the element imix, corresponding to the Mexican cipactli, and who is perhaps a kind of fire god, so that for the one reason as much as for the other he may be regarded as a god denoting the fifth cardinal direction, the direction from above to below, or the Center.\n\nNow if this parallel is admissible \u2014 and I am convinced that it is \u2014 one must conclude from it something further still. The deities depicted on folio 70 of our manuscript and folio 25 of the Codex Borgia are, with the exception of the first, well-known, frequently depicted figures, which also play a large role in the cult of the various Mexican tribes. The five gods of folios 46\u201350 of the Dresden manuscript strike one, for the most part, as quite alien, and are indeed, with the exception of the first, the black god, nowhere else to be met with in the known Maya manuscripts. Must one not conclude from this that the mythology and the science of these time-periods, and the astronomical observations on which they were built, originated among the tribes that linked deity-figures known and familiar to them with those time-periods, and that among the other peoples, where quite alien figures appear as the rulers of these periods, these figures, and the science bound up with them, were a foreign import?\n\n1) Cf. Seler, *Gesammelte Abhandlungen zur mexikanischen Sprach- und Alterthumskunde*, Berlin (A. Asher & Co.), vol. I, p. 351, fig. 55.\n\n2) Ibid., part 16, fig. 8.\n\n*Digitized by Google*\n\n17. The Planet Venus in Its Visibility as Morning Star. 291\n\n17. The planet Venus in its visibility as morning star.\n\nLeaf 71 and 72 (= Kingsborough 26, 25).\n\nThese two leaves, for which no parallel exists in the other manuscripts, show themselves to belong together\u2014although they contain quite different representations\u2014already externally through the division into nine fields, which in both is likewise connected with the same manner of reading. As the position of the heads and figures indicates, one is namely to begin on both leaves at the bottom right, go from the left end of the bottom row to the left end of the middle row and follow this from left to right, then go from the right end of the middle row to the right end of the top row and end at the left end of the top row. Exactly, then, as I described above on p. 211 for leaves 58\u201360 of the Codex Borgia.\n\nOn the first of our two Vaticanus leaves, leaf 71, one sees in all nine fields an earth-dragon drawn, painted alternately in green and in black, and out of which, connected to it by a thin, red or black, serpentine line, a One emerges. Distributed at the four corners of each field are, besides, four consecutive day-signs. It is no doubt natural to assume that the One in the middle corresponds to a fifth adjoining day-sign and is to be connected with it. And indeed this must be the day-sign following the four day-signs distributed at the corners, since the first field (bottom right) begins in the upper right corner with cipactli, the initial sign of the tonalamatl. Accordingly the first field (bottom right) would signify that out of the earth-dragon the day ce couatl \"one Serpent\" emerges. The second field (bottom middle) would mean that out of the earth-dragon the day ce itzcuintli \"one Dog\" emerges, the third, that out of it the day ce quauhtli \"one Eagle,\" the fourth, that out of it the day ce xochitl \"one Flower,\" and the fifth again, that out of the earth-dragon the day ce couatl \"one Serpent\" emerges. And so on in like manner further. There would accordingly be indicated on this leaf the emerging from the earth, or the rising, of the following days, which I shall first arrange in the same way as they are distributed on the leaf itself, in order to show the evidently intended symmetry of the distribution:\u2014\n\n(7) (8) (9)\n1. couatl 1. xochitl 1. quauhtli\n(Serpent) (Flower) (Eagle)\n\n(4) (5) (6)\n1. xochitl 1. couatl 1. itzcuintli\n(Flower) (Serpent) (Dog)\n\n(1) (2) (3)\n1. quauhtli 1. itzcuintli 1. couatl\n(Eagle) (Dog) (Serpent)\n\nOne sees that on this leaf the rising of the day ce couatl \"one Serpent\" is represented three times in the great diagonal, the other three days twice each in the small diagonals. But if one arranges the days as they actually follow one another on this leaf, one obtains:\n\n1. couatl (Serpent)\n1. couatl (Serpent)\n1. couatl (Serpent)\n1. itzcuintli (Dog)\n1. itzcuintli (Dog)\n1. quauhtli (Eagle)\n1. quauhtli (Eagle)\n1. xochitl (Flower)\n1. xochitl (Flower)\n\nThat is one and a quarter times repeated the important column of the tonalamatl arranged in four-membered columns\u2014that is, of the tonalamatl that is arranged not according to the four cardinal directions but the five world-regions\u2014which we already encountered above on p. 123, 124 in the remarkable section dealing with the history and mythology of the planet Venus, which, filling the picture of the one and the beginning of the other side of the strip, occupies exactly the middle among the representations of the Codex Borgia. A day-sign column that, as we saw there (p. 123), still plays a significant role even in the late offshoots of the old native priestly science, the books of the Chilam Balam. That this row is connected with the planet Venus, that the rising of these days, as it is here so remarkably represented on this leaf 71 of our manuscript, must signify the appearance of the star of the planet Venus on certain days, or in certain phases of its course, seems to me beyond doubt. I believe, however, that one can make an even more precise determination.\n\nI have already mentioned above that the 13 \u00d7 5 Venus periods, which we shall find depicted below on leaves 80\u201384 of our manuscript and at corresponding places of the Codex Borgia and the Codex Bologna, are also recorded fully written out with their initial days on five leaves of the Dresden Maya manuscript, leaves 46\u201350. These Maya leaves differ from the said Mexican representations of the Venus periods, among other things, in that on them the periods are not only fully written out as wholes with their initial dates, but each period of 584 days is on these leaves broken down into sections of 90, 250, 8, and 236 days. Each of these sections of 90, 250, 8, and 236 days is precisely indicated on each of these five leaves partly by days named according to the tonalamatl system that have these intervals from one another, partly by (so-called) month dates, and finally partly by rows of figures that progress in these intervals. F\u00f6rstemann, to whom we owe the establishing of these relationships and their explanation, has now advanced the hypothesis that here the 90 days are to be reckoned to the invisibility of the planet during superior conjunction, the 250 days to its appearance in eastern elongation (as evening star), the 8 days to its invisibility during inferior conjunction, and the 236 days to its visibility in western elongation (as morning star). How he justifies this assumption, one may read for oneself in him.\u00b9) I have given further details also in my treatise on the Venus period in the pictures of the Codex Borgia group. Of importance for our present considerations is the following.\n\nRemarkably, none of the initial dates given on the first leaf, 46, of the Dresden manuscript contains the figure One. On the other hand, at the place where, according to F\u00f6rstemann's interpretation, the first day of the visibility of the morning star would have to be set, the date 13 Kan is recorded, that is, in Mexican terminology, 13 cuetzpalin (Lizard). Let us assume that this date is meant to indicate not the beginning of visibility but rather the end of invisibility; then we would find as the day of the first rising as morning star the day 1 chicchan, that is, ce couatl \"one Serpent\" in Mexican terminology, recorded on leaf 46 of the Dresden manuscript. That is the first member of the day-sign column that, as we have seen, is recorded on leaf 71 of our manuscript\u2014a member that stands out from the other three not only as the initial member, but also by the fact that it is reproduced in the great diagonal of the leaf no fewer than three times, and that evidently alone comes into consideration here out of the whole day-sign column. I note further that the same day-sign column couatl, itzcuintli, quauhtli, xochitl is also given on leaf 32 of the Codex Borgia, on which, as I stated above on p. 119, the rising of Quetzalcoatl as morning star indeed appears to be recorded.\n\nOn leaf 46 of the Dresden manuscript the period of visibility as morning star does not stand first. The first date signifies rather, according to F\u00f6rstemann's interpretation, the beginning of the time when the morning star disappears in the rays of the rising sun. This first date, recorded on leaf 46 of the Dresden manuscript, is 3 cib, that is, 3 cozcaquauhtli in Mexican terminology.\n\n\u00b9) Erl\u00e4uterungen zur Maya-Handschrift der K\u00f6niglichen \u00d6ffentlichen Bibliothek zu Dresden. Dresden 1886. Page 66, 67.\n\n17. The planet Venus in its visibility as morning star.\n\nLet us here again assume that not the beginning of invisibility but the end of visibility is meant by this date; then on this leaf of the Dresden manuscript the day 4 eb, that is, naui olin \"four Movement,\" would be indicated as the day on which the morning star unites with the sun. The day Naui olin, as we know, counted precisely as a symbol and sign of the sun, and it seems to me not at all impossible that it was regarded as such for the reason that on it the morning star became the sun. Just as the day ce acatl \"one Reed\" is called the sign and name of Quetzalcoatl, because on this day Quetzalcoatl became the morning star.\n\nThis day naui olin \"four Movement,\" which denotes the time of the union of the morning star with the sun, the end of its visibility as morning star, is precisely the one that is recorded at the beginning of the following leaf of our manuscript, leaf 72 (bottom right). If leaf 71 told us the time when the planet Venus rises for the first time as morning star, then leaf 72 gives us the time when it ceases to be visible as morning star. The two leaves thus indeed belong together and represent, as I have also stated in the heading, the planet Venus in the period of its visibility as morning star.\n\nThe day naui olin \"four Movement\" is indicated at the beginning (bottom right) of leaf 72 first by figure and sign, but then also by a figure. The latter, despite its smallness, shows quite characteristic features. It is painted red, represented with flowers in the hair and a flower at the nape of the neck, in which a stone knife is stuck. A round death-eye and long-hanging huaxyacac[?] tufts stand out clearly, and through these two features this little figure recalls in a striking way the figures equipped with death-symbols that in the Vienna manuscript are marked with the date naui olin (fig. 549). This god Naui olin, however, is not depicted alone on leaf 72 of our manuscript; rather, eight other figures are joined to him\u2014one might think, for the sake of symmetry with leaf 71. But all are represented in the same action. They all sip from a bowl that they hold in the hand, a drink that is painted white and with red spots, that is, in the color of bone. And this I can understand in no other way than\u2014\"they drink death.\" One appreciates that this would be a very fitting expression for what is meant to be represented on this leaf, for the end of the visibility of the morning star, for its disappearance in the rays of the sun.\n\nOf the nine figures on this leaf, only the first, Nahui Olin, is named fully and completely with number and sign. For the others, the dates or days after which they are supposed to be named are indicated by numbers, which always give the distance from the date with which the preceding figure is designated. That the dates obtained in this way are indeed meant to give the names of the figures is, at least for two of them, beyond doubt. For the second figure the date Chicunaui Ecatl, \"Nine Wind,\" would result as its name, and the figure is Quetzalcoatl, who, as is known, is designated with this date in the Vienna manuscript, in the Codex Fej\u00e9rv\u00e1ry, and elsewhere (cf. Fig. 542 above, p. 287). And likewise, for the last figure we would obtain the name Ce Miquiztli, \"One Death,\" which can evidently be regarded as a fitting name for the death goddess depicted in this compartment. In what follows I list the dates which are accordingly to count as names for the nine gods depicted on leaf 72 of our manuscript, and indeed, for easier comparison, in the arrangement in which they are to be seen on the leaf itself, marking their actual sequence only by numbers placed alongside: \u2014\n\nFig. 551.\n\nThe god Nahui Olin, \"Four Movement\". Picture-manuscript of the Imperial Royal Court Library in Vienna. 90.\n\n(9)\n\nce miquiztli\n\n\"one Death\"\n\n(8)\n\nmacuilli olin\n\"five Movement\"\n\n(1)\n\nce acatl\n\"one Reed\"\n\nB. Kurkwitj-,\n\n296\n\n(6)\n\nmatlactli omome tecpatl\n\"twelve Flint-knife\"\n\n(3)\n\nce mazatl\n\n\"one Deer\"\n\n(7)\n\nyei ecatl\n\n\"three Wind\"\n\n(2)\n\nchicunaui ecatl\n\"nine Wind\"\n\n(4)\n\nchicuei mazatl\n\n\"eight Deer\"\n\n(5)\n\nnahui olin\n\"four Movement\"\n\nThis together gives a number of 49 days, that is, if one includes the initial day, Nahui Olin, in the sum, 50 days. The number 50, multiplied by the number of world-regions, would give 250, and that, according to leaves 46\u201350 of the Dresden manuscript, would be the period of visibility of the planet Venus as evening star. I have, however, no basis for determining in any way whether a real connection is present here, or whether this is merely a quite accidental numerical coincidence.\n\nSince we have nine figures before us here, these will presumably be arranged in the same way according to the five world-regions as is established for the nine Lords of the Night by leaf I of the Codex Fej\u00e9rv\u00e1ry-Mayer, that is, the first figure will correspond to the center or the direction up\u2014down, the others in pairs to the directions East, North, West, South.\n\nThe first of these nine figures, Nahui Olin, is, as I have already indicated, a deity who resembles in certain features the figure named after this day in the Vienna manuscript. Corresponding to the death-eye and the long fangs is the stone knife projecting from the flower that the figure wears at the nape of the neck. A stone knife is also shown above the drinking bowl of the god.\n\nThe second and third figures should designate the East. The second is the wind god Quetzalcoatl, easily recognizable by the formation of his face and his headdress. Above his drinking bowl a bloody agave-leaf point is shown, as if characterizing his nature.\n\nThe third figure is a woman who wears on the crown of her head, as it seems, the stylized head of a quetzal bird, and behind it a flowering tree. She is probably to be equated in some way with Xochiquetzal. From her drinking bowl protrudes, characterizing her nature, a precious stone (chalchihuitl).\n\nThe fourth and fifth figures should designate the North. The fourth is, to all appearances, a male god equipped with death-symbols. Judging by the coloring, however, one might feel inclined to think of Tlazolteotl, the old earth goddess. From his drinking bowl rises a human heart skewered on a rod, and in front of it projects a stone knife bordered by tongues of flame.\n\nThe fifth figure is Ozomatli, the monkey. Above his bowl one again sees, as with Quetzalcoatl, a bloody agave-leaf point.\n\nThe sixth and seventh figures should correspond to the West. The sixth seems intended to represent Xolotl, the god of twins. Above his bowl, too, one sees an agave-leaf point.\n\nThe seventh figure is a dog (Itzcuintli). Here too one might think of Xolotl. Here, however, a stone knife is to be seen above the drinking bowl.\n\nThe eighth and ninth figures should designate the South. The eighth is Chalchiuhtotolin, the turkey. He has, like the penitent Quetzalcoatl, and like the monkey and Xolotl, an agave-leaf point above his bowl.\n\nThe ninth and last figure is Mictecacihuatl, the death goddess. Above her drinking bowl a stone knife again appears to have been depicted.\n\nWhat particular significance these nine figures may have, I am unable to say, all the more since a parallel is also lacking. I believe I have correctly interpreted the general meaning of the whole leaf, as well as that of the preceding one, in the above \u2014 an interpretation which I have, in essence, already given in this way in my treatise on the Venus period in the manuscripts of the Codex Borgia group. The demonstration that an agreement exists, down to such details, between the content of these Mexican manuscripts and what the Maya manuscripts tell us will certainly be regarded, I trust, as a very remarkable result.\n\nDigitized by Google\n\n18. The Four Feather-Serpents.\n295\n\n18. The Four Feather-Serpents.\n\nLeaf 73 (= Kingsborough 24).\n\nJust as on leaves 43\u201348 we saw the six world-directions represented by six different Tlaloc figures, so here the four world-directions are visually presented by four differently drawn feather-serpents, equipped with different attributes and accessories. The feather-serpents evidently stand for water- and vegetation-conditions, which were conceived as varying according to the world-directions, sometimes more favorable, sometimes less favorable. For the water and rain god \u2014 so it is told in the \"Historia de los Mexicanos por sus pinturas\" \u00b9) \u2014 has a dwelling of four chambers, and in the middle a great courtyard, where four great vats of water stand. The one water is very good, and from it rains fall when the maize-ears and the field crops thrive, and the rain comes at the right time. The other water is bad; when it rains, cobwebs (fungal growth) form on the maize-ears with the rain, and they turn black. The third water is when it rains and the maize-ears freeze. The fourth, when it rains and the maize-ears set no grain and dry up. \u2014 This description of the different rain-waters corresponds, as we shall see, to the world-directions East, West, North, South.\n\nOn the leaf of our manuscript we see the four feather-serpents, curved together into a square, each occupying one field in the four corners of the leaf, or more precisely, each occupying one quarter of the leaf, with their heads turned toward the center. Which world-directions are to be associated with these coils, or rather, in which rotational sense the four world-directions are meant to follow one another here, is indicated by the first four of the twenty day-signs \u2014 Cipactli (crocodile), Ecatl (wind), Calli (house), Cuetzpalin (lizard) \u2014 and it follows from this that on this leaf, as on the previously discussed leaves 69, 70, the beginning is to be assumed in the quarter at the upper right, and the world-directions follow one another in a sense opposite to the rotation of a clock. There exists, however, alongside our leaf 73, a further parallel leaf, the incomparably more beautifully drawn and far more elaborate leaf 72 (= Kingsborough 43) of the Codex Borgia. Here the order and sequence of the world-directions is expressed not merely by a single day-sign, but by an entire deity-figure in each case, surrounded by five of the twenty day-signs (cf. fig. 550). Moreover, on this leaf the fifth world-direction, the center or the downward direction, is expressed in the middle of the leaf, between the open jaws of the serpents, by a tzitzimitl face, the image of one of the demons of darkness who descend from the sky at the time of a solar eclipse, and who will also come down from the sky at the time of the destruction of the world and devour mankind. The beginning lies, on this leaf, in the lower left quarter. The world-directions likewise follow one another in a sense opposite to the rotation of a clock.\n\nThe feather-serpents are depicted on the Codex Borgia leaf, as usual, in profile, with open jaws (turned toward the center) and an upper jaw that flips upward. On our leaf, however, the heads are drawn, in a very curious manner, full-face, with the lower jaw missing, so that the yellow border running around the upper jaw looks almost like one of those golden nose-crescents (teocuitlayacametztli) that form the insignia of the pulque gods and of the old Huaxtec earth goddess, Tlazolteotl. Above the eyes, long-stalked snail-eyes are drawn, and a kind of eye is also indicated beneath the chin.\n\n1) Joaqu\u00edn Garc\u00eda Icazbalceta, Nueva Colecci\u00f3n de Documentos para la Historia de M\u00e9xico, Tomo III, Mexico 1891, p. ...\n\nDigitized by Google\n\nB. Hflckaoit**.\n\n298\n\nThe first serpent occupies the lower left quarter on the Codex Borgia leaf, and the upper right quarter in the picture of our manuscript. In the Codex Borgia it is clearly and beautifully drawn as quetzalcoatl, as a quetzal feather-serpent, and this is presumably meant to indicate that the East is the region where, as it is said in the \"Historia de los Mexicanos por sus pinturas,\" it rains in such a way that the maize-ears and the field crops thrive, and the rain comes at the right time. And so, accordingly,\n\nFig. 550. The four feather-serpents. Codex Borgia 72 (= Kingsborough 43).\n\nin it, surrounded by the first, fifth, ninth, thirteenth, and seventeenth of the twenty day-signs, is seen the rain god Tlaloc, with a rubber ball lying before him on a censer. In our manuscript, the serpent enclosing the day-sign Cipactli, which is meant to correspond to the East, is painted yellow, has at the end of its tail a tuft of macaw feathers, and is bordered with stone knives and tongues of flame. It is evidently conceived as the serpent of the sun god\n\n18. The Four Feather-Serpents.\n297\n\n(who rises in the East), or as the serpent of the fire god. That this is meant to be a region of fertility and thriving does not come directly to expression in the image of this serpent, but can only be inferred indirectly from the notion, which did indeed exist among the Mexicans, that the fire god is the lord of thriving.\n\nThe second serpent occupies the lower right quarter on the Codex Borgia leaf, and the upper left quarter on the leaf of our manuscript. In the Codex Borgia it is drawn as a mottled coral snake, that is, as a blood-serpent (tlapalcoatl), and accordingly we see in it, sitting at a crossroads, the earth goddess Tlazolteotl, naked, clothed only in her headband, a necklace, and her golden nose-crescent (yacametztli), and with a wrinkled belly that marks her as one who has given birth, surrounded by the second, sixth, tenth, fourteenth, and eighteenth day-signs. In front of her, in a fire-vessel, one sees firewood and the tail-end of a blood-serpent.\n\nIn our manuscript the second serpent is painted blue and provided with a drawing that perhaps imitates the hard shell of turtles or crocodiles, and could mark this serpent as belonging to the region of the earth. Unless we are perhaps to assume \u2014 which actually seems to me quite probable \u2014 that here in our manuscript the second and third serpents have mistakenly been interchanged, so that for this second cardinal direction the serpent standing in third place in our manuscript (on our sheet, lower left) comes into consideration. For this one indeed also presents itself, through drawing and colour, as a many-coloured coral snake, as a blood-serpent, that is, as one fully resembling the second serpent of the Codex Borgia. Indeed, here it is marked as a blood-serpent even more clearly, by the streams of blood that one sees welling upward from its back like plumes of feathers.\n\nThe North, as a region of war, as the region of the stone knife, is evidently meant to be indicated by this serpent, for that is in any case the region where, as it says in the \"Historia de los Mexicanos por sus pinturas,\" it rains, and the ears of maize freeze.\n\nThe third serpent occupies, in the Codex Borgia, the upper right, and on the sheet of our manuscript the lower left quarter. It is drawn in the Codex Borgia as a blue feather-serpent, as xiuhcouatl or xiuhtotocouatl, and because the word xiuhcouatl \"turquoise serpent\" calls to the Mexican's mind the memory of the xiuhatlatl, the blue or turquoise-mosaic-covered spear-thrower formed in the shape of a serpent's body and serpent's head, which the fire god \u2014 and also Uitzilopochtli \u2014 holds in his hand, this serpent is accordingly beset along its back with spear-throwers (xiuhatlatl) painted in blue and with darts (tlacochtli) (cf. fig. 550, above right). In the Codex Borgia this serpent encloses the image of Quetzalcouatl, the wind god, who is surrounded by the third, seventh, eleventh, fifteenth, and nineteenth day-signs. Before him one sees, in the fire-vessel, an ear of maize and the implements of penance, the bone dagger and the agave-leaf point.\n\nIn our manuscript, as I have indicated above, an interchange of the second and third serpents has probably taken place, and for this third cardinal direction the second serpent of our Vaticanus sheet, the one depicted in the upper left quarter, must be taken into consideration. This one is covered with a somewhat blackish mosaic, which must nevertheless in any case be thought of as blue (as made with turquoise plates), and so must likewise be regarded as a xiuhcouatl. On its back it is beset with clusters of malinalli-grass. On its belly side with blue flames that end in flowers.\n\nThe West is characterized by these two serpents as the region of abundant water, but at the same time it also counts, as the ear of maize in the fire-vessel before Quetzalcouatl indicates, as a region of fertility. But excessive abundance of water can also become harmful. In any case it is this cardinal direction for which the \"Historia de los Mexicanos por sus pinturas\" states that cobwebs (that is, fungal webs) form on the ears of maize, and they turn black.\n\nThe fourth serpent occupies, in the Codex Borgia, the upper left quarter, and on the sheet of our manuscript the lower right quarter. \u2014 It is drawn in both manuscripts as a skeleton- or\n\nSer. Codex Vaticanus No. 3771\u215e\n\nDigitized by Google\n\n298\n\nB. Reverse.\n\nbone-serpent (couatl cofauhqui or miquizcouatl) and encloses, in the Codex Borgia, the image of the red Macuilxochitl, the god of pleasure and of games, who is precisely marked by the yellow field around the eyes and the drawing of the white hand at the mouth, and who is, as we shall see in a following section, indeed the actual representative of the South. He is surrounded by the fourth, eighth, twelfth, sixteenth, and twentieth day-signs, and in the fire-vessel before him one sees firewood sticks and a rubber ball.\n\nThe South as a region of fire, of drought, of death, is illustrated by this. That is the region where, as the \"Historia de los Mexicanos por sus pinturas\" says, the ears of maize set no grain and dry up.\n\nWhereas our Vaticanus sheet contents itself with expressing, through the four serpents and the four day-signs enclosed by them, the significance of the four cardinal directions for the conditions of rain and for vegetation, the Codex Borgia sheet, which in the space bounded by the four serpents depicts not a single day-sign but a whole divine figure surrounded by five day-signs each, serves at the same time to express certain other relationships as well. The four times five day-signs, namely, that surround the four divine figures, are on this sheet each brought into connection with a particular body-part of the respective deity \u2014 sometimes with the eye, sometimes with the ear, sometimes with the mouth, the heart, the genitals, the anal opening, the hands and the feet, and finally also the ground on which the figure is drawn. I reproduce these relationships in the following table.\n\n1. cipactli \"crocodile\" \u2014 the foot of Tlaloc\n2. ecatl \"wind\" \u2014 the anal opening of Tlazolteotl\n3. calli \"house\" \u2014 the mouth of Quetzalcouatl\n4. cuetzpalin \"lizard\" \u2014 the penis of Macuilxochitl\n5. couatl \"serpent\" \u2014 the ear of Tlaloc\n6. miquiztli \"death\" \u2014 the ground, the crossroads on which Tlazolteotl sits\n7. mazatl \"deer\" \u2014 the foot of Quetzalcouatl\n8. tochtli \"rabbit\" \u2014 the foot of Macuilxochitl\n9. atl \"water\" \u2014 the hand of Tlaloc\n10. itzcuintli \"dog\" \u2014 the mouth of Tlazolteotl\n11. ozomatli \"monkey\" \u2014 the heart of Quetzalcouatl\n12. malinalli \"twisted thing\" \u2014 the ear of Macuilxochitl\n13. acatl \"reed\" \u2014 the eye of Tlaloc\n14. ocelotl \"jaguar\" \u2014 the ear of Tlazolteotl\n15. quauhtli \"eagle\" \u2014 the ear of Quetzalcouatl\n16. cozcaquauhtli \"vulture\" \u2014 the hand of Macuilxochitl\n17. olin \"movement\" \u2014 the mouth of Tlaloc\n18. tecpatl \"flint knife\" \u2014 the eye of Tlazolteotl\n19. quiauitl \"rain\" \u2014 the eye of Quetzalcouatl\n20. xochitl \"flower\" \u2014 the mouth of Macuilxochitl.\n\nOne will not find this list uninteresting. For the study of the symbolic significance of these twenty day-signs it is certainly of great importance. I draw attention only to a few points: \u2014 Cipactli, the sign of the earth, for the foot of Tlaloc is thoroughly fitting. Ecatl \"wind\" for the anal opening of Tlazolteotl is curious, but also fitting. Calli \"house\" for the mouth of Quetzalcouatl presupposes, as an intermediate concept, presumably that of the dark interior, the cave, the earth's maw. Cuetzpalin \"lizard\" for the penis, and precisely in the case of Macuilxochitl, the god of pleasure, agrees entirely with what I said above (pp. 145 and 146) concerning the significance of this sign under the regent of the fourth day-sign. Couatl \"serpent\" for the ear of Tlaloc presumably stands in connection with the fact that this god wears a chalchiuhcouanacochtli, whose inner rim surrounding the hollow of his\n\nDigitized by Google\n\n19. The gods of lust and their signs. 299\n\near-plug was worked in the form of serpents.\u00b9) Miquiztli \"death\" for the earth and the crossroads on which Tlazolteotl sits is understandable. That the animals of the field, mazatl, the deer, and tochtli, the rabbit, are equated with the foot of Quetzalcouatl and Macuilxochitl respectively, is also understandable. Tochtli indeed counts virtually as a sign of the earth. Atl \"water\" on the hand makes sense precisely in the case of Tlaloc, for whom the sign is given. For his hand pours water upon the earth. But if itzcuintli \"dog\" is equated with the mouth of Tlazolteotl, one might perhaps think here of the sharp teeth. To me it seems more probable that the sharp tongue, the pointed speech of women, or perhaps also indecent speech, is meant. Ozomatli, the monkey, as the heart of Quetzalcouatl is presumably to be understood in the sense that the monkey and the wind god Quetzalcouatl are equated. Malinalli \"the twisted thing, the broom\" and the ear of Macuilxochitl I am not able to bring into proper connection; just as little ocelotl \"jaguar\" and quauhtli, eagle, with the ear of Tlazolteotl and Quetzalcouatl respectively. If acatl \"reed\" and the eye of Tlaloc are equated, one may think here that the eye of the rain god is the lightning bolts, his fiery missiles. Cozcaquauhtli, the vulture, and the hand of Macuilxochitl I am not able to properly reconcile with each other. But that olin \"movement\" is brought into connection with the mouth of Tlaloc seems understandable from the fact that olin is also the earthquake. The rolling thunder is the voice of Tlaloc. Tecpatl \"flint knife\" and the eye of Tlazolteotl tells me nothing. Quiauitl \"rain\" and the eye of Quetzalcouatl \u2014 here one may think of fiery rain and fire, but perhaps also of the gouged-out, bleeding eye of Quetzalcouatl. Xochitl \"flower\" finally fits the mouth of Macuilxochitl, who is, after all, among other things also the god of dance and of song.\n\n\n19. The gods of lust and their signs.\n\nSheet 74 (= Kingsborough 23).\n\nThis sheet too has a parallel in the unfortunately rather badly damaged sheet 74 (= Kingsborough 41) of the Codex Borgia. It connects, so to speak, to what on the preceding sheet of our manuscript was not indeed actually depicted, but was in any case implied \u2014 the relation of the day-signs to the body parts, which on the corresponding Codex Borgia image, as I have just set forth, is indeed made clear to the viewer in fully executed images. On the present sheet the matter concerns exclusively the significance of certain body parts. We see, in the upper half, Tlazolteotl, the earth goddess, the \"goddess of filth,\" the goddess of lust and the great progenitress, sitting naked and with legs spread. In the lower half of the sheet, correspondingly, Xochipilli, the god of flowers, but in a temple that stands in flames. Both gods are surrounded by the signs of the twenty days, which, however \u2014 as the explanatory table readily illustrates \u2014 serve solely the purpose of leading up to the last two, quiauitl \"rain\" and xochitl \"flower,\" which are equated, in the upper section, with the vulva of the goddess, and in the lower, with the anal opening and the penis of the god.\n\n1) Sahag\u00fan 12, chap. 4.\n\n38*\n\nDigitized by Google\n\nB. Reverse.\n\n300\n\n20. Heaven and Earth. Life and Death.\n\nSheets 75, 76 (= Kingsborough 22, 21).\n\nThese two sheets have their parallel in sheet 73 (= Kingsborough 42) and sheet 56 (= Kingsborough 50) of the Codex Borgia.\n\nOn both sheets one sees a double image, Quetzalcouatl, the wind god, and Mictlantecuhtli, the death god, seated leaning back to back. Quetzalcouatl is here evidently conceived as the creator of mankind, the lord of life. And in their sitting leaning back to back, a difference of direction between these two persons, or the antithesis that exists between them, is expressed. The difference of direction in these two persons signifies, by above and below, the antithesis of life and death. We shall presently see that this same difference of direction and this same antithesis also holds for the whole of the sheets that I have grouped together here in this section.