{"collection":"Mesoamerican Mythology","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/archive_org_codexfejrvrymay00englgoog/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/archive_org_codexfejrvrymay00englgoog","id":"archive_org_codexfejrvrymay00englgoog","license":null,"rights_basis":"archive_org_open:pre_1929_us_pd_heuristic:year=1902","source":"archive_org","source_url":"https://archive.org/details/codexfejrvrymay00englgoog","summary":"Google \n\n\n\nThis is a digital copy of a book that was preserved for generations on Hbrary shelves before it was carefully scanned by Google as part of a project \n\nto make the world's books discoverable online. It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject \n\nto copyright or whose legal copyright term has expired.","tags":["Aztec mythology","Codex Feje\u0301rva\u0301ry-Mayer","Indians of Mexico","Manuscripts, Mexican"],"text":"Google \n\n\n\nThis is a digital copy of a book that was preserved for generations on Hbrary shelves before it was carefully scanned by Google as part of a project \n\nto make the world's books discoverable online. \n\nIt has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject \n\nto copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. 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You can search through the full text of this book on the web \n\nat |http : //books . google . com/| \n\n\n\n,-i SI\\^ ! \n\n\n\n\nf \n\nF'5X \n\n\n\n\u2022'.\u2022 / \n\n\n\n\\ \n\n\n\nf \n\nf5X \n\n\n\n^ \n\n\n\n'.- / \n\n\n\n^1 \n\n\n\n\\* \n\n\n\n\n\n\n^ ' *^ \u2022* *\u25a0 \u2022 '^B J3^ \u25a0k.r-'U'B * rf\u00ab>\u00ab 1 *m, \n\n\n\nF \n\n\n\n\n\n\nCodex Fejervary- Mayer \n\n\n\nAn \nOld Mexican Picture Manuscript in the Liverpoo \n\nFree Public Museums C^-) \n\n\n\nBnblished at the Expense of His Excellency the Bake of Lonbat \n\nForeign Correspondent of the Institute of France \n\n\n\nElucidated \n\nby \n\nDr. Eduard Seler \n\nFcofessor of American Linguistics, Ethnography, and Archaeology \n\nin the University of Berlin \n\n\n\n\nBERLIN AND LONDON \n\n\n\n1901-1902 \n\n\n\n(11'-' I \n\n \n\ni \n\n\n\n \n\n\n\n^ \n\n\n\n\n\n\n^ \n\n\n\n\\ \n\n\n\nI \n\n1 \n\n\n\nI \n\nr \n\nr \n\n\n\nf \n\n\n\n1 \nf \n\n\n\nw \n\nI \n\nI \n\nJ \n\n\n\n^^ \n\n\n\n\"^ Vi. \n\n\n\nI \n\n \n\nm \n\n\n\n1 \n\n\n\nr \n\n\n\n*\u2022 \n\n\n\n\u2014 '^'^^ \n\n\n\nF \n\n1 , \n\n\n\n% \n\n\n\n\nCodex Fej6rvary-Mayer \n\n\n\nAn Old Mexican Picture Manuscript \n\n\n\nA /I \n\n\n\ni \n\n\n\ni \n\n\n\nCodex Fej6rvapy-Mayep \n\n\n\nAn \n\nOld Mexican Picture Manuscript in the Liverpool \n\nFree Public Museums (^\"\"T) \n\n\n\nPublished at the Expense of His Excellency the Bnke of Lonbat \n\nForeign Correspondent of the Institute of France \n\n\n\nElucidated \nby \n\nDr. Eduard Seler \n\nProfessor of American Linguistics, Ethnography, and Archaeology \n\nin the University of Berlin \n\n\n\n\u2022 \u2022\u2022\u2022: \n\n\u2022 \u2022 \u2022 \u2022 \n. - \u2022 \u2022 \n\n\n\nA. \n\n\n\n\nBERLIN AND LONDON \n\n. 1901-1902 \n\n\n\nENGLISH EDITION \n\nBY \n\nA. H. KEAlSTE \n\nLate Vice-President Anthropological Institute \nof Great Britain and Ireland \n\n\n\nV3% \n\n\n\n\u2022 \u2022\u2022 \n\n\n\nPrinted by T. and A. Constable, (late) Printers to Her Majeaty, at the Edinburgh University Press \n\n\n\ni; \n\n\n\n'/ \n\n\n\nI \n\n\n\n\\ .J \n\n\n\ni \n\n \n\nt \n\n\n\nTo \n\n\n\nHis Excellency \n\nJoseph Florimond, Duke of Loubat. \n\n\n\nYour Excellency! \n\nThe new and sumptuous facsimile-edition of the Codex Fejervdry- Mayer which, \nwith your wonted munificence, you have distributed to all the large libraries of Europe, \nboth Americas and Japan, is on this occasion accompanied by some personal remarks \nexplaining the standpoint by which Your Excellency has been guided in your more \nthan ten years' continuous and successful efforts to promote American studies. To \nthese remarks you have prefixed the motto : \u2014 ' Cherchez et vous trouvei^eZy * Seek and \nyou shall find/ And, in truth, no more suitable watchword could have been found. \nIt is the watchword by which you have been guided and helped to discover the ways \nand means which are calculated to direct research into those paths along which it may \nadvance to fruitful results. It is the magic word, too, which the young American \nscience itself has to thank for all it has so far accomplished. And the same sentiment \nencouraged me also, when Your Excellency placed before me the heavy task of writing \nan exposition of this manuscript. \n\nWhen preparing last year my elucidation of the Tonalamatl of the Aubin collection, \nalso at your request, I had at least some support for my interpretations in the short \nexplanations of the pictures of the Codex Telleriano-Remensis supplied by the clumsy \nhand of Father Pedro de Rios and some of the other early evangelists. But the present \nand the other related documents are destitute of any such explanations. As in life, \nhowever, so in research the explorer advances from one stepping-stone to another. A \ncareful study of the Tonalamatl, and a search for the corresponding figures in the other \npictorial writings, have made it possible accurately to determine a large number of \n\n\n\nVI \n\n\n\nfigures in those manuscripts also for which no interpretations were extant. And these \ninterpretations served in their turn as starting-points for a further investigation of the \nother parts of those pictorial representations. For all this an effective support was \npresented by what I had already some two years ago established regarding the occurrence \nof the Venus periods in the manuscripts of this group. Thus I advanced, groping from \nstep to step. But such work naturally demands a thorough search in apparently \ninsignificant details. Hence, in the explanatory text, I was unable to dispense with a \nlarge number of illustrations. And if the wearisome nature of the inquiry is to some \nextent betrayed in the exposition itself, I beg of Your Excellency to consider that it \nwas impossible in any other way to supply the evidence for my interpretations. And \neven so for several of the representations in this manuscript I was unable to do more \nthan determine the actual constituents, that is to say, the number, the kind, and the \ncharacter of the figures. But for a whole series of others I believe I have succeeded in \nrevealing the deeper significance and the special meaning of the representations. As \na fresh acquisition, I may mention to Your Excellency the proof of the occurrence of \nan intercalation in the manuscripts, which renders possible a correction in the length \nof the year. Hence if this first attempt at a complete commentary on one of the most \nimportant documents concerned with astronomy and astrology is not exempt from the \nshortcomings, the faults and errors inherent in all human work, and above all in one \ndealing with such a little cultivated and diflBcult field, I would still hope that Your \nExcellency will not refuse me the credit of having honourably and earnestly sought \nand striven to justify the confidence placed in me by Your Excellency when imposing \nthis task on me. \n\nEduard Seler. \n\nSteglitz, August 1901. \n\n\n\nI. \n\n\n\nf \n\n\n\n) \n\n\n\nHistory and Nature of the Manuscript. \n\n\n\nNothing is known on the origin of the interesting pictorial document which, through the \nmunificence of His Excellency the Duke of Loubat, is now placed at the disposal of the learned \nin a singularly successful facsimile reproduction. At one time it belonged to the Cabinet of Anti- \nquities of the Hungarian collector and savant, Oabrid Fy4rvdry, and passed under his name to \nthe well-known collection of reproductions of old Mexican picture-writings published by Lord \nKingsborough under the title of Mexican Antiquities, \n\nSince the time of Ferdinand i., the Fej6rv4ry family were landed proprietors in KomlcSs \nEeresztes, in the Tapoly district of the county of Sdros, in North Hungary. Gahriel Fejirvdry, \nbom in the year 1780, was the son of Karl Fejirvd/ry, who had also gained some celebrity as an \nantiquary and collector of medieval records and documents, but died while, relatively speaking, still \na young man. As mentioned by his nephew, Franz PvZazky, in his autobiography,* Gabriel Fej^rvAry, \nafter completing his legal studies and obtaining his diploma of Advocate, had made the acquaintance \nof Baron Josef Brudem, who soon after appointed him his representative, with full powers. With \nthis nobleman he made extensive journeys, and then resided alternately in GyQngyOs and Pest, \nwhere Brudem had built a large house, which was for fully ten years the trysting-place of the most \nintellectual men in Pest At that time Gabriel Fej6rv4ry had already a good library and collection \nof antiquities. Pulszky mentions amongst the chief objects of the collection a beautiful marble \nstatue of Venus, several bronze statuettes, a choice selection of gems, and some artistic medieval \nmonuments. But at that time he must have also been already in possession of the old Mexican \npictorial document which bears his name, since in the volume of the Kingsborough collection, \npublished in the year 1831, the reproduction of this manuscript is specified as ' in the possession \nof M. de Fej^rvAry, at Pess, in Hungary.' \n\nIn