\n\nBoth figures of the double image are, moreover, by no means represented in quite the same way on the two leaves. The death god of the first Vaticanus leaf (75) is depicted with a yellow body and limbs and animal claws, and only with a skeletal rib-cage and a skull as head. That of the second Vaticanus leaf (76) is entirely and completely a skeleton and wears on its head the occipital rosette (cuexcochtecomaitli) and the bent banner (pantoyauhtli), both painted in the well-known manner in alternating white and red transverse stripes; in addition he holds a rattle-board (chicahuaztli) in his hand. \u2014 The death god of the corresponding two Codex Borgia leaves shows, as far as the formation of body and limbs is concerned, no noteworthy differences. But here too the one on leaf 56, which corresponds to the second Vaticanus leaf, is equipped with the occipital rosette (cuexcochtecomaitli) and the bent banner (pantoyauhtli). And while the death god of leaf 73 of the Codex Borgia, which corresponds to the first Vaticanus leaf, holds in his hand a staff (chicahuaztli!) similar to that of the wind god, only made of bone, the one on leaf 56, which corresponds to the second Vaticanus leaf, has a curious bone staff \u2014 likewise certainly meant to represent a chicahuaztli \u2014 whose head reproduces a closed bony fist.\n\nThe wind god on the first Vaticanus leaf (75) is not, as usual, two-coloured in the face, but is painted uniformly with a not quite deep black but dark colour, and wears in his hair a band of loose material of unspun cotton, like the ichcaxochitl of Tlazolteotl. On the second Vaticanus leaf (76) the face is painted black with red mouth-parts in the customary manner, and the headdress too is the usual one: \u2014 the band with the fan-shaped ornament and the conical two-coloured cap (copilli), beside which in the hair are stuck the bone dagger and the agave-leaf point \u2014 in addition the god here holds in his hand a snake bent at the head-end, which, as comparison with the corresponding Codex Borgia leaf shows, is to be regarded as the hoe of the wind god (tlaquitl). \u2014 More striking are the differences in the Quetzalcoatl figures of the two Codex Borgia leaves. The one on leaf 78, which corresponds to the first Vaticanus leaf, is not black but light blue, and the front half of his face, like the mouth-parts, is painted \"citlallo,\" \"star-sky-like,\" i.e. with white circles on a black ground. Above the forehead a pair of curls rise up. The two-coloured conical cap does not bear an eye, but the white wind-cross in the middle. And on his breast the god wears, not the usual ehecailacacozcatl, but, like the sky-bearer Quetzalcoatl on leaf 21 of our manuscript, a snail-shell. In his hand he holds a blue staff of special form, a xiuhtopilli, which, however, might perhaps also represent a chicahuaztli, though one differing in form. Conversely, the wind god of leaf 56 of the Codex Borgia, which corresponds to the second Vaticanus leaf, is painted and equipped in a thoroughly typical manner, and he holds in his hand a white and sponge-like curved staff, which resembles in form the hoe that is given into the hand of the figure of the Wind in the meteorological chapter of Sahag\u00fan, in the manuscript of the Biblioteca del Palacio, and is there called ecauictli, i.e. \"hoe of the wind god.\"\n\nEvidently the blue Quetzalcoatl of leaf 73 of the Codex Borgia and the corresponding figure of our first Vaticanus leaf (75) represent the celestial Quetzalcoatl, the whole leaves the celestial region, while the Quetzalcoatl of leaf 56 of the Codex Borgia and the corresponding figure of our second Vaticanus leaf represent the earthly Quetzalcoatl, the whole leaves the earthly region. This is confirmed by the fact that on the latter leaf the death god holds in his hand the staff-rattle chicahuaztli, which the earth, mountain, and water deities carry, and which also, in the series treated in the seventh chapter of this book, distinguished the guardians of the earth from the guardians or bearers of the sky. And it is fully proven by the fact that on this second Vaticanus leaf (76) and the corresponding leaf 56 of the Codex Borgia, in the lower part, Tlaltecuhtli, the earth, is brought before view in the form of a skull opening its jaws upward. In our manuscript it further shows the peculiarity that the eyes are drawn as if driven out of their sockets, and that in the middle of the death's-head, where on the Codex Borgia leaf one sees the hieroglyph chalchihuitl, the sign ollin, \"movement,\" which is also the sign of the earthquake, is depicted.\n\nThese two double images, which represent the contrast of life and death in the celestial and in the earthly region, are now also both accompanied by day signs. On the first leaf (75) of the Codex Vaticanus, besides the 2\u00d75 signs that form the border, the twenty signs are once more repeated, partly around, partly on the two figures of the double image, in that certain body parts and certain items of costume are brought into connection with them. In this the distribution on our Vaticanus image (75) is approximately the same as on the corresponding leaf 73 of the Codex Borgia, although on our leaf Quetzalcoatl is turned to the right, while on the Codex Borgia leaf he sits turned to the left. On the Codex Borgia image the twenty day signs have been drawn in completely around the circumference of the double image, ending with xochitl, \"flower,\" which stands in the mouth of the figure turned to the right there, the death god. On the leaf of our manuscript the scribe has written the signs only up to the fifteenth, quauhtli, \"eagle,\" which stands in the same place as in the Codex Borgia, at the foot of the figure turned to the right, here Quetzalcoatl's. The following signs are missing. But, corresponding to the flower which one sees as the last of the twenty day signs before the mouth of the figure turned to the right (the death god) of the Codex Borgia, there is drawn on our Vaticanus leaf, before the mouth of the figure turned to the right (here Quetzalcoatl's), a form painted in blue colour, which outwardly resembles somewhat the flower and agrees exactly in form with the element painted mainly in yellow colour that is indicated before the mouth of the sun god of the tenth Tonalamatl section (cf. fig. 509, above p. 259), and presumably signifies fire or fiery breath.\n\nThe second double image, leaf 76 of our manuscript, leaf 56 of the Codex Borgia, is accompanied on each side by a row of ten day signs. The first row, that on the right side of the leaf, begins at the bottom with cipactli, the initial sign of the first quarter of the Tonalamatl arranged in five-member columns; the second row, that on the left side of the leaf, correspondingly with ocelotl, \"jaguar,\" the initial sign of the second quarter of the Tonalamatl arranged in five-member columns. Above these initial signs of the first two Tonalamatl quarters, which at the same time represent the cardinal direction of the East (= Quetzalcoatl?) and of the North (= Mictlantecuhtli), there then follow on each side nine more signs, which are always six signs apart from the next lower sign, so that altogether 60 days would be recorded on each side of the leaf. The distance between the lower and the upper ends of these columns of day signs, i.e. from the sign cipactli to the sign ocelotl, and from the sign quauhtli to the sign tochtli, is indicated in the Codex Borgia at the lower and upper edge of the leaf by twelve red discs. The same twice-twelve discs or circles, i.e. twice the number 12, we see in our manuscript in the upper part of the leaf indicated in red before the head of the death god, in blue before that of Quetzalcoatl. The number six, which stands out in the intervals separating the signs of these two columns from one another, may refer to the cardinal directions, but may also perhaps be connected with the fact that this leaf is the leaf of the earth, for even numbers, in particular six, appear in the Codex Fej\u00e9rv\u00e1ry and in the Codex Bologna linked with the female deities, the deities of the earth.\u00b9)\n\n21. The Deer of the East and the Deer of the North.\n\nLeaf 77, right half (= Kingsborough 20, upper half).\n\nAfter on earlier leaves the four, the five, the six directions or world-regions had been repeatedly considered from various points of view, on the two immediately preceding leaves of our manuscript a specialized consideration has, so to speak, begun, in that on them, both in the two figures of the double images and in the two whole images, the Above and Below and their union, the Middle, are brought before view. This manner of consideration is now continued here. The two rows of day signs that stand beside the two images of this section are the initial columns of the first and second quarters of the Tonalamatl arranged in five-member columns. Through them, and the twice twelve dots, which indicate that here actually the twelve following columns of each quarter ought properly to have been written out as well, the first and the second quarter of the Tonalamatl, and with them the cardinal directions of the East and the North, are thus brought before the viewer. These two cardinal directions are now here \u2014 and likewise in two exactly corresponding images which are reproduced on leaf 22 (= Kingsborough 17) of the Codex Borgia in another place, i.e. attached to leaves of other content \u2014 represented each by a figure of a deer.\n\nThe first is of white colour, wears a costly ear-plug (xiuhnacochtli), from which hangs a pendant in the form of a ray, exactly the form we have encountered with the fire god, the regent of the twentieth Tonalamatl section. On the head and at the neck he wears a feather ornament. Around the shoulders a garland of blood grass is wound. On his body one sees a jewel disc, from which hangs a chalchihuitl band. Below him (his anal opening) chains of jewel discs ending in flowers are indicated. This so adorned white deer is drawn as dead, and from his mouth comes forth a long tongue, bordered on the underside (outer side) with foam-lines, curling up at the tip.\n\nThe second deer is brown, without any ornament and with open eye, thus depicted as living. This one is pierced through the middle of the body by a spear \u2014 which, however, we probably ought not to interpret otherwise than when, for example, Quetzalcoatl's blood-serpent is drawn struck by a spear, or when the flower-tree of Tamoanchan (cf. above p. 178) or the maize-roller (metlapilli) in the hand of the old goddess (cf. above pp. 188 and 190) are represented broken in the middle and with blood streaming from the break.\n\nThe deer signifies, for the ancient Mexicans, as we have seen above (p. 150, 151), drought or downright fire. \u2014 \"Pingono che cos\u00ec diventano li huomini ingrati\", \"per la quale significano la diligenza de li huomini in cercar il bisogno per sostentarsi\" \u2014 so says the interpreter of Codex Vaticanus A (No. 3738) concerning it. The brown deer will accordingly signify the North as a region of drought, and this is indeed \u2014 as one grows almost weary of finding it \u2014 the representation which the Mexicans, again and again, linked with the North. What, then, does the dead, white deer mean, adorned with flowers and feathers and with\n\n1) Cf. my commentary on the Codex Fej\u00e9rv\u00e1ry-Mayer. Berlin 1901. p. [illegible]\n\nDigitized by Google\n\n22. The Five Goddesses of the West and the Five Gods of the South. 303\n\nthe ear-ornament of the fire god, in a sense breathing forth a rim of foam from its mouth? \u2014 I believe that here we have to compare the rim of foam and the white animal directly with the white vessels bearing the rim of foam at the upper edge, of which I have depicted a series on p. 30. That is to say, the white deer signifies the fire of the incense, and this, just like the incense-pouch in the priest's hand, or the tobacco-gourd on his back, means abundance of food and marks out the East as a region of fertility and prosperity \u2014 something which we, too, have already found expressed again and again, in what is by now an almost wearisome repetition.\n\n22. The Five Goddesses of the West and the Five Gods of the South.\n\nFolio 77 (= Kingsborough 20), left half, to 79 (= Kingsborough 18).\n\nThe representations on these folios are, in our manuscript, rightly joined to the two deer, and these in turn to the images of the Above and the Below, of Life and of Death. For, taken together, these images render the properties of the six directions, arranged in pairs. The same principle is not followed in the Codex Borgia. There the corresponding images have been fitted in merely to fill whatever free spaces happened to be available. Thus in the Codex Borgia the two double images that represent the Above and the Below were torn apart from one another. The two deer stood in yet a third place. And so we likewise find those images corresponding to the representations of this twenty-second section \u2014 the gods of the West and of the South \u2014 reproduced in the Codex Borgia at quite another place again, on folios 47 and 48 (= Kingsborough 88 and 67), following on from the complicated representations, discussed above on p. 118 ff., that deal with the mythology of the planet Venus.\n\nThe arrangement of the tonalamatl into columns of five members, which we see set out on the first eight folios of our manuscript, has the result that the tonalamatl divides of itself into four quarters of thirteen columns each, which have the property that the day-signs, identically numbered within the columns, are linked, from the first to the last column, in regular sequence with the numerals 1\u201313. The day-signs which, accordingly, joined with the numeral one, form the initial column of the third quarter of the tonalamatl \u2014 these are the signs:\n\n\"Deer\"; quiahuitl \"Rain\"; ozomatli \"Monkey\"; calli \"House\"; quauhtli \"Eagle\" \u2014\n\nthese we see indicated, on the folios of this section of our manuscript, in the lower halves, at the lower edge of the fields, on the left-hand side. And the day-signs which, joined with the numeral one, make up the initial column of the fourth quarter of the tonalamatl \u2014 these are the signs:\n\nxochitl \"Flower\"; malinalli \"Twisted Grass\"; cuetzpalin \"Lizard\"; cozcacuauhtli \"Vulture\"; tochtli \"Rabbit\" \u2014\n\nthese are depicted, in corresponding fashion, in the upper halves of the folios of this section, at the lower edge of the fields, on the left-hand side. But neither the one set nor the other of these twice-five signs stands alone. Above them, occupying the whole left-hand side of the five fields, there have first been drawn three discs or dots denoting the numeral \"three\"; then again a day-sign in each case; and finally eight discs or dots representing the numeral \"eight\". The signs depicted between the Three and the Eight are the day-signs following four places after the initial signs, and consequently show us, only arranged in a different way, the very same images as the initial signs. In each quarter of the tonalamatl they represent the column following four after the initial column \u2014 that is, the fifth column. It is clear that the three and the eight discs or dots which, besides the two signs, are given on the left-hand side of the fields, are merely a substitute for the signs of the second to fourth and the sixth to thirteenth columns, which the draughtsman has spared himself the trouble of rendering in an actual image. Accordingly, the columns of signs and dots seen on the left-hand side of the five fields of this section denote the five horizontal rows of the two quarters of the tonalamatl. Through them, the third and the fourth quarters of the tonalamatl are brought to complete representation in the lower and the upper half of the folios.\n\nBesides the columns of signs and dots which present to the viewer the five horizontal rows of the two quarters of the tonalamatl, two further rows of figures are now to be seen in the twice-five fields of this section. Those in the five fields of the lower half are female deities; those of the upper halves, male. \u2014 The figures of the lower row, corresponding to the third quarter of the tonalamatl, the West, are depicted on folios 47 and 48 (= Kingsborough 68, 67) of the Codex Borgia (fig. 551) in the manner of Tlazolteotl, with the ichcaxochitl, the headband of unspun cotton, with the ear-plug made of the same material, and with the golden nose-crescent (yacametztli) of Tlazolteotl and of the pulque gods. But the eye has run out, or been bored out, and hangs from its socket, as with Xolotl, the god of twins and of misbirths, the regent of the seventeenth day-sign, who is reproduced above on p. 181 in fig. 386. On the crown of the head lies a feather ornament similar to the aztaxelli of the warriors, which, however, above a tuft of down feathers, consists as a rule of five white feathers (or paper strips). And at the nape of the neck the figures wear, as a kind of device, a black vessel in which lies a bundle of malinalli grass, tied together like a bundle of firewood. The upper body is bare. Around the hips is wound a skirt (enagua) which shows crossed bones on its surface and has a hem painted in the manner of the many-colored coral snake, the blood-snake. The whole appearance and attire are entirely the same in all five figures. Only they are painted differently on the face and on the forearms and lower legs \u2014 the first white (striped with red), the second blue, the third yellow, the fourth red, the fifth black. All hold in one hand a tuft of malinalli grass (a broom), and in the other the instruments of sacrifice and self-mortification \u2014 a sacrificial knife of black obsidian, a bone perforator, and an agave-thorn point, both furnished with the image of a flower, the symbol of blood. All of them drink the smoke that rises from a black incense- or fire-vessel standing on the ground before them. And indeed, in the case of the first figure, which presumably corresponds to the East, a rubber ball lies in the vessel. In the case of the second, which presumably denotes the North, the vessel is replaced by a crossroads, and the rising smoke by a centipede emerging from the goddess's mouth. In the case of the third, corresponding to the West, a skeleton sits in the bowl, holding a heart in one hand and a sacrificial knife in the other. The rising smoke is replaced by two streams of blood passing into the skeleton's mouth, one coming from the mouth of the figure, the other from her right breast. In the case of the fourth figure, that of the South, there lies on the bowl a bundle of malinalli grass and a many-colored snake (blood-snake). No smoke or anything of the kind passes into the figure's mouth; but a many-colored coral snake (blood-snake) issues from her mouth, and another hangs likewise on each of her two arms. Before the last figure, that of the Center or of the downward direction, a little owl sits in the bowl, and a stream of blood passes from the figure's mouth into that of the owl.\n\nIn our manuscript the five figures of the lower row are depicted in similar fashion, Tlazolteotl-like, with the ichcaxochitl and the plug of unspun cotton in the hair, but without the golden nose-crescent. Whereas, in the case of the last four, the same two (or three) [feathers,] above the forehead \u2014\n\nFig. 551. Goddess with the day-sign \"One Deer\", first of the five Cihuateteo, the goddesses of the West. Codex Borgia [...] (= Kingsborough [...])\n\nDigitized by Google\n\n22. The Five Goddesses of the West and the Five Gods of the South. 304\n\nflickering curls, as with the Codex Borgia figures. and, is the first of the five figures in our manuscript represented with the hair brushed up on one side, the warrior or tequiua coiffure. The eye, too, is drawn as bored-out or protruding in the figures of our manuscript. On the crown there likewise lies an aztaxelli-like ornament, but with a varying number of upright, black or white feathers. All wore at the neck the same black defensive garment with the malinalli-grass bundle. The loincloth (maxtlatl?) \u2014 [Knagua] \u2014 is on most of them further marked with two diagonal, crossing red stripes, such as Tlazolteotl, too, the seventh of the nine lords on leaf 22 of our manuscript (cf. fig. 293a, above p. 99), wears. Only on the first figure is the Knagua red and painted with crossed white bones of the dead. And in the last figure, corresponding to the fifth direction, the direction downward, the Knagua consists, as with the god of death, of strips of malinalli grass and is held fast by a girdle made of a skeletal vertebral column, upon which, at the back, a death's-head sits as a cross-mirror (tezcacuitlapilli). All five, however, besides the Knagua, are also clothed with the men's breechcloth (maxtlatl). Like the figures of the Codex Borgia leaves, they hold in one hand a bundle of malinalli grass (a broom), in the other the sacrificial and penitential implements \u2014 sacrificial knife, bone dagger, and agave-thorn point. The sequence of colors here is somewhat different from that in the Codex Borgia, namely white, yellow, blue, red, and again yellow \u2014 a sequence that actually corresponds better to that of the cardinal directions. An incense- or fire-vessel also stands before them on the ground, with varying contents, whose symbolism corresponds almost exactly to that of the Codex Borgia figures. Accordingly, we see here too the figure corresponding to the East drinking the smoke rising from a rubber ball. From the mouth of the figure of the North hangs a centipede, which here is additionally armed with scorpion pincers. In the figure of the West, blood flows from the hanging breast into the mouth of the small skeleton sitting in the incense bowl. In the red figure of the South we have in the bowl a rubber ball and a striped blood-serpent, and a striped blood-serpent likewise comes forth here from the figure's mouth, while another hangs over each of its two arms. In the last figure, the one corresponding to the downward direction, one sees in the black bowl before the goddess the little owl, surrounded now only by firewood and by colored rods, and here too one sees blood passing from the mouth of the figure \u2014 which, differing from the others, is drawn with crooked feet turned toward each other \u2014 into the death's-head gullet of the little owl.\n\nThese five figures are, as I already established in one of my earliest works\u00b9), the Ciuateteo or the \"otiamique Ciuapipiltin manca,\" \"the goddesses\" or \"the women who dwell at the crossroads,\" whom the Sahag\u00fan manuscript, in the first book, names immediately before Tlazolteotl, of whom it there says:\n\nmacuiltinteme yn imunpuauutl catca\njfiuech tlamiloa\n\nquilJt mach (ellauelui teca mocayava\nynic aea yte cA quimevaia tlauelilocati\nttnweuiliui ymecuiUui\nmatzicoliui ycxicochapi yrjrimiwiqui\nmomacwcuftza ttlacuahic quica\nyc mitvaya\n\nFive images they were,\nto them it was ascribed \u2014\nit was said, they vent their wrath on\npeople, they make their mockery\nof them (bewitch them).\n\nIf someone is possessed by a demon, struck\nby demons,\nwith mouth twisted and eyes turned\nawry (lying there),\n\nwith hands clenched together, feet\ndrawn in,\n\nstriking about themselves with their hands.\n\nFoam before the mouth,\nthen it was said: \u2014\n\nDigitized by Google\n\n30B\n\nII. Reverse side.\n\nomotennmirti he has joined himself (with a demon),\n\ntepan oquiztpu ciuapipilti omuac chantque the Ciuapipiltin, who dwell at the\ncrossroads, have taken on\nhis form. \u2014\n\nTherefore the parents warned their children and admonished them (on the days when the Ciuapipiltin come down) not to go out of the house: \u2014\n\nvuica xonquica flu! pan acy tmto yn ciuapipilli \"go not out, the Ciuapipiltin\ncome down upon their knees.\"\n\nThese ghostly beings, to whom in their temples or at the crossroads breads were offered in the shape of butterflies (papalotlaxcalli) and S-shaped ones (xonecuilli), which were held to be images of the lightning, others called xocoicxitlamatlamalli, and white, popped, roasted maize (izquitl), were regarded as the souls of the mocihuaquetzque, the warriors who had taken on the form of a woman, the women who had died in childbed. The woman who bore a child was, as I stated above on p. 251, compared by the Mexicans to the warrior who had been victorious, who had taken a captive. The woman who died in childbed, she was the warrior who had fallen, who had fallen into the hands of the enemy and been slaughtered on the sacrificial stone. \u2014 \"O my daughter,\" \u2014 she was addressed \u2014 \"thou brave one, thou beautiful and tender dove, thou hast exerted thyself as a brave one, thou hast fought resolutely, like thy mother, the goddess Ciuacoatl Quilaztli. Thou hast used the shield and the hand-sword, as a terrible and valiant female warrior, the shield and the sword which thy mother Ciuacoatl Quilaztli placed in thy hand.\"\u00b2)\n\nThe woman who died in childbed thus awaited the same lot as the warrior fallen in battle or slaughtered on the sacrificial stone. The souls of the dead warriors went up into heaven, into the House of the Sun, where they escorted the sun as it rose in the East with songs and dances up to the zenith. There, however, they were relieved by the souls of the women who had died in childbed, who, dwelling in the western heaven, received the sun at the height of its course and likewise, with songs and dances, escorted it down to the horizon. \u2014 \"Arise and lift thyself up,\" \u2014 the woman who had died in childbed was addressed \u2014 \"already it is day, already morning has come, already the Coyoltototl and the other birds are singing. Arise and array thyself! Go to that good place, the house of thy father, thy mother: the sun, where the blessed dwell \u2014 go, that the blessed ones, the heavenly goddesses, the Ciuapipiltin, may receive thee there, and that thou mayest ever dwell among them, to gladden with songs and dances our father, our mother, the Sun, and to escort her wherever she may go to disport herself.\"\u00b2)\n\nIn the western heaven, in the West, then, dwell these female warriors, the Ciuapipiltin, the souls of the dead women, the mocihuaquetzque, for which reason indeed it is called cihuatlampa, the \"region of the women.\" But because that is their dwelling place and their domain, therefore on the days that are dedicated to the West, that denote the West, the Ciuapipiltin have power. And these are the five days that make up the initial column of the third quarter of the tonalamatl, arranged in columns of five, the same days whose signs we have met in the five fields of the lower halves of the leaves of this section. On these five days, the days\n\nce mazatl \"one Deer\"\nce quiauitl \"one Rain\"\nce ozomatli \"one Monkey\"\nce calli \"one House\"\nce quauhtli \"one Eagle\"\n\nthere the Ciuapipiltin come down to earth (tlalpan ad temo in ciuapipiltin). And there they caused all manner of mischief. For they were indeed the brave ones, the female warriors, the mere sight of whom already caused fear and terror. Therefore the young warriors sought to obtain the hair or a finger of a woman who had died in childbed, in order to set it as a talisman into their shield, and thereby to instill fear and terror into their enemies.\u00b9) The evil sorcerers, the sorcerer-scoundrels, the temacpalitotique, knocked with the severed hand of a woman who had died in childbed upon the threshold of a house and thereby put the inmates into complete tetanic rigidity, into paralysis, so that they could plunder the house unpunished and unhindered and play all manner of mischief upon the inhabitants, especially the women.\u00b2) That the Ciuapipiltin, by their mere sight alone, must have caused paralyzing terror, is perhaps the reason why it was assumed that they caused epilepsy in children, so that on their days the children were anxiously guarded and not allowed to go out of the house. But perhaps also the other notion was at work here, that they, of whom it was said that when they came down to earth they sought their spindles, their work-baskets, and so forth, the whole apparatus of earthly female activity, also desired children and, wherever they found such, took possession of them. For there existed, as the passage cited above from the original text proves, among the Mexicans quite decidedly the same notion as among the ancient Orientals, that an epileptic was one possessed by a strange demon. It is also said that, if someone was well-formed of body, the Ciuapipiltin became jealous of his beauty and struck him with sickness.\u00b3) The Ciuapipiltin, finally, were also the women who seduced to unchastity, to adultery, to sin. Therefore the reporter says that the days on which the Ciuateteo were powerful, on which they came down to earth, brought forth \u2014 \"suciedades y torpezas.\"\u2074)\n\nIn those [dark] days, [these] Aztecs* were destined once to be stoned as adulterers\u2014\n\nThat the women depicted alongside the signs mafatl (deer), quiauitl (rain), ozomatli (monkey), calli (house), quauhtli (eagle) in the lower halves of leaves 77\u201379 of our manuscript represent the Ciuateteo or Ciuapipiltin is already proven by the fact that these signs are precisely the days on which (as Sahagun states in the second and fourth books, in the section on the \"movable feasts,\" i.e., the Tonalamatl feast-days) the Ciuateteo descend to earth. But this is also evident from the appearance and adornment of these figures. The Ciuateteo are white \u2014 mixtecaxique auh pani tlaolxaualli \u2014 as Sahagun describes in the first book. And the first of the female figures in the lower halves of our leaves is likewise white. The others naturally had to be given different colors, in order to express the variation of the cardinal directions. They are dressed like the Tzitzimime, for the Ciuateteo are, by their nature, akin to this goddess. They wear the loincloth of men and are \u2014 at least the first of them \u2014 coiffed as warriors, for the Ciuateteo are indeed the women-warriors. They are depicted with a protruding eye, like Xolotl, since, like him, they are the sacrificed ones who died in the exercise of their warrior calling. They are depicted \u2014 at least one of them, the last \u2014 with feet curved toward one another, for it is the Ciuateteo who have taken up their dwelling in those stricken with tetanus and in epileptics. They are, terrible already in appearance, painted and equipped with all manner of death-symbols. For the Ciuateteo are the uncanny, ghostly beings who hold power in the region of evening and in the time of twilight, and who have their cult-sites at the crossroads. Everything accords with the overall picture, and there can be no doubt as to the correctness of this interpretation.\n\nFig. 552. Macuil cuetzpalin, \"Five Lizard,\" first of the five gods of pleasure, the gods of the South.\n\nCodex Borgia 17 (= Kingsborough 58).\n\n1) Sahagun 5, cap. 2. \u2014 2) Sahagun 1, cap. 31. \u2014 3) Sahagun 4, cap. 22. \u2014 4) Sahagun 4, cap. 27.\n\nDigitized by Google\n\n308\n\nB. Reverse side.\n\nOpposite the five female deities, in the upper halves of leaves 77\u201379 of our manuscript, in whose five fields the initial signs of the fourth Tonalamatl quarter, which governs the South, are drawn, stand five male deities. These show, in the Codex Borgia (fig. 552), a similar alternation of colors as the five Ciuateteo. Except that, just as white is properly assigned to the Ciuateteo, so black is the color properly belonging to them, with which indeed the first of the five figures is painted, while the others are correspondingly rendered in blue, yellow, red, and \u2014 the last, since black has already been assigned to the first of the five \u2014 in green. Like the Ciuateteo, moreover, these five male deities characteristic of the South and the fourth Tonalamatl quarter also have, in the Codex Borgia, the black night-garment with the malinalli-bundle at the nape of the neck. Through this emblem, and through the parallel alternation of colors, this upper row of male deities is thus clearly marked, in the Codex Borgia, as a counterpart to the row of the Ciuateteo.\n\nIn the columns drawn on the left side of the fields of this section \u2014 expressing the five transverse rows of the third, respectively the fourth, Tonalamatl quarter \u2014 the fifth sign, besides the initial sign, is also rendered by the actual image of that sign, while the others are indicated only by discs or dots. This may have its reason in the fact that these signs of the fifth column of the Tonalamatl quarter \u2014 the days which combine, in their name along with their sign, the number Five \u2014 were regarded as especially characteristic for these deities who appear in the number five. While we would have to assume this in a certain sense also for the lower row of the Ciuateteo, it holds quite definitely for the upper row of the male deities. These are in fact named directly with the names of these fifth days of the Tonalamatl quarter, and therefore have (at least in the Codex Borgia) all of them, at the side of the mouth, in white color, the drawing of a human hand, which is indeed, in a certain sense, a hieroglyph for \"Five.\" Macuilli, \"a hand taken, a hand as a whole,\" is the Mexican word for \"Five.\" That this is indeed so is proven by the descriptions in the chapter on divine costumes of the Sahagun manuscript, where two of this upper row of male deities are named by their names and depicted with the sign of the human hand at the mouth (figs. 553, 554), which is described in the accompanying text by the word motenmacpalcuiticac (properly motenamacpalcuiticac), \"he has made himself a hand at the mouth,\" and elsewhere by tennacpatl, \"he wears a hand at the mouth.\" 1) \u2014 That indeed, for\n\n1) Publications from the Royal Museum for Ethnology. Vol. I, part 4 (Berlin 1890), p. 88 and 118 [numbers uncertain in source].\n\nDigitized by Google\n\n22. The five goddesses of the West and the five gods of the South. 309\n\nthe lower row of the five Ciuateteo, the days of the initial column of their Tonalamatl quarter (the third) are to hold, and for the upper row of the five male deities, the days of the fifth column of their (the fourth) Tonalamatl quarter are determinative \u2014 for this there is yet another proof.\n\nIn our manuscript the representations of this section are limited to the two rows, that of the Ciuateteo and the upper row of the male deities. But in the Codex Borgia one sees, at the beginning of these two rows, a further special field each. These two initial fields are rendered in dark color. The one before the row of female deities in blue, that before the row of the males in gray with black spots.\n\nIn the field standing before the row of the Ciuateteo, one sees, with their openings turned toward one another, two bowls, painted in the colors of the precious stone (chalchihuitl), but furnished with a face, which on one bowl has the features of a living face, on the other those of a skull. From the two bowls radiate four scolopendrae [centipedes] and four red coral-snakes (blood-snakes). And beneath them one sees, on the one side, a scolopendra-head, on the other, a cloak painted in the two colors of the rain-gods and ornamented with their nose-crescent. In the middle between the two bowls the hieroglyph chalchihuitl, \"green precious stone,\" is drawn, and out of it emerges a naked female figure, equipped with death-symbols \u2014 the back-of-head shield cuexcochtechimalli and the broken banner pantoyahualli \u2014 and having a band over her eyes.\n\nIn the field before the row of the male deities one sees, similarly, with their openings turned toward one another, two cooking-pots, and beneath each of them, serving as it were as a support for the round bottom, a long tubular bone. Blood- or fire-serpents also radiate here from the two pots. And out of a tecpatl, a sacrificial knife of flint, which is situated in the middle between the two pots, one sees a male figure emerging, which has the color and the facial paint (the drawing of the white hand at the mouth) of the first of the five male deities, but in addition has crooked limbs, like Xolotl, the god of monstrous births, whom we have come to know as the regent of the seventeenth day-sign (cf. fig. 386, above p. 181).\n\nTo enter into the symbolism of these representations would lead me too far afield. For our present purpose, what matters above all is that we should recognize, in each of these two fields, the actual image of five dates. And these are, in the lower field, the one before the row of the Ciuateteo, the days 13 miquiztli, 13 tecpatl, 13 itzcuintli, 13 ehecatl, 13 ocelotl, that is, the days preceding the initial days of the transverse rows of the third Tonalamatl quarter, belonging to the Ciuateteo and the West. In the field before the upper row, that of the male deities, however, the days are 4 calli, 4 quauhtli, 4 mazatl, 4 quiauitl, 4 ozomatli, that is, the days preceding the fifth days of the transverse rows of the fourth Tonalamatl quarter, characteristic of these male deities and the South. With this, I believe, it is sufficiently clearly suggested that for the Ciuateteo, the members of the lower row, the initial days of the transverse rows of their Tonalamatl quarter, that is, the days \u2014\n\nCe mazatl, Ce quiauitl, Ce ozomatli, Ce calli, Ce quauhtli\n\nare to hold good as names. For the upper row of the male deities, however, the fifth days of the transverse rows of their Tonalamatl quarter, that is, the days\n\nMacuil cuetzpalin \"Five Lizard\"\nMacuil cozcaquauhtli \"Five Vulture\"\nMacuil tochtli \"Five Rabbit\"\nMacuil xochitl \"Five Flower\"\nMacuil malinalli \"Five Twisted-Grass\"\n\nNow as regards these figures in detail, they are all, both in the Codex Borgia and in our manuscript, marked by a rectangularly bounded light field around the eyes, which indeed recalls a similar field around the eyes in the coyote-god, the dance-god Huehuecoyotl (cf. above p. 147). In the Codex Borgia they are, besides, all characterized by the\n\nDigitized by Google\n\n310\n\nB. Reverse side.\n\nabove-discussed drawing of the white hand at the mouth, which, however, in our manuscript, in the second figure, is replaced by the drawing of an actual hand entirely covering the mouth, and in the others by a bundle of grass-stalks. The hair, in the figures of the Codex Borgia, is disheveled, in the manner of that of the death-god, and stuck with owl-feathers, and wound about with a band of paper forming a tuft in front. On the crown lies a feather ornament which, above a great ball of down-feathers, shows two feathers (or paper-strips?), painted half red, half white, and, as it seems, furnished with eye and mouth-opening. In the figures of our manuscript the headdress varies; everywhere on the crown lies an ietemalli, whose components, however, differ among the various figures. On the breast all the figures of the Codex Borgia wear the white ring (anahuatl) of the god Tezcatlipoca, the image of the eye. And so too do various, though not all, figures of our manuscript. The figures of the Codex Borgia hold in one hand a copal-bag, in the other the sacrificial and penitential implements \u2014 a black obsidian knife, bone dagger, and maguey-leaf spine. The figures of our manuscript have, like the Ciuateteo, in one hand a bundle of malinalli-grass (a broom), in the other the sacrificial and penitential implements, a sacrificial knife of flint, bone dagger, and maguey-leaf spine. Before the figures of the Codex Borgia, finally, stands on the ground a white fire- or incense-vessel of the kind I have reproduced above, p. 30, in figs. 80a\u2013c, with copal or rubber, from which black smoke rises and passes into the mouth of the figures. These incense-vessels are absent from the figures of our manuscript.\n\nTo the first figure belongs the name Macuil cuetzpalin, \"Five Lizard.\" Within this series of southern gods it ought to designate the region of the East. In the Codex Borgia the god is drawn as black, in our manuscript as half black, half white. In our manuscript he has his head covered with a white cloth, over which lies an *ihuiitzolli* whose end-tuft consists of quetzal feathers. On his breast he wears the eye, Tezcatlipoca's white ring. In the Codex Borgia one sees beside him the emblems of war drawn \u2014 shield, spear-bundle, and messenger's fan \u2014 and from the incense-vessel before him, together with black smoke, blood passes over into the mouth of the god. A god characterized by the hieroglyph Macuil cuetzpalin, \"Five Lizard,\" is depicted in the Sahag\u00fan manuscript of the Biblioteca del Palacio in Madrid (fig. 355, p. 308 above) as one of the two figures that stood atop the great temple in Mexico at the top of the stair-ramps, into whose hands one placed the poles of the banners that were planted when a festival was to be celebrated.\n\nThe second figure bears the name Macuil cozcaquauhtli, \"Five Vulture.\" Within this series of the gods of the South it ought to represent the cardinal direction of the North. In the Codex Borgia here, as at the corresponding place in the series of the female deities, a blue god is drawn, and an axe and a broken bone-dagger are indicated before him. \u2014 The figure in our manuscript has roughly the appearance of a sun and fire god, or a red Tezcatlipoca. He is the only one among the five gods of this series who has, instead of a stone-knife bundle, a hand at the mouth. Not, however, the white drawing of a hand, as in the Codex Borgia figures, but apparently a real human hand, which lies before the mouth in the same manner as the hand of the human forearm which the red (Tlahuahque) Tezcatlipoca representing the god Xipe, the regent of the fifteenth day-sign (cf. fig. 380, p. 174 above), holds before his mouth. The god is, as already said, painted red, with fire-colored hair, which is wound about with a band set with precious-stone discs, with the usual stylized bird's head at the front. On the crown lies a feather-crest of red feathers. As breast-ornament this god wears a stone knife, and on the upper arm a large ring-ornament (machoncotl) painted in blue (turquoise) color.\n\nThe third god, who in this series of the gods of the South must represent the cardinal direction of the West, bears the name Macuil tochtli, \"Five Rabbit.\" He is painted with yellow color in both manuscripts. Now, in order to be able to distinguish, within the yellow color, the rectangularly bounded yellow field which \u2014 a very characteristic feature for all the gods of this series \u2014 is to be seen in the area around the eye, the draughtsman of the Codex Borgia has painted the god with a somewhat deeper yellow, almost brownish color, but our manuscript, conversely, has rendered this actually yellow field with dark, grey color. This god is drawn in our manuscript in\n\n[Digitized by Google]\n\n22. The five goddesses of the West and the five gods of the South.\n\n311\n\ngeneral similarly to the previous figure, but with a bundle of stone knives before the mouth, and also wearing on the front of the head-band a flower, out of which a bundle of stone knives projects. On his breast he wears the eye, the primal form of the white ring (anahuatl) of the god Tezcatlipoca, and on the upper arm he has an upper-arm ring machoncotl painted in blue color, like the red god, the second of this series.\n\nIn the Codex Borgia one sees, in the case of this third figure, from the incense-vessel, together with the black smoke, a precious-stone band drawn into the mouth of the god, and beside this figure the Codex Borgia has drawn a pulque-vessel, that is, the Codex Borgia conceives, in accordance with the meaning of the sign tochtli, this god as a pulque-god. In fact, in the Sahag\u00fan manuscript of the Biblioteca del Palacio too, the god Macuil tochtli is drawn indeed with the white hand at the mouth (motemacpalhuitica) and the crown-feather crest (quetzalpatzactli) of the god Macuilxochitl, but at the same time with the axe (iztopolli) of the pulque-gods in his hand and with the nose-half-moon (yacametztli) of the pulque-gods as shield-device (cf. fig. 353, p. 308 above).\n\nThe fourth god, who bears the name Macuilxochitl, is now the genuine, true South-god, who within this series of the gods of the South represents the South. He is painted, in the Codex Borgia, like the fourth Cihuateotl, with red color. And so he also appears in the images of the Sahag\u00fan manuscript and of the pictorial manuscript of the Florentine Biblioteca Nazionale (cf. figs. 367 and 305, p. 163 above). This is the red god whom we encountered as the third of the four gods of the fifth Venus-period (assigned to the South) (fig. 437, p. 207 above), and who on leaf 72 of the Codex Borgia is enclosed by the fourth serpent, the serpent of the South (fig. 550, p. 296 above) \u2014 the god of pleasure, the Ahuiatl, the god of dance and of play, in particular of the ball-game (tlachtli) and of the dice-game (patolli). As god of the dice-game he is depicted in the pictorial manuscript of the Florentine Biblioteca Nazionale (fig. 365, p. 163 above), and as the god of the ball-game his stone image, in the posture of one watching the game, stood everywhere on the ball-courts, from which presumably also came the images that I reproduced above on pp. 164 and 166 in figs. 369\u2013371. That is why we also see here, on the Codex Borgia leaf, the rubber ball, the play-ball, indicated with this god. Beside it, to be sure, also an axe (tepoztli), for play leads to gambling-away. The great ball-players gamble away in the end all their goods and chattels and even themselves. And for that reason perhaps we see also, in our Codex Borgia image, from the incense-vessel before the god, together with the dark smoke, also a blood-band drawn into the mouth of the god \u2014 unless this has another, deeper meaning relating to the Ahuiatl, the god of pleasure, the god of lust.\n\nIn our manuscript there is, curiously, in place of the red god, a black one drawn here, and indeed \u2014 apart from the drawing on the face \u2014 a proper Tezcatlipoca, with his smoking mirror at the ear, the warrior's feather-ornament aztaxelli on the crown, and with the eye, the white ring (anahuatl), as breast-ornament. It seems to me not impossible, indeed probable, that in our manuscript there is again a confusion present, that perhaps this black Tezcatlipoca-like god has to exchange his place with the red god, the second of the series.\n\nThe fifth and last god of this series bears the name Macuil malinalli, and he must, within the main region, the South, represent the fifth direction, the above-below. He is represented in the Codex Borgia as a green god, namely as Cinteotl, as maize-god. As with the first god, the god of the East, there lies with him a rubber ball in the fire-vessel, which, as we know, signifies abundance of food, and with the smoke a precious-stone band rises from it into the mouth of the god, and another precious-stone band goes up from the mouth, ending in a maize-cob. Another maize-cob is additionally indicated in the upper part of the compartment. Evidently the earth is thought of here as the fruit-bearing one. I recall that above, p. 279, the sign macuil malinalli was designated as one that guarantees wealth to those born under it.\n\nIn our manuscript the fifth god is painted with blue color. He has a red cloth, studded with feather-balls, on his head, such as one sees on the earth-god Xipe, on the red Tezcatlipoca,\n\n1) from the Royal Museum for Ethnology. Vol. I. Part I. Berlin 1899. K. Jil. [translator: illegible/uncertain fragment]\n\n[Digitized by Google]\n\n312\n\nB. Reverse side.\n\nand also on the old fire-goddess Chantico. Here presumably the same conceptions are present as with the green god, the maize-god of the Codex Borgia.\n\nIn our manuscript the representations of this section are confined to the two rows of the Cihuateteo and of the gods of the Macuilxochitl series. On the corresponding leaves (47 and 48 = Kingsborough 68, 67) of the Codex Borgia, however \u2014 apart from the two dark fields that are additionally appended before the rows of the Cihuateteo and of the gods of the Macuilxochitl series \u2014 there is present yet a third, lowest row of figures, which we may briefly designate as the five forms of the goddess of the Earth. \u2014 These are five female figures, who wear the black rubber-paint (motenteocopinticac) of the goddess Tlazolteotl about the mouth, the golden nose-half-moon (yacametztli) of the same goddess, her head-band of unspun cotton (ichcaxochitl) and the ear-plug of the same material, as well as the tuft of yellow feathers (toyaomalli) at the neck, which, however, ties together the tangled, dark hair of the\n\nFig. 556. atl-tlachinolli, water (spear-throwing) and fire, the metaphorical designation of war.\nWith the Tlazolteotl of the East.\nCodex Borgia 47 (= Kingsborough 68).\n\nFig. 557. tecpatl \"flint-knife,\" xiuhcoatl \"fire-serpent\" and Mixcoatl, the god of the Chichimeca and of the hunt.\nWith the Earth-goddess of the North.\nCodex Borgia 47 (= Kingsborough 68).\n\nFig. 558. Cinteotl, the maize-goddess, and as \"riches\" (necuiltonolli), \"annexation,\" namacaliztli \"sale into slavery\" and yaomiquiztli \"death in war.\"\nWith the Earth-goddess of the West.\nCodex Borgia 48\n(= Kingsborough 67).\n\nFig. 559. tonatiuh, the sun.\neztli \"blood,\" tlamictiliztli \"human sacrifice.\" With the Earth-goddess of the South.\nCodex Borgia 48\n(= Kingsborough 67).\n\nFig. 560. The descending bat. With the Itzpapalotl, the goddess of the agave-plant, the earth-goddess of the Center or of the downward direction.\nCodex Borgia 48\n(= Kingsborough 67).\n\nDigitized by Google\n\n22. The five goddesses of the West and the five gods of the South.\n\n313\n\ndeath-god, and a kind of little head on the crown, and are otherwise distinguished, in a manner similar to the Cihuateteo and to the gods of the Macuilxochitl series, in color. The first, however, is here painted yellow (and striped red), for that is the color properly belonging to the earth-goddess. This first figure is, moreover, as the actual goddess of the Earth, marked by the drawing of a black footprint on the cheek. The following three are then, like the corresponding figures of the two upper rows, blue, yellow, red; the last, however, again differently, white and covered with down-feathers.\n\nThe first goddess, who must correspond to the East, is designated with the date Chicunaui acatl, \"Nine Reed.\" This is a day which is indeed given in Sahag\u00fan (Book 4, chap. 30) as the day dedicated to the goddess Tlazolteotl, and under whose name the goddess Tlazolteotl is also depicted on the reverse side of the Codex Bologna. This first form of the earth-goddess is, on her garment and at various other places on her body, garnished entirely with arrow-points. She holds in one hand a bundle of malinalli-grass (a broom), in the other a bundle of spears and the peculiar thrusting weapon, seemingly made from a swordfish's sword. Beside her a burning house and the naked figure of the water-goddess in the water are indicated (fig. 556). This is, again, another and highly interesting form of the hieroglyph atl-tlachinolli, \"water (spear-throwing) and conflagration,\" the metaphorical designation of war.\n\nThe second, the blue goddess, who must correspond to the North, is designated with the date Nahui tecpatl, \"Four Flint-knives,\" which, if one prefers, may also be translated \"nothing but flint-knives.\" Her garment is patterned and adorned all over with flint-knives. Beside her are shown a flint-knife as the lower, ground-lying part of a fire-drill, an arrow, and the leg of Mixcoatl \u2014 the god of the North, of the Chichimecs, and of the hunt \u2014 trimmed with a black mask at the knee (fig. 557).\n\nThe third, the yellow goddess, who must represent the West, is designated with the date Chicuacen acatl, \"Six Reed.\" Her garment is patterned all over with bones. Beside her the maize goddess is seen between two maize plants in the water. Above that an axe, a bound captive, and an arrow (fig. 558). The West as the region of water and the homeland of maize is clearly illustrated by the former. The other three images above it, the axe, the bound captive, the arrow, might be meant to signify the three things that were inseparably bound up for the Mexican with the notion of water as the fluid, mobile element \u2014 icnoyotl (poverty), tlanamactiliztli (sale into slavery), yaomiquiztli (death in war)*).\n\nThe fourth, the red goddess, must denote the South. She is designated with the date Chicuei acatl, \"Eight Reed,\" a day which in the Codex Bologna and in the Codex Laud appears to occur as the name of the moon goddess*). The garment of this goddess likewise shows (besides nose-crescents) bones as ornament. Beside her are depicted the sun and blood, and a heart pierced by an arrow, a treasure chest, a torn-off human head, and a priest cutting open his breast with the sacrificial knife (fig. 559). All symbols that mark this cardinal direction, the region of the South, as a region of sacrifice.\n\nThe fifth goddess, the white goddess, who must denote the lower region, appears to be designated with the date Ce quauhtli, \"One Eagle.\" It is Mayauel, the goddess of the agave plant, here painted with a similar face too, as for instance the Mayauel who is the fourth of the four guardians of the first (likewise center- or lower-region-denoting) Venus period on leaf 16 (= Kingsborough 23) of the Codex Borgia (cf. fig. 409, above p. 1%). At present the lower part of this compartment is almost completely rubbed away. Kingsborough's draftsman seems to have seen still more. Here, beneath the goddess, he draws a peculiar animal (fig. 560), which apparently comes flying down from above, and which, in its tail-like appendage, resembles the bat-god of leaf 49 (= Kingsborough 66) of the Codex Borgia (fig. 314, p. 113).\n\n1) See my commentary on the Codex Fej\u00e9rv\u00e1ry-Mayer. Berlin 1901. p. 88.\n\n2) Cf. my commentary on the Tonalamatl of the Aubin Collection. Berlin 1900.\n\n3) Codex Fej\u00e9rv\u00e1ry-Mayer. Berlin 1901. pp. .V2, 85, 80.\n\n4) Cf. Codex Vaticanus No. 3773.\n\nDigitized by Google\n\n814\n\nB. Verso.\n\nThis series of the five forms of the Earth Goddess was important to me, apart from the interest inherent in it, also because it proves to me that above, in the section dealing with the four-times-five guardians of the Venus periods, I correctly related the Venus periods to the cardinal directions. For there too we found that Mayauel (standing first there) was indicative of the center or the lower region, and the true Tlazolteotl (who stands there in second place) was indicative of the region of the East.\n\n23. The Thirteen-Times-Five Venus Periods.\n\nLeaves 80\u201384 (= Kingsborough 17\u201313).\n\nThe following five leaves of our manuscript, as well as the corresponding ones of the Codex Borgia (53, lower left, and 54 = Kingsborough 62, 61) and of the Codex Bologna (W\u201311), contain the important representations from which, as I first demonstrated at the time*), it emerges most clearly not only that the authors of these picture-writings, who undoubtedly belonged to Mexican-speaking tribes, were just as well acquainted with the Venus period \u2014 the synodic revolution of the planet Venus, the time that elapses from one conjunction of this heavenly body to the next of the same name \u2014 as were the scribes of the Dresden Maya manuscript, but also that the particular superstitious notions which those ancient tribes associated with this heavenly body were, among the Mexicans as among the Maya tribes, essentially the same.\n\nFrom the given magnitude of the synodic period of revolution of the planet Venus, which on average amounts to 583 days, 22 hours, 6 minutes, 40 seconds, but which was assumed by those ancient scholars, somewhat inexactly, to be 584 days, it followed \u2014 since 584 = 29 \u00d7 20 + 4, and the 4 goes into the 20, indeed five times \u2014 that of the twenty signs which the Mexicans used to designate the successive days, only five fell on the initial position of these periods reckoned at 584 days. If, for example, the first period begins with the first sign cipactli, \"crocodile,\" then the second would have to begin with the fifth sign couatl, \"serpent,\" the third with the ninth sign atl, \"water,\" the fourth with the thirteenth sign acatl, \"reed,\" the fifth with the seventeenth sign olin, \"movement,\" and the initial day of the sixth would again coincide with the sign cipactli. Since, further, 584 = 44 \u00d7 13 + 12, and the 12 does not divide evenly into the 13, it followed that each successive period had to fall on a number reduced by one unit, and only after the passage of thirteen periods could it occur that the initial day of a period again contained the same number in its name as that of one of the preceding periods. And from these two facts followed the further one, that only after 5 \u00d7 13 periods had elapsed could the case occur again that the initial day of a period was named with the same sign and the same number as that of one of the preceding periods. Thus, then, through the circumstance that the Mexicans named their days by means of a combination of 13 numbers and 20 signs, and through the period of 584 days observed for the revolution of Venus, there arose, quite of themselves, two smaller cycles of five and of thirteen periods, and a larger cycle of 5 \u00d7 13 periods. The first, the cycle of five periods, comprised the possible variations of the initial sign. It thus corresponded to the unit of four years, for which the same held true, and which accordingly, as we have seen above, also played a special role in the life and cult of the Mexicans and Central Americans. The cycle of thirteen periods possessed the peculiarity that in it the initial days of the periods each had entirely different numbers in their names. It corresponded\n\n1) \"The Venus Period in the Picture Writings of the Codex Borgia Group.\" Proceedings of the Berlin Anthropological Society, 16 July 1898 [Zeitschrift f\u00fcr Ethnologie XXX, pp. (360)\u2013(383)]. Cf. Collected Essays on American Linguistics and Antiquities. Berlin (A. Asher & Co.) 1902. Vol. I, pp. 618\u2013667.\n\nDigitized by Google\n\nThe Thirteen-Times-Five Venus Periods. 315\n\nto what the older archaeologists called an indiction, the number of thirteen years, for which the same likewise held true. The great span of 5 \u00d7 13 Venus periods, finally, one can place alongside the well-known cycle of 4 \u00d7 13, or 52, years. For with this cycle too it held true that only after its completion did it occur again that the initial day of a year received the same sign and the same number as that of a preceding one. \u2014 The initial positions of the periods of that great cycle would accordingly, if one sets the initial day of the first Venus period as the initial day of the Tonalamatl, arrange themselves in the following manner:\n\nThe 13 \u00d7 5 Venus Periods. Table I. (Actual Sequence.)\n\n1.\n9.\n4.\n12.\n7.\n2.\n10.\n5.\n13.\n8.\n3.\n11.\n6. cipactli\n\n13.\n8.\n3.\n11.\n6.\n1.\n9.\n4.\n12.\n7.\n2.\n10.\n5. couatl\n\n12.\n7.\n2.\n10.\n5.\n13.\n8.\n3.\n11.\n6.\n1.\n9.\n4. atl\n\n11.\n6.\n1.\n9.\n4.\n12.\n7.\n2.\n10.\n5.\n13.\n8.\n3. acatl\n\n10.\n5.\n13.\n8.\n3.\n11.\n6.\n1.\n9.\n4.\n12.\n7.\n2. olin\n\nwhere it is assumed that one reads first from top to bottom, and then from left to right.\n\nThe initial days of the Venus periods named here in the five horizontal rows with number and sign, i.e., the initial days of the periods that always stand five periods apart from one another, and thus always contain the same sign in their name, are the ones that one sees listed with number and sign on leaves 80\u201384 of our manuscript and at the corresponding places of the other two manuscripts. Only the order in which they are named there is not that of the above list, which corresponds to the actual sequence of the periods. If one writes out, in a manner similar to before, these beginnings of the Venus periods given on leaves 80\u201384 in horizontal rows, the following order results instead:\n\nThe 13 \u00d7 5 Venus Periods. Table II. (Schematic Enumeration.)\n\n(Leaf 80) \u2014\n1.\n8.\n2.\n9.\n3.\n10.\n4.\n11.\n5.\n12.\n6.\n13.\n7. cipactli\n\n(Leaf 81) \u2014\n5.\n12.\n6.\n13.\n7.\n1.\n8.\n2.\n9.\n3.\n10.\n4.\n11. couatl\n\n(Leaf 82) \u2014\n9.\n3.\n10.\n4.\n11.\n5.\n12.\n6.\n13.\n7.\n1.\n8.\n2. atl\n\n(Leaf 83) \u2014\n13.\n7.\n1.\n8.\n2.\n9.\n3.\n10.\n4.\n11.\n5.\n12.\n6. acatl\n\n(Leaf 84) \u2014\n4.\n11.\n5.\n12.\n6.\n13.\n7.\n1.\n8.\n2.\n9.\n8.\n10. olin\n\nthat is, one has let these follow one another in a more schematic manner, [corresponding to] how the days of each horizontal row would come to stand one after another in the Tonalamatl.\n\nOne sees this both in our manuscript and on the corresponding leaves of the Codex Borgia. In a still more schematic manner, still more merely by way of indication, one has proceeded in the Codex Bologna. There the day-signs from the first to the twentieth are depicted, together with the numerals corresponding to the first twenty days of the Tonalamatl. But the five signs cipactli, couatl, atl, acatl, olin fall out of the series, in that they are depicted not with the numerals due to them in the series, but with a large \"One.\" \u2014 One sees how greatly these Mexican picture-writings differ from the Maya manuscripts in this respect. In the Maya manuscripts, calculations carried through, painstaking precision in fixing both the dates and their intervals. Here, in the Mexican writings, only a hint of the actual arithmetic, with arithmetic of any kind receding altogether before the images. One gets the impression that the Mexican picture-writings call to the minds of those already in the know what is familiar, while the Maya manuscripts record or transmit knowledge.\n\nIn this particular case, moreover, at least in our manuscript, care was taken that the viewer could be oriented as to the relationship between the schematic enumeration and the actual sequence. We see, on all five leaves, first of all \u2014 and likewise at the corresponding places of the Codex Borgia \u2014 indicated, partly at the upper, partly at the lower edge of the compartments, three day-signs, which indicate the distance from the initial sign of one Venus period to that of the next following,\n\n40*\n\nDigitized by Google\n\n316\n\nR. Verso\n\nfrom that to this passage over. Besides, one sees in our manuscript on each of the five leaves, at the upper left, five closely adjoining figures drawn, consisting of a disc, a trapezoid and a kind of serpent's-tongue, which on the first two leaves are painted blue, on the third yellow, on the fourth blue, and on the fifth again yellow. These figures, which recall somewhat the manner in which, in the historical Mexican picture-writings, the years are rendered by turquoise discs with rays going upward, can scarcely signify anything other than five periods, and must, I think, be periods which, like the three day-signs, denote an interval.\n\nIt is, to me, beyond doubt, the five periods that in reality lie between the periods whose beginnings follow one another in the schematic enumeration of these leaves. Indeed, on leaf 80 the day 1 Cipactli, the initial day of the first Venus period, is followed by the day 8 Cipactli, and this is, as a glance at Table I shows, the initial day of the sixth period following the first, that is, of a period separated from it by five periods.\n\nNow if it is indeed beyond doubt that on these five leaves the initial days of the 13\u00d75 Venus periods are set down in a correct manner, fully intelligible to the initiated, it further follows from this record, as likewise from the other passages of our manuscripts in which initial days of Venus periods are named, that, in contrast to the years, whose initial days, as we have seen (cf. above p. 279, 280), never fall on the beginning of the Tonalamatl, the Venus periods were counted from the beginning of the Tonalamatl. It would be more correct, I think, to put it that the count of the days of the Tonalamatl was brought into agreement with the Venus periods. For the Venus periods are given, fixed lengths of time; the beginning of the Tonalamatl was arbitrarily set at some particular time. The day on which the heavenly body occupied in the sky the position that was regarded as the starting point of its course \u2014 that day was, at some particular time, chosen as the first day of the Tonalamatl. The kinship relation of the Tonalamatl to the Venus period, to which I already drew attention at the beginning of the first chapter of this book, leaps to the eye here as well.\n\nOn the five leaves of our manuscript on which, then, in the manner more closely described above, the 13\u00d75 periods of Venus are recorded, we see, repeated five times, Tlauizcalpantecutli, the deity of the planet Venus, represented in his form as evening star (fig. 561), that is, in the form in which we have already met him above as the second of the four guardians of the fourth Venus period (cf. figs. 424, 425 above p. 203), with the quincunx of white spots or discs on the dark ground of the face, which represents the hieroglyph of the planet Venus (cf. figs. 399\u2013402 above p. 193). The god is depicted on these leaves of our manuscript as half white, half black: that is, the body, the upper arms and the knees are black, but the forearms, as well as the upper and lower legs, are white and provided with fine yellow longitudinal lines. This is a similar difference of colour to that given also for the images of Xolotl, and it suggests the idea \u2014 which in any case lies close at hand on other grounds \u2014 that this dreaded god of the Mexicans stands in some kinship relation to the god of the morning and evening star.\n\nOn the dark face marked with the quincunx of white spots, one still sees, in the figures of these leaves of our manuscript, beneath the eye, a figure resembling the blue lip-serpent Xiuhcoatl but painted in yellow, which in the middle of the face above the root of the nose seems to entwine itself and is there furnished with a kind of tassel. This figure, which I have not yet found in other figures of these manuscripts, recalls in a striking way a type that appears in sculptures and pictorial works of the Maya region (cf. figs. 562\u2013564) and presumably denotes a particular deity that will not stand very far from that of the evening star\u00b9). Like other images of the deity of the evening star, the figure of our leaves 80\u201384 is depicted with fire-coloured hair, which flares up over the forehead in three locks, and which is bound about with a band on which, instead of the (green or blue) jewel-discs, white discs (ground from shell) are set. Above the hair he wears an ornament of black feathers furnished with white tips, which here evidently is thought of as comb-like (as a paitzactli), and from which, like rays, three eagle feathers rise up. On the breast he wears the eye, the white ring (anahuatl) of the god Tezcatlipoca. But in front of it a star- or ray-eye furnished with protruding eyes, which evidently here is meant to be the image of the heavenly body itself, and which we have likewise seen on the neck-collar of the Tlauizcalpantecutli of the Codex Fej\u00e9rv\u00e1ry (cf. fig. 426 above p. 203). In one hand the god holds the spear-thrower (atlatl), in the other a bundle of three spears (tlacochtli). For the deity of this planet was conceived as a shooter. And indeed we have already, above, found the images of the five Venus periods (cf. figs. 540, 543, 544\u2013548 above p. 286, 287, 289) armed with spear-thrower and spear.