the year 1829 a rupture took place between Gabriel Fej6rvAry and Baron Brudem. Fej^rvdry \nremoved to Eperies, entering the household of his brother-in-law, father of the above-mentioned \nPulszky, and the next year transferred his collection thither. He formed a close friendship with his \nnephew, who later made a great name as journalist, politician, and connoisseur, was for some time \n\n\n\n^ Franz PnlBzky : Meine ZeU, mem Lehen, 4 voIb. Pressbnrg and Leipzig, 1880*1883. The Hungarian edition appeared at \nBudapest in 1882 under the title of MeUni 6a karom. \n\n\n\n2 History and Nature of the Manuscript. \n\nSecretary of State in the Hungarian Ministry of Finance, after the October rising got appointed \nmember of the National Defence Committee, and was then sent abroad as representative of \nrevolutionary Hungary. \n\nOn Fej6rv4ry's death, in the year 1851, his nephew, Franz Pulszky, inherited his collection of \nantiquities. He had them brought to London, where he was then living in exile, and they attracted \nmuch attention when exhibited by him in the rooms of the London Archaeological Society. Not \nbeing at the time too well off, and finding the education of his elder children a heavy charge on \nhis resources, Pulszky decided, first of all, to dispose of his majolica collection to an art-dealer in \nParis, and then offer for sale his valuable and instructive ivory carvings. The British Museum was \nout of the question, as it had just a short time before purchased another large ivory collection. But \nat that time there was living at Liverpool a ' worthy citizen,' as Franz Pulszky calls him, one Joseph \nMayer, who had already bought a large Egyptian collection, and was also himself a collector, especially \nof mediaeval and Renaissance artistic objects, ' and all with the intention of presenting everything to \nhis native city, and thereby enriching the local museum.' To him Pulszky sold his ivory collection, \nbesides some large bronze wheels dug up in the district of the M4tra Mountains in Hungary, together \nwith the present manuscript. Thus it was that this old Mexican book came into the possession of \nthe Liverpool Free Public Museums, to which the Mayer collection was consigned in the year 1867. \nAlthough our manuscript is preserved in Liverpool under the name of the Codex Mayer, I thought it \nright to retain the old name by which this book had been made known to the scientific public, merely \nadding that of its later possessor, by whom it had been given to the Museum. \n\nStrange to say, no allusion is ever made to our manuscript in the whole of Pulszky's Autobio- \ngraphy, despite his frequent references to the Fej^rvAry collection. He does not even mention \nit in his account of the sale of his collection to Mayer. For Pulszky, whose chief interest lay \nin the departments of classical archaeology, art history, and the prehistoric period of his native \nland, our document was merely a curiosity, a qvxintiU rUgligeahle. Unfortunately I have failed \nanywhere to light upon the catalogue which was at the time prepared by Henszlmann for the \nexhibition in London. In the hope of gleaning some particulars regarding the former history \nof this remarkable pictorial manuscript, the Duke of Loubat applied through an agent to Pro- \nfessor Hampel, son-in-law of the Pulszky who died a few years ago as General Administrator \nof the Hungarian public museums and libraries. But the only reply was, that perhaps such \ninformation might at most be found in the Pulszky diaries ; but that all his papers were now \nin the libraiy of the Hungarian National Museum, and for the present inaccessible to the public. \n\n\n\ni \n\n\n\nJ \n\n\n\ni 1 \n\n\n\ni \n\n\n\nHistory and Nature of the Manuscript. 3 \n\nThe foundation for the pictures of our manuscript is formed by four strips of a kind of \nparchment made of deerskin, which are cut to a uniform breadth of 17^ cm., but of varying \nlength, overlapping 2 to 2^ cm., and carefully and firmly pasted together. In the direction from \nthe right to the left end, the ftee surfaces are severally 98|, 100, 99, and 87 cm. long, and \nthe joinings are made at the sixth, twelfth, and seventeenth sheet. The strip has thus a total \nlength of 385 cm., with a breadth of 17J cm., and is folded together in the way shown by \nthe facsimile reproduction. The page has been taken even with the height, i.e. the breadth, \nof the strip, so that the full strip consists of 22 folded sheets of square form, each of which \nis 17^ cm. broad and of the same height. Both sides of the sheets are covered with a thin \ncoating of an extremely adhesive paste, on which the paintings