\n\n\u00b9) Cf. Seler, \"Die alten Ansiedlungen von Chacul\u00e1 im Distrikte Nenton des Departements Huehuetenango der Republik Guatemala.\" Berlin (Dietrich Reimer) 1901, p. 88ff. and 177, 178.\n\n\u00a721. The Thirteen-times-five Venus Periods. 317\n\nTo these images of our manuscript, in the whole construction of the figure, the corresponding figures depicted at the corresponding places of the Codex Bologna are similar (fig. 565). We see the fire-coloured hair, which flares up over the forehead in three locks. On the head-band the white discs are set, which here however have a pointed oval shape. Above the hair one sees the large, comb-like ornament of black feathers furnished with white tips. The breast ornament is likewise the white ring (anahuatl) of the god Tezcatlipoca, and the lower hem of the pelerine-like neck-collar is here too set with long-stemmed eyes between other blunted figures, the remains of a star- or ray-eye. But of the five figures only the first is depicted with white, red-striped limbs, similar to the figures of our manuscript. The others are painted green, yellow, brown (which is presumably meant to count as red) and blue. The face does not have the characteristic painting of the deity of the evening star (the quincunx of white discs on a dark ground), but is a death's-head devouring blood and a heart. And the god not only holds the spear-thrower in his hand, but has laid a spear upon it and draws back to cast it. In the other hand, however, he holds shield, hand-flag, and, together with a bundle of spears, the hunter's net-bag (matlahuacalli).\n\nFig. 565. Tlauizcalpantecutli, the deity of the evening star, in the second period, hurling the spear against Chalchiuhtlicue, the goddess of flowing water. Codex Bologna 3.\n\nIn the five figures of the Codex Borgia, the fire-coloured hair flaring up over the forehead in three locks, the head-band with the white, pointed-oval attachments, and the comb of black feathers furnished with a white tip are likewise clearly present. Only here this comb is much shorter, consisting of merely five feathers that spread only over the crown proper. The first figure here too is again white and red-striped, the following ones blue, red, yellow (and red-striped), and again white (and red-striped). The first figure (fig. 566) has, like the Codex Bologna figures, a skull as head, but this is painted with the facial painting of the deity of the evening star, the quincunx of white discs on a dark ground. The following four figures, however, wear over the face \u2014 which, in the colour corresponding to the body colour and with the quincunx of white discs, is for the most part still clearly recognizable \u2014 a mask. And specifically, the second figure wears the mask of an owl, the third that of a dog, the fourth that of a rabbit, and the fifth again a death's-head, but this time a white one. The owl as the mask of the second figure and the death's-head as that of the fifth prove that the five periods and their signs are meant to correspond to the cardinal directions in the order east, north, west, south, below. These five deities of the Codex Borgia, too, have already laid the spear upon the spear-thrower and are shooting, carrying in the other hand a further bundle of spears and a shield.\n\nI have already cited above the passage from the Anales de Cuauhtitlan from which it emerges that the deity of the planet Venus was regarded as the shooting god, the sender of rays \u2014\n\nauh yn iuh quimatia \u2014 and as they knew (the ancients, the forefathers),\nyn iquac hualnetzi \u2014 when he appears (rises),\nypan tonalli \u2014 according to the sign (in which he rises),\ncecentlamantin ynpan miyotia \u2014 he strikes various classes of\npeople with his rays,\n\nquinmina, quintlahuilia \u2014 he shoots them, casts his light upon them. \u2014\n\nAnd evidently there was fear of these rays. For, as Sahag\u00fan states\u00b9), when the morning star rose, people stopped up chimneys and light-holes, so that no harm might enter the house with its light. \"Sometimes, however, he was also regarded as something good.\"\n\nThe cecentlamantin, the \"various classes of people,\" upon whom, according to the Anales de Cuauhtitlan, this planet casts its light according to the sign in which it rises, whom it shoots, wounds with its spear \u2014 these are now depicted on the leaves of our manuscript and the corresponding places of the other manuscripts before the deity of the planet. They correspond exactly in the three\n\nFig. 566. The evening star (Tlauizcalpantecutli), in the first period, hurling the spear against Chalchiuhtlicue, the water goddess.\nCodex Borgia 53 (= Kingsborough 53).\n\nFig. 567. Chalchiuhtlicue, the goddess of flowing water, struck by the spear of the planet Venus (in the second period).\nCodex Vaticanus B (No. 3773) 31\n(= Kingsborough 16).\n\nPicture writings. Only the sequence, i.e. the relation to a particular one of the five initial signs of the Venus periods, differs in the three manuscripts. This is in a certain way remarkable, since these representations, as well as the initial signs of the periods, evidently stand in relation to the cycle of the five directions, and one should expect from the outset that for one and the same group of images the relation to the cardinal directions should have been carried out in the same way in the different sources. The differences that occur here are evidently due to the fact that one class of scholars \u2014 among them those of the Codex Borgia \u2014 linked the representation showing us the deity of the earth (Tezcatlipoca, or the jaguar) struck by the spear of the planetary deity with the direction of the North, which is the region of the earth and of the realm of the dead, while the other school \u2014 among them the scholars of the Codex Bologna and those of our manuscript \u2014 believed they had to connect this representation with the fifth world-region, with the downward direction. Thus the Codex Borgia shows us the picture in question in second place, while the other two show it only in fifth place. For the rest, the sequence of the representations in the three manuscripts is, at least group by group, the same. Only in our manuscript have the two members of the first\n\n1) Nahiigtin 7, cap. 3.\n\nDigitized by Google\n\n320\n\n11. Rltclmite [Religious matters?].\n\nand the two members of the second pair of representations exchanged their places as compared with the order that we see followed in the Codex Borgia. And the same holds for the pictures of the Codex Bologna, where, as the accompanying Tochtli-days show, the sequence of the figures is to be taken as running from bottom to top on the first leaf, and from top to bottom on the second. \u2014 In what follows I shall discuss the individual figures in the order in which they appear in the Codex Borgia.\n\nIn the first division, which, as we have seen above, must correspond to the East, the god in the Codex Borgia hurls the spear against Chalchiuhtlicue, the water goddess (fig. 566). This representation stands in the second division in the Codex Bologna (fig. 565) and in our manuscript (fig. 567). The goddess sits, in the Codex Borgia and in the Codex Bologna, in the water; in our manuscript, at least, above a stream of water. In the Codex Borgia (fig. 566) she is depicted naked, but marked as the water goddess by the wreath of white shell discs in her hair and the broad, short, black strokes at the lower edge of the cheek. In the Codex Bologna (fig. 565) she is depicted before a tree which bears at the ends of its branches the hieroglyph chalchihuitl (green precious stone). Here too she has the two black stripes at the lower edge of the cheek, and wears a blue nose-plate, which is probably a somewhat degenerate form of the two-headed serpent that in the Codex Borgia is the nose ornament of Chalchiuhtlicue, and has on the crown of her head the trapeze-and-ray, the sign of the year, i.e. she wears the headdress of the rain god Tlaloc. In our manuscript (fig. 567) the two black strokes at the lower edge of the cheek seem to have run into one another. The goddess wears, as elsewhere in this manuscript, the blue, step-shaped nose-plate of the goddess Xochiquetzal, and her face looks out from the jaws of the serpent, which indeed, quite generally in the representations of these manuscripts, forms the helmet-mask of the water goddess.\n\nIn the second division, which must correspond to the North, we see in the Codex Borgia (fig. 568) the well-known figure of the black (Yaotzin) Tezcatlipoca struck by the spear of the god. Tezcatlipoca kneels here over a cleft mountain and before a double thorn-tree painted in the colors of the knee (brown and black). This is meant, presumably, to indicate that he is to be thought of as the Tepeyollotl, the \"heart of the mountains,\" the jaguar, the god of the knee. And that is why, in the other two manuscripts, he is simply replaced by the jaguar (ocelotl), though, as I already noted above, he is depicted in these other two manuscripts in the fifth division.\n\nIn the third division, which must correspond to the West, Cinteotl, the maize god, is shown struck by the spear in the Codex Borgia (fig. 570). He is here likewise depicted as a naked figure, with the small colored rectangular field on the cheek, the brown jagged nose-plate, and\n\nDigitized by Google\n\n23. The three-times-five Venus periods.\n\n321\n\nemerging from the opened beak of a dove (?), as on leaves 51 and 57 of the Codex Borgia. Above this bird-helmet-mask maize ears grow upward, which leave no doubt as to the nature of the deity. The god kneels upon an earth-ground painted in the two colors (brown and black), in which one sees worms eating the maize ears. This is a clear proof that this irradiation on the part of the star, this spear-throwing of the god, is to be regarded as a harmful influence for the one struck. \u2014 In the Codex Bologna and in our manuscript the corresponding picture stands in the\n\nFig. 570. Cinteotl, the maize god, struck by the spear of the planet Venus (in the third period).\n\nCodex Borgia 54 (= Kingsborough 61).\n\nFig. 571. Cinteotl, the maize god. struck by the spear of the planet Venus (in the first period).\n\nCodex Bologna 9.\n\nFig. 572. Huitocayotl, kingship, struck by the spear of the planet Venus (in the fourth period).\n\nCodex Borgia 5* (= Kingsborough 61).\n\nFig. 573. Codex Bologna 10. Fig. 574. Codex Vaticanus B (Nr. 3773) leaf 88 (= Kingsborough 11).\n\nHuitocayotl, kingship, struck by the spear of the planet Venus (in the fourth period).\n\nfirst division. In the Codex Bologna (fig. 571) one sees the maize god depicted before a tree whose crown, and whose branch-ends, are set with maize ears and maize blossoms. The god has the small, colored, rectangular field on the cheek, like the one in the Codex Borgia, likewise wears a jagged nose-plate, which only here is of blue color, and his face likewise looks out from the opened jaws of a bird. He kneels over an earth-ground painted in the two colors (brown and black). The harmful influence exerted by the spear-throwing of the star-god is here illustrated by the fact that the earth-ground is set with flame-tongues, meant, presumably, to characterize it as parched, dried out. Less characteristic is the corresponding picture in our manuscript (leaf 80), yet the yellow color of body and face, the black crosses and stroke-patterns on this body, and the flowering tree that the god bears on the crown of his head, are clear indications that this too is meant to be a maize god.\n\nIn the fourth and fifth divisions of the Codex Borgia, to which the fourth and third of the other two manuscripts correspond, symbolic figures take the place of the deity-figures. \u2014 In the fourth division of the Codex Borgia (fig. 572) one sees one of the well-known chairs or benches, cut from wood, painted, mounted with metal, ornamented with inlaid precious-stone discs, and covered with a jaguar skin, struck by the spear of the god. This chair, on which a figure kneels who wears, as it were, two ear-plugs as pegs in the wings of the nose, is evidently conceived as a royal throne and as symbol and expression of royal power, of huitocayotl. This is expressed still more clearly in the other two manuscripts, in that in the Codex Bologna (fig. 573) we see lying on the chair a sun-disc, from which bands of precious stones proceed, and it is this disc that here is the one pierced by the spear of the god. In our manuscript, however (fig. 574),\n\nFig. 575. Quauhyotl, warriorhood, struck by the spear of the planet Venus (in the fifth period).\n\nCodex Borgia VI (= Kingsborough 61).\n\nFig. 576. Codex Bologna 10.\n\nFig. 577.\n\nCodex Vaticanus B (Nr. 3773), leaf 92 (= Kingsborough 11).\n\nAltepetl, the community, the people, struck by the spear of the planet Venus (in the third period).\n\none sees, above the chair, a figure sitting who has a feather ornament at the neck and the sign of speech before the mouth, and who is evidently meant to represent the tlatoani, the \"speaker,\" i.e. the ruler, the king himself.\n\nIn the fifth division, finally, of the Codex Borgia (fig. 575), a shield and bundle of spears, the sign of war (yaoyotl), is shown struck by the spear of the god. This armament and these weapons are evidently intended as symbol for those who bear them, the warriors. This is proved clearly, should it not be clear in itself, by the head of the eagle (quauhtli) depicted above it. In the other two manuscripts an interesting variant occurs. In the Codex Bologna (fig. 576) one sees the familiar drawing of a mountain (tepetl) struck by the spear of the god. But from beneath this mountain a stream of water (atl) emerges. This water (atl) must be combined with the mountain (tepetl), giving then altepetl, i.e. \"the village, the community, the citizenry,\" which is made up of the people who make up the village (atl-tepetl), the community, but who naturally coincide with the warriors (quaquauhtin). \u2014 Our manuscript combines these two variants, in that it (fig. 577) draws an eagle (quauhtli) above the atl-tepetl.\n\nI refrain from entering into the symbolism of these curious pictures. There is also a lack of material for a proper judgment of these matters. In my work on the Venus period in the\n\nDigitized by Google\n\n23. The three-times-five Venus periods.\n\n323\n\npicture-writings of the Codex Borgia group, however, I have cited a passage from the Anales de Quauhtitlan, in which the various classes of people upon whom, according to the sign in which it appears, the planet Venus casts its rays, are named individually. In this text, which unfortunately is preserved solely, and in a badly corrupted state, in this important manuscript, I had to make a number of corrections. After carrying out these corrections, however, it emerged that at that passage of the Anales de Quauhtitlan the following is stated concerning the influence of the planet Venus in its five successive periods: \u2014\n\n1. In the sign Cipactli it shoots the old men and women.\n\n2. In the sign Coatl it shuts off the rain, it will not rain.\n\n3. In the sign Atl there is general drought.\n\n4. In the sign Acatl it shoots the kings.\n\n5. In the sign Ollin it shoots the youths and maidens.\n\nFig. 579. Balam, the jaguar. Struck by the spear of the planet Venus (in the second period). Dresden manuscript 17.\n\nFig. 580. The god with the Kan-sign, the maize god. Struck by the spear of the planet Venus (in the third period). Dresden manuscript 48.\n\nFig. 578. Chac-Ah-Kutz (?), the water god. Struck by the spear of the planet Venus (in the first period). Dresden manuscript 46.\n\nFig. 580. Holtun, the warrior. Struck by the spear of the planet Venus (in the fifth period). Dresden manuscript 50.\n\nFig. 581. d) The tortoise.\nStruck by the spear of the planet Venus\n(in the fourth period).\nDresden Manuscript 49,\n\nOne sees that here, at least in the case of the three last kinds of influence exercised by the planet Venus, there is a complete agreement with the three last pictures of the Codex Borgia. And presumably the first two, with the two members transposed, can likewise be traced back to the events depicted in the first two pictures of the Codex Borgia.\n\nIf these pictures are already significant enough in themselves, the interest that one must bring to them grows enormously by the fact that they prove to be parallel representations of certain pictures of the Dresden Maya manuscript. I have already above, and, as I believe, rightly, compared the deity-figures that are represented on leaf 70 of our manuscript and a corresponding leaf of the Codex Borgia, as guardians and regents of the five Venus periods, with the pictures that one sees on\n\n41*\n\nDigitized by Google\n\n324\n\nE. Seler.\n\nleaves 46\u201350 of the Dresden Maya manuscript, on which, in this manuscript, the 13\u00d75 Venus periods are set out with their sub-numbers and with distance figures, occupying the middle of the right halves of the leaves. On these same right halves of the leaves one sees below, in each case, a figure struck by the spear. I have presented these five figures to the reader in Figs. 578\u2013582, arranged in a particular order according to the cardinal directions, of which I shall give an account afterward. It is certainly a noteworthy fact that these five figures correspond almost exactly, in the order in which they are set out in the Codex Borgia, to the five figures struck by the spear in the manuscripts of the Codex Borgia group that I have just discussed.\n\nIndeed, the first of these five figures (Fig. 578), the god with the proliferating nose, is without doubt the god of water, to whom, as I have shown, the name Ah bolon tzacab belongs.\u00b9) He is thus the true counterpart of the Chalchiuhtlicue in the first Venus period of the Codex Borgia.\n\nThe second figure (Fig. 570), the jaguar, is merely another form of the god Tezcatlipoca, who in the Codex Borgia is depicted struck by the spear in the second Venus period. And indeed, this god had already, in the other two manuscripts of the Codex Borgia group, simply been replaced by the jaguar.\n\nThe third figure (Fig. 580), the god with the Kan sign, is without doubt the maize god, and thus corresponds exactly to the deity that is depicted in the Codex Borgia, in the third Venus period, as struck by the spear of the deity. Indeed, I even believe that in the fine line which one sees\u2014admittedly not clearly in our Fig. 580, but otherwise generally\u2014cutting across the entire length of the face of the god with the Kan sign, one can recognize the angularly broken black longitudinal stripes of the facial painting of the maize god in the manuscripts of the Codex Borgia group.\n\nOne may entertain doubt with regard to the fourth figure (Fig. 581). That is the tortoise. I believe, however, that here too a relationship exists. In the Codex Pom the tortoise is depicted with the hieroglyph of the sun on its back. This, I think, was occasioned by the yellow radiating pattern that the box tortoise, likewise widespread in Mexico, bears on its back. One will at least grant me, as a hypothesis with something to be said for it, my assumption that the tortoise was regarded as the sun-animal and therefore stands as a symbol of royal power.\n\nOne can, I believe, be more certain again with regard to the fifth figure (Fig. 582). For that this fifth figure struck by the spear is meant to represent a warrior is taught by mere inspection, since one sees him armed with shield and spear.\n\nIf, then, we have here in fact an almost exact parallel to the figures struck by the spear in the Codex Borgia, and if these figures of the Dresden manuscript are really set out in the same order as their counterparts in the Codex Borgia, it further follows that we must also relate the figures of the Dresden manuscript to the cardinal directions in the same manner as those of the Codex Borgia \u2014 that is, in the order that I have given these figures in the group put together on p. 323. There would then result, however, the curious fact that in the series of the regents of the five Venus periods (Figs. 544\u2013548, above, p. 289) [the count] began with the fifth direction, whereas in that of the figures struck by the spear it would have been closed with the fifth direction. Yet this is perhaps not something altogether so unusual, or even beyond possibility. Something similar seems indeed also to occur, as we have seen, with the thirteen hours of the night and of the day. And we have already met this difference in enumeration above in the case of the Venus periods as well. It is also plausible that usage fluctuated here, so that on one occasion one believed one had to begin with the fifth direction, the center of the quincunx, while on the other occasion one preferred rather to close with it.\n\n1) Cf. Seler, Gesammelte Abhandlungen zur amerikanischen Sprach- und Alterthumskunde [Collected Treatises on American Linguistics and Antiquities]. Berlin (A. Asher & Co.) 1902. Vol. I, pp. 877, 878.\n\n\nDigitized by Google\n\n21. The Red and the Black Tezcatlipoca.\n\n325\n\n24. The Red and the Black Tezcatlipoca.\n\nLeaf 85, 86 (= Kingsborough 12, 11).\n\nAbove, on p. 178, I reproduced two splendidly drawn pictures from the Codex Borgia, which I repeat here (Figs. 583, 584), in which one sees the black and the red Tezcatlipoca set opposite one another, once on the ballcourt, the other time on a trodden path, which is presumably meant to represent the earth. To these pictures there seems, in a certain way, to correspond the picture that fills pages 85, 86 of our manuscript.\n\nFig. 583. The red and the black Tezcatlipoca. Codex Borgia 21 (= Kingsborough 18).\n\nFig. 584. The red and the black Tezcatlipoca on the ballcourt. Codex Borgia 21 (= Kingsborough 18).\n\nOn these leaves of our manuscript one sees, in the middle of the picture above, a sun, and beneath it a vessel with maize. On the right side sits the red (Tlatlauhqui) Tezcatlipoca, clothed with a red cape. He wears Tezcatlipoca's smoking mirror at the temple or at the nape of the neck; but the loincloth \u2014 painted in red and white cross-stripes and furnished with a swallow-tail-like notched (majauhipti) end \u2014 as well as the likewise swallow-tail-like cut-out ends of his nose-rod, indicate that this red Tezcatlipoca is only a form of the god Xipe\n\nDigitized by Google\n\n326\n\n13. Reverse side.\n\nTotec, \"our lord of the flayed one,\" the god of the pustules. \u2014 Opposite, on the left side, one sees the black (Yayauhqui) Tezcatlipoca, \u2014 that is to say, he is actually, like the Tlahuizcalpantecuhtli of the preceding five leaves of our manuscript (cf. Fig. 561, p. 316), half white (and red-striped), half black, in that the body and the legs are white and red striped, while the arms and the ground color of the face are black. In the case of Tlahuizcalpantecuhtli, however, the color properly belonging to this god was white. Here, with this Tezcatlipoca, black belongs to him as his proper color. Thus the cape, too, which he has hanging over his back, is black. At the temple or at the nape of the neck he wears his smoking mirror.\n\nIn front of each of the two gods is drawn an animal that is taking a string of precious stones (cozcatl) out of a treasure chest whose lid is flipped open. The animal in front of the red (Tlatlauhqui) Tezcatlipoca, which, like the god, is clothed with a red cape, seems to correspond to the animal that we found depicted above, p. 169, with the pulque god, the regent of the twelfth day-sign, and which one also sees standing on the road with a banner in its arm in Fig. 583. I have identified this animal \u2014 which in the Codex Borgia is marked by a stripe enclosing the eye, painted star-like (cicitlaltin), that is, with white disks on a black ground \u2014 as the cuetlachtli, or kinkajou (Wickelb\u00e4r). If we can indeed equate the animal depicted here in front of Tlatlauhqui Tezcatlipoca with that one \u2014 and the sharply rectangular, dark field enclosing the eye does indeed speak in favor of this \u2014 then my determination above would thereby receive support. For the cuetlachtli, the kinkajou, is the animal of the sacrificio gladiatorio, the \"uncle\" of those sacrificed in the sacrificio gladiatorio, who binds them to the round stone (temalacatl); it thus belongs, in fact, to Xipe Totec, and Xipe Totec is the red (Tlatlauhqui) Tezcatlipoca.\n\nOn the left side, in front of the black (Yayauhqui) Tezcatlipoca, is depicted the animal that is characterized by a pointed snout, small sharp teeth, white color, and a black stripe encircling the eye and running to a sharp point toward the snout, and which we have encountered several times above (cf. Fig. 258, p. 271, and our manuscript, leaf 9, lower right) as a representative of the earth, or of the downward direction.\n\nAbove these groups, finally, on both sides, in the upper part of these leaves, the sign of war (yaoyotl) is also given \u2014 a bundle of spears, a shield, a round banner, and another piece not readily identifiable \u2014 a symbol that naturally belongs to these deities, warlike by their very nature.\n\nIn the lower part of the two leaves, a kind of meander is drawn on each side, executed in red beneath the red Tezcatlipoca, in dark gray beneath the black Tezcatlipoca. In the red meander on the right one sees the figure of a dog (itzcuintli); in the black meander on the left, the figure of a monkey (ozomatli); and the twenty day-signs are distributed around the perimeter of these two figures, without, however, as it seems, any particular correspondence having been attempted between these day-signs and specific parts of the bodies of the two animals. In the red meander, finally, a bound captive lies, as it seems, dead on the ground. In the black meander the monkey stands in a water vessel, in which fish and snails are frolicking.\n\nThe totality of these symbols leaves, I think, no doubt that the red (Tlatlauhqui) Tezcatlipoca is meant here to be represented as the representative of fire, or of the dry season, and the black (Yayauhqui) Tezcatlipoca as the representative of water, or of the rainy season.\n\n\n25. Once More the Twenty Day-Signs and Their Regents.\n\nLeaf 87\u201394 (= Kingsborough 10\u20133).\n\nThese pictures have been explained above in the tenth section (pp. 127\u2013190).\n\n\nDigitized by Google\n\n26. The Four Scorpions.\n\n327\n\n26. The Four Scorpions.\n\nLeaf 95 (= Kingsborough 2), right half.\n\nOn this half-sheet one sees, distributed in the four corners, four scorpion figures. Those of the upper half turn their mouths toward those of the lower half; in reality, presumably, all four ought to have had their mouths turned toward the middle. The twenty day-signs are distributed around them in such a way that the day-signs begin at the tail-end of the figure at upper left, and then the third day-sign (calli, \"house\") takes its position before the mouth of the scorpion at lower left. And correspondingly the eighth sign (tochtli, \"rabbit\") before the mouth of the scorpion at lower right, the thirteenth (acatl, \"reed\") before the mouth of the scorpion at upper right, and the eighteenth (tecpatl, \"flint knife\") before the mouth of the scorpion at upper left. These day-signs placed before the mouths of the scorpions we shall presumably have to regard as the ones meant to be characteristic for these scorpions. Accordingly we shall have to take as the first figure the one in the corner at lower left, and the others would then follow one another in a sense opposite to the rotation of a clock's hands.\n\nThe first figure, at lower left, which has the sign calli \"house\" before its mouth, is meant to be characteristic of the East. It is painted in red color. \u2014\n\nThe second figure, at lower right, before whose mouth stands the sign tochtli \"rabbit,\" we must claim for the North. The various parts of the body are here painted in different colors. But as the color properly belonging to the figure we must regard that of the arms, and that is black. The face of this scorpion is drawn on a yellow ground with two black transverse stripes bounding the eyes below and above, so that the eyes themselves come to lie within a yellow band. In this way a kind of ixtlan tlantlaan, a Tezcatlipoca facial painting, comes about, and this is evidently intended here.\n\nFor the third figure, at upper right, which has the sign acatl \"reed\" before its mouth, and which must represent the West, the yellow color of the arms seems correspondingly to be regarded as decisive.\n\nFor the fourth figure finally, at upper left, which has the sign tecpatl \"flint knife\" before its mouth, and which must signify the South, the white bone-color of the arms holds good.\n\nThe scorpion (colotl) is the animal of the fire god (cf. above p. 154). But it also signified penance (cf. above p. 226, 227). And we also found it indicated with Xochipilli, the god of flowers, the god of the earth (cf. above p. 190). Which of these relations is to be thought of here cannot be decided with full certainty. Probably the first, the relation to the fire god, since we see the first of the four figures painted red, and this figure alone, before all the others, is given entirely and completely in its proper color. We might therefore perhaps also designate this picture as \"fire in the four directions.\"\n\n\n27. The four quarters of the Tonalamatl and their directions.\n\nSheet 95 (= Kingsborough 2), left half.\n\nAs if to indicate more precisely that in the right half of this sheet we are to regard the red scorpion depicted in the corner at lower left as the first, and as the one corresponding to the cardinal direction of the East, we see in this left half of the sheet, around a large flint knife which forms the center, the initial signs of the four quarters of the Tonalamatl, arranged in columns of five members, distributed \u2014\n\nand indeed the first of these four signs (cipactli \"crocodile\"), in the corner at lower left before the flint knife, the other three (ocelotl, mazatl \"deer,\" xochitl \"flower\") following the first sign in a sense opposite to the movement of a clock's hands.\n\nFrom these four signs diagonal colored stripes proceed, which make it evident that these four quarters of the Tonalamatl correspond to the four cardinal directions, and on them twelve small colored disks or dots indicate the beginnings of the remaining twelve columns of five members which, besides the initial column, are contained in each quarter of the Tonalamatl.\n\n\n28. Once more the god of pleasure and his signs.\n\nSheet 96 (= Kingsborough 1).\n\nTo this sheet corresponds a picture which, in the Codex Borgia, occupies the upper field of the left half of sheet 53 (Kingsborough 62), and which I have reproduced here in fig. 585. The agreement between the two pictures, this sheet 96 of our manuscript and that of the Codex Borgia, is striking. One also sees at once that in both pictures an animal clothed in a hairy hide is represented. But it is really only in the Codex Borgia picture that it is clear that a deer is meant, and likewise it is only from the Codex Borgia picture that one can gather that this deer is thought of as a disguise of a well-known god, the god whose upper half of the face is painted yellow, the lower red, and who bears around the mouth, in white color, the drawing of a butterfly. That is the god whom we have come to know as regent of the eleventh day-sign (ozomatli \"monkey\"), to whom, as we saw there, belongs the name Xochipilli, who is a god of flowers, of pleasure, of feasts and of artistic skills, and also a god of riches and of foodstuffs.\n\nAround the figure of this god, here clothed in the shape of a deer, one sees, following one another in general from below upward, the twenty day-signs arranged. But this whole distribution evidently has only the purpose of setting three of these signs into relation with particular parts of the body of this god: \u2014 the fourth sign, cuetzpalin \"lizard,\" which, as we saw above on pp. 145 and 146, is the sign of unchastity, with the penis; the eleventh sign, ozomatli \"monkey,\" with the heart, for this god is the regent of the sign ozomatli \"monkey\" and expresses the nature of this sign within himself; and finally the twentieth sign, xochitl \"flower,\" with the mouth of this god, for Xochipilli is the god of song, of cultivated speech, and of everything connected therewith.\n\nFig. 585. Xochipilli as deer, and the twenty day-signs.\n(Codex Borgia 53 = Kingsborough 62).\n\n\nConcluding remarks.\n\nConcerning the relationship of the Vaticanus 3773 to the other manuscripts of the Codex Borgia group I have given further particulars at the close of my commentary to the Codex Fej\u00e9rv\u00e1ry-Mayer. That this entire group of manuscripts belongs to a Mexican-speaking nation seems to me beyond doubt and is, in my view, clearly proved by the hieroglyphic representation of certain phrases intelligible only from the Mexican language, such as atl-tlachinolli \"water (spear-throwing) and conflagration,\" the metaphorical expression for war, which we repeatedly meet with in the manuscripts of the Codex Borgia group. I have also pointed out, at the close of my commentary to the Codex Fej\u00e9rv\u00e1ry-Mayer, that we have to seek the narrower homeland of these manuscripts in the region of Teohuacan, Cozcatlan, and Teotitlan del Camino. I have depicted above on p. 168 one of the painted clay figures which I brought back from Teotitlan del Camino. The colored facial painting, which the original of this figure still allows one to recognize even today, looks as if it were copied directly out of the Codex Borgia. The inhabitants of this region were Mexican-speaking people who traced their origin back to a man named Xelhua \u2014 a name which presumably means nothing more than \"lord of separation\" and designates this group as one detached from the main stem of the nation, pushed forward into foreign, hostile territory. They were known as attentive sky-observers and worshippers of the morning star, and it accords with this that a large part of the pieces contained in the manuscripts of the Codex Borgia group deal with the movements of this heavenly body, the influences ascribed to it, and its mythology. It must be kept in mind, however, that all these manuscripts represented, so to speak, encyclopedias of astronomical-augural knowledge, so that pieces of very different origin may be contained in them. As particular parts, for example, there stand out the twenty-five pairs of gods treated in the twelfth chapter of the above commentary, as well as the deities of the four directions, which illustrate a certain correction of the length of the year, and the six pairs of gods which I have designated, in my commentary to the Codex Fej\u00e9rv\u00e1ry-Mayer, as the \"six heavens.\" In these last two pieces one sees, in the Codex Borgia, the maize god depicted with a quite peculiar facial painting, differing from that of the other sheets, and with a dove(?) as helmet-mask.\n\nAs against the properly Mexican manuscripts, these manuscripts of the Codex Borgia group show a significantly more many-sided treatment of the problems envisaged by these ancient tribes. They evidently already belonged to the Tlillan Tlapallan, the \"land of the black and the red color,\" that is, the \"land of writing,\" to the East (tonatiuh iixcopa), whither the ancient tribes, the tlamatinime amoxhuaque, \"the wise men, the book-learned,\" withdrew.\n\nquitquitpu' \u2014 taking with them.\n\nin tlilli in tlapalli \u2014 the black and the red color,\nin amoxtli in tlacuilolli \u2014 the books, the picture-writings,\n\nquitquitpu yn tlamatiliztli \u2014 taking with them the science,\n\nmoch quiquitpu in cuicaamatl in tlapitzalli \u2014 the songs, the flutes, everything they took with them \u00b9) \u2014\n\n1) Cf. Cakchiquel Annals 8 ff. \u2014 xa ruyon xit puvak k'ub k'u raxon r'ubaal chorti' ru'quin q'anati e'atzi'ic ymyanic xni Mr th'oj ti'ih mag k'ih prk cocoah, xa ruyon k'inomal rulraji pe pa Tullan tri ruk umulk \u2014 \"only turquoise and gold, green and blue feathers, chests and coffers, together with paintings and carvings, flutes and songs, tonalamatl and year-count, noble and ordinary cacao, mere riches did they bring [the seven tribes, the Tz'utuhil confederation and the Mexicans of the Pacific coast of Guatemala] out of their Tollan.\"] \u2014 And similarly in other passages.\n\nSahag\u00fan, Codex Vaticanus No. 3773\n\n\nfor which, for those who remained behind, the great sages Oxomoco, Cipactonal and their two companions created only the meager substitute which is present in the properly Mexican manuscripts \u2014 in tonalamatl, yn xiuhmatl yn ... yn temicamatl \u2014 \"the tonalamatl, the fifty-two-year period, and the dream book.\" \u2014 But because these picture-writings of the Codex Borgia group, by contrast, evidently already represent what was reckoned as belonging to properly Toltec cultural possession, hence too the intimate relations evidently present here to representations which appear in the Maya manuscripts and are there claimed without further ado as a Maya cultural achievement.\n\nI give, finally, a list of the various pieces contained in the Codex Borgia, together with a reference to the places where they have been treated in the above commentary: \u2014\n\nCodex Borgia, sheet 1\u20138. The Tonalamatl arranged in columns of five members. Cf. above pp. 3\u201365.\n\n\" \" \" 9\u201313. The twenty day-signs and their deities. Cf. above pp. 127\u2013190.\n\n\" \" \" 14. The nine lords of the hours of the night. Cf. above pp. 93\u2013111.\n\n\" \" \" 15\u201317 (upper half). The four times five guardians of the Venus periods. Cf. above pp. 190\u2013210.\n\n\" \" \" 17 (lower half). Day-signs and parts of the body. (Missing in the other manuscripts.)\n\n\u201e \u201e \u201e 18\u201321. Eight (litter and glyph pairs) (Missing in the other manuscripts.)\n\n\u201e \u201e \u201e 22 (upper half). The stag of the East and the stag of the North. Cf. above p. 802, 303.\n\n\u201e 22 (lower half) \u2014 24. Another list of twenty deities. (Missing in the other manuscripts.)\n\n\u201e 25. The five Venus periods. Cf. above p. 285\u2013290.\n\n\u201e 26. The four dead. (Missing in the other manuscripts.)\n\n\u201e 27. The Tonalamatl and the fifty-two-year period. Cf. above p. 279\u2013285.\n\n\u201e 28. The Venus periods and the years. (Missing in the other manuscripts.)\n\n\u201e 29\u201346. Mythology of the planet Venus. Cf. above p. 118\u2013127.\n\n\u201e 47\u201348. The five goddesses of the West and the five gods of the South. Cf. above p. 303\u2013314.\n\n\u201e 49\u201353 right (upper halves). The four ends of heaven and the four corners of the earth. Cf. above p. 81\u201393.\n\n\u201e 49\u201353 right (lower halves).\n\na) The five directions of heaven and their trees. Cf. above p. 76\u201381.\n\nb) The deities of the four directions (correction of the length of the year). Cf. \"Commentary on the Codex Fej\u00e9rv\u00e1ry-Mayer,\" p. 171\u2013180.\n\nc) The four forms of the deity of the planet Venus. Cf. above p. 112\u2013118.\n\nd) The descent of the four goddesses of the West and the four gods of the South. (Missing in the other manuscripts.)\n\ne) The four fire-drillers. (Missing in the other manuscripts.)\n\nf) Once again four trees. (Missing in the other manuscripts.)\n\ng) The four ball players. (Missing in the other manuscripts.)\n\nh) The four human pairs. (Missing in the other manuscripts.)\n\ni) The years of the correction of the length of the year. (Missing in the other manuscripts.)\n\n\u201e 53 left (upper half). The god of lust and his signs. Cf. above p. 328.\n\n\u201e 53 left (lower half) \u2014 54. The thirteen-times-five Venus periods. Cf. above p. 314\u2013324.\n\nDigitized by Google\n\nClosing survey.\n\n831\n\nCodex Borgia. Sheet 55.\n\n* . , 56.\n\n\u201e \u201e \u201e 57\u201360.\n\n\u00bb \u201e . 61\u201370.\n\n\u201e \u201e \u201e 71.\n\n. - . 72.\n\n\u201e . , 73.\n\n\u00bb . . 74.\n\n\u201e , , 75\u201376.\n\nThe six sky wanderers. Cf. Commentary on the Codex Fej\u00e9rv\u00e1ry-Mayer, p. 150\u2013171.\n\nHeaven and earth, life and death. (Second sheet.) Cf. above p. 300\u2013302.\n\nThe twenty-five pairs of gods. Cf. above p. 211\u2013242.\n\nThe Tonalamatl arranged into twenty thirteen-day sections. Cf. above p. 245\u2013279.\n\nSun, moon and morning star and the thirteen birds (the thirteen hours of the day). (Missing in the other manuscripts.)\n\nThe four feathered serpents. Cf. above p. 295\u2013299.\n\nHeaven and earth, life and death. (First sheet.) Cf. above p. 300\u2013302.\n\nThe gods of lust and their signs. Cf. above p. 299.\n\nEight gods of death. (Missing in the other manuscripts.)\n\n42*\n\nDigitized by Google\n\nExplanatory plates.\n\nDigitized by Google\n\nExplanatory plates.\n\nDigitized by Google\n\nIndex.\n\nWords taken from Indian languages are printed in italics. Where no other language is noted after them, they are Mexican words. Words spelled, in accordance with Spanish orthography, with c (and c before e, i), I have listed under k (which corresponds to our k-sound), and after that have let follow the words beginning with ch, whose initial letters correspond to our sound \"tsch.\" The x of the Mexican words and of the other Central American languages is to be pronounced like our sch. The h in the Maya words is pronounced like the Spanish jota (our ch in \"auch\"). The k is a deeper guttural, corresponding to the Swiss k. The consonants provided with an apostrophe are so-called \"glottalized sounds\" [\"Knacklaute\"], that is, explosive sounds that are formed by closure of the glottis and of the point of articulation and simultaneous release of these two points of closure.\n\na \u2014 spear-throwing t.U\n\naac (Maya), turtle, struck by the spear of the planet Venus in the 4th period 8**.\n\nImage, presentation of an \u2014 = sacrifice K12.\n\nAbbreviated images, transition to hieroglyphic writing 84, 85.\n\nEvening, tlapoyaua.\n\ntorn-off pass, Tezcatlipoca's 8, %. \u2014 Xochipilli's 116. \u2014 Tlahuizcalpantecutli's 116.\n\nsevered head, of the image of the earth goddess 202, of the earth goddess herself 217.\n\ncropped ears, on the dog 156, 157. \u2014 on Xolotl 270, 271.\n\nto sit turned away, signifies a change of ruler in a year-bearer 227, 229, 1100.\n\nacaltetepontli. Crustacean-like [creature], Aphrodisiac 146.\n\nacatl. Reed, thirteenth day-sign 12m, 170. \u2014 Signifies judicial power 170. \u2014 Its regent Tezcatlipoca-Itztlacoliuhqui 171. \u2014 Initial sign of the first of the four years 278, 279. Initial sign of the fourth of the five Venus periods 102, 819.\n\nAcolhua, pulque god 108.\n\nAcompa\u00f1ados, see Nine Lords of the Night.\n\nacuacuetzpalin. Iguana, real (Iguana tuberculata and related species) 145.\n\nacuecheozcatl. Necklace of snail shells, on Quetzalcoatl 110. \u2014 on Xolotl 270. \u2014 on Ueuecoyotl 251.\n\naxoyatl. Pine branches, offering-gift for Tezcatlipoca 9*.\n\nAchitometl, a king of Tollan 91, one of the Tzitzimime 1*0.\n\nEagle, see quauhtli.\n\nEagle-down, see quauhtlacoyotl.\n\nEagle-down crown, quauhtzontlalli.\n\nEagle-feather, see quauhtli.\n\nEagle-vessel, on the tepetlacalli of the Codex Borbonicus 34. \u2014 accompanying image in the second quarter of the Tonalamatl 3*, 84. \u2014 in the third\n\nW. \u2014 in the fourth, denotes death in war 51, 55. \u2014 see quauhpachiuhqui chimalli.\n\nEagle-helmet-mask, on Xochipilli, who denotes the seventh hour of the day (noon) and the upward direction 228, 229.\n\nMonkey, see ozomatli.\n\nMonkey-head, on the front of the headband of the pulque god 10.\n\nAgave plant, pulque agave, see metl; \u2014 wild \u2014, see nequametl, tzihuactli. \u2014 Goddess of, see Mayauel.\n\nAgave-leaf-point, see uitztli.\n\nehau. (Maya) day-sign, = xochitl; fourth member of the four-member sequence that denotes the rising of the morning star 123.\n\nAh Bolon Tz'acab (Maya), water god, struck by the spear of the planet Venus, in the first period (East) 324.\n\nah toc (Maya), the burner, fire-priest [in] the Chilam Balam 10.\n\nAh toltecat (mixed with) a K'ukulcan (Quetzalcoatl)\n\nakbal (Maya), night. Day-sign = mex. calli, house 144. \u2014 Initial sign of the third of the four years 280.\n\nara, the red macaw, the guacamayo. Accompanying image in the second quarter of the Tonalamatl 18, 19. \u2014 in the third 53, 54. \u2014 on the tree of the South 81.\n\naraquauitl. Tree of the South 81.\n\nold people, men and women, struck by the spear of the planet Venus, in the second period 323.\n\nold gods, the fire god Ueueteotl 151, Tonacatecutli 130. \u2014 Tecciztecatl 140.\n\naltepetl, village, community. Struck by the spear of the planet Venus, in the fifth period (middle, below) 822.\n\namacalli, paper crown of the rain gods, on Cinteotl 9*.\n\namaneapaualli. Shoulder garlands of bark paper. War-death ornament 258. \u2014 Pattern on the back-covering of Tlaloc 1**.\n\nDigitized by Google\n\nIndex.\n\n385\n\namapantli. Banner of bark paper, corpse ornament 3**. \u2014 Sacrificial ornament on the quauhtli ocelotl 260. \u2014 symbol on Tlahuizcalpantecutli 3**. \u2014 on Mictlantecutli 259. \u2014 on the bat god 1**. \u2014 on Xipe 27, 28.\n\nAmatitlan, town and lake in Guatemala, jar-shaped vessel 3**.\n\namoxtli, books 142, 1**.\n\namoxnaqua. Book-writers, the mythical Toltecs, see tlamatinime.\n\nAmulto, Cardinal, Librarian of the Vatican Library I.\n\nAyoala, in the Mixteca, he on whom the sky rests, 27\n\nAnauac, coastal land 108.\n\nAnahuac, coastal lands. Zapotecs, subjugated in the time of Ahuitzotl 3**.\n\nanauatl, coastal land 20*.\n\nanauatl. White ring, on a red leather strap, image of the \u2014 , breast ornament of Tezcatlipoca 95, 96. \u2014 of the five gods of the South 3**. \u2014 of red Tezcatlipoca (i.e. Xipe) 317. Tlahuizcalpantecutli's 25*, 3**. \u2014 Mixcoatl's 317.\n\nAnahuatl (see Xipe)\n\nInitial signs, of the years 279, 280, differing ones in Yucatan 22*, \u2014 differing ones in Cuicatlan 3**. of the Venus periods 3**, 816.\n\nAphrodisiac, various lizard species 145, 1**\n\nMacaw, red, see ara. Costume on the xiuhcoatl 12*.\n\nMacaw-wing, neck ornament of Ueuecoyotl 147\n\nPoverty, see icnoyotl.\n\natamalcualiztli, water-tamale-eating, feast celebrated every eight years, for the renewal of foodstuffs 187, 1**.\n\natl. Water, ninth day-sign 128, 153. \u2014 Symbol of the changeability of existence 25*, 2**; originally spear-throwing, its regent the fire god 154\u2013156. \u2014 represented at the Tlazolteotl of the west 1*2, 3**. Initial sign of the third Venus period p.**, 3**\n\nAtlacoaya. Pulque goddess 1**.\n\natlacuiotli, garment adorned with water, garment of Mayauel 1**.\n\natlan calaquilizti, diving into water, accompanying image in the fourth quarter of the Tonalamatl 88.\n\natlatl, throwing-stick, [borne] as ... in the hand of Tlahuizcalpantecutli's 1**, Mixcoatl's 2**. \u2014 of the bat god 115. \u2014 of Cinteotl, the earth god of the North 80, 81.\n\nAtlaua, god of Cuitlahuac, has the facial painting of the morning star 258.\n\natl ayauican. Land of water and mist, Tamoanchan, paradise of the West 3**, 165.\n\natl tlachinolli. Water (spear-throwing) and fire (?), metaphorical expression for war, indicated on Xiuhtecutli 154\u20131**, 2**. \u2014 on the fire goddess Chantico 27*. \u2014 on the Tlazolteotl of the East 3*2. 3** on the rain god of the North 21*. represented through the smoking mirror of Tezcatlipoca 8*, 9*. Descent of the \u2014 52.\n\natonatiuh, water-sun, first of the four pre-cosmic world periods 172, 1**.\n\noua tepetua, community elder [?]\n\nRising, of the moon with a fixed star 65 \u2014 of a constellation, hieroglyphic representation 221, 222.\n\nCessation of the rain, hieroglyphic representation 31, 32, 37.\n\nEye, in the middle of the sign olin, = sun 18*. \u2014 surrounded by darkness, night or star, on the crown of Quetzalcoatl 1**, Xolotl 3**. Xochipilli's 1**, Tlaloc's 22*. Origin of the white ring, the breast ornament of Tezcatlipoca 8*. \u2014 flowed-out one, on Xolotl 1**. \u2014 on the Cihuateteo 5**. \u2014 boring-out of, = sacrifice 1**, 1**. \u2014 bound, see ixquimilli.\n\nEye-slit(?) Xipe's 86, 9**. on the Tlazolteotl 3**.\n\nauiani, pleasure-girl (courtesan), her patroness Xochiquetzal 1**, 180, 2**.\n\nAuiateotl, god of lust, see Macuil xochitl 3**.\n\nAuiatl Macuilxochitl 5**.\n\nBoring-out of the eye, = sacrifice 184, 1**.\n\naxolotl. Larva of Ambystoma mexicanum 1**.\n\nAyacachtli, gourd rattle 221, 222. in the hand of Ueuecoyotl's 147, 3**.\n\nAyamictlan. Name of the fire god 2**.\n\nayotapalcatl. Turtle-shell, back-mirror of Xochiquetzal 1**, 210. \u2014 shield, on Quetzalcoatl 21*\n\nayotl. Turtle, calendar-sign of Mayauel 18, 152. \u2014 musical instrument 221, 222 \u2014 sometimes standing in for the day-sign quiauitl 128, 1**.\n\nAyotlan, the Pacific coastal land 2**. \u2014 from there came the Quauhtemallan (?) 2**.\n\naztamecatl. Heron-feather cord, sacrificial garment, indicated on Xipe 27, 28. \u2014 on Tlahuizcalpantecutli 3**. \u2014 on the fire god 28. \u2014 on Tonacatecutli 25.\n\naztapatzactli. Fan-shaped ornament of heron feathers, on Xochipilli 1**, 1**. \u2014 on Tlahuizcalpantecutli 2**. \u2014 on Tecciztecatl 150.\n\naztatapilli, heron-feather staff, Itztli Mixcoatl's 2**.\n\naztatzontli, heron-feather-comb of Tlaloc 100, 2**.\n\naztaxelli. Forked ornament of heron feathers, worn by warriors, on Tezcatlipoca 8, 09, 95. \u2014 Huitzilopochtli 1**. \u2014 Mixcoatl 115.\n\nbalam (Maya), jaguar, struck by the spear of the planet Venus, in the second period (North) 82*.\n\nBall, see oltelolli.\n\nBall game, ball-court, see tlachtli.\n\nBear, great, constellation, = Tezcatlipoca. 9.\n\nBeard, on the Quetzalcoatl of Tollan 61. \u2014 on Quetzalcoatl, the wind god 136. \u2014 on Tepeyollotl 1**. \u2014 on Tecciztecatl 150. \u2014 on Tlaloc, in the Codex Vaticanus 109. \u2014 long, flame-like, on Tonacatecutli 1**. \u2014 on Quetzalcoatl 1**. \u2014 on the sun god 1**. \u2014 of white heron feathers, on Tonacatecutli 130. \u2014 on Itztli Mixcoatl 2**.\n\nTrees, \u2014 denoting the directions of heaven 76\u201381,\n\nBaaa the East, entering for Quetzalcouatl, the regent of the ... Tonalamatl quarter, 7.\n\nBecker Collection of Mexican Antiquities 161.\nb'en (Maya), day sign, Mexican acatl (reed), one of the four initial signs of the years 251.\nk'an-i'k (Maya) group, so-called, see 6-a-k'an.\n\nk'an-i'k (Maya) group, in the hieroglyph of the sun god 113. \u2014 combined with the hieroglyph of the bat 114.\n\nFertilization, of the earth, with blood 281.\n\nAccompanying images, of the Codex Borbonicus 64. \u2014 of the Tonalamatl arranged in five-membered columns 6 \u2014 68.\n\nBurial, see tetlalaquiliztli.\n\nThe Lively One, of the adulteress, dwelling among the priestesses of Tlazolteotl.\nBell, of copper, see tepoztli; \u2014 of stone, see itztopulli.\nFeast of the Mountain Gods, see Tepeilhuitl.\n\nMountain region, of medium height, = Tlalocan 104.\n\nBroom, see malinalli. \u2014 see tlazolli, tzquiztli, popotl. \u2014 bloody, in the hand of Tlazolteotl and her retinue at the feast of Ochpaniztli \u2014 fighting with, see yacacaili.\n\nBesom-feast, = ochpaniztli.\n\nPossessed, seized by the Ciuateteo, 305, 311.\nMovement, rolling, see olin.\nkil (Maya), hairless dog 156.\n\nblue, color of the moon god 160. \u2014 of Xochipilli's 160. \u2014 of Quetzalcouatl of the (East) 7. \u2014 of birds, hooves, horn-pieces, antlers 150, with lengthwise stripes in Xipe Totec's case 91, 92. \u2014\n\nblue and red, fields of the sign olin 180. \u2014 the cone-shaped cap of Quetzalcouatl 195. \u2014 the face of the moon god 150. \u2014 of the Mixcouatl of the Codex Fej\u00e9rv\u00e1ry 116, 207.\n\nDigitized by Google\n\nIndex.\n\n337\n\nLightning, companion image of the Tonalamatl arranged in five-membered columns 23, 25, 40, 41, 45.\nFlower, see xochitl.\n\nBlood, see eztli.\nBlood-band, symbol of sexual union 117, 301, 219.\nFlowering tree, in the headdress of Tonacatecutli 138. \u2014 of Ilamatecutli 140. \u2014 of the Kulhuacan maize god 149. \u2014 broken, = hieroglyph of Tamoanchan 178, 223, 224, 250.\n\nBloodsnake, see tlapalcouatl.\nBurner, see uh tue [uhtli?].\nBundle of firewood, see tlatlacuauhquetzalli.\n\nBringer of the years, in the Maya manuscripts 72.\nBreast ornament, of the sun god, the maize god, etc., see teocuitlaanahuatl \u2014 Tezcatlipoca's, Tlacaxipeualiztli's, etc., see ecailacatzcozcatl \u2014 of Quetzalcouatl, Xolotl, etc., see maquizcouatl \u2014 of Tlaloc, see maquizcouatl \u2014 of Xipe's, see yolin.\nPenitent, depicted with a snake 18, 19. \u2014 see ne-yolmeliualiztli.\n\n... adulteress.\n\nkatun (Maya), brought down, era, day-sign, = Mexican olin 180.\n\ncalli, house, third day-sign 144. \u2014 its regent Tepeyollotli and Tlaolquani 144, 149. \u2014 initial sign of the third of the four years 370, 269.\ncama fo'tz (Quich\u00e9), head-tearing bat 111.\ncaban coco (Maya), = Mexican naui olin. End of visibility as morning star 195.\nChili pepper, see chilli.\n\ncauac (Maya), day-sign, Mexican quiauitl, in Yucatan initial sign of the fourth of the four years 291.\nkib (Maya), day-sign, = Mexican cozcaquauhtli, hieroglyph contains the nose-crescent of the pulque gods 198.\n\ncoatl and derivatives, see cuatl.\ncocozqui, sick person, depicted before the death god 158.\ncocozqui xochitl, yellow flower, Tlazolteotl's 96.\ncoqui-xapotekisch, rain god, marks the beginnings of the Tonalamatl quarters 8, 281.\ncocha, green parrot, loro, on the tree of the south 81.\ncochoquauitl, tree of the south 81.\n\nCodex Borgia group, picture writings 1.\n\nColhuatzincatl, pulque god 198.\ncolotl, scorpion, depicted with the fire god 155, 158 \u2014 with the red Tezcatlipoca, the regent of the second Tonalamatl quarter 9. \u2014 with Xochipilli, the regent of the twentieth day-sign 199. \u2014 companion image in the first Tonalamatl quarter 35, 26. \u2014 denotes penance and time of penance (midnight) 229. \u2014 the four scorpions 227.\n\nconcuitlatl, child's ornament, yellow cross-stripes in the face of Tezcatlipoca and Uitzilopochtli 116, 95.\ncopaliquipilli, copal pouch, depicted with Tlaloc \u2014 in the hand of Xochipilli 88. \u2014 Tonacatecutli's 219. \u2014 of the god who marks the noon hour 229. \u2014 on the arm of the penitent 272. \u2014 of the five south gods 118.\ncopilli, cone-shaped cap of Quetzalcouatl's 7, 159. \u2014 see ocelocopilli. \u2014 Huaxtec ornament 149. worn by Xolotl 187, 270. \u2014 worn by the pulque gods 188. \u2014 worn by Tonacatecutli 199. \u2014 worn by Mixcouatl of the Codex Fej\u00e9rv\u00e1ry 207. \u2014 worn by the bat god 114.\ncuatl, snake, symbol of water 135, 148. twin 220, 279. fifth day-sign 128, 148. Its regent Chalchiuhtlicue 148, 149. Initial sign of the second Venus period 192, 315. Initial sign of the four-membered column that is significant for the morning star 133.\ncuatl cozauhqui, the yellow snake, feather-snake of the south, its regent Macuilxochitl 233.\n\nCodex Vaticanus No. 3771\n\nCoatlicue, earth goddess, mother of Uitzilopochtli 35. actual name of the so-called Teoyaomiqui.\n\nCoatzacoalco, place on the border of Tabasco, destination of Quetzalcouatl's wandering 7.\n\ncozoliyo uei tepolli, fan-shaped neck ornament of turkey feathers, Quetzalcouatl's (cuextecatl-type) 87, 139.\n\ncozcocoxtli, bird with a tall feather crest, disguise of Xochipilli's 100. \u2014 sings at daybreak 96, 105. (see quetzalcoxcoxtli). \u2014 nose-ornament of the fire god 80, 87, 250. \u2014 mirror-cross of Xochipilli and other gods 100.\n\nCozcotli, king of Colhuacan 101.\n\ncozcatl, bell, golden, on the cheek of Coyolxauhqui 211.\n\nCoyolxauhqui, hostile sister of Uitzilopochtli, related to Chantico 274.\n\ncozcaquauhtli, \"necklace-eagle\", = vulture, king of the zopilotes, Sarcorhamphus papa 177. sixteenth day-sign 128, 177. Symbol of old age 177. Its regent Itzpapalotl, the Chichimec goddess 177 \u2014 179. \u2014 see Tlacacozcaquauhtli.\n\ncozcaquauhtli ichan, \"house of the vulture\" = house of the old goddess?, given with Tlazolteotl.\n\ncozcatl, necklace, pearl chain, jewelry, see chalchiuhcozcapetlatl. \u2014 denotes abundance of food 232, 281. Symbol of wealth 213, 213. denotes a child 21, 24, 219, 217, 251. \u2014 Presenting of, denotes conception 235. \u2014 Taking off of, denotes birth 214. connects the dancers in the round dance 21, 222, 258.\n\nCozcatlan, city, on the borders of the Zapotec land, inhabited by descendants of Xelhua. \u2014 worshippers of the morning star 192.\n\nCr\u00f3nica Franciscana of Guatemala, day-sign list 127, 128.\n\nCuchulchan Tzeltal, feather-snake that lives in the water, = Quetzalcouatl 185.\n\ncuacuauhtzpalin, iguana, the black one, Ctenosaurus completus 149.\n\ncuecallacoyoalli, wheel-shaped neck ornament of macaw feathers of the Cuexteca 111.\n\nCuepaltzin, the macaw feather, the flame, name of the fire god 154.\n\ncuetzalucotoncatl, fan-shaped neck ornament of Quetzalcouatl, of black turkey feathers with individual macaw feathers (= cozoliyo uei tepolli) 7, 139. \u2014 worn by Xolotl 187, 271. \u2014 worn by the pulque gods 188. \u2014 worn by Tonacatecutli 139. \u2014 worn by the bat god 114.\n\ncuetlachtli, the wolf, Percolestes caudivolvulus [Canis], with the red Tezcatlipoca, the representative of Xipe 226. \u2014 with the pulque god 178.\n\ncuetlachueue, the old wolf, uncle of those sacrificed in the sacrificio gladiatorio 226.\n\ncuetzpalin, lizard (iguana?), symbol of unchastity 145, 217, 218. \u2014 denotes the phallus 218, 328. \u2014 denotes the uterus 145. \u2014 symbol of fertility and abundance of water 150, 151, entering in place of the rabbit in the mouth of the feather-snake 117. \u2014 fourth day-sign 145 \u2014 147. its regent Uexcoyotl 147, 148. \u2014 beginning of the Tonalamatl division into two groups of 9\u00d79 and two groups of 7\u00d77 days 5.\n\ncuezcochtechimalli, rosette of grass-paper, neck ornament of the death god 98, 158, 199, and elsewhere. \u2014 with the bat god 114.\n\nCuexteca, Huaxtecs, inhabitants of the northern Vera Cruz coast 101. \u2014 their attire 141.\n\nCuextlan, Huaxtec land, situated in the northeast of Mexico 141.\n\ncuicaamatl, songs, Toltec property 142, 323.\n\ncuicacalli, dance house, its lord Tezcatlipoca 38.\n\nCuicatlan, region, on the borders of the Zapotecs, different initial signs of the years 280.\n\n43\n\nDigitized by Google\n\nIndex.\n\n338\n\ncuitlatl, excrement, filth, sin 114 (see tlaelquani). \u2014 in the hand of the penitent and beside the blood streaming from the ear, 18, 19, 272. \u2014 in the hand of Ixcuina 258. \u2014 given with Chalchiuhtotolin 272. \u2014 in the hand of Quetzalcouatl, the creator of mankind, denotes Tlazolteotl or tlazolli, the obscene act 251.\n\nyacacaili, to fight with the broom, Tlazolteotl and her retinue at the feast of Ochpaniztli, denotes giving birth 268.\n\nzacatapayolli, grass ball, for sticking in the blood-smeared agave-leaf points 226, 227.\n\nzacatl = broom 261.\n\nzacatlacotl, stalks, through which the pierced tongue is drawn, in the hand of Quetzalcouatl 282.\n\nce acatl \"one reed\", beginning of the fifth Tonalamatl section, regent Chalchiuhtlicue 253. \u2014 beginning of the first quarter of the fifty-two-year period, marking the East 260. \u2014 year of fruitfulness 282. \u2014 day on which Topiltzin Quetzalcouatl died and turned into the morning star 257. \u2014 hieroglyph of the planet Venus 192, 257, 260. \u2014 a heavenly body 47, 48. \u2014 one of the Tzitzimime 90. \u2014 = Itzcintli 289, 291.\n\nce acatl ce cipactli, beginning of the first Venus period in the first year of the fifty-two-year period 286.\n\nce atl \"one water\", beginning of the seventeenth Tonalamatl section. Its regent Chalchiuhtotolin 271, 272.\n\nce calli \"one house\", beginning of the fifteenth Tonalamatl section. Its regent Itzpapalotl 269, 270. \u2014 beginning of the third quarter of the fifty-two-year period 280. \u2014 year of abundance of water 288. \u2014 one of the days on which the Ciuateteo come down to earth 305.\n\nce couatl \"one snake\", beginning of the ninth Tonalamatl section. Its regents Xiuhtecutli and Tlazolteotl 256 \u2014 258. \u2014 first member of the four-membered series significant for the morning star 128. \u2014 beginning of the visibility of Venus as morning star 291, 292.\n\nce cozcaquauhtli \"one vulture\", beginning of the sixteenth Tonalamatl section. Its regent Xolotl 270, 271. \u2014 beginning of the fourth quarter of the ordinary Tonalamatl, marking the South 281, 283.\n\nce cuetzpalin \"one lizard\", beginning of the twelfth Tonalamatl section. Its regent Itzpapalotl 261 \u2014 261.\n\nce cipactli \"one crocodile\", beginning of the first Tonalamatl quarter, marking the East. Its regent Quetzalcouatl 7. \u2014 beginning of the first of the twenty Tonalamatl sections. Its regent Tonacatecutli 247, 248. \u2014 beginning of the first Venus period 285, 286.\n\nce ehecatl \"one wind\", beginning of the eighteenth Tonalamatl section. Its regent Chantico 272 \u2014 273.\n\nce itzcuintli \"one dog\", beginning of the fourteenth Tonalamatl section. Its regent Xipe Totec 265 \u2014 269. \u2014 second member of the four-membered column significant for the morning star 128, 218. \u2014 sign of fire. Beginning of the Xiuhmolpilli 157.\n\nce mazatl \"one deer\", beginning of the third Tonalamatl quarter, marking the West. Its regent the earth goddess 10. \u2014 beginning of the third of the twenty Tonalamatl sections. Its regent Tlazolteotl 250, 251. \u2014 one of the days on which the Ciuateteo come down to earth 306. \u2014 name of Xochiquetzal (?) 291.\n\nce malinalli \"one twisted-grass\", beginning of the eighth Tonalamatl section. Its regent Mayauel 249, 250.\n\nce miquiztli \"one death\", beginning of the sixth Tonalamatl section. Its regents Tecciztecatl and Tonatiuh 253, 254. \u2014 beginning of the second quarter of the ordinary Tonalamatl, marking the North 261, 262. \u2014 sign of the moon, sign of Tezcatlipoca 70. \u2014 name of Mictecaciuatl 258, 291.\n\nCentzon mimixcoa, the four hundred North gods 210.\n\nCentzon Totochtin, the four hundred pulque gods 152. \u2014 are harvest gods 167. \u2014 their names ltiM.\n\nCentzon Huitznahua, the four hundred southern gods 210. \u2014 the hostile brothers of Huitzilopochtli 91.\n\nce ocelotl \"one Jaguar,\" beginning of the second Tonalamatl quarter, denoting the North. Its regent Tezcatlipoca 8. \u2014 beginning of the second of the twenty Tonalamatl sections. Its regent Quetzalcoatl 248, 219.\n\nce ozomatli \"one Monkey,\" beginning of the eleventh Tonalamatl quarter. Its regent Patecatl 258\u2013261. \u2014 beginning of the third quarter of the ordinary Tonalamatl, denoting the West 281, 282. \u2014 one of the days on which the Ciuateteo descend to earth 80 ff.\n\nce olin \"one Movement.\" Beginning of the thirteenth Tonalamatl section. Its regent Tlazolteotl 204, 205.\n\nce quauhtli \"one Eagle,\" beginning of the nineteenth Tonalamatl section. Its regent Xochiquetzal 278.\n\nthird member of the four-membered series significant for the morning star 128, 291 \u2014 one of the days on which the Ciuateteo descend to earth JUL \u2014 name of Mayauel, the fifth of the five forms of Tlazolteotl, denoting the lower region \u2014 318.\n\nce quiauitl \"one Rain,\" beginning of the seventh Tonalamatl section. Its regent Tlaloc 154, 2Vi. \u2014 one of the days on which the Ciuateteo descend to earth 306.\n\nce tecpatl \"one Flint,\" beginning of the tenth Tonalamatl quarter. Its regents Mictlantecutli and Tonatiuh 258, 259. \u2014 beginning of the second quarter of the fifty-two-year period, denoting the North 280. Years of drought and locust-plague 282, 288. \u2014 on it the animals were created 278.\n\ncetl. Cold, frost, hieroglyph 09. \u2014 god of it, Itztlacoliuhqui 262, M.\n\nce tochtli \"one Rabbit,\" beginning of the twentieth Tonalamatl section. Its regents Xiuhtecutli and Xipe Totec 278, 279. \u2014 beginning of the fourth quarter of the fifty-two-year period, denoting the South 280. \u2014 years of infertility and mouse-plague 288, 281. \u2014 on it the earth was created 152. \u2014 beginning of the present world period 186.\n\nce xochitl \"one Flower,\" beginning of the fourth Tonalamatl quarter, denoting the South. Its regent Tonatiuh 11. \u2014 beginning of the fourth of the twenty Tonalamatl sections. Its regent Ueueyotl 251\u2014258. \u2014 fourth member of the four-membered series significant for the morning star 128, 291. \u2014 day of the flower festival (xochilhuitl), festival of Xochipilli 161. \u2014 = Cinteotl, the one born of Tlazolteotl in Tamoanchan 101, 166. \u2014 sign and name of the sun 11, 12. \u2014 = Hunahpu of the Quich\u00e9 11.\n\ncitlalli, painted after the manner of the starry sky, white discs on a black ground. The throwing-board of Quetzalcoatl 140. \u2014 the garment of Quetzalcoatl of the height ;l0\u00fc. \u2014 the feather crown of Tezcatlipoca 256. \u2014 a field around the eyes of the cuetlachtli 169, 1fc\u00e4i. \u2014 the garment of Citlalinicue 28.\n\ncincalli. Maize-house, West 10. \u2014 through confusion(?) with the rain god of the South 218. \u2014 denotes the East of the West-region 121.\n\nCinteotl. Maize god, a male god 128. \u2014 appearance and attire 88, 128. \u2014 fourth of the nine lords of the night 128. \u2014 first of the four guardians of the first Venus period, denoting the lower region 114. \u2014 earth god of the North 88, 89. \u2014 standing for the earth 74. \u2014 in the series of the nine lords denoting the North 111. \u2014 born in Tamoanchan of the Tlazolteotl 101, 165. \u2014 = Xochipilli 154, 156. \u2014 in the Fej\u00e9rv\u00e1ry confused with Xochipilli 194. \u2014 indicated with the Tlazolteotl of the West 212, 213. \u2014 struck by the spear of the planet Venus in the third period in the Codex Borgia 221. \u2014 depicted opposite Mayauel 256.\n\nDigitized by Google\n\nIndex. 339\n\nCinteotl Itztlacoliuhqui, the one meant in the mask of the deity of the stone, born of the Tlazolteotl at the feast of Ochpaniztli 261.\n\nzolin, quail, animal of the earth, breast-ornament of Xipe 85. \u2014 on the front of the headband of Xipe 204. \u2014 feathers in the neck-ornament of the Tlazolteotl 102. \u2014 feathers in the nose-ornament and at the crown-tip of the Tlazolteotl 264.\n\nzotz (Maya), bat, in Maya hieroglyphs 113. \u2014 closure of the gate of Tollan 118. \u2014 of the Tollan of the West 126. \u2014 name of a year-festival of the Maya 113.\n\nxochitomalli, tuft made of yellow feathers, with the Tlazolteotl 102, 172.\n\nxopatlihualli, tube-shaped neck-ornament of palm-leaf strips of the Cuexteca 141.\n\nChocol\u00e1, hacienda in the district of Kenton of Guatemala. Jagged vessel from there 31.\n\nchachanme, \"the houses,\" two captives who are sacrificed at the netonatiuhqualli 186.\n\nChalco, city-state, denoted hieroglyphically by chalchiuitl 96.\n\nchalchiuhmichoacan, \"jewel-stone Michoacan\" = Tamoanchan, the mythical West 164, 165. \u2014 depicted with Xochipilli 161, 165.\n\nchalchiuhatl, the jewel-water, also = blood 100. \u2014 hieroglyph 23, 184, illustrated by a blood-serpent 75, 76. \u2014 with Quetzalcoatl, the sweeper, 21. \u2014 with Chalchiuhtotolin, the turkey, 181, 272. \u2014 represented by the Chalchiuhtotolin, the turkey, 188, 2Li. \u2014 depicted with the Chalchiuhtlicue 265.\n\nchalchiuhcozcapetlatl, multi-strand necklace of jewel-stone beads, with Xochipilli 116, 150 and other gods.\n\nchalchiuhtotolli, headband of the fire god 95.\n\nChalchiuhtlatonac. God of flowing water, in the Codex Vaticanus [standing] for Chalchiuhtlicue, entering as regent in the fifth day-sign 148, 149.