are executed on both sides in \nthe usual way \u2014 the contours in deep-black, thin lines, the spaces filled in with colours. In all \nthese respects the present manuscript agrees with the picture-writings of the Codex Borgia group, \nas well as with the great body of Mixtec and Zapotec documents, the pictorial codex in the \nVienna Imperial and Royal Library and others. Common to the Codex Borgia group of manu- \nscripts and to ours is also the delicate and careful execution of the drawings and colouring, \nand a certain artistic touch. But this is very far from being correctly shown in the only \nhitherto available reproduction, that of the Kingsborough collection. Judging from this repro- \nduction one might suppose the Fej^rvdry Codex to be a somewhat carelessly drawn manuscript. \nBut the very opposite is the case, as may be seen by a glance at the present beautiful fac- \nsimile reproduction executed by the Monrocq establishment. It was somewhat difficult to repro- \nduce the colours, as on several sheets the blue and the green, on others again the green and \nthe yellow, had become almost indistinguishable from the darkening and change of the tints, \nfrom the dirt, and perhaps also from the colours running one into another. Here it was impos- \nsible to distinguish the different shades except by the knowledge derived from a study of the \nallied manuscripts, showing what colours were appropriate to certain figures and to certain parts \nof their attire. In these cases the reproduction had naturally to approach somewhat more closely \nto the original colours, or to those originally intended. But bearing this in mind, I have also \ncarefully compared the reproduction with the original, and do not think a mistake has any- \nwhere been made which does not similarly occur in the original. \n\nAccording to its contents our manuscript belongs to the Codex Borgia group, as I have \nalready made evident in one of my first essay s.^ To this group belong, besides the Borgia \nitself, the Codex Vaticanus B (No. 3773), the Codex Bologna, our manuscript (the Codex \nFej^rvdry-Mayer), and the Codex Laud, to which last ours would appear to be most nearly \nallied. But in some respects it also stands somewhat close to Codex Bologna, and in others \nagain to Vatican B.^ How these documents agree in the details of their contents, I have \nalready shown in a general way in the above-quoted treatise on the manuscripts of the \nCodex Borgia group published in the year 1887. \n\nLike Vatican B and Codex Borgia, our manuscript forms a complete book, both sides of \n\nA *The Codex Borgia and the allied Aztec picture-writings.'\u2014 Procecd\u00bbnsr\u00ab of the Berlin Anthrop, Society , Jan. 22, 1887 \n[Zeitschrift fiir Ethnologie, xix. pp. 106-114]. \n\n\u00ab To save space I shall quote Codex Vaticanus A for the Vatican Codex No. 3738, and Codex Vaticanus B for the Vatican \nCodex No. 3773. \n\n\n\n4 History and Nature of the Manuscript. \n\nthe strip from the first to the last sheet being written over. On both sides it is to be read \nfrom right to left, and the sheets are numbered accordingly. But our manuscript so far agrees \nwith the unfinished book which is represented by Codex Bologna, that both aides of the strip \ndiffer ds regards their contents. One side of the strip, which in the numbering of the sheets \nis taken as the first, is concerned, as we shall see, exclusively with figures, which from other \nmanuscripts are known as the Gua/irdians of the Night, and with nocturnal eerie things. This \nI shall indicate as the Night Side. On the other side of the strip such relations occur either \nnot at all or only in a few places. Hence this other side I have called in contradistinction the \nDay Side. \n\n\n\n\u2022 I \n\nI \n\n\n\n1^ ' \n\n\n\nI \n\nI  \n\ni \n\nt \n1 \n\n\n\ni \n\n\\ \n\n\n\nj ' A. The Night Side of the Manuscript. \n\n\n\n1. The Five Regions of the World and their Deities. \n\nSheet 1 ( = Kingsborough 44). \n\nThe first sheet is perhaps the most interesting, and in any case the most famous of the whole \nmanuscript As indicated in the above heading, it represents the five regions of the world and \ntheir deities. But at the same time it also pictures the TonalamaU, the book of good and bad \ndays, the Calendar of 13 x 20 or 260 days, and this in a twofold arrangement and in its division \naccording to the four cardinal points. Lastly, it introduces amongst the deities of the five regions \nthe nine Lords of the night hours, but, strange to say, in a revolving order which is opposed \nto the true order as indicated by the sequence of the Tonalamatl days, that is, not, like the \nTonalamatl