\n\nChalchiuhtotolin, the \"jewel-hen,\" the turkey, denotes water 75 and note. \u2014 in the house of the rain god 75, 76. \u2014 regent of the eighteenth day-sign tecpatl [page]; of the seventeenth Tonalamatl section ce atl 271, 212. \u2014 image of Tezcatlipoca 211. \u2014 represents the chalchiuhatl or the blood 189, 272.\n\nchalchiuhyacamitl, nose-rod of green jewel-stone, precious nose-rod. Worn by the sun god 127. \u2014 by Xochipilli 150.\n\nchalchiuitl, so-called emerald, jadeite and other green semiprecious stones. In the water before the Chalchiuhtlicue 100. \u2014 on the tree of the East 78. \u2014 on the clothing of the Chalchiuhtlicue 151. \u2014 on garments of Chalchiuhtlatonac 116. \u2014 on the loincloth of Xochipilli 160. \u2014 at the neck of the sun god 117. \u2014 of the maize god 148.\n\nchalchiuitl necklace, see cozcatl. \u2014 headband of the sun god 185. \u2014 of Quetzalcoatl of Tollan 287.\n\nChalchiuhtlicue, she with the garment of green jewel-stones, goddess of flowing water. Appearance and attire 99. \u2014 sixth of the nine lords of the night 99, 100. \u2014 denoting the West 111. \u2014 regent in the fifth day-sign couatl 148, 149. \u2014 of the fifth Tonalamatl section ce acatl 253. \u2014 fourth of the four guardians of the fourth Venus period, denoting the West 264, 265. \u2014 struck by the spear of the planet Venus, in the first period (the East) 12P. \u2014 in the water-vessel under the Tlaloc of the center 284.\n\nCham\u00e1, in the Alta Vera Paz. Painted clay vessel from there 112.\n\nChantico, goddess of Xochimilco, fire goddess 273. \u2014 appearance and attire 275, 221. \u2014 regent of the eighteenth Tonalamatl section ce ehecatl 272\u2014278. \u2014 chichi... goddess 228. \u2014 mistress of the capsicum pepper 273, 276. \u2014 the eagle-foot her symbol 34, 55. \u2014 ? accompanying image in the first Tonalamatl quarter 15.\n\nchayahuac cozcatl, long-hanging necklace of malinalli of the pulque gods 168.\n\ntzi, (Guatemalan languages) dog 157.\n\nchic (Tzeltal) = Mexican olin 180.\n\nchicauaztli, rattle-board, sign of the earth deities, in the hand of the four guardians of the earth 82\u201489. \u2014 of Cihuacoatl 82, of Cinteotl (both) 88, 88. \u2014 of Xipe (?) 28, 175, 267 (blue) 4M, 85. \u2014 between the first human pair, denoting fertility 83, 134.\n\nchicchan (Maya), day-sign, = Mexican couatl, first member of the four-membered series significant for the morning star 188.\n\nchicocolli, the throwing-board curved on one side, of the wind god 140.\n\nChicomecoatl, \"Seven Serpent,\" name of the Mexican maize goddess 20.\n\nchicomecoatl, god of the Vienna manuscript 25, 261.\n\nchicome olin, \"Seven Movement,\" god of the Vienna manuscript 73.\n\nchicome xochitl, \"Seven Flower\" = Chicomexochitl, \"flower festival.\" Festival of Xochipilli 161. Name of Tonacatecutli 1.\n\nChicomolotzin, \"Seven Ears (of maize),\" name of the maize goddess 20.\n\nChicomoztoc. Seven Caves, place of origin of the tribes, situated in the North. Dwelling place of Iztac Mixcoatl 240.\n\nchictlapanqui, two-colored, black and red, color of the pulque gods 168, 261. \u2014 garment and crown of the Tlazolteotl 264, 265.\n\nchicuei acatl, \"eight Reed,\" fourth of the five forms of the Tlazolteotl, denoting the South, [page]. Name of the moon goddess 17, 48.\n\nchicuei mazatl, \"eight Deer,\" Xolotl 201.\n\nChicunauhapan, the ninefold river, the river of the underworld 157.\n\nchicunauhnepaniuhcan, the ninefold interlinked, the nine heavens. Dwelling place of Xochiquetzal 158. \u2014 = Tamoanchan 158, 251.\n\nchicunaui acatl, \"nine Reed,\" name of the Tlazolteotl 17, 18, 313.\n\nchicunaui ehecatl, \"nine Wind,\" name of Quetzalcoatl 287, 293, 294.\n\nchicunaui itzcuintli, \"nine Dog,\" name of the Chantico 2li. Goddess of the hair-cutters 273. \u2014 sign of sorcerers 273.\n\nchicunaui tecutli, \"nine Lord\" (lord of the nine directions), name of the fire god 111.\n\nDigitized by Google\n\n340\n\nIndex.\n\nChi ch'on itza t Maya\", ancient city in Yucatan. Serpent columns == caryatids .\n\nChichimeca, immigrant tribes of the North, do not know Tlazolteotl. \u2014 Her god, s. Mixcoatl. \u2014 Her consort, s. Itzpapalotl. \u2014 Her goddess, denoting the third night-hour and the North.\n\nchichinoa, to scorch, to burn.\n\nchi/ah, pija (Zapotec), day-sign, = Mexican malinalli.\n\nchi/lla (Zapotec), fifth day-sign, Mexican tepatl.\n\nchilli, Capsicum, pepper. Its mistress, Chantico. \u2014 Abstention from it, fasting.\n\nchilmolli, red pepper sauce.\n\nChimalpanecatl, a pulque god.\n\nChinampaneca, inhabitants of the lagoon of Xochimilco. Their goddesses.\n\nchicuace acatl \"six reed,\" name of the third of the five forms of Tlazolteotl, denoting the West.\n\nCholollan, city, its god Quetzalcoatl.\n\nSign of the fan, of the image, signifies human sacrifice \u2014 that of a ball of down, signifies conception.\n\nDown-crown, Xipe's, Huitzilopochtli's.\n\nDel Paso y Troncoso. Studies on the Codex Vaticanus.\n\nThunder, voice of Tlaloc.\n\nThunderbolt, in the hand of Tlaloc.\n\nThorn tree, the tree of the North.\n\nDirt-eater, sinner, s. tlaelpani.\n\nThree, number of the fire priests, for the fire god.\n\nThree Kingdoms, the.\n\nThirteen times fifty-two Venus periods, the great cycle.\n\nThirteenth Heaven, dwelling place of the gods of generation, s. Omeyocan.\n\nThirteen numbers, combined with the twenty signs to form the Tonalamatl.\n\nDue\u00f1os de la noche, s. Nine Lords of the Night.\n\nDarkness, general, at the end of the world-ages, our own era included.\n\nDrought, its symbol the deer. \u2014 Region of it, the North. \u2014 Its house. \u2014 Consequence of the spear-throw of the planet Venus in the third period.\n\noh (Mixtec), day-sign, Mexican malinalli.\n\necacozcatl, necklace-jewel of the wind god, his ear ornament (s. epcololli).\n\necailacatzcozcatl, the spiral shell-jewel necklace of the wind god, an ear ornament ground from a snail shell \u2014 Huaxtec ornament. \u2014 Worn by Xolotl.\n\nce atonatiuh, fourth of the pre-cosmic world periods, begins on the day ce itzcuintli.\n\ncauictli, the hoe of the wind god, his throwing-stick curved at one end.\n\nEcho, in the dance, = Tepeyollotli. \u2014 Mountain of the, s. Tepeuenec.\n\nPrecious stone, green, s. chalchiuitl.\n\nJewel chain, s. cozcatl.\n\nee (Cakchiquel), day-sign, Mexican malinalli.\n\necatl, wind, second day-sign. \u2014 Its regent Quetzalcoatl. \u2014 In Cuicatlan, one of the initial signs of the four years.\n\nAdulterer, s. tetlaximque.\n\nEhrle, P. F. S. J., studies on the history of the Codex Vaticanus.\n\nLizard, s. cuetzpalin.\n\nEmigration of the tribes, allegedly by way of the Huaxteca.\n\nela, gueela (Zapotec), night, day-sign, = Mexican calli \"house.\"\n\nConception, represented by incense-smoke from above. \u2014 By the offering of a cotton ball. \u2014 Sacrifice for.\n\nEn-face eyes, depicted beside the sun \u2014 under the sky.\n\nepcololli, ear-pendant ground from mother-of-pearl, Quetzalcoatl's \u2014 Huaxtec ornament. \u2014 Worn by Xolotl.\n\nEpileptics, regarded by the Ciuateteo as bewitched.\n\nBoring of new fire, at the beginning of the fifty-two-year period.\n\nEarthquake, tlalolini.\n\nEarth, s. tlalli, tlaltecuhtli, created from the cipactli. \u2014 Tepeyollotli. \u2014 Its world-period, that of the jaguar sun (ocelotonatiuh). \u2014 Its four guardians. \u2014 Its direction, the North, as the lower region.\n\nEarth god, s. Xipe Totec \u2014 the beast with the pointed snout.\n\nEarth goddess, s. Tlazolteotl. Beheaded. \u2014 The first human sacrifice.\n\nEarthquake, reptile (cipactli), serpent. Among the death-lords, Mictlantecuhtli, Mictecacihuatl. \u2014 Dug into it. \u2014 Devours the star. \u2014 Formed in step-meander pattern.\n\nElucidations, to the Tonalamatl.\n\nHarvest festival, the ochpaniztli festival.\n\nHarvest gods, the pulque gods. \u2014 Tlazolteotl.\n\nShooting with arrows, sacrifice of the earth goddess Itzpapalotl, through Mixcoatl.\n\nFirst woman, Xochiquetzal. \u2014 On the millstone depicted with Xochiquetzal.\n\nFirst man, Tonacatecuhtli.\n\nFirst human pair, Piltzintecuhtli and Xochiquetzal. \u2014 In the third quarter of the Tonalamatl (West), depicted under the sky goddess. \u2014 With Tonacatecuhtli, regent of the first day-sign. \u2014 With Tonacatecuhtli, regent of the first section of the Tonalamatl. \u2014 With Xochiquetzal. \u2014 In the pulque vessel.\n\nStrangler, s. quechnitzcuani.\n\net cohtlla, snake, s. malinalli.\n\netznab (Maya), day-sign \u2014 Mexican tecpatl, initial sign of the second of the four years.\n\nOwl, s. tecolotl.\n\neuch (Tzeltal), day-sign, s. Mexican malinalli.\n\nEve, the fallen, s. Ixnextli.\n\neztli, blood, symbolized by the flower. \u2014 By the red snake \u2014 s. chalchiuhatl. \u2014 By chalchiuhtototl represented. \u2014 Depicted with Tlazolteotl. \u2014 With Chalchiuhtlicue.\n\nfacies Hippocratica.\n\nFalling man, in Ueuecoyotl. \u2014 In Itztlacoliuhqui. \u2014 In Itzpapalotl.\n\nFasts, s. nezaualli.\n\nFast-breaker, Chantico.\n\nFaster, s. mozauani.\n\nFasting food, unseasoned pepperless tortillas.\n\nFeather serpent, s. quetzalcoatl.\n\nFeather serpents, the four.\n\nFeather crest, in the feather-adornment of the sun god. \u2014 Of the pulque goddess. \u2014 Tlaloc's.\n\nGuacamayo, s. alo.\n\ngueela, ela (Zapotec), night, day-sign = Mexican calli, house.\n\nLong hair braid, reaching to the ground, Tepeyollotli's.\n\nHairless dog, = xoloitzcuintli. \u2014 s.\n\nHand, human, ear ornament of the death god. \u2014 White, drawing at the mouth, s. motenmatealhuiticac. \u2014 Hieroglyph for five.\n\nManuscripts, Mexican, appearance and condition.\n\nOrphan, s. mailapilli.\n\nHard, symbol of all that is hard, Itztlacoliuhqui.\n\nBreath, life, basic meaning of the sign ecatl.\n\nHouse, = calli.\n\nHouse of Drought.\n\nHouse of the Earth, s. tecolotl's, cozcacuauhtli's house.\n\nHouse of Rain.\n\nHouse of the Sun, s. tonatiuh ichan.\n\nDescending, indicated by the image of the spider. \u2014 Of the Ciuateteo. \u2014 Of the child. \u2014 Of war. \u2014 Of the Tzitzimime at the time of a solar eclipse. \u2014 To sacrifice, accompanying image in the first quarter of the Tonalamatl. \u2014 In the second. \u2014 In the fourth.\n\nPlunging downward, uetziliztli, tzontemoc.\n\nDrawing out, of the flower, of the jewel, drawing-out of the heart. \u2014 Of the eztli = birth of a child.\n\nHearthstones, tenamaztli.\n\n---\n\nHerald, s. tecpoyotl.\n\nLord of the Animals, Tepeyollotli.\n\nLords of the Night, the nine.\n\nSky, s. iluicatl.\n\nSky-bearers, Tezcatlipoca, Huitzilopochtli.\n\nSky goddess, s. Xochiquetzal, s. Tonacacihuatl.\n\nCardinal directions, four, five. See \"Cardinal directions.\" \u2014 Their meaning. \u2014 Represented by the rain god. \u2014 Changed beginning.\n\nHimmelstr\u00e4ger, the four, *2. Hl. *ti. \u2014 Star-gods, Tzitzimime H5\u00bb, HO. \u2014 their images, the stone caryatids U2, \u00dcB.\nHeaven and earth, love and death ;ux> - -:hi2.\n\nDescending, to the dead. Xolotl i\u00fcil\nBack-of-head strap, s. \u00ab uex\u00ab\u00bb\u00ab hi\u00ab-\u00ab liimalli.\nBack-of-head-cover, \u00bb. tla\u00ab|uechpanyotl.\n\nHippocretice, farim IAA\n\nDeer, \u00bb. niacatl \u2014 of the East and of the North, litt*, mtl.\n\n\u2014 dead one, wept over KAuelu-work, abundance of food !K\u00bb2.\n\nrttfl.\n\nDeer-antler, mallet for the tortoise-shell drum 221, 222. \u2014\ndouble one on Xolotl's page 2LL\nDeer-goddess, * niacat\u00ab.*otl.\n\nCave, OStotl. God of the. See T\u00ab*pryo|l\u00abitli.\n\nCave-temple, \u00bb*l TepeyoMotli nt'*, HK.\n\nholcan (Maya) warrior, struck by the spear of the planet Venus, in the fifth period (the lower region tm* oirhwmd).\n\nHoney-pot, with the fire-god of the South Hl\u00bb, H7.\n\nHuaxteca, tribe, s. huaxteca. \u2014 servant of the Tlazolteotl, s. huaxtec. \u2014 their costume pieces in the costume of the wind-god 14(1, 141.\n\nHun ahau (Maya) = Mexican ee xochitl. Name of the death-god 11.\n\nHun ahpu (Quich\u00e9) = mexik. ce xochitl (?), sun-hero 11.\n\nHun batz (Quich\u00e9) mexik. ce xochitl, flute-player, singer, artist, is turned into a monkey IAH, I.V.*.\nhun chic chan (Maya) = mexik. ce couatl. Beginning of the visibility of Venus as morning star 21M.\n\nHun chuen (Quich\u00e9), s. mexican ce ozomatli, flute-player, singer, artist, turned into a monkey l.Vt. I.Vl\nDog, s. itzcuintli. \u2014 hairless one, s. xoloitzcuintli.\n\nHun hau, n. Hun ahau.\n\nicneyotl. Poverty, indicated by water, the changeable element. 2-Vi. -tut \u2014 indicated by an axe (tepoztli) :t|1, Mg, m\n\nicpatli, chair, denotes tlatocayotl, kingship 2\u2018W,\nicunnan \"their Huaxteca\", companion of the Tlazolteotl at Ochpaniztli 100, UH\n\nichcatl, unspun cotton-wool. Ear-plug of the Tlazolteotl 102 and elsewhere. \u2014 of the Ciuateteo UliL \u2014 of the death-god UM, M \u2014 of Patecatl 2(1\u00bb. Necklace of the dog that accompanies the dead 1, f\u00bb7.\n\nichcaxochitl, head-adornment of unspun cotton, of the Tlazolteotl HU, 102, 172 and elsewhere. \u2014 of the Ciuateteo JUL\n\n\u2014 of Mayahuel 196. \u2014 of Quetzalcoatl of the height :WQ.\n\nik (Maya), wind, day-sign, mexican ce eecatl UM, l\u00fcn.\n\ntlamatncutli, and Tonacaciuatl, the sixth region of the sky, denoting the lower region 70. together with Itztac Mixcoatl denoting the middle and the thirteenth day-and-night hour. \u2014 depicted at the grinding-stone, with Xochiquetzal PJO.\n\nIlancueitl, \u00bb. Ilamatecutli.\n\nilhuicac yauh, he who goes to heaven, the soul of the dead warrior 2\u00d6H, \u2014 - maqui, the pleasure-woman, denoting the twelfth night-hour and the upper region 2\u00dc7. \u2014 appearing for Macuilxochitl, the third of the four guardians of the fifth year-period 2\u00bbKt. \u2014 \u00bb. tonatiuh Ixco yauh.\n\nilhuicatitlan, temple with the image of the morning star 1H2\nIlhuicatl, heaven, seat of the begetting gods 44. \u2014 indicated by the eagle-headed god macuil quauhtli? 74.\nilhuicavi, \"lord of heaven\", name of the fire-god 111. \u2014 of Tonacatecutli's PIO. 240.\n\nilhuitl, feast, pattern on the mantle of Xochipilli and Macuilxochitl MB, I\u00dft.\n\nEarthly and heavenly love H\u00fc.\n\nitzcuintepotzotli, hunchbacked, pig-like breed of dog Int\u00bb.\nitzcuintli, the native Mexican dog. Various breeds ln\u00df. \u2014 sacrificial and offering animal 157. \u2014 given to the dead in the grave l\"i7. \u2014 the burning animal, denoting fire I.Y7, 27*. \u2014 tenth day-sign 12*. IAA. \u2014 Its regent Mictlantecutli 1**7. IAA \u2014 In its form appears Xolotl 1*1, 2*(l. \u2014 the fire-goddess Chantico transformed into it 270. \u2014 with the red Tezcatlipoca (representative of Xipe), the representative of the dry season, marked \u2022)-l i;. \u2014 in his mask, the planet Venus in the third period (the west) Ml*.\n\n\u2014 a god of Mextitlan I\u00dc7.\n\nitztlacayan, the place of fresh winds, heaven. Dwelling-place of Xochiquetzal l**t, 2\u00c4t.\n\nItzpapalotl, obsidian-butterfly, Chichimec goddess in butterfly form, with the whole-body painting of the fire-god 17*. 17U. \u2014 establishes at Nequametzin the oldest Chichimec rule 17*. \u2014 sacrificed by shooting, by Mimich IP.\u00bb. \u2014 regent of the sixteenth day-sign Cozcaquauhtli 177\u2014170. Regent of the fifteenth Tonalamatl-section ce calli 'AiH. 2lli \u2014 depicted with the broken space-tree Tamoanchan 17*. SSL\n\nItztlacoliuhqui, the curved obsidian knife, god of hard stone lV>1. \u2014 of cold 202. 2ii\u00dc. \u2014 of punishing justice 2\u00dcL \u2014 regent of the twelfth Tonalamatl-section ce cuetzpalin 2\u00dc1\u20142(M. \u2014 mask of Cinteotl, the maize-god born of the Tlazolteotl at Ochpaniztli 2\u00fc2, 2. \u2014 his form is shown at the tip of the roof of the cave-temple of Tepeyollotli's ln\u00f6.\n\nItztli, obsidian-knife-god, second of the nine Lords of the Night \u00fcft, i. \u2014 denoting the East 111.\n\nXiuhtototl, Chichimec prince, remaining behind at Mixcoatl170.\nititopotli, stone axe.\niuitopilli, feather-staff of Chantico 27\u00f6\n\niuitzoncalli citlallo, star-sky-adorned feather-crown of Tezcatlipoca 2\u00f6ti.\n\nix (Maya), day-sign, mexican ocelotl, in Yucatan initial sign of the third of the four years 2HU.\nIzcauhqui, the yellow-faced one, name of the fire-god IM.\n\nitztalchtualli, star-face-painting of the morning star \u2014 mixitlalhuiticac.\n\nIznuztli, the abandoned Eve, depicted facing the god Ueuecoyotl 2.'i\u00fc.\n\nizquimilli, blindfolded, s. Tezcatlipoca ixquimilli.\n\n\u2014 s. Itztlacoliuhqui \u2014 with Itzpapalotl depicted in the fifteenth Tonalamatl-section 'J\u00fct\u00bb.\n\niztac tlatlaan, crosswise stripes in yellow color, face-painting of Tezcatlipoca *, 12. 11.* and elsewhere.\n\nIzthiltoc, the little black-face, ...\n\nitcalli, growth, depicted in the eighth day-hour, which belongs to the East \u00e4Jkl.\n\nIzquitecatl, pulque-god |\u00dcS.\n\nizpuitl, roasted, burst maize, offering for the Ciuateteo \u00c4SL\n\nizquixochitl, white blossoms (Plumeria alba) wreath of Xochiquetzal 2I>! and elsewhere. \u2014 on the cheek of Xochipilli and of Xochiquetzal, in the seventh day-hour (midday), which belongs to the upper region 22*. 22!)\n\nizquiztli, comb, insignia of Tlazolteotl 1U2.\n\nIztac ciuatl, snow-mountain UW.\n\nDigitized by Google\n\nIndex \u2014 343\n\nIztac Mixcoatl, the cloud-serpent, the primal god, the sky-god. Ancestor of the Chichimecs, dwelling in Chicomoztoc :;\u00bb> \u2014 attire and dress jg| ML \u2014 bears the tobacco-gourd of the priests 14, 21H. \u2014 denoting the middle and the thirteenth night- and day-hour 212. !\u00bb8\u201424i\u00bb.\n\niztac xochitl, white blossom, name of Tlazolteotl 101.\niztapalli, flat stone Knie 2 \u00c4h.\n\nIztapaltotec = Xipe 2\u00dcS.\n\nJaguar, s. ocelotl; s. tlatlauhqui ocelotl.\nJaguar-skin, on the royal throne 17\u00ab\u00bb.\n\nJaguar-fur-marking, on the mouth of Tepeyollotli's t\u00abH.\nJaguar-vessel, with Tlaloc, ocelocaxtli (vessel for burnt offerings) iVi\n\nJaguar-god, m. Tlacaocelotl.\n\nYear. Hieroglyph (ring and beam, trapezoid and beam) \u00c4g, 2SL \u2014 on the crown of Tlaloc i:\u00bbl. IU7, 1UH. \u2014 on that of the rain-god of the South 243.\n\nBeginning of the year, among the Mexicans 2HM.\n\nYear-bearers 2\u00dcL\n\nYouths' house, \u00bb. telpochcalli.\n\nYouth, \u00bb. telpochtli.\n\nCactus-fruits (?), on the tree of the South Hl.\n\nCalendar, \u00bb. Tonalamatl, s. xiuhpohualli. xiuhamatl.\n\nKita. s. evtl \u2014 god of, k Itztlacoliuhqui.\n\nComb-like ornament, \u00bb. jwtlxnolli\n\nKimpieu = to be born lili. h. vucuiali.\n\nKan (Maya). Day-sign, mexican cuetzpalin 117. \u2014 denotes maize 147. \u2014 in Yucatan initial sign of the last of the four years\n\nCanal-construction (?), s. tlacatlaolli.\n\nKan-sign, god with the, ii i. struck by the spear of the planet Venus, in the third period (West) IV-H.\n\nCaryatids Kl\n\nCastration, m-y\u00ab>li/tli, netetequizpan\n\nKatchina, dance-gods of the Hopi 1|s\n\nKautschuk, s. olli.\n\nRubber-ball, h. oltelolotli.\n\nRubber-painting, s. motenehuiopineca\n\nRubber-ball, h. ultelolotli.\n\nRubber-plaster, on the cheek, s. tlaxapochtli.\n\nkiik (Maya), blood, Kautschuk XI\n\nkik hoban (Maya), \"extinguished blood\" = Kautschuk !tt.\n\nChild, denoted by a coyotl 23, 24, 21\u00bb, #1\u00bb, 2jn. 2iL by a spindle-whorl 211\u00bb. Conceiving one, through a descending footprint 21, 24. 221.\n\nChildbed, woman who died in it, s. mociuaquetzqui.\nChild's-face-painting, s. pilnechiual\u00fc.\n\nChild's-cradle, s. conrecuiUatU\n\nBone-awl, s. omitl.\n\nButton, in the nostrils, with Tepeyollotli and the tribes of the Pacific region IlM. |(fi\n\nHummingbird, huitzitzilin.\n\nKings, kingship, = tlatoani, tlatocayotl.\n\nBody-parts and day-signs 2W. 21m.\n\nCoyote, the old, dance-god, s. Huehuecoyotl.\n\nCoyote-skin, worn by the dance-gods of the Hopi llH.\n\nSick person, s. cocoxqui.\n\nCross, formed from crossed jade-stones (?), death-symbol yy.\n\nCrossroads, s. ohtlamaxac (?)\n\nWar, s. yaoyotl. metaphorical designation, s. atl tlachinolli. \u2014 must produce sacrifice 176.\n\nWarrior, s. yaotl, n. quauhtli, quauhtli-ocelotl, s. holcan- one who is sacrificed, s. tonatiuh Ixco yauh, ilhuicac yauh.\n\nWarrior-collar (?), s. izotiucolli, itzotzoloyan.\n\nWarrior-dance-headdress, s. uztaxelli.\n\nWarrior-death, sacrificial death .Vi. 217. 2~>s,\n\nWarrior-death-ornament, with Tlahuizcalpantecutli 2\\s. with Tonatiuh.\n\nCrocodile, s. cipactli.\n\nSkull-mask (?), Chichimec, s. cealtzcpontli.\n\nKukumatz (Quich\u00e9) = Quetzalcoatl 2\u00bb, 1;V\u00bb\n\nKukulcan (Maya) = Quetzalcoatl I3.V\n\nCopper-axe (?), \u00bb teputztli.\n\nGourd-rattle, ayacachtli.\n\nCoastland, s. Anahuac. Anahuatl.\n\nCoast-dwellers, s. Anahuaca.\n\nlam \u00abxapotek \"fire\" = mexican eecatl, wind HU.\n\nlamat (Maya), day-sign = mexican tochtli, rabbit. Initial sign of the fourth of the four years *->\n\nLancet (?), with Oxomoco, Cipactonal 227. \u2014 with the priest, at the time of midnight 227.\n\nLapilli, \u2014 teciuitl.\n\nLava, blistered (?), s. teconalli.\n\nFoodstuffs, s. tonacayotl. Lord of, Tonacatecutli 131.\nAbundance of food, region of, the East 7H. 2Kt. 11KL Time of, the years of the East ->H->. \u2014 indicated by incense and by extinguishing incense 2V\u00bb.\n\nLife and death 9\u00bbb-HOt\n\nLegend (?), s. cmH ueuepalin. ueue uetzpalin. \u2014 crawling over the knees, produces fertility 14A\n\nCorpse, micca-quimiloli.\n\nCremation of the dead, s. tetlatiliztli.\n\nLove-goddess, s. Xochiquetzal.\nleft, s. opochtli-opu.\n\nSpoonbill (heron), s. tlauhquechol.\n\nDesire, gods of, s. Ahuiatl (?), Xochipilli, Macuilxochitl, Tlazolteotl. their signs.\n\nmaana, \"spreads itself\", figure of speech for birth 2C;.\n\nmacuil co\u00e7caquauhtli, \"five vultures\", second of the five North-gods, denoting the North dllL\n\nmacuil cuetzpalin, \"five lizards\", first of the five South-gods, denoting the East 3U1\u00bb, 310. \u2014 banner-bearer before the sanctuary of Huitzilopochtli's 3111 [illustration :bl8].\n\nmacuitl, \"the taken hand\" = five, represented hieroglyphically by the drawing of a hand JU\u00fc\n\nmacuil malinalli, \"five twisted-grass\", fifth of the five South-gods, denoting the lower region :tl1, \u2014 maize-god 311. \u2014 the sign guarantees wealth 22!i\n\nmacuil olin, \"five movement\" = Chalchiuhtotolin 2Kl, 2U.\n\nmacuil quauhtli, \"five eagle\", eagle-headed god, denotes heaven 74.\n\nmacuil tochtli, \"five rabbit\", third of the five South-gods, denoting the West .'IH>. 'dll [illustration otri], \u2014 pulque-god 3LL\n\nmacuilxochitl, \"five flower,\" fourth of the five gods of the South, denoting the South, the red god, the god of pleasure and of play 311. \u2014 third of the four guardians of the fifth Venus-period, denoting the South 297, 298. \u2014 in the golden feather-snake, denoting the South 216, worshipped together with Xochipilli 191. \u2014 fire-drill(?) 29, 30. \u2014 stone image 47, 48. \u2014 entering for Cinteotl in the third Tonalamatl-quarter 41, 17, companion image in the fourth Tonalamatl-quarter 191, presiding over the dice-game patolli 161, 163. Stone images at the ballgame court 161, 162. \u2014 appearance and attire 288. \u2014 distinguished by the drawing of the white hand at the mouth 161, his facial painting like Xolotl's 181, 161. \u2014 stone images 161, 161, 166.\n\nMazatotl. Xochiquetzal with a rabbit's head upon her head, opposite the dance-god, denoting the third night-hour and the North 217, 218. \u2014 opposite the animal-headed prince, denoting the seventh night-hour, midnight, and the lower region, 227.\n\nMazatepec. Settlement of the Chichimeca migrating out of Chicomoztoc 179.\n\nmazatl, deer, seventh day-sign 128, 129. Its regent Tlaloc, in Cuicatlan. Initial sign of one of the four years 260. Sign of drought 150, 151. Image of the chase, of the harvest 16, 17, 149, 357. \u2014 sign of the North 202. \u2014 depicted at the sky-bearer of the North 88, 89. \u2014 disguise of Xochipilli 112.\n\nmachoacotl, upper-arm ring in the bowl before Xochipilli 114.\n\nIlhuej, agave plant, see metl.\n\nMahlstein (grindstone), see metlatl.\n\nMais (maize), blossom see miahuatl. \u2014 cob see cintli. \u2014 stalk see toctli, ohuatl. \u2014 painting on the tree of the West 20.\n\nMaisgott (maize-god), see Cinteotl; see god with the Kan-sign.\nMaisg\u00f6ttinnen (maize-goddesses), see Chicomecoatl, Chicomolotzin.\nMaishaus (maize-house), see cincalli.\n\nMaize-bearing earth, on the lower leaf of the West-region 120, 121.\n\nMaler, Teobert, investigations in Chichen Itza 101.\n\nmalinalli, \"twisted grass,\" second day-sign 128, 129. \u2014 its regent Patecatl 169\u2014170. \u2014 in Yucatan one of the initial signs of the four years 260. \u2014 in the hand of the Tlazolteotl 351, \u2014 of the Cihuacoatl 61. \u2014 of the five Ciuateteo 191. \u2014 of the five gods of the South in the Codex Vaticanus 3773. \u2014 of Xochipilli's 87, 88. \u2014 of the sick man 158. \u2014 forms the ear-plug of the death-god 198. \u2014 the death-rattle of the death-god 94, 108, 189. \u2014 of the Cinteotl of the lower region 305. \u2014 the striped necklace (chayanic cuzcatl) of the pulque-gods 198. \u2014 the breast-ornament of Xolotl 181. \u2014 of Itztlacoliuhqui's 201.\n\nmamafouhticac, birth-healing 253.\n\nmamathaaztli, fire-drill, represented by two arrow-shafts 30.\n\nmaqui, \"those who enter into the ranks,\" the courtesans, companions of the warriors. Their patroness Xochiquetzal 129, 188, 189, 201. \u2014 dancer, denoting the third night-hour and the North 217, 218. \u2014 as ilhuica-yauh denoting the twelfth night-hour and the upper region 235.\n\nmaquizcoatl, two-headed snake, breast-ornament of the rain-god 197, 198. \u2014 of the red rain-god of the South 216. \u2014 nose-ornament of the Chalchiuhtlicue 61, 148. \u2014 denoting the incense-offering 71.\n\nmatlactli oce \"ten motion,\" initial day of the fifth Venus-period 297.\n\nmatlactli omei acatl \"thirteen reed,\" birth-year of the sun 189.\n\nmatlactli omome cozcacuauhtli \"twelve vulture,\" goddess of the old women 189.\n\nmatlactli omome tecpatl \"twelve flint-knife,\" name of the earth-god or death-god 201.\n\nmatlalcueye \"she who wins with the net,\" name of a mountain in the region of Tlaxcala 186. \u2014 water-goddess 186. \u2014 patroness of the sorcerers, second wife of Tlaloc 188. \u2014 represented in the west-array among the rain-gods of the center 186.\n\nmatlava \"lord of harlotry,\" name of Tonacatecutli 139, 132.\n\nmatotoc, bird with hands, represented at the Chalchiuhtlicue 148.\n\nmaxahuiqui, legs spread apart, swallow-tail shaped, the breechcloth of Xipe 170, 171. \u2014 the wand of Xipe 102, 251.\n\nmaxtlatl, breechcloth of the men, worn by the Ciuateteo 307, worn by the Miccacihuatl 291.\n\nmayanaliztli, famine, symbolized by Cihuacoatl 365, 201.\n\nMayahuel, goddess of the agave plant, inventor of the preparation of pulque 152. \u2014 pulque-goddess 169. \u2014 entering for the pulque-vessel in the second Tonalamatl-quarter 41, 42. Regent of the eighth day-sign tochtli 152, 153. \u2014 of the eighth Tonalamatl-section ce malinalli 249, 253. \u2014 fourth of the four guardians of the first Venus-period, denoting the lower region 194. \u2014 fifth of the five forms of the Tlazolteotl, denoting the lower region 305, 306. \u2014 appearance and attire 152, 169. \u2014 sitting on a turtle 18, 152. \u2014 suckles a fish 169.\n\nmayiccopa, to the right, name 91.\n\nmecapalli, carrying-band passing over the forehead for back-loads 20.\n\nMichoacan, see Michhuacan.\n\nConch-shell trumpet, see tecciztli.\n\nMelons, offerings for Quetzalcoatl 143.\n\nmm imayai, day-sign, = Mexican quiauitl, fourth member of the series significant for the morning star 129.\n\nCannibalism, see tlacacualli.\n\nHuman food, see tlacaeuatl.\n\nHuman-skin mask of Xipe, see mexxayacatl.\n\nHuman sacrifice, see tlacamictiliztli.\n\nFlayer of men, see tlacaxipehualiztli.\n\nmetl, agave plant, yields pulque 152. \u2014 its goddess Mayahuel 152. \u2014 entering for Mayahuel 42\u201443, 169.\n\nmetlapilli, hand-roller for the grindstone 19.\n\nmetlatl, grindstone 19.\n\nmetztli, moon. Its hieroglyph 190. \u2014 indicated at the Tlazolteotl 119, 194. \u2014 indicated at the night-hours of the moon 217, 218, 229, 226, 231. \u2014 its god, see Tecciztecatl. \u2014 its sign, see ce miquiztli. \u2014 birth after that of the sun 189, its six phases, its periods 189, 190, 291. \u2014 image sacrificed as netonatiuhqualli 186.\n\nMexica, the last immigrants 179.\n\nmintotl, double agave 152.\n\nmenayacatl, thigh-skin mask, worn by Cinteotl-Itztlacoliuhqui at the Ochpaniztli 202, 203.\n\nmixayacatlahuiztli, war-device 202.\n\nmiyotl, rosette, four on Tlaloc's headdress 191. \u2014 back-device of the Chantico 213.\n\nMiztitlan, region on the borders of the Huaxteca. Day-sign list 127, 128. \u2014 deities 166, 167.\n\nmiquiztli, death, sixth day-sign 148\u2014149. \u2014 its regent Tecciztecatl 149, 150.\n\nMitla, region on the border of San Salvador, inhabited by the Pipil 186.\n\nmitl-chimalli, shield and spear, sign of war, in the temple of the fire-god 94. \u2014 before Tzontemoc, the sky-bearer of the West 84, 85. \u2014 with Xiuhcoatl 208. \u2014 at Tepeyollotl 250. \u2014 at Yohualteuctli 252. \u2014 at the red and the black Tezcatlipoca 326.\n\nmitotiani, macehuani, dancer, represented at the Xochiquetzal 218. \u2014 in the third night-hour, the North 217, 218. \u2014 in the fifth night-hour, the South 222, 223. \u2014 see dance-gods, see Huehuecoyotl.\n\nNoon, see nepantla tonatiuh. \u2014 Noon and midnight = South and North 77, 214.\n\nCenter, fifth world-region, represented by the fire-god 110, 111. \u2014 seventh world-region represented by Iztac Mixcoatl, Ilancueye 212, 216.\n\nMidnight, see youalnepantla.\n\nmitzontli, tlacochtzontli, spear-crest wig of the fire-god 96.\n\nMixcoatl \"cloud-serpent,\" god of the Chichimeca and of the hunt. Appearance and attire 116, 206, 207. \u2014 face-painting of the morning star 116, 258. \u2014 bears a deer as back-device 151. \u2014 fire-drill 29. \u2014 one of the Tzitzimime 90, 91. \u2014 second of the four forms of the deity of the planet Venus, denoting the North 115, 116. \u2014 guardian of the second Venus-period, denoting the North 288. \u2014 second of the four guardians of the fifth Venus-period, denoting the South 206, 207. \u2014 on the leaf of the North 79. \u2014 at the Tlazolteotl the deer-hoof 193.\n\nmixcitlalhuiticac, star face-painting of the morning star 258. \u2014 at Mixcoatl 116.\n\nmichictlapoticac, two-colored, black-and-red face-painting of the pulque-gods 169.\n\nmizzatl, cloud, image of the cloud 148.\n\nOlmeca, in Sahag\u00fan's usage = Olmeca 101.\n\nmizzoll, cloud, image of the cloud 108.\n\nmizcitlahchiuh, star face-painting of the morning star 258.\n\nMonths, twelve, represented in the sixth Tonalamatl-section 89.\n\nMoon, see metztli.\n\nMoon-god, see Tecciztecatl.\n\nMorning star, period of its visibility 291\u2014294. \u2014 among the Huichol 89.\n\nMotecuhzoma sends Cort\u00e9s the costumes of the four gods 158.\n\nmotamaepuhtotiqua, those who dance with a human hand, sorcerer-rogues 307.\n\nmotenmacpalhuiticac, drawing of a white hand at the mouth, of Macuilxochitl's and of the five gods of the South 191, 207, 208, 208\u2014211. \u2014 at Xolotl's 181.\n\nmotenmaxaloticae, open mouth of Xipe's 205.\n\nmotenzopinticac, black rubber (caoutchouc) painting around the mouth, of the fire-god 91. \u2014 of the Tlazolteotl 82, 92, 172.\n\nmotlatlauana, she stretches herself out, birth-posture 251.\n\nmotlauaotac, red body-painting of the fire-god 91.\n\nMotocoyatzin, the one who acts by his own will, name of Tezcatlipoca's 171.\n\nmuluc (Maya), day-sign = Mexican atl, water, in Yucatan initial sign of the second of the four years 261.\n\nFalse bundle, for the dead warrior 167.\n\nPinched moon-corner (mouth), of old people, representation in the Codex Borgia 130, 149.\n\nMu\u00f1oz Camargo, Diego, Tlaxcalan historiographer 106.\n\nConch-horn, see tecciztli. \u2014 time of blowing = midnight, see tlatlapitzalizpan.\n\nMusic, gods of, in the fifth hour of the night, the south\n221, 222.\n\nnaked* gods, Mixcoatl 116, 906. 207. \u2014 the [Kegnngnti?] of the\nlower region 244. \u2014 Tlazolteotl 101.\n\nnacochtli, ear-plug 5H, VI. \u2014 blue a. xiuhnacochtli.\n\nNight, Nine Lords of the 91 111.\n\nNachtstunden (hours of the night), thirteen 211\u2014242.\n\nNight-bird, image of Tezcatlipoca 2\u00a3j.\n\nManacatitzatzin (?), god of Meztitlan 167.\n\nNanahuatzin, the syphilitic god, becomes the sun 1BS.\n\nnahualli, sorcerer-jaguar 96.\n\nNahualpilli, god of the stone-cutters of Xochimilco, a pulque\ngod 168.\n\nNahuatlaca 179.\n\nnauhyotecuhtli (?), lord of the four directions, the fire god 111.\n\nnahui atl \"four water,\" sign of Almiatuih (?) 185.\n\nnahui coatl \"four snake,\" god of the Vienna Codex 287, 288.\n\nnahui cuetzpalin \"four lizard,\" beginning of the Tonalamatl\ndivision into two groups of 9\u00d79 and two groups of\n7\u00d77 days 6.\n\nnahui ehecatl \"four wind,\" sign of ehecatonatiuh 186.\n\nnahui ocelotl \"four jaguar,\" sign of ocelotonatiuh 185.\n\nnahui ollin \"four movement,\" day of the disappearance of the\nmorning star in the rays of the sun 299. \u2014 sign\nof the sun 180. \u2014 sign of olintonatiuh, the current\nworld period 184. \u2014 day of the netonatiuh-nahualli\n186. \u2014 depicted with Xolotl 211. \u2014 god of the Vienna\nCodex designated by this name 991.\n\nnahui quiahuitl \"four rain,\" sign of quiauhtonatiuh 186.\n\nnahui tecpatl \"four flint-stones,\" second of the five forms\nof Tlazolteotl, denoting the north 5LL.\n\nnezahualcalli, fasting-hut of Quetzalcoatl 9-Hl.\n\nnezahualli, fasting 17. \u2014 depicted with Tonatiuh 185. \u2014 with\nChantico 276, 277.\n\nnezahuatl(?), penance, bloodletting in honor of the gods\n88, 98, 69. \u2014 depicted with the \"tbulchiuhtntulin\" (?) 181, 212.\n\u2014 illustrated by the scorpion 226, 227.\n\nNemcatacoa (Chibcha), maize god of the Chibcha 118.\n\nnanacaztequiliztli, cutting notches into the ear (for\nbloodletting) 58, 59.\n\nnepantlatonatiuh, midday, time of the Iluc[?]-nings 228, 229.\n\nnequametl (?), wild agave 129.\n\nNequametocan (?), first royal seat of the Chichimeca of\nQuauhtitlan 178.\n\nnetataquizpan (?), time when one cuts oneself, does penance\n= midnight 2211.\n\nnetatatiliztli (?), to throw oneself into the fire 50, U0.\n\nnetonatiuhnezahualiztli(?), fasting in honor of the sun, on the day nahui\nollin 186.\n\nNine Lords of the hours of the night 5, 95\u2014111.\n\nNorth, see mictlampa. Space of the, see quauhquiahuitl.\n\nNut, sky-goddess of the Egyptians II.\n\n44\n\nDigitized by Google\n\nIndex.\n\n946\n\nupper region, see ilhuicatl.\noc i Maya (?), day-sign = Mexican itzcuintli. second member\nof the four-part series significant for the morning star\n189.\n\nocpatli, pulque-root(?), narcotic roots 1I8.\n\nozitl, turpentine ointment, invented by Tzapotlan tenan 99.\n\nOxomoco Cipactonal, the wise elders who created the\ncalendar 179. \u2014 in Tamoanchan, denoting the sixth hour of the night\nand the upper region 224.\n\noyoalli(?), pointed, jingling ring of shell, breast-\n\nDigitized by Google\n\nIndex.\n\n347\n\nornament and ear-pendant of the dance-gods 222. \u2014 of Ueue-\ncoyotl 202. \u2014 of Tecutecatl 190.\n\noztoticpac, the god upon the cave 87, 38.\n\noztotl, cave, hieroglyphic representation 17, 57, 144. \u2014\nrepresented by Tepeyollotli 17. \u2014 represented by the jaguar\n57, 58.\n\nPamal(?), the swift one, forerunner of Huitzilopochtli, bears the\nfacial paint of the morning star 258.\n\nPainbaxa (?), see quauhcoyolli.\n\npantlaza(?) \"where one crosses over the water\" 142.\n\nPanquetzaliztli, festival of Huitzilopochtli 91.\n\nPantitlan, whirlpool in the lagoon of Mexico, sacrificial site\nof Tlaloc 110.\n\nPantla or Pamtla \u2014 land of the Huaxteca 142.\n\npahitoyahualli(?), bent paper-banner, corpse-ornament, at the\nneck of Mictlantecutli 98, 1lm, 300.\n\nPamtla, see Pantla.\n\npapalotl, butterfly, homologue of the flower, image of\nthe flame 228, 274. \u2014 on the mantle of Macuilxochitl 162.\n\n\u2014 white design around the mouth of Xochipilli 159, 195,\n328.\n\npapalotlaxcalli(?), tortilla in butterfly-form, offering for the\nCihuateteo 306.\n\nPapaloxaual(?), adorned with a butterfly, name of the\nChantico 271.\n\nPapantla, in the Huaxteca land, ancient cultural center 115.\n\nPapaztac, a pulque god 168.\n\nPatecatl, pulque god, inventor of the pulque seasoning (ocpatli), 168.\n\n\u2014 Regent of the twelfth day-sign malinalli 168\u2014170.\n\n\u2014 \u2014 of the eleventh Tonalamatl section ce ozomatli 259\nto 261.\n\npatolli, dice game, its god Macuilxochitl 161, 165, 511.\n\npatzactli(?), comb-like feather ornament, see quetzalpatzactli. \u2014\nof white feathers, see aztapatzactli. \u2014 of black\nfeathers, with the moon god 306. \u2014 of black feathers\nwith white end-tuft, with Tlahuizcalpantecuhtli 258, 517.\n\nDrum, see tlalpanhuehuetl.\n\npeco zelao (Zapotec), hairless dog 156, 182.\n\npecopichijla (Zapotec), crocodile 130.\n\npek (Maya), dog 156.\n\nPeel(?), its sign the lizard (cuetzpalin) 145, 298, 528.\n\nNecklace, see cozcatl.\n\nPepper, red, see chilli.\n\nArrow, see mitl, see tlacochtli.\n\nPlaster, round, on the cheek, see tlaxapochtli.\n\npiaztli(?), sucking-tube, for the offering-blood-bowl 216.\n\npichijla poco (Zapotec), crocodile 180.\n\npia or chija (Zapotec), the twisted one, day-sign, = Mexican\nmalinalli 165.\n\npilxochihuatli(?), child's facial paint, yellow cross-stripes, of Tez-\ncatlipoca and Huitzilopochtli 69, 95.\n\nPilon de Azucar(?), in the district of Misantla, cult-site of the\nrain god 118.\n\nPiltzintecuhtli, first man, beloved of Xochiquetzal 155,\n174. \u2014 sun god, third of the nine lords of the night\n96, 97.\n\nPipil, Mexican tribes of Guatemala and San Sal-\nvador, their gods Quetzalcoatl and Itzcuey(?) 138.\n\npitao (Zapotec), the great one, god. designation of the\ninitial position of the Tonalamatl quarters 281.\n\npitao xoo (Zapotec), earthquake god 181.\n\npochotl, Bombax ceiba, fruits at the branch-ends of the\ntree of the west 80.\n\nPopoeatopott, the smoking mountain, \u00ab1er volcano 106.\npopotl, broom, badge \u00ab1er Tlaculteotl 102. \u2014 fought with him at\nOelipaulxtli 263 (see v\u00fccalil.\npoy aham ch\u00f6 iQu'ichei, figures carved \u00abfrom wood\u00bb, first\ncreation of mankind 114.\n\n\nPoyauhtlan - Tlalocan, mountain between Texcoco and Uecotxinco\n\n106\n\nPriest, s. tlamacazqui, quacuilli. \u2014 incense priest s.\ntlenamarnc.\n\nPulque, intoxicating drink from the sap of the agave\nplant s. octli.\n\nPulque vessel, s. oct\u00abicomatl.\n\nPulque goddess, in the Codex Borgia ruler of the eleventh Tonal-\namatl section c\u00ab ocom\u00e4tli 259, 26\u00bb.\n\nPulque gods, s. Ceutzontotoclitln, P\u00e4terat), Gnietochtli,\nMacuiltochtli \u2014 as god of death, \u00absecond of the four guardians of\nthe third Venus period, denoting the north 191\u00bb, 20\u00ab.\nPulque drinkers, slain \u00abwith the cudgel 262.\n\nquacuilli, priest 45. \u2014 s. tecizquacuiUi.\n\nquachichiquilti, crest feather-comb of Macuil xochitl and the\ndisguised gods 208, 511.\nquauhcalli, eagle house, the west of the west region 122.\nquauhcoyolli, palm, tree of the south 4W.\nquauhcivatl, eagle-hen, or yaociuatl, woman warrior = Ciua-\ncoatl 173. \u2014 = Tonacaciuatl opposite Tlacaocelotl, the\nfourth day-sign and denoting the west 220, 221.\nquauhiuitl, eagle feathers, war ornament 174.\nquauhfiochiU, heart of the sacrificed one 173.\n\nquauhpachiuhqui chimalli, shield with the eagle foot, belongs\nto the tlepapalotlauiztli 54, 35, 271. \u2014 worn by the Chantico\nand the other goddesses of the Chinampaneca\n\n275.\n\nqvauhpotlatl ocolopethtl, an office held by a person of warrior\nrank 175.\nquauhpilli, person of warrior rank 173.\nquauhquaurtt, tree of the north 79.\nquauhtlachcayoll, eagle down, war ornament 171\nquauhtt\u00e4th, military commander 175.\nquauhttouafiitl, the rising eagle, the sun 98, 173.\nquauhtomaHi, tuft of eagle feathers, on the crown of the\nsun god \u00ab1\u00bb 97, 185, 198. of the Quetzalcoatl of Tollan\n\n287, 288. \u2014 of the Xochiquetzal 210.\nquauhtli, eagle, depicted surrounded by stone knives 117. \u2014\ndevouring blood and hearts, = sun 64, 55. \u2014 denotes\nthe warrior 173, 522, 325. \u2014 on the tree of the north\n79. \u2014 fourth of the four forms of the deity of the planet\nVenus, denoting the south 116, 117, 125. \u2014 fif-\nteenth day sign 128, 173. \u2014 Its regent Xipe Totec\n174-176\n\nquauhtli ocototl, eagle and jaguar, designation of the warrior\n54, 35, 173. \u2014 depicted with the pulque god of the eleventh Tonal-\namatl section 260.\nquauhtzoacalH, eagle-feather crown, worn by the pulque\ngoddess 260.\n\nquauhziculco, treasure chest of the king, at n\u00ab'tonati(div\u00bb\u00abiullilH6.\nquauhzicalh, sacrificial vessel 22, 26, 27, 173.\nquauhyott, warriorhood, struck by the spear of the planet Venus,\nin the fifth period 523.\n\nQuazolctl, the two-headed goddess, name of the Chantico 273. \u2014\n= Xochiquetzal, the twins born to her 219.\n\nQuecholli, among the Tlaxcaltecs, festival of the Xochiquetzal and\nthe Xochitecatl 189. \u2014 s. tlauhquechol.\nquetzalapanocayotl, feather headdress of Quetzalcoatl, east-\nerly of the fire god 158.\n\nquetzalcomitl, quetzal-feather vessel, belonging to the Te\u00abutli|Mx-a'sltt>.\nquetzalcoatl, the feathered serpent, in the water before the\nChalchiuhtlicue 106. \u2014 opposite Xipe Totec, depicted, the\nrenewal of vegetation denoting 176, 177, 268, 289.\n\u2014 opposite the eagle, the fourth form of the deity\nof the planet Venus 116, 117. \u2014 enclosing the figure of Tlaloc,\ndenoting the west 291.\nQuetzalcoatl, the wind god. Appearance and dress 87, 139\nto 140. \u2014 clothed in huaxtec garments\n\n\nDigitized by Google\n\n\n846\n\nIndex.\n\n140, 141. \u2014 Lord of Tollan 131. \u2014 the merchant, the\nToltec 90, 21. \u2014 god of Cholollan 134, 135. \u2014 the\nPipil 135. \u2014 the Maya peoples 135. \u2014 god of the west,\nlord of life, creator of mankind 135, 136. \u2014 Wrestling\nwith the death god dniyeololH 800 008.\n\nstanding in for Tlaculteotl, the birth-giver 251. \u2014 the penitent,\nthe burdened one, the priest, inventor of the mortifications 19, 90,\n21, 44, 45, 136, 232. \u2014 transforms himself into the morning\nstar 118, 119, 104. \u2014 one of the Tzitzimime 90. - Regent\nof the first Tonalamatl quarter, the region of the east 7.\n\u2014 His representation of the east 87, 88. \u2014 his caryatid\nfound in the city of Mexico 93. \u2014 Regent of the second\nday sign Mecatl 134-144. \u2014 of the second Tonalamatl-\nsection ce ocelotl 248, 249. \u2014 first of the four guardians\nof the fourth Venus period, denoting the west 202.\nin the blue feathered serpent of the west 297. \u2014 rain\ngod of the west 243.\n\nQuetzalcoatl, the precious twin 220. \u2014 his ornament\nis worn by Xolotl, the god of the twins 270. \u2014 with the\nmaize-cob at the temple = xolotl 220.\n\nQuetzalcoatl of Tollan, guardian of the first Venus period, denoting\nthe east 287, 288. \u2014 first of the four guardians of the\nsecond Venus period, denoting the east 197.\nquetzalcoicotth, s. coxcoxlli.\n\nquetzalli, tail feather of the quetzaltototl 135. \u2014 denotes\npreciousness 116. \u2014 denotes abundance of water and\nvegetation, s. tlaquetzalpatia. \u2014 denotes a child 23, 219.\nquetzalmanalli, fan-shaped feather ornament, worn by the Cuexteca\non the sides of the head 141.\nquetzalpatzactli, comb-shaped ornament of quetzal feathers,\nof the Anahuaca Tzapoteca, the inhabitants of the pacific\ncoast (Ayotlan), come to Mexico under Ahuitzotl\n\n266. \u2014 ornament of Xipe 265.\nquetzalquauill, tree of the east 78.\n\nquetzaltototl, Pharomachrus mocinno, bird with gleaming\ngreen long tail feathers. On the tree of the\neast 78. \u2014 helmet mask of Xochiquetzal 189, 219. \u2014\nstanding in for Xochipilli, the third of the four forms of the deity\nof the planet Venus 195. \u2014 drinking from the shell,\ns. descending to the sacrifice. \u2014 drinking from the\noffered shell, symbol of sexual union\n925. \u2014 dancing, denoting the eleventh night hour and\nthe south 235.\n\nquij (Zapotec), fire, day sign, = Mexican eecatl\n\"wind\" 104.\n\nquiouhtonatiuh, fire-rain sun, third of the four primeval\nworld periods 151, 172, 186.\n\nqviauitl, rain, denoted by serpents 31, 39, 45, 46,\n18. \u2014 the four kinds 295. \u2014 nineteenth day sign\n128, 184. \u2014 means fire-rain 175. \u2014 its regent\nTonatiuh 185.\n\nQuilaztli, s. Ciuacouatl.\n\nQuincaux, hieroglyph of Venus 193. \u2014 face painting\nof the deity of the planet Venus 316.\n\nRattle, s. ayacachtli.\nRattle board, s. chicauaztii\nRattling pendants, s. oyounlli, s. citlaleueitl.\nSmoking mirror, at the temple and the torn-off\nfoot of Tezcatlipoca, denoted as tlachinolli, i.e. war\n7, 95, 96.\n\nCensers, s. tlecuillL\nIncense spoon, s. tlemuitl.\nIncense offering, s. tlapopochuilli.\nIncense priest, s. tlenamacac.\nIncense ware, s. tlapopochuilli.\nIncense pouch, s. copalxiquipilli oceloyatartli.\nrawa, ra warnt i fliliclinl), star in the west 89.\n\nRight, s. mayecvopu.\n\n\nRain, s. quiauitl. \u2014 house of, house of the turkey 75, 76.\n\u2014 struck by the spear of the planet Venus, in the second period\n\nRain god, s. Tlaloc \u2014 the six rain gods 243-244.\n\nDrought 31, 32, 33.\n\nRain serpents, in the third Tonalamatl quarter 45, 48.\nDifference of direction 297, 298, iUKt- iVrl\nring-shaped appendage, under the upper lip, in the Codex\nBorgia representing the pinched corner of the mouth of old gods\n34, t-n s. 119.\n\nReed, s. acatl.\ntube-shaped nose ornament, on the Mixcouatl of the Codex\nFejervary 207. \u2014 ear plug, s. xiuhcoyolnacochtli.\nRosettes, on the headdress of Tlaloc, s. meyotli. \u2014 on the\nsides of the head of the Macuilxochitl images 908.\nred, color of the fire god 91. \u2014 of the sun god 96, 185.\n\u2014 of Xochipilli and Macuilxochitl 160, 907. \u2014 of Xipe\n905. \u2014 of Tepeyollotli and the bat god of the\nVaticanus 104.\n\nred spot, at the temple, badge of the priests 7, 11.\n\nred serpent, = tlapalcouatl.\n\nred cloth, on the head of the Chantico 215.\n\nred and white, colors of Xipe 85. \u2014 of the Chantico 274.\n\nRound, garments and temple of Quetzalcoatl 140.\n\nSacrificio gladiatorio at the festival of Xipe 176, 177.\n\nSinging = nourishing the gods with blood 192.\n\nSuction tube, s. piaztli.\nSkull, s. tzontecomatl.\nSkull rack, s. tzompantli.\nLoincloth, s. maxtlatl.\nTreasure chest, breast ornament of Tonacatecutli 941.\nShadow ring?, in the hand of Tepeyollotli 105. \u2014 of the animal\nwith the pointed snout 153.\nshooting god, Tlauizcalpantecutli 987, 318, 361.\nTurtle, s. ayotl, s. aac. \u2014 four among the Mandan Indians,\nmake it rain 184.\n\nFlaying, of the victims, at the festival of Xipe 173. \u2014 of Tlazolteotl\n176, 269.\n\nSerpent, s. coatl. \u2014 feathered serpent, s. quetzalcouatl. \u2014\nfire serpent, s. xiuhcoatl. \u2014 red or blood serpent,\ns. tlapalcouatl. \u2014 at the cult sites of the rain god\n148. \u2014 figure, under the eye of Tlauizcalpantecutli 317.\n\n\u2014 helmet mask of Chalchiuhtlicue 99. \u2014 of Quetzal-\ncoatl of Tollan 197. \u2014 of the god Naui coatl 91.\nSerpent head, Cipactli 129, 130.\n\nSerpent's maw, god with this, denotes the east 72, 73.\nButterfly, s. papalotl.\n\nSnail shells, bell-shaped, on the garment of Mayahuel\n190. \u2014 of the Chantico and belonging to her cult 273, 973.\n\u2014 necklace made of them, s. acuecheozcatl. \u2014 large ones, of the\nsea, s. teccitztli.\n\nswallow-tail-like cut-out (?) ends of the loincloth\nand the nose rod of Xipe, s. maxaliuhquitl.\nblack feather tuft, the patzactli of the moon god 206. \u2014 with\nwhite tip, the patzactli of Tlauizcalpantecutli\n258, 231.\n\nblack shell, at the neck of the Ciuateteo and the five\ngods of the south 301, 302.\n\nblack and red, color of the pulque gods and of Tlazol-\nteotl, s. chictlapanqui.\nblack face = cipactli 129, 130.\n\nSword-club-sword, used as a weapon in the case of Tepe-\nyollotli 934. \u2014 in the case of Ueuecoyotl 239. \u2014 in the\ncase of the pulque gods 251. \u2014 in the case of Tlauizcalpantecutli 85. \u2014\nin the case of the Tlazolteotl 311.\n\nSix rain gods 242-244.\n\nSix directions, gods of the 65-70. \u2014 another list 70-74.\n\u2014 underlying the twenty-five pairs of gods 212.\n\n\nDigitized by Google\n\n\nIndex.\n\n345\n\nSe\u00f1ores de la Noche, s. Nine Lords of the Hours of the Night.\n\nVisibility of the planet Venus as morning star 291-294.\n\nSeven world regions, denoted by the twenty-five pairs of gods\n212.\n\nFlood, ends the atonatiuh 185.\n\nSkeleton, s. Mictlantecutli. \u2014 with a captive s. temani.\n\nSkink, aphrodisiac 145.\n\nSlavery, s. tlanamictilixtli.\nCentipede, in the house of drought 75, 76. \u2014 before the Ciuateotl\nof the north 304.\n\nScorpion, = colotl. \u2014 the four 327.\n\nSun, its position in the tropics 77. \u2014 its path, distinguished\nby 180. \u2014 its creation, receives life through\nsacrifice 186.\n\nSolar eclipse, s. tonatiuh qualo.\n\nSun god, s. Tonatiuh.\n\nSolar year, its course 278.\n\nSun disk, neck collar of the sun god 185. \u2014 at the\nneck of the sun god 188.\n\nSpear, s. tlacochtli. \u2014 of the planet Venus, strikes various\nclasses of people. Mexican manuscripts 321 to\n322. \u2014 Dresden Maya manuscript 323, 324.\n\nSpider, s. tocatl.\n\npointed-angled figures, painted with, s. iluitzcopintli.\n\nStone, s. tetl, iztapatli, itztlacoliuhqui.\n\nStone axe, s. itztopolli.\n\nStoning, of adulterers 262.\n\nStone knife, s. itztli, s. tecpatl.\n\nStone cutter, s. tesecqni.\n\nRay-eye, neck ornament of Tlauizcalpantecutli 261, 317.\n\nStep-pattern, on the headband of Quetzalcoatl 139. \u2014\n\noutline of the temple 58, 58, 83, 84, 208.\n\nHours, thirteen of the day and of the night 241-242.\n\nstylized bird head, on the front of the headband of the\nsun god 91, 185, 187. \u2014 of the fire god 96, Xochi-\npilli 116, 150. \u2014 of Quetzalcoatl 130. \u2014 of Tonacatecutli\n130. \u2014 of Quetzalcoatl of Tollan 287. \u2014 of Tlaloc 100,\n110. \u2014 of the pulque gods 210 \u2014 of Mayahuel 152.\n\nSouth, s. uitztlampa. \u2014 Tree tk*, \u00bb. quauhcoyolli, occlu-\nquauitl, cochotpiauiU, aloquauill.\n\nSouth and North 77, 210.\n\nStade, cuitliitl. UaaML\n\nSin-fall, with Ueuecoyotl 148, 252, 253. \u2014 with Ixtlacoliuhqui\n2UL \u2014 with llxpnpalotl 27(1\n\nStader, s. tlaclipMni.\n\nTobacco gourd vessel, \u00ab yetaoomatL\n\nDay-signs, the twenty, their names 127, 128. \u2014 their\npatron deities 199\u2014IM - and body-parts gjg ttt,\n\nDay-hours, thirteen 211 \u2014 242.\n\nTamoanchan, \"House of the Descending,\" the mythical West,\nhome of the Tlazolteotl, birthplace of the Maize god, 101,\n165. \u2014 Original home of the tribes 142, 170. \u2014 Paradise of\nthe Fall 148. \u2014 depicted with the Itzpapalotl 178,\n170, 268, 270 \u2014 Chicunauhnepaniuhcan, dwelling place of the\nXochiquetzal 188. \u2014 denotes the sixth night-hour and-\nand the upper region 223, 224.\n\nTamouan ichan = Tamoanchan 188.\n\nTamtoc, in the Huaxteca land, stone image from there 140.\n\nDancer, s. mitotiani, maccuani. \u2014 quetzal bird 231 \u2014\nSorcerer 278. \u2014 s. tetzacpalitotique.\n\nRain gods, appearance and attire 221, 222. \u2014 denoting the\nSouth 68, 69. \u2014 Ueuecoyotl 147.\n\nTaxxan, s. cuezcomatl. [uncertain \u2014 likely OCR garble for a storage-bin term]\n\nTaxalscht [uncertain OCR], with Ueuecoyotl 147.\n\nTataceada [uncertain], god of the Otomi, Ueuecoyotl 117.\n\nteatlauiani, the drowner, the water-god *.\n\nTeccirtccatl [Tecciztecatl], he of the sea-shell vessel, the moon-\ngod. Created after the sun 183. \u2014 old god 253.\n\n\u2014 appearance and attire 150. \u2014 regent of the eighth\nday-sign atl (water) 149, 150. \u2014 of the sixth Tonal-\namatl section ce miquiztli 253, 254. \u2014 first of the four\nguardians of the fifth Venus period (standing in for\nXochipilli as sun-god), denoting the South 306. \u2014\nmusician, denoting the fifth night-hour and the South\n221, 222. \u2014 opposite Xolotl, in the East 67.\n\ntecciztli, sea-shell vessel, blown by the priests, wake-\ncall to penance, s. tlatlapitzalixpan. blown by\nthe fasting one 185. \u2014 with Tepeyollotli (denoting the hollow interior) 104. \u2014 with Quetzalcoatl, the creator of\nmankind, denoting the mother's womb 251. \u2014 signifies\nthe shut-in-ness of water 40, 56, 77.\n\ntecolotl, the owl, depicted in the fourth Tonalamatl quarter,\ndeath-symbol 55. \u2014 in the house of drought 75, 76. \u2014 mask\nof the Tlauizcalpantecutli of the second period, denoting\nthe North 318.\n\ntecolotl ichan, house of the owl, the dark house of the earth, with\nthe Tlazolteotl 178. \u2014 = house of drought 75, 76.\n\ntecpantlinca inteuh, god of the people who dwell in the palaces\nof the lords, Xochipilli and Macuilxochitl 161.\n\ntecpatl, flint knife, sacrificial knife, in the hand of Tonaca-\ntecutli 25, 248. \u2014 of the Cihuateteo and the five gods\nof the South 301, 310. \u2014 between the first human\npair (in place of the chicahuaztli) 134. \u2014 in the upper-arm ring\nof Quetzalcoatl of Tollan 288. \u2014 eighteenth day-\nsign 128, 183. \u2014 its regent Chalchiuhtotolin 183,\n184. \u2014 initial sign of the second of the four years 279,\n280.\n\ntecpatl bundle, before the mouth of Quetzalcoatl of Tollan\n288. \u2014 in the Codex Vaticanus, before the mouth of the five\ngods of the South (in place of the drawing of the white hand) 310.\n\nTecpaxoch, goddess of Meztitlan 166.\n\ntecpayotl, herald 248.\n\nteuctli, lord, king, hieroglyphically denoted by the xiuhuitzolli 131.\n\nteciuitl, hailstone, lapilli. Arising in the quiauhtonatiuh\n186.\n\ntecuacuilli [tecuacuilcohuacuilli], priest clothed in the skin of the sacrificial victim,\nrepresenting the Tlazolteotl 262.\n\ntetl, glassy lava-stone, arising in the quiauhtonatiuh 186.\n\ntechcatl, sacrificial stone, depicted with Tonatiuh 188.\n\ntechichi, ordinary breed of dog 156.\n\ntelpochcalli, house of young men 84. \u2014 its lord Tezcatli-\npoca 38.\n\ntelpochtli, young men, young warriors. Struck by the spear of\nthe planet Venus, in the fifth period 325.\n\ntematacatl, round stone, of the gladiatorial sacrifice 177.\n\ntemani, he who has taken a captive, represented by a skeleton\nholding a captured head. Accompanying figures\nin the Tonalamatl arranged in five-part columns\n26, 27, 37, 48, 52, 58, 60.\n\ntemicamatl, dream-book, created by the ancient sages in Tamoan-\nchan 178, 328.\n\ntemictiliztli, human sacrifice, s. tlacamictiliztli.\n\ntemmacpalli, drawing of a hand at the mouth, s. motetama-\nmacpalhuitkac.\n\ntenamaxtli, hearth-stones, present in the number of three 216.\n\nTentetemic, a god of Meztitlan 167.\n\ntecatl \"true water\" = spear-throwing 186. \u2014 with the rain-god\nof the North 243.\n\nteoatl tlachinolli - atl tlachinolli.\n\nTeoca, in Nicaragua, day-sign list 127, 128.\n\nteocuitlacomalli, gold disc, breast-ornament of the sun-god\n87. \u2014 of the maize god 88. \u2014 Xochipilli's 116, 160. \u2014 of the\nChalchiuhtlicue 84. \u2014 Xipe's 276. \u2014 of the bat-\ngod 111.\n\nteocuitlatl, gold, hieroglyph 276.\n\nTeochichimeca, true Chichimeca, the Tlaxcalteca 172.\n\n\nDigitized by Google\n\n\n350\n\n\nIndex.\n\n\nteoicpalli, royal seat, sign of judicial power 159, 171.\n\n\u2014 struck by the spear of the planet Venus, in the fifth\nperiod 321, 322.\n\nteomomochtli [uncertain], the one painted with thigh-skin,\n= Tlazolteotl 101.\n\nTeotitlan del Camino, place on the borders of the Zapotec\nland, inhabited by the descendants of Xelhua 329. \u2014 Wor-\nshippers of the morning star 192. \u2014 Painted clay image of Xochi-\npilli 190, 191.\n\nTeotihuacan, prehistoric cultural center, assembly of the gods\n188.\n\nTeotlamiqui, so-called [statue] in Mexico, colossal image of the Coa-\ntlicue 10.\n\nteotlalli, lord of the steppe, name of Tonacatecutli 130, 132.\n\nTeotlacan, place on the borders of the Zapotec land, inhabited\nby the descendants of Xelhua 329. \u2014 worshippers\nof the morning star 192.\n\nTepeilhuitl, feast of the mountain gods, celebrated by the\nTlalhuica for the Xochiquetzal 187, 189.\n\nTepenonoc [uncertain], \"mountain of the echo,\" on which Itzpapalotl was sacrificed 179.\n\nTepenanita [uncertain], in the district of Tuxpan, stone image from there 141, 142.\n\ntepetl, lord of the mountains, name of Tonacatecutli 130, 132.\n\nTepeu Gucumatz (Quich\u00e9), creator god = Quetzalcoatl 38,\n186.\n\nTepeyollotli, heart of the mountains, appearing in jaguar form 108,\n144, 256. \u2014 image of Tezcatlipoca 255. \u2014 god of caves\n104, 144. \u2014 standing in for the hieroglyph \"cave\" 17. \u2014\nappearance and attire 104. \u2014 with the garment-color and\nthe ear-ornament of the rain god 104. \u2014 eighth of the nine\nlords of the hours of the night 102\u2014103. \u2014 denoting\nthe South 111. \u2014 regent of the third day-sign calli\n144, 145. \u2014 of the third Tonalamatl section ce mazatl\n250, 251. \u2014 one of the faces of the Janus-head of the\nQuaxolotl 219, 220.\n\nTepoztecatl, a pulque god 168.\n\ntopoztli [tepoztli], copper axe, in the hand of the sun god 11,\nof Tlaloc 202. \u2014 on its edge the sky rests 27.\n\n\u2014 sign of punishment 171, 201. \u2014 signifies poverty 311,\n312.\n\nteqiuchmocauiani [tequihmocauiani?], the \"warrior,\" the pulque god 200. \u2014 accompanying\nfigure in the Tonalamatl arranged in five-part\ncolumns 29, 30, 31, 35, 36, 41, 42.\n\ntequiua, war-chief, hairstyle s. tzotzocolueyac.\n\nTotoo innan [Toci innan?], mother of the gods, = Tlazolteotl 101.\n\ntotoyauitl, papers spattered with rubber, at the pulque-jar 152.\n\ntotl [uncertain], sign of barrenness 1?, 1?1.\n\ntotlalaquiliztli, burial. Accompanying figure in the fourth Tonalamatl-\nquarter 55. \u2014 at the death-feast 158.\n\nTetlanman [uncertain], temple of the Chantico 273.\n\ntetlatilztli [tletlatiliztli?], cremation. Depicted with the god of death\n149, 158.\n\ntetlazolinqui [tlazolinqui?], adulterers, go to the priests of the Tlazol-\nteotl to confess 100, 101. \u2014 caught ones, stoned 201. \u2014 the\ndays of the Cihuateteo their signs 301. \u2014 atoning 18, 19.\n\ntirati Itsakami (Huichol), southern grandfather, star, world-\nguardian of the South 89.\n\ntirati toami (Huichol), northern grandfather, star, world-guardian\nof the North 91.\n\ntomolotl, a stone club rounded at both ends,\n\n182.\n\ntezcacuitlapilli, mirror worn on the back [lit. cross-mirror], has the shape of a coxcox tli,\nwith Xochipilli 160. \u2014 with Chalchiuhtlatonac 149, among others,\nin the shape of a turtle-shell with Xochiquetzal\n189, 210.\n\nTezcatlipoca, appearing as red and black 176, 325.\n\n\u2014 appearance and attire 8, 91. \u2014 wears the starry-sky\nfeather crown 256. \u2014 god of the Toxcatl feast 9. \u2014 the\nwarrior in the north-house and the warrior in the south-house 77,\n210. \u2014 at the tree of the South 81. \u2014 together with Huitzilopochtli\ndenoting the upper region or the sky 89. \u2014 one of the Tzitzimime 90. \u2014 = Ursa Major 189. \u2014 fire-\ndrill 38. \u2014 the seeing, all-knowing one 96. \u2014 sorcerer\n96. \u2014 his image Tepeyollotli 249, 250 \u2014 his image\nChalchiuhtotolin 271. \u2014 his image the vulture (?) 265. \u2014\nstanding in for Xochiquetzal 40, 41. \u2014 with the arrow in the\neye 47, 61. \u2014 regent of the second Tonalamatl quarter,\nthe region of the North 8. \u2014 = Itztli, second of the nine\nlords of the hours of the night, in the East 95, 96. \u2014 with\nbandaged eyes, god of punitive justice,\nregent of the thirteenth day-sign acatl 171. \u2014 opposite\nItztlacoliuhqui, regent of the twelfth Tonal-\namatl section ce cuetzpalin 261. \u2014 with bandaged\neyes, third of the four guardians of the third Venus period,\ndenoting the North 300, 301. \u2014 struck by the spear of the\nplanet Venus, in the second period (that of the\nNorth) 320. \u2014 kills Ometochtli 167. \u2014 with the mask\nof the wind-god, companion of Quetzalcoatl in the under-\nworld 119. \u2014 birth-helper 234, 235.\n\nTezcatzonatl, a pulque god 168.\n\nBeast with the pointed snout, god of the lower region 71.\n\n\u2014 depicted with the beheaded earth goddess 72. \u2014 with the\nblack Tezcatlipoca 326. \u2014 its mask is worn by the\npriest who denotes the seventh night-hour (midnight) and\nthe lower region 227. \u2014 Making music with Mayauel 153. \u2014 The bringer of the years in the\nDresden Maya manuscript 72, 153.\n\ntizatl, white earth, body-paint of the rain-god 221, 222, 252.\n\ntlacacozcaquauhtli, vulture-person, denotes the third day-\nhour and the North 218.\n\ntlacaeuatl, human skin, worn by Xipe as garment 27,\n28, 86. \u2014 worn by the Tlazolteotl 264.\n\ntlacamictiliztli, human sacrifice 16. \u2014 with the Tlazolteotl of\nthe South 312, 313. \u2014 symbolic representations 192.\n\ntlacazcuzalli, hammered gold, forms the ornaments on the\nhead-band of Xipe 265, 267.\n\nTlacaocelotl, god in jaguar form (with jaguar helmet-mask)\n= Tonacatecutli, denotes the fourth day-hour and the\nWest 220, 221. \u2014 the sixth night-hour and the\nupper region 221.\n\nTlacapillachihualoya, where the children of men are made\n= Tamoanchan 101, 165.\n\ntlacatlaolli, dish of human flesh and maize, brought in the third\nTonalamatl quarter by the quacuilli 44, 45. in the\nfourth Tonalamatl quarter depicted 54, 55. \u2014 with Xolotl\n183. \u2014 denoted by a pot with broken bottom,\n214.\n\nTlacatzinacantli, bat-god, appearance and attire 113 to\n115. \u2014 costumed as Quetzalcoatl 114. \u2014 first of the four\nforms of the deity of the planet Venus, denoting the East\n112\u2014115. \u2014 in the xochicalli, which denotes the North of the\nregion of the evening star 125. \u2014 descending, with\nMayauel, the fifth of the five forms of the\nTlazolteotl, denoting the lower region 312, 313.\n\ntlacaxipeualiztli, flaying of men, feast of Xipe 175. \u2014 feast\nof the sowing, serving the renewal of vegetation 267.\n\ntlacochcalco yaotl, the warrior in the spear-house, in the north-temple\n= Tezcatlipoca 210.\n\ntlacochtli, arrow, spear, signifies death in war 312, 313. \u2014\ndrawn on the blue feather-serpent, next to the blue throwing-\nboard 291. \u2014 with Tlauizcalpantecutli, denoting him as\nthe shooting god 317\u2014319.\n\ntlacuilolli, picture-writing, Toltec cultural possession 112, 329.\n\ntlacuiltonauiztli [uncertain], the many-colored rain 46.\n\nTlazolteotl, the goddess of filth, the earth goddess. Other\nnames 100, 101. \u2014 native to the Atlantic coast\n101. \u2014 thought of as native to Tamoanchan 101, 165. \u2014\nappearance and attire 101, 102, 172, 198, 250, 264, 268. \u2014\nequipped with garment-pieces of Xipe 102. \u2014 her temple,\n\n\nDigitized by Google\n\nIndex.\n\n351\n\n*. Tocititlon. \u2014 her festival, s. Ochpanixtli. \u2014 her five forms 311f., 316f. \u2014 designating the interior of the earth 102, 149f. \u2014 Harvest goddess 123. \u2014 her image flayed 176. \u2014 Representative of women and of the vice of women, protects adulterers[?], 100, 101. \u2014 Child-bearing 23, 198, 199 \u2014 bears the Mataguol[?] in Tamoanchan 101, 169f. \u2014 Warrior-woman, because she has borne a child 2., 231. \u2014 pairs at Ochpanistli with Itzt[la]coliuhqui, the hard flint 262, 292f. \u2014 represented by Quetzalcouatl, the human-sacrifice-god[?] 251. \u2014 Patroness of medicine 173. \u2014 designating the north together with Mictlantecutli 67. \u2014 designating the west 73. \u2014 standing in the west in the row of the nine lords, 111. \u2014 designating the north in the red feathered serpent (blood serpent) 297. \u2014 designating the sixth hour of the day and the lower region 225. \u2014 Regent of the fourteenth day-sign ocelotl 172, 173. \u2014 of the thirteenth Tonalamatl section ce ocelotl 264, 265. \u2014 depicted opposite Tepeyollotli, the regent of the third sign 144. \u2014 the same, opposite the regent of the third Tonalamatl section, 231. \u2014 fourth of the four guardians of the second Venus period, designating the east 118, 119.\ntlazolnochtli, headband made of frayed cloth, of Chantico 275.\ntlazopilli, prince of royal blood 173. \u2014 Name of Xochipilli 149, 161.\n\ntlachitlooi[?], weapon of Tezcatlipoca 96.\ntlachinoa, to scorch, to burn, l.c., note.\ntlachiaotli, see tlacidnolli.\n\ntlachipauhtli[?], pulque-manufacture, invented by Mayauel 152.\ntlachtli, ball game and ball-game court, its god Xolotl 181, 183. Represented by soehltl[?] 15, 168, etc. Xochiquetzal\u2014represented 278. \u2014 heavenly [ballcourt], with the figure of Tonacatecutli 119.\n\ntlazolli, filth, refuse \u2014 sin 144.\n\ntlazolmiqui[?], filth-eater, sinner. Represented by Tezcatlipoca as ixquimilli 170, 171. \u2014 Name and hieroglyph of Tlacolteotl 100, 144.\n\ntlaitzcopetlalli, see tlaitzcopintli.\ntlaitzcopintli, painted with sharp-angled papers, the sacrificial papers 132, 153. \u2014 the staff of Chantico 273.\ntlalchi tonatiuh, the sun near the earth, depicted with Xolotl 270, 271.\n\nTlalhuica, people in the south of the highland valley of Mexico. Festival of Xochiquetzal 187, 189.\n\nTlalli, earth, represented by reptile-dragons[?] 74 and elsewhere. \u2014 designated by a path 230 (see there). \u2014 its deity, see Tlazolteotl. \u2014 designated by the four colors 61.\nTlalli iyollo, heart of the earth, name of Tlazolteotl 101, 172.\nTlaloc, mountain of this name, see Tlaloc \u2014 meaning of the name 106. \u2014 another explanation 230. \u2014 Rain god, his first wife Xochiquetzal, his second Matlalcueye 188. \u2014 God of the quiauhtonatiuh, the fire-rain 131. \u2014 dwelling on the mountains of middle height 106. \u2014 stone image on the mountain Tlalocan 106. \u2014 at home in the east 199. \u2014 Appearance and attire 107\u2014109, 151. \u2014 his face formed from two serpents 107, 108. \u2014 carries the hieroglyph of the year on his crown 151. \u2014 the turkey his disguise 183. \u2014 the earth goddess depicted with his head 10. \u2014 Tepeyollotli wears his colors 108. \u2014 designating the four directions 261. \u2014 dwelling in four chambers 293. \u2014 ninth of the nine lords, standing in the south 81, 106\u2014111. \u2014 Regent of the seventh day-sign mazatl 151. \u2014 of the seventh Tonalamatl section ce quiauitl 234, 235. \u2014 second of the four guardians of the second Venus period, designating the east 197. \u2014 Guardian of the fourth Venus period, designating the south 222. \u2014 in the green feathered serpent, designating the east 206. \u2014 his image, with the helmet-mask of the signs of the four directions, designates the four years 281\u2014281.\n\nTlalocan, the realm of the rain god, the middle heights of the mountains 106. \u2014 the east 198. \u2014 a mountain between Tetzcoco and Huexotzinco with an image of the god made of white stone 106.\ntlalocayotl, east wind 199.\ntlalollin, earthquake 181.\n\nTlalpanhuehuetl, skin drum 221, 222, 232.\n\nTlaltecayotl[?], pulque god 168.\n\nTlaltecuhtli, the god of the earth, created from the cipactli 130. \u2014 see Animal with the pointed snout.\n\nTlaltotoeuia[?], one of the four old wise men who create the calendar in Tamoanchan 179.\n\nTlalticpaque, Lord of the earth's surface, the fire god 111. \u2014 Tonacatecutli 130.\n\ntlamacazqui, priest, black, with a red spot at the temple 7. \u2014 in the fasting enclosure, doing penance 184. \u2014 designating the seventh hour of the night and the lower region 227. \u2014 opposite the Chichimec fire goddess, designating the eighth hour of the night and the east 228, 229. \u2014 with Chalchiuhtlicue 233. \u2014 of the rain god 62. \u2014 punished one, with the rain god 233. \u2014 of the rain god, standing in for Quetzalcouatl, the regent of the first Tonalamatl quarter 8. \u2014 = Piltzintecutli or Xochipilli, in the series of the twenty-five pairs of gods 241\u2014242.