days, opposed to, but with, the movement of the dial hand. \n\nIn the middle of the picture is seen the Fire God. For the same god of the fire that \nbums on the hearth in the middle of the house also occupies the middle of the world. He is \n\nin teteu innan, in tetew inta, in Ualxicco onoc \n' The Mother, the Father of the gods who dwells in the navel of the Earth.' ^ \n\nHere he is recognised as the Fire God by the red colour of his body, and the painting of \nhis face, which is yellow with the lower half \u00bbblack, and with a narrow, black cross-stripe at the \nlevel of the eye. He wears the fillet with the cotinga bird on his forehead {ch/dchivk'teteUi)? \non his head a tiara broadening upwards and painted with the colours of the cotinga {xiuh'toto-aTna- \ncolli), and a jaguar's ear over the temple. On his breast hangs a blue ring adornment, and in one \nhand he holds a throwing-stick, in the other a bundle of spears. Four streams of blood radiate from \nhim towards the four comers which denote the four cardinal points \u2014 East, North, West, South. \nFor, as he is Lord of the Middle, the Fire God is also Lord of the four quarters ; he is not only \nTlalxictentica, but also Nauhyo tetuctli. In both of these names he is supplicated by the worshipping \ntraders.* \n\n\n\n^ Sahagun 6, chap. 17. \n\n3 Cf. TonaUmatl of the Aubin collection, pp. 74, 75. \n\n' Sahagun 9, chap. 3. \n\n\n\n6 The Night Side of the Manuscript. \n\nThe four streams of blood are continued beyond the square space enclosing the centre to the \nouter corners of the picture, where the signs acatl/B.eed,' tecpaU, 'Flint/ caUi, * House/ and tochUi, \n' Rabbit/ are seen depicted on shields respectively borne by a quetzal bird, an arara, an eagle, and \na green 'parrot These are the four signs by which the consecutive years are named with constant \nreiteration, because they are the signs which fall on the first days of these years, and therefore, \nsince they are exhausted with the number four, have become symbols of the four cardinal points \u2014 \nEast, North, West, South. The stream of blood pointing to the sign acail, i,e, to the East (left-hand \nabove), terminates with a hand painted yellow \u2014 the hand (ray) of the Sun God? The stream \npointing to the sign tecpatl, i.e. to the North (left below), ends with the stump leg of the god \nTezcatlipoca, who is the Mictlan tecutli and the Tlacochcalco yaotl} the Lord of the mictlaTnpa, \nof the North. The stream trending towards the sign caUi, i.e. towards the West (right-hand below), \nends in the figure of a chest formed by the vertebrse and adjoining ribs of a skeleton. For the West \nis the region of the setting (dead) sun. The stream directed towards the sign tochtli, i,e. towards the \nSouth, ends in a head in whose hair is stuck a downy feather-ball, and which bears Tezcatlipoca's \nfacial painting \u2014 ^yellow and black cross-lines. This god, who is the Tlacochcalco yaotl, the warrior in \nthe spear-house, the god of the North, is also at the same time the Uitznauac yaotly ' the warrior in \nthe South,' and is honoured under this name in the ancient temple hymns.' For this god is \noriginally and above all the god of the Toxcatl feast, the feast which the Mexicans were accustomed \nto keep at the time when the Sun reached the zenith above their city, in order from that point \nto take its position for a few weeks in the northern hemisphere. Hence for the Mexicans he \nsymbolised both South and North ; he was the young god, the Sun himself, who had his abode now \nin the south, now in the north, of the vault of heaven.^ \n\nThus in this way the four quarters or regions of the world are by the four years brought into \nrelation with the four outer corners of our picture, and also (by the streams of blood gushing out \nbeside them and ending in the specified symbols) with the angels of the square forming the centre of \nthe picture. But in a similar manner the four sides of this same central square also are divided \namongst the four quarters of the heavens \u2014 East, North, West, South. \n\nA kind of platform, approached by steps in the middle, is seen above the upper side of the central \nsquare, that is to say, to the right of the corner which, owing to the shield with the sign acatl, ' Reed,' \nwe had to regard as the ea^t comer. The steps, like those of the temple pyramids generally, are \npainted a red colour, and at the level of these steps is shown the image of the Sun. This can \nobviously be nothing but the kotuse of the Sun, the East. \n\nAbove the left side of the central square is seen a votive dish, in which are a ^rubber ball (serving \nfor incense or as a burnt offering), an agave-leaf thorn, and a bone whose lower end is supposed to be \npointed, hence is a bone dagger. These are the symbols of sacrifice, of self-torture, of blood-letting, \nvoluntarily made in honour of the gods. Hence they seem here to have been brought into connection \nwith the northern quarter of the heavens. It will appear, however, from the figures that on our sheet \nthere has occurred a reversion of the order, or an interchange of North and South. Hence it seems \n\n\n\n1 Cf. Veroffentlichungeii aus dem Konigl. Museum fiir Volkerkunde, vol. vi. pp. 128, 129 (Berlin, 1899). \n* Sahagun, ms. Biblioteca del Palacio B. Capitulo 15, ' De los cantares que decian k honra de los dioees en los templos y \nfuera dellos.' Hymn 2, Vitznavtic yauU ycuie, \n\n' Veroffentlichungen aus dem Konigl. Museum fiir Volkerkunde, vol. vi. pp. 128, 129, 154 (Berlin 1892). \n\n\n\nI \n\n\n\n1 \n\n\n\nI \n\ni \n\n\n\nI i \n\n\n\nIJ 1 \n\n\n\nli \n\nI \n\n\n\nThe Five Regions of the World and their Deities. \n\n\n\nmore probable that the just described symbols are intended to indicate the ' Place of Thorns/ the \nuitztlampa or uitznariac, the South. \n\nAbove the lower side of the central square is seen a monster descending from above, i.e, here, \nfrom below. ' It would seem to be tolerably certain that this is intended to represent the TzitzimimS, \nthe demons, who symbolise the realm of darkness, the eclipse of the sun. I shall have more fully to \nexplain further on that the TzitzimimS are originally images of the stars, which, merely because at \n! ! the solar eclipse the stars become visible in broad daylight, have been made demons of darkness, \n\nsymbols of the devouring gloom. In any case, here the figure denotes the West, the region of the \nsetting sun, of the light swallowed up by the Earth. \n\nLastly, above the fourth or right side of the central square is seen the wide open throat of a \nmonster hieroglyph of the Earth, which in this form is obviously thought of as the taker of life, the \nmictlampa, the realm of death, that is, the North. \n\nBut besides these signs and symbols directly indicating the cardinal points, at the four corners \nand above the four sides of the central square are depicted other figures and symbols, which give \nexpresston to the notion of destiny, of foreboding, the character of the different quarters of the \nheavens. \n\nAt the comers, below the signs of the four years borne by the birds, we find symbols which partly \nrecall what is seen in carefully executed pictures on Sheet 27 of Codex Borgia (= No. 12 of the \nKingsborough notation) and on Sheet 69 of Vatican B ( = 28 Kingsborough), concerning the destiny \nof the four years, of the four sections of the Tonalamatl. On the specified sheets of these manuscripts \nthe acatl years and the Tonalamatl sections beginning with cipactli, which two periods belong to the \neastern quarter of the heavens, are indicated as lucky and fruitful. A cloud-laden sky is spread over \nthe Tlaloc of the year. And below him numerous maize ears are sprouting on the cijxictli, the symbol \nof the fruit-bearing earth. The tecpaU years and the Tonalamatl sections beginning with miquiztli \nshow above the Tlaloc of the year a dry rainless sky. And below him the ground is broken into \nclods, and winged insects devour the few sprouting ears. The calli years and the Tonalamatl \nsections beginning with ofomatli, which belong to the West, suffer from a superabundance of water. \nA densely clouded sky spreads over the Tlaloc, and below him the maize plants are all sodden \nin the water. Lastly, the tochtli years and the Tonalamatl sections beginning with cozcaquauhtli, \nwhich are determined by the South, are again periods of drought and famine. Over the Tlaloc \nstretches a sky darting down glowing rays. And in the lower section rabbits are figured eating \nup the ears growing in the parched soil of the Earth. \n\nThat the signs of the four years borne on shields by the birds in the comers of our Fej6rv4ry \nSheet are concerned with the representation of similar notions is shown by the upper right comer, \nthat of the South, where we see pictured a maize plant and a rabbit at its foot. But the representa- \ntions at the other corners also may be partly explained from the concept to which expression is \ngiven on the specified Codex Borgia sheet. In the comer to the right below, which belongs to the \nWest, we see a jewelled chain (chaZchiuitl) which terminates above in a flower, below in a snake's \ntail I think we may unhesitatingly interpret this figure as denoting abundance of rain. In the left \ncomer below, that of the North, is seen a species of plant, with blossom or fruit hanging down on four \nsides. On the summit is perched a bird, of what kind it is hard to determine. And round the stem \n\n\n\n8 The Night Side of the Manuscript. \n\nis twined a vine painted a yellow colour. The meaning of this picture is not quite clear to me. The \nfigure in the upper left or east comer is also obscure. Here we have a plant which may perhaps be \na young maize-plant ; or is it a quetzal-feather plant, that is, one of exuberant growth ? And perched \non its stalk is a bird, with a yellow disk shown on the tip of its bill. \n\nMore conspicuous are the scenes which rise above the four sides of the central square. They are, \nas we see, various kinds of trees springing from the above-described symbols, which give expression \nto the four cardinal points on the four sides of the central square. The first, which rises above the \nupper east side, above the picture of the sun enthroned at the level of the steps, is apparently \npresented simply as a flowering tree, and the bird perched on it is certainly a quetzal bird. Hence \nwe should perhaps denote this tree of the East simply as quetzalquauitl, ' quetzal-bird tree,' or \n' quetzal-feather tree.* \n\nThe second, above the left side of the central square, has ray-shaped blossoms on a bulging stem, \nwhich ramifies in the middle, and along its whole length is set with notches or thorns. On it is \nperched a bird which, from the parallel cases that I shall have presently to quote, is to be taken as \nan eagle. Hence we must indicate this tree of the North simply as qv/iuhquauitl. \n\nThe third above the lower side, growing out of the forehead of the tzitzimitl, has a stem set with \nlong upright thorns, and feather-balls instead of flowers at the tips of its branches. On it is perched \na bird with bluish plumage and long pointed beak, hence, doubtless, a humming bird. This tree of \nthe West we shall therefore call uitzitzU quauitl. \n\nAbove the south side, the side to the right of the central square, a tree is growing out of the \nopen jaws of the monster symbolising the Earth; its stem is set with notches (or fruit-pods?) turned \ndownwards, while the branches bear a kind of star-shaped blossom like that of the tree of the North. \nOn it is perched a bird, which from the form of the beak is doubtless to be taken for a parrot. Hence \nwe may denote this tree of the South as tozquauiU, or cochoquauitl, or aZoquauiU, For toztli is the \nyellowish-green parrot plumage, the parrots themselves being called toznene and cochotl, and the red \narara bird alo. \n\nAs for the previously described representations at the comers of our picture, so also for these \nfigures depicted above the chief sides, parallelisms may be shown in the same manuscripts, Codex \nBorgia and Vatican B, which according to their contents are in fact related to our Fej^rvAry. \nOn the lower half of Sheets 49-52 ( = Kingsborough 66-63) are exhibited, merged in a single \npicture, a number of different subjects with their variations according to the cardinal points. On \nthese sheets, to which we shall often return, in the middle above, facing the house which indicates \nthe respective quarter of the heavens, we see offerings being brought by the god corresponding \nto that quarter. And immediately below these votive representations, the centre of the four \nsheets is occupied by four trees, obviously regarded as chief figures, each with a bird perched \non its top ; and although deviations in details are not lacking, these trees evidently correspond \nto the four of Sheet 1 of our Fej^rvdry. But in Codex Fejervdry the trees grow out of the symbols \nwhich are figured on the four sides of the central square as indications of the four quarters \nof the heavens, whereas in Codex Borgia the trees spring from the body of a figure of the Earth \ngoddess, who is depicted lying on her back with a skull for her head and death emblems shown \non her enagua. \n\n\n\nThe Five Regions of the World and their Deities 9 \n\nSimilarly we see on Sheets 17, 18 of Codex Vaticanus B, not indeed this whole group of diverse \nrepresentations, as in Codex Borgia, but four compartments, in each of which are figured a god \nabove, and below a tree with a bird on its top. And, despite discrepancies in the details, obviously \nthese trees again correspond to the four trees of our Fej^rviry Sheet. Here in Vatican B the \ntree does not grow, as in Codex Boi^a, ^m the body of a figure of the Earth Goddess, but a \ndeity is seated at the foot of each of the four trees, clasping its stem. But this deity is different \nin all the four compartments. A peculiarity