\n\ntlamamalli, back-load, traveling-bundle, of the wandering gods 87.\ntlamanalli, offerings. Accompanying images in the Tonalamatl arranged in five-membered columns 16, 17, 31, 33, 44, 45, 46, 67.\ntlamatiliztli, science, Toltec cultural possession 142, 329.\ntlamatinime amoxoaque[?], the wise men, the book-owners, the mythical Toltecs 142, 321.\ntlatzin[?], below, fifth region of the world 83, 84.\ntlatz-acc[?], below, above, indicated in the tenth Tonalamatl section with Mictlantecutli-Tonatiuh 259.\n\ntlacanacayotitzli[?], sale into slavery, with Chalchiuhtlicue, sign of the changeability of water, her \u2014, 112, 113.\ntlaolli, maize kernels, see tlacatlaolli.\n\ntlapalcoatl, the red coral snake, signifies blood 19. \u2014 Accompanying image in the first Tonalamatl quarter 14. \u2014 indicated with the fire-drill 272. \u2014 with the priest, with the bone dagger at the ear 229. \u2014 with Quetzalcouatl 143. \u2014 in the house of rain 75, 76. \u2014 with Tlazolteotl 101 and elsewhere. \u2014 with the Ciuateotl of the south 189. \u2014 forming the feathered serpent of the north, enclosing the Tlazolteotl 297. \u2014 with Tonacatecutli 218. \u2014 in the mouth of Couecoyotl[?] 147. \u2014 connecting Xochiquetzal and the tlamacazqui, in the ninth hour of the night (north) 231.\n\ntlapapalli, the four colors, on the cloak of Macuilxochitl 162, 163. \u2014 on the face and the hip-cloth of the sun god 96, 97. \u2014 on the cheek of Xochipilli 159. \u2014 on the face and the treasure chest of Tonacatecutli 217, 218. \u2014 on the cheek of Tlazolteotl 172. \u2014 with Xolotl, designating the four directions, i.e. the knees 271.\n\nTlapcopa, region of dawning, the east, designated by Xolotl and Xochiquetzal 67. \u2014 by Tonatiuh 79. \u2014 by Itztli and Tonatiuh 111. \u2014 by the god with the serpent-jaws 72, 73. \u2014 by the priest Quetzalcouatl 7. \u2014 by the bat god 113. \u2014 by the green feathered serpent and Tlaloc 296. \u2014 by the Quetzalcouatl of Tollan 61. \u2014 by the white deer 302. \u2014 designates abundance of food 78, 302. \u2014 its years fruitful 282.\n\ntlapitzalli, flutes, i.e. music, Toltec cultural possession 142, 329.\n\ntlapopochhuilli[?], incense, offered to the sun god 31, 97, 228. \u2014 illustrated by the white deer of the east 302. \u2014 by the two-headed serpent 235.\n\n\nDigitized by Google\n\nIndex.\n\n352\n\ntlapoyaua, evening darkness, illustrated by half sun-disk and night, designates the hours of the night 91. \u2014 indicated with Itztli-Mixcouatl 191. \u2014 with Quetzalcouatl 219. \u2014 with Xochipilli, the third form of the deity of the planet Venus designating the west 116. \u2014 with Mayauel 255.\n\nTlappapalo, she with the red butterfly. Name of Chantico 273.\n\ntlacuatzin, opossum, eases childbirth 219.\n\ntlacuechpanyotl, occipital knot of the rain gods, indicated with Cinteotl 108.\n\ntlapuetzalpatia[?], it has changed into quetzal feathers, has become green 268.\n\ntlatataquilistli[?], digging, the gods in the three realms 74. \u2014 the Ciunconatl[?] with chicahuaztli, uitztli, malinalli on the teomilli 82, 88.\n\ntlatecpio[?], stone-cutter, jewelers, originating from Xochimilco, their goddess Chantico 273.\n\nTlatelolco, sister city of Mexico. Merchants ... Ayotlan, the coast of the pass[?], and bring from there the quetzalpalucztli[?] 266.\n\ntlatepotzca, those behind (the mountains), Tlaxcalteca, Chololteca and their neighbors, worship Quetzalcouatl 154, 155.\n\ntolbpitzalizpan[?], when one blows the shell-horns \u2014 midnight 226.\n\ntlatlatiliztli, burning, accompanying image in the fourth Tonalamatl quarter 63. \u2014 depicted with Mictlantecutli 67, 158.\n\ntlatlatilpiauhtzontli[?], bundle of firewood, fire offering with the nine hours of the night 194. \u2014 with the pair of gods that designate the ninth hour of the day and the north 252.\n\ntlatlatlaqualiztli, nourishing of the gods with blood, illustrated by nursing goddesses 192.\n\nTlatlauhqui Tezcatlipoca, the red Tezcatlipoca, opposite the black Tezcatlipoca on the ball-game court 176. \u2014 standing in for the black Tezcatlipoca as regent of the second Tonalamatl quarter 9. \u2014 opposite Xochiquetzal, designating the second hour of the night and the east 215. \u2014 representing the red earth-god Xipe Totec and the god of the Yopi 175, 207, 526[?]. \u2014 as such ruling the fifteenth day-sign quauhtli and the fourteenth Tonalamatl section ce itzcuintli 175, 176. \u2014 as such, opposite the black Tezcatlipoca, signifying the dry season 526[?].\n\nTlalloyan[?], the place where Quetzalcouatl mounts the funeral pyre 65, 187, 257.\n\ntlatocayotl, kingship, illustrated by the teoicpalli, depicted with the fire god 256, 257. \u2014 struck by the spear of the planet Venus, in the fourth period, the south 521, 522.\n\ntlatovani, the speaker, the king 173, 222.\n\ntlauanani, the drinker, depicted with Mayauel 255.\n\ntlauhquechol, the red spoonbill, supplies the feathers for the ornament of Xipe 28, 174, 265.\n\ntlauhquecholtzontli, feather-crown of Xipe 261, 261.\n\ntlauitequiliztli, lightning, accompanying image in the Tonalamatl arranged in five-membered columns 22, 31, 39, 40, 49, 61, 62.\n\nTlauizcalpantecutli, the lord in the house of dawning, the god of the planet Venus, of the evening and morning star. Appearance and attire 85. \u2014 Two different facial forms: as morning star 251. \u2014 this was also worn by Mixcouatl, the god of the Chichimecs and of the hunt 115. \u2014 and as evening star, with the Quintini[?], the hieroglyph of the planet Venus 198. \u2014 inauspicious god 191, 288, 313, 512[?]. \u2014 one of the Tzitzimime 90. \u2014 sky-bearer of the west 84, 85. \u2014 in the Codex Borgia standing in for Xochipilli, as third of the four forms of the deity of the planet Venus 116. \u2014 depicted in the quauhcalli, the west of the western region 122. \u2014 opposite Xiuhtecutli, the regent of the ninth Tonalamatl section ce couatl 257, 258. \u2014 second of the four guardians of the fourth Venus period, corresponding to the west 292, 300. \u2014 Representative of the thirteen-times-five Venus periods 315 to 318.\n\ntlaxapichtli, plaster, round disk made of rubber, on the cheek of Tlazolteotl 102. \u2014 on the cheek of the sun god 259. \u2014 of Xochiquetzal 210. \u2014 of Huitzilopochtli, the sky-bearer of the south 86.\n\nTlaxcallan, region, caryatids from there 93.\n\ntlecuilli, fire vessel, incense vessel, unpainted stepped vessels 30, 81. \u2014 Accompanying image in the third Tonalamatl quarter 46, 48. \u2014 in the temple of the sun god 97. \u2014 before Chantico 277. \u2014 before the five southern gods 310.\n\ntlemaitl, incense spoon, in the hand of Xochiquetzal 232.\n\ntlemamani[?], fire-drillers, standing in for Xiuhtecutli 28. \u2014 Tezcatlipoca 88.\n\ntlenamaliztli[?], fire-drilling, at the beginning of the fifty-two-year period 91. \u2014 the fire god on the xiuhcoatl 28. \u2014 in the xiuhcoatl-vessel[?] on the body of the fire goddess 123.\n\ntlenamacac, incense priest, carries the incense pouch oceloyataztli cuechtli[?], made of jaguar-paw skin 255.\n\ntlepapalotl, the fire butterfly, the flame 29. \u2014 at the end of the tlachinolli symbol, see atl tlachinolli. \u2014 with Tecciztecatl and Tonatiuh 220.\n\ntlepapalotlauiztli[?], war ornament, tribute of the Chinampaneca 84.\n\n224.\n\ntlepilli, torch, with Tonatiuh 2-59.\n\ntlepiauitl, fire drill, standing in for Xiuhtecutli 28. \u2014 indicated with the Tlazolteotl of the North 312, 318.\ntlepiauitl = tlepiauhtonatiuh 157.\n\ntlepiauitl, fire-rain, ends the period of the tlepiauhtonatiuh 186.\n\u2014 illustrated by Tlaloc 151, 249.\n\ntletl, fire. Accompanying image in the Tonalamatl arranged in five-membered columns 16, 17, 26, 37, 61, 62. \u2014 illustrated by a speech-scroll 16, 17, 26, 37. \u2014 illustrated by a dog 16, 17, 157. \u2014 indicated with Tlazolteotl 151. \u2014 with Tonacatecutli 218.\n\ntlezachtli, flame, illustrated by a flower 62. before the mouth of the Sun-god 259.\n\nTlilhua, a pulque-god 168.\n\nTlillan, the house of Chantico 273.\n\nTlillan tlapallan, the land of black and red color, the land of writing, the land situated in the east, whither the Toltecs wander and where Quetzalcoatl dies 137, 142, 249, 257, 258.\n\ntlilli tlapalli, the black and the red color, writing 142.\n\ntloque nauaque, the lord of the near and of the by, of the immediate neighborhood, of the center, the fire-god 111. Tonacatecutli 130. \u2014 Itzlacoliuhqui 210.\n\nTo (Chibcha), fish-god of the Chibcha 148.\n\ntocatl, spider, denotes the downward direction 70.\n\ntoctli, maize plant, before the maize-god 98. \u2014 before the rain-god of the East and of the North 243. \u2014 in the hand of the Tlaloc figures that denote the cardinal directions 245.\n\nToci, our grandmother, name of Tlazolteotl 101.\n\nTocitillan, temple of Tlazolteotl 73, 74.\n\ntocoznauaz, the watching one, the rising maize plant 16, 90.\n\ntozoztontli, and huei tozoztli, the small and the great watching, the feast of the maize goddess 90.\n\nDeath, see miquiztli.\n\nDeath in war, see yaomiquiztli.\n\nTochpan, in the Huaxteca land, ancient center of culture 148.\n\ntochtli, rabbit, the animal of the moon, denotes the earth 214. \u2014 denotes the pulque-gods, see Centzontotochtin. \u2014 in the jaws of the feathered serpent, with Xipe 117, 176, 177. \u2014 Xilhui in the moon 143, 254 (see meztli). eighth day-sign\n\nDigitized by Google\n\nIndex. 353\n\n158, 158. \u2014 its rain, the maguey 156, 421. \u2014 beginning sign of the fourth of the four years 279. \u2014 in its mask the planet Venus in the fourth period, the South 199.\n\nTollan, prehistoric center of culture, caryatids from there 43.\n\nToltecs, mythical people of culture, see tlamatinime amoxoaque. \u2014 their god Quetzalcoatl 131.\n\nMeshica, historical, inhabitants of Xocotitlan and Tollan 179.\n\nToltecatl, a pulque-god 168.\n\ntonaca, in hieroglyphs = maize 131.\n\nTonacaciuatl, consort of Tonacatecutli, Xochiquetzal, denoting the first day-hour and the upper region 214. \u2014 and Huemactecutli, denoting the lower region 70.\n\nTonacatecutli, \"Lord of our flesh,\" creator-god, lord of generation, god of foodstuffs, first man, god of the beginning 180\u2014182. \u2014 dwelling in the highest heaven, = Citlallatonac 131. \u2014 one of the Tzitzimime 90. \u2014 appearance and attire 130, regent of the first day-sign cipactli 180\u2014181. \u2014 of the first Tonalamatl section ce cipactli 24, 25. \u2014 denoting the fourth day-goddess and the West 220, 221. \u2014 = Xochipilli 132. \u2014 accompanying image in the Tonalamatl 24, 25, 44.\n\ntonacayotl, foodstuff, maize 131, 224.\n\nTonalamatl, calendar of the Mexicans, book of fate, book of divination, its foundations and its origin 3, 4. \u2014 created by the ancient sages in Tamoanchan 179, 329. \u2014 the one arranged in twenty thirteen-day sections and its deities 245\u2014279. \u2014 the one arranged in five-membered columns according to the four cardinal directions and its accompanying images 4\u201465, 327. \u2014 the one arranged in four-membered columns according to the five world-regions 292. \u2014 division into two groups of 7\u00d77 and two groups of 9\u00d79 days 5.\n\ntonallo, sun-sign on the mantle of Macuilxochitl 192, 194. \u2014 on his shield and his banner 194.\n\ntonaltopamitl, banner of Macuilxochitl 208.\n\ntonametl, the burning one, = tonatiuh, the sun 97, 173.\n\nTonan, our mother, see Tlazolteotl.\n\ntonan teomechchaui, our mother painted on the thigh, goddess = Teteoinnan 191.\n\ntonatiuh, sun and sun-god. Denotes the day-hours 211\u2014240. \u2014 accompanying image in the Tonalamatl 26, 27, 45, 60. \u2014 indicated with the Tlazolteotl of the South 312, 313. \u2014 appearance and attire 11, 90, 97, 185, 197, 198, 253, 258. \u2014 his facial painting with the Xochipilli of the South 295, 296. \u2014 regent of the fourth Tonalamatl quarter ce xochitl, the region of the South 11. \u2014 third of the nine lords of the hours of the night, standing in the East 79, 96, 97, 111. Regent of the nineteenth day-sign quiauitl 186. \u2014 opposite Teoyaotlatohua, represented in the sixth Tonalamatl section 253, 254. \u2014 opposite Mictlantecutli, represented in the tenth Tonalamatl section 258. \u2014 third of the four guardians of the second Venus period, denoting the East 197, 198. \u2014 denoting the upper region 197, 198. \u2014 born in the year matlactli omei acatl 186. \u2014 his sign the day nahui olin 186. \u2014 his image sacrificed on this day 186.\n\ntonatiuh ichan, the house of the sun, heaven, whither the sacrificed warriors and the women dead in childbed come, see ilhuicac yauh and mociuaquetzque.\n\ntonatiuh icalaquiyan, in the face of the sun, direction toward the East, goal of the Toltec migration 136.\n\ntonatiuh iixco yauh, see ilhuicac yauh.\n\ntonatiuh iixco yauhque = Toltecs 197.\n\ntonatiuh qualo, eclipse of the sun, devoured by the jaguar 172. \u2014 in it the Tzitzimime appear 90 and note. \u2014 to the sun dwarfs are sacrificed 181.\n\ntonoami ilhuicatl, the singer, the morning star 89.\n\nPot, with broken bottom, tlacatlaolli 214.\n\nMex. Codex Vaticanus No. 3773\n\nTopiltzin, \"our son,\" name of Quetzalcoatl 131.\n\nTota, our father, name of the fire-god 141.\n\nFire-cult 157.\n\nTotoltecatl, a pulque-god 168.\n\nTotonaque, inhabitants of the Atlantic gulf coast, neighbors of the Huaxteca 143.\n\ntouoro = Huaxteca 143.\n\nToxcatl, fifth year-feast, feast of Tezcatlipoca 9.\n\nTrapeze and ray, abbreviation of the sun-image, ear-ornament of the fire-god 278, 279. \u2014 of Tepeyollotli 250. \u2014 of Ueueyotl 147, of Chantico and of Coyolxauhqui 276. \u2014 sign of the year, on the crown of Tlaloc 282.\n\nDream-house, see temicaxcatl.\n\nDrinker, see tlauanani.\n\nWine-vessel, see nexolotl, Chalchiuhtotolin.\n\nTurquoise plate, headdress of the fire-god 95, 278, 279. \u2014 of Huitzilopochtli, the sky-bearer of the South 86, 87.\n\nTuxpan, see Tochpan.\n\nTlapocuintli, garment of Xipe made of fig-tree leaves 8, 85, 207.\n\nTzapoteca Anauaca, people of the Pacific coast, their god Xipe 210. \u2014 conquered in the time of Ahuitzotl 260.\n\nTzapotlan, city on the lagoon of Xochimilco 99.\n\nTzapotlan tonan, mother of Tzapotlan, goddess 99.\n\ntz'i or tzi (in Guatemalan languages), dog 157.\n\ntzicoliuhqui nacochtli, the thorn-curved ear-ornament of Quetzalcoatl (= epcololli) 139.\n\nTzitzimime, sky-bearers, star-deities, demons of darkness 90.\n\ntzitzimitl, one of the Tzitzimime, something monstrous, terrible 90. \u2014 denoting the West (the setting sun) 111. \u2014 the center, denoting the downward direction 254.\n\nTzihuactlan, mythical place 129.\n\ntzihuactli, thorny plant, kind of agave 129.\n\ntzompantli, skull-rack 158.\n\ntzontecomatl, skull = miquiztli \"death,\" sixth day-sign 128, 149. \u2014 mask of the planet Venus, in the fifth, lower-region-denoting period 218.\n\ntzontemoc, the one falling downward, accompanying image in the Tonalamatl arranged in five-membered columns 25, 26, 45. \u2014 indicated with the Itzpapalotl 260. \u2014 the fifth cardinal direction, denoting downward movement 83, 84. \u2014 one of the Tzitzimime 90.\n\ntzotzocolli, see tzotzocol ueyac.\n\ntzotzocol ueyac, warrior's hairstyle, with Tezcatlipoca 8, 9, 216. \u2014 with the sun-god 90. \u2014 with the Cihuateotl of the East 191.\n\nUei topatli, the great sacrificial knife, a god of Metztitlan 167.\n\nUei tecuilhuitl, the great lords' feast, the eighth year-feast of the Mexicans, feast of Xochipilli 161.\n\nUei tozoztli, the great watching, the fourth year-feast, feast of the maize goddess 189.\n\nUei tonantzin, our great mother, goddess of the province of Metztitlan 167, 172.\n\nueuetzitzin, the falling one, indicated with Ueuecoyotl 148, 251. \u2014 with Itztlacoliuhqui 261.\n\nUeuecoyotl, the old coyote, dance-god, god of the Otomi, regent of the fourth day-sign cuetzpalin 147, 148. \u2014 of the fourth Tonalamatl section ce xochitl 281\u2014283. \u2014 the dance-god, opposite the deer-goddess who denotes the third hour of the night and the North 217, 218.\n\nUeueteotl, the old god, the fire-god 141.\n\nueuetl or tlalpanhuehuetl, the skin-drum 221, 222.\n\nuexolotl, turkey, bird of Tlaloc, denotes water 75, 76 note, 183.\n\nuictli, hoe for working the soil, see ecauctli.\n\nuitoncatl, wings(?), neck ornament of Macuilxochitl 208,\n\n45\n\nDigitized by Google\n\n354\n\nIndex.\n\nHuitzilopochtli, sky-bearer of the South 87. \u2014 fire-god 141. \u2014 fire-god of the South 122. \u2014 one of the Tzitzimime 90. \u2014 with Tezcatlipoca denoting the upper region, heaven 90.\n\nuitzitzillin, hummingbird, appearing in the rainy season 141 note. on the tree of the West 110. \u2014 in its disguise Quetzalcoatl, who represents the fifth of the forms of the deity of the planet Venus 125.\n\nuitzitziltecpanecatl, tree of the West 110.\n\nuitznauac tecutli, the warrior in the South-house, Tezcatlipoca 210.\n\nuitzoli, headband, with triangular rising frontlet. Of monkey-skin, with a monkey-head, with Patecatl 160. \u2014 see xiuhuitzolli.\n\nuitznauac, region of thorns, the South, to it belongs the fourth Tonalamatl quarter, its regent Tonatiuh 11. \u2014 and the five gods of the Macuilxochitl series 213. \u2014 represented by the yellow bone-serpent that encircles Macuilxochitl. \u2014 in the series of the nine lords represented by Tepeyollotli and Tlaloc 81, 111. \u2014 in the series of the forms of the deity of Venus by eagle and feathered serpent 116, 117, by Xochipilli 71. \u2014 by the dance-gods 68, 69. \u2014 its years signify infertility and mouse-plague 261. \u2014 denotes the left side of the world 31.\n\nuitztli, thorn, agave-leaf point, with which one smeared oneself with blood during penance, see omitl uitztli. \u2014 stuck in the grass ball 226, 227.\n\nUixtoti, see Olmeca.\n\nungespunnene Baumwolle (unspun cotton), = ichcatl.\n\ndown, fifth direction, see dam.\n\nPosition of unworthiness 211.\n\nuotan (Tzeltal), heart, innermost being, day-sign, = Mexican calli, house 141.\n\nPrimal home of the tribes, see Chicomoztoc, Tamoanchan.\n\nUrsa Major = Tezcatlipoca 9.\n\nPrimeval age, time of piety 241.\n\nVenus, planet, worshipped by the people of Teohuacan, Cozcatlan, Teotitlan del Camino 192. \u2014 its visibility as morning star 831, 89. \u2014 its mythology 96\u2014187. \u2014 identified with the god Quetzalcoatl 101. \u2014 its deity, see Tlahuizcalpantecutli. \u2014 the four forms of its deity 112\u2014118. \u2014 its hieroglyph, the Five arranged according to the five world-regions, the quincunx 133.\n\nVenus period, the synodic period of revolution of the planet, represented in the Dresden Maya manuscript and in the manuscripts of the Codex Borgia group 131. \u2014 its length decisive for the construction of the Tonalamatl 4. \u2014 its beginning determinative for the beginning of the Tonalamatl 286, 316. \u2014 the five periods and their guardians 285\u2014290. \u2014 the four-times-five guardians of the periods 193\u2014210. \u2014 the great cycle of thirteen-times-five periods 311, 324.\n\nChangeableness, of being, illustrated by the element of water 253, 254.\n\nBurning, see tlatiliztli. \u2014 of the xiuhcoatl at the Panquetzaliztli 141.\n\nBound eyes, ixtlamimilli.\n\nTransience, its symbol the sign malinalli 149, 157.\n\nDisplacement, of the gods of the Tonalamatl sections as against those of the day-signs 245, 246.\n\nClosedness, of the water 96, 97.\n\nVia di San Giacomo, Milky Way, = Tonacatecutli 131.\n\nAnimal, Flower, the symbols of the cardinal directions, 76\u201381.\nquadrangular field of different colors. See tlapapalli.\nquadrangular ear plate, Tlaloc's, the pulque gods', and Tepeyollotli's, 168.\n\nfour ends, of heaven, and those of the earth, 81\u201384.\nfour feathered serpents, 235\nFour cardinal directions, 76\u201381.\n\nfour years, 281\u2013285.\nfour times five bearers of the Venus periods, 190\u2013210.\nfour rosettes, on Tlaloc's headdress, 106, 137, 138.\nfour scorpions, 327.\n\nnauhilhuitl, man, = name of the number twenty, 127.\n\nvolcanic ash, see xaltetl.\n\nWaking, hieroglyphic representation of, 15.\nWax, see xicotli. \u2014 feathers in the ornament of Tlazolteotl, 102.\n\nwoodpecker feathers, in the neck ornament of Quetzalcoatl, 148.\n\nWandering gods, 145.\nWandering priest, 14.\n\nWater, see atl. \u2014 painting on the garment of the Mayauel, see atlacuilolli \u2014 cult site of the rain god, 110.\n\nwater vessel, sealed, 33.\n\nWater deity, of the Maya see Ah bolon tz'acab. \u2014 of the Mexicans see Chalchiuhtlicue.\n\npath, see otli.\nweaver-god, see teteoinnan.\n\nincense, drinking of, by the gods, 38.\n\ncandles, color of the incense vessels, 30, 31. \u2014 with yellow spots or red dots, bone color, 168, 284, 299. \u2014 or white and red striped, color of Tlahuizcalpantecutli, 29, 316. \u2014 Mixcoatl's, 115. \u2014 Tlazolteotl's (actually Ciuacoatl's?), 102. \u2014 the Ciuateteo's, 107. \u2014 Mayauel's, 136, 137.\n\nwhite feathered pieces, on the headband of Tlahuizcalpantecutli, 358, 315.\n\nwhite blossom, see izquixochitl. \u2014 iztac xochitl, name of Tlazolteotl, 101.\n\nWest, see ciuatlampa \u2014 tree of the, see uitzitzilquauitl.\n\nGame (wild animal), see cecatl.\n\nWind god, see quetzalcouatl.\n\nWind storms, put an end to the sun of the Fourth Age, 186.\n\nClouds, their images, the battlements, 108. \u2014 the jagged crown of Tlaloc, 108.\n\nCloud house, of heaven, see House of Rain.\n\nCloud-sky, in the years of the East and the West, 282, 283. \u2014 above the eight rain gods, 242, 243.\n\nCloud serpent, see Mixcoatl.\n\nLust, the gods of, and their signs, 200, 328.\n\nXacupancalqui, one of the Tzitzimime, 30.\n\nxaltetl, volcanic ash, arose from Xiuhquiauhteuctli, 186.\n\nXolhua, ancestor of the people of Teohuacan, Cozcatlan, Teotitlan del Camino, 329.\n\nlicaa pitao mani, Zapotec, the animal of the blood offering, the red serpent, 114.\n\nXipe Totec, \"our lord the Flayed One,\" god of the Zapotecs, 229. \u2014 of the Yopi, 173. \u2014 of the goldsmiths, 205. \u2014 appearance and attire, 91, 265\u2013267. \u2014 as Tlatlauhqui Tezcatlipoca at the same time, 171, 267, 321. \u2014 earth god, 89, 175, 176, 278. \u2014 related to Tlazolteotl, 102. \u2014 receives the firstfruits of the field, 261. \u2014 and his share of the harvest, 268. \u2014 at his feast the offerings are flayed, 175. \u2014 god of the gladiatorial sacrifice, 176, 177. \u2014 regent of the fifteenth day sign quauhtli, 174\u2013177. \u2014 of the fourteenth Tonalamatl section ce itzcuintli, 265\u2013268. \u2014 together with the fire god, regent of the twentieth Tonalamatl section ce tochtli, 278, 279. \u2014 guardian of the third Venus period, corresponding to the West, 208. \u2014 third of the four guardians of the fourth Venus period, which belongs to the West, 211, 301. \u2014 direction-god of the West, 85. \u2014 accompanying image in the first Tonalamatl quarter, 27, 28.\n\nXippilli, the turquoise prince, the young fire god, name of the sun, 175.\n\nxiuhpohualli, year-count, the fifty-two-year period, created by the four old sages in Tamoanchan, 179, 330.\n\nDigitized by Google\n\nIndex. 355\n\nXiuhamalli = xiuhpohualli.\n\nxiuhatlatl, the blue spear-thrower, the spear-thrower inlaid with turquoise mosaic in the hand of the fire god, 154, 209. \u2014 belonging to the costume of Quetzalcoatl, actually of the fire god, 149. \u2014 attached to the blue feathered serpent of the West, 210.\n\nxiuhcoacalli, the house of the fire serpents, the South of the region of the evening star, 122, 123.\n\nxiuhcoanaualli, the fire-serpent disguise, worn by the fire god, Huitzilopochtli, and Tezcatlipoca, 91, 256, 257.\n\nxiuhcouatl, the blue feathered serpent, the feathered serpent of the West, including Quetzalcoatl, 297.\nxiuhcouatl, the blue serpent, the turquoise serpent, the fire serpent, helmet-mask or disguise of the fire god, of Huitzilopochtli and Tezcatlipoca, 91, 256, 257. \u2014 of the fire goddess, 91. \u2014 shown with the jaguar, the second of the four forms of the deity of the planet Venus, 125. \u2014 on it Xiuhtecutli kindles fire, 28, 29. \u2014 burned at the feast of Huitzilopochtli, 91. \u2014 signifies famine, 268, 269.\n\nxiuhcouatlacatl, the turquoise-serpent mask, belonging to the costume of Quetzalcoatl, actually of the fire god, 149.\nxiuhcoyolnacochtli, tubular ear plug with a broad rim encrusted with turquoise mosaic. Worn by Xochipilli, 159, among others.\nxiuhnacochtli, wedge-shaped blue ear plug, warrior's death ornament, 258.\n\nXiuhnel, Chichimec prince, remains in Ixtepec, 179.\nxiuhpilli, the turquoise prince, the young fire god, name of the sun god, 175.\nxiuhpiltontli = xiuhpilli, 98.\n\nXiuhtecutli, the fire god. Other names, 154. \u2014 appearance and attire, 94, 95, 154. \u2014 bears the tobacco gourd of the priests, 14. \u2014 his facial painting, in the case of Chantico, 273, 274. \u2014 in the case of Itzpapalotl, 178. \u2014 first of the nine lords of the night, the lord of the center, 94, 95, 110, 111. \u2014 regent of the ninth day sign atl, 154\u2013156. \u2014 of the ninth Tonalamatl section ce cuetzpalin, 256\u2013258. \u2014 together with Xipe Totec, regent of the twentieth Tonalamatl section ce tochtli, 278, 279. \u2014 the day \"3 Dog\" (yei itzcuintli) his special feast, 278. \u2014 accompanying image in the first Tonalamatl quarter, 28, 29.\n\nxiuhtotoamacatl, tiara of the fire god, 95.\nxiuhtototl, turquoise bird, the blue cotinga, on the forehead band of the fire god, 95, 256. \u2014 Huitzilopochtli's, the sky-bearer of the South, 84, 87.\n\nxiuhuitzolli, headband of turquoise mosaic with a triangular forehead plate, royal crown, hieroglyph for teuctli, 131. \u2014 warrior's death ornament, 258.\nxiuhyacamitl, nose rod of Tezcatlipoca, 146.\nxocoicxtlamatlaoualli, a food made of maize dough, an offering for the Ciuateteo, 300.\n\nXocotl huetzi, \"the descent of Xocotl,\" tenth year-feast of the Mexicans, fire feast, 273.\n\nxochicalli, flower house, the North of the region of the evening star, 121.\n\nXochicauacan, one of the four old sages who created the calendar in Tamoanchan, 179.\n\nxochilhuitl, flower feast, feast of Xochipilli and Xochiquetzal, 161, 190.\n\nXochimilco, on the shore of the freshwater lagoon, city of the Chinampaneca, home of the stonecutters, city of the fire goddess Chantico, 274.\n\nXochipilli, the flower prince, god of flowers and of food, counterpart to Xochiquetzal, 159. \u2014 god of the flower feast (xochilhuitl), 161, of the great lords' feast (huei tecuilhuitl), the eighth year-feast of the Mexicans, 161. \u2014 invoked in songs as Cinteotl, 164, 165. \u2014 confused with the true Cinteotl in the Codex Fej\u00e9rv\u00e1ry, 194. \u2014 appearance and attire, 116, 159, 161. \u2014 appearing in the coxcoxtli helmet mask, 161. \u2014 painted clay image from Teotitlan del Camino, 160, 161. \u2014 stone image in Mexico, 161, 163. \u2014 regent of the eleventh day sign ozomatli, 159\u2013163. \u2014 in the Codex Vaticanus substituting for Xochiquetzal, the regent of the twentieth day sign xochitl, 189, 190. \u2014 third of the four forms of the deity of the planet Venus, denoting the West, 116. \u2014 (the blue one) second of the four guardians of the first Venus period, corresponding to the lower region, 194. \u2014 (the yellow one) third of the four guardians of the first Venus period, corresponding to the lower region, 195. \u2014 (with the facial painting of the sun god) first of the four guardians of the fifth Venus period, corresponding to the South, 206, 209. \u2014 direction-god of the East, 88. \u2014 together with Xochiquetzal, standing for the West, 68. \u2014 first of the six in the temple, denoting the South, 71. embracing the tree of the West, 81. \u2014 opposite Xochiquetzal, in the middle of the twenty-five god-pairs, 211\u2013242. \u2014 accompanying image in the Tonalamatl arranged in columns of five, 37, 38, 41, 42, 49, 50, 51, 52, 53, 59, 60, 62, 63. \u2014 his signs, 328.\n\nXochiquetzal, goddess of flowers and of artistic skill, princess, dwelling in the ninth heaven, in Tamoanchan, 188. \u2014 originally a water goddess, Tlaloc's wife, but abducted by Tezcatlipoca and made into a goddess of love, 186, 188. \u2014 beloved of the sun god, his first wife, 133, 134. \u2014 identified with Tonacaciuatl, 278. \u2014 depicted as a sky goddess, 13, 44. \u2014 goddess of love, patroness of courtesans, 188, 189, 237. \u2014 appearance and attire, 134, 189. \u2014 celebrated by the Tlalhuica at Tepeilhuitl, by the Tlaxcalteca at Quecholli, in Mexico at xochilhuitl, 186, 189, 190. \u2014 regent of the twentieth day sign xochitl, 186. \u2014 of the nineteenth Tonalamatl section ce quauhtli, 279. \u2014 in the Codex Borgia, second of the four guardians of the first, lower-region Venus period, 194. \u2014 fourth of the four guardians of the fifth Venus period, corresponding to the South, 210. together with Xochipilli, denoting the West, 68. \u2014 depicted in the xochicalli, in the North of the region of the evening star, 125. her manifestations in the twenty-five god-pairs, 211\u2013242. \u2014 accompanying image in the Tonalamatl arranged in columns of five, 18, 19, 37, 40, 41, 43, 44, 59, 60, 62, 63. \u2014 substituting for Macuilxochitl, 60, 61.\n\nXochitocatl, daughter of Xochiquetzal, at the feast celebrated at Quecholli by the Tlaxcalteca, 189.\n\nxochitl \"flower,\" twentieth day sign, 128, 186. \u2014 its regent Xochiquetzal, 186\u2013190. \u2014 in meaning agreeing with the sign ozomatli, 159, 163. \u2014 denoting the House of Rain, 76. \u2014 signifies the heart, 192, 218. \u2014 signifies flame, 62. \u2014 symbolic designation of blood, 7, 22, 58, 59, 114, 217, and elsewhere.\n\nXochitlachpan, a goddess of the region of Meztitlan, 166.\n\nxochitlalpan, \"in the land of flowers,\" = South, 222.\n\nXochitlan, city on the Pacific coastal plain. Hieroglyph, 104, 105.\n\nxochitl icacan, \"where the flowers stand,\" = Tamoanchan, the paradise of the West, 101, 165.\n\nxolocozcatl, image of a blue dog, hung about the mummy bundle of the dead warrior, 157, 258.\n\nxoloitzcuintli, hairless dog, 156, 182.\n\nXolotl, twin, monstrous birth, palace slave, 157, 181, 182. \u2014 god of the ballgame, of twins and of monstrous births, 181, 182. \u2014 depicted with the facial painting of Macuilxochitl, 181, 183. \u2014 depicted as a dog, 181, 278. \u2014 regent of the seventeenth day sign olin, 181\u2013183. \u2014 the sixteenth Tonalamatl section ce cozcaquauhtli,\n\n271. \u2014 opposite the moon god, denoting the East, 67. \u2014 accompanying image in the first Tonalamatl quarter, 15.\n\nxonecuilli, S-shaped curved loaves of bread (images of lightning), offering for the Ciuateteo, 300.\n\nxoxe (Zapotec), mighty, earthquake, day sign \u2014 Mexican olin, 199.\n\nXopancalqui = Xiuhpancalqui, one of the Tzitzimime, 30.\n\nyacamaxtli, crescent-shaped nose plate of the pulque gods, 168, 210. \u2014 of Macuiltochtli, 167. \u2014 of Mayauel, 136. \u2014 on the ometochchimalli, ometochtilmatli, ometochtlantiztli, 167, 168. \u2014 on the garment of Tlazolteotl, 101. \u2014 on the surface of the pulque, 230. \u2014 worn by Tlazolteotl, 102, 172. \u2014 of the earth goddess, the regent of the third Tonalamatl quarter, 10. \u2014 of the Ciuateteo, 300. \u2014 of Itztlacoliuhqui, 261. \u2014 of Mictlantecutli, 79.\n\nyacapapalotl, blue nose plate of Xochiquetzal, step-shaped or butterfly-like, 189. \u2014 worn by Mayauel, 132.\n\nYacatecutli, god of the merchants, one of the Tzitzimime, 189.\n\nyacaxtli, pale bead in the nostrils, warrior's death ornament, 208, 209, 258. \u2014 worn by Xolotl, 181, 278. \u2014 of Tepeyollotli, the image of Tezcatlipoca, 78.\n\nYaociuatl, the female warrior, name of Ciuacoatl, 189.\n\nyaomiquiztli, death in war, represented by water, 253.\n\n\u2014 illustrated by an arrow 312, 313.\n\nyaoyotl. War, provides the sacrifices for the Sun 2 H t. \u2014 represented by shield and bundle of spears, s. mitl chimalli. \u2014 metaphorically by water and fire, s. atl tlachinolli.\n\nCompanion figure in the Tonalamatl arranged in five-membered columns 24, .V\u00bb, 61, 62.\n\nyaqu\u00ea. the emigrants, those who moved eastward, the Toltecs US.\n\nyaqui nnak . the Mexican, the Toltec 142.\nYauhtecatl. a pulque god 168.\n\nYayauhqui Tezcatlipoca, the black Tezcatlipoca, the true Tezcatlipoca. s. Tezcatlipoca. \u2014 opposite the red Tezcatlipoca on the ball-court 176. \u2014 opposite the red Tezcatlipoca (the representative of Xipe), denoting the dark time, the rainy season 32t 1. taking the place of Itztli, the stone-knife god, the second of the nine Lords of the Night, appearing 95, 96 \u2014 in the Codex Vaticanus taking the place of the fourth of the five gods of the South, Macuilxochitl, the true god of the South. Confusion with the god of the North '/ 311.\n\n/\u00abcm. dotted kil 2ihl.\nyecoa to complete 263.\n\nyei eecatl \"three Wind\". Name of the monkey 2HL\n/\u00bb/ itzcuintli \"three Dog\", sign and name of the fire god l.VJ. 2 ia.\n\nyetecomatl, tobacco gourd, insignia of the priests 1 1, 236. \u2014 worn by the self-mortifying penitent 184. \u2014 of Iztac Mixcoatl 238, 239. of the fire god, marking food-vessels '-V\u00bb\n\nyollotopilli. the staff with the heart, insignia of Xochipilli and Macuilxochitl 161. \u2014 in the case of the drinker, set against Mayahuel 2\u00f6\u00f6, 2j\u00fc\n\nYtzpi, a people related to the Zapotecs, worship Toteo Tlatlauhqui Tezcatlipoca 17\u00bb.\n\nYopico. Temple of Xipe in Mexico 17,7.\n\nyopitzontli. pointed cap of Xipe 28. \u2014 its shape is also that of Xipe's nose-plate H\u00f6. 175, 265.\n\nyohualnepantla, midnight, denoted by an eye surrounded by darkness 226, 227. \u2014 denoted by a scorpion 226, 227.\n\nYoualtecutli, Lord of the Night, the sun god in the night UH, \u2014 one of the Tzitzimime INI.\n\nYucatan, other initial signs of the years 2S