of these Codex Taticanus trees is that, at the tips \nof each of their (four) branches, on the stem, and to the right of their roots, are pictured two \u2014 \naltc^ether twelve \u2014 diversely coloured balls. As an indication of this speciality I take from our \nFej4rviry Sheet the little circle on the tree of the left (North) side, which circle we see attached to \neach of the six radiating flowers of this tree. \n\n\n\nFi\u00ab. la. \n\nHieroctfph \n\nof ChaUo City. \n\nCodex Hendoza. \n\n\n\n\u201e Fie. 2. Tree of the East. \n\nF,g. 1. Tree rf the East *j^^ y^^j^^^ B j. \n\nCode:: Borgia 49 ( = K.ngsborough 66), ^ ^ Kingsborough 65). \n\n\n\nThe first of the four trees of Codex Borgia, shown on a sheet, in the centre of which we see a \nhouse with an image of the Sun at the door and facing it the Sun God bringing offerings, is by \nthis association indicated as the Tree of the East (Fig. 1). At the end of the two main ramifying \nboughs, as well as at the tips of its twofold group of four branches, it shows the hieroglyph \nchaZchiuitl, ' Jewel,' the familiar figure which in the Tribute Roll and in Codex Meudoza is employed \n, as hieroglyph of the City of Chalco (Fig. Id). Moreover, about this tree are coiled a green and a \nblue string, which are set with golden bells, and are also obviously to be taken as jewelled strings, \none ending in a flower, the other in a disk (eye or pearl). On the top of the tree is seen a quetzal \nbird, clearly recognised by its green plumage and the feathery crest on its head. On its stem are \nfurther pictured the implements of war \u2014 shield, bundle of spears, throwing-stick and hand-flags. \nFor the East is the region of war ; in the eastern heaven dwell the souls of the slain, the sacrificed \nwarriors. The Earth Goddess, from whose body springs the tree, differs from what we shall find \nin the following sections in that, instead of being drawn with a helmet mask, she wears nothing but \nthe priestly fillet, in which are apparently inserted the two ends of rattles {chicauazUi). She is \nherself painted a yellow colour, but her dress and ornaments are white, i.e. strictly speaking, 8pott.ed \nwhite and red. \n\nFar less characteristic is the first of the four trees of Codex Vaticanus B (Fig. 2). It has a \n\n\n\n10 The Night Side of the Mftnuscript. \n\nblue stem and green ray-like flowers, while the twelve balls are yellow. But on the lop is again \nunmistakably seen the quetzal bird with its green plumi^e, feathery crest, and long, pliant greeu \ntail-feathers. The stem is clasped by a god, whose body is of a red colour, with face painted length- \nwise, half blue, half red, and who seems to me identical with a god to be mentioned later on, who is \nfigured looking out from a cipcictli's throat \n\nThe flower, the jewel, the quetzal bird are all symbols of opulence, of the precious, fructifying \nmoisture. Ye tlagtietzalpaiia ye tUxxoxovia ye xopantla, ' already has it changed to quetzal feathers, \nalready all has become green, already the rainy time is there' \u2014 so it runs in the explanation of \nthe second strophe of the Song to Xipe. And in the third strophe of the same song : \u2014 yn niyoatzin \n(that is ovatl) iuhqiiin ckalchiuitl noyollo, ' I the maize bloom, like to a gem is my heart (my core, \nmy inside).' Thus flowers, jewel, quetzal bird are symbols of fertility, of prosperity, like the dpactli \nwhich is figured in the acatl years, the east years. \n\n\n\nFig. 3. Tree of the North. Fig. 4. Tree of the Nortli. \n\nCodex BorgiA 50 ( = Kingsborough 65). Codes Vaticanua B 1 7 ( = Kingaborongh 66). \n\nIt is evident from the Quetzal tree that on Sheet 1 of our Fej6rvdry, as in the two specified \nplaces of Codex Boi^a and Vatican B, the East is looked upon as a region of prosperity, of fruit- \nfulness, of abundant food supplies. And this we can indeed at once understand. Apart altogether \nfrom mythical considerations and ideas, for the Mexicans the East was in fact the region of the \ntlcUocayotl, of the rain-bearing wind. It was the r^on where the moisture-laden trade-winds \nconstantly generated mists and fogs along the towering border ranges of the central plateau, where \nnumerous streams flowed down to the plains, where the rainy season was productive and permanent, \nwhere was consequently situated the TkUocan, the Paradise of the Rain God. \n\nThe second of the four trees of Codex Borgia, which must symbolise the North (Fig. 3), is, like \nthat of the East, painted half green, half blue; but, like the North tree of Codex Fej^rvary, the \nstem and boughs are set with thorns along their whole length, bearing small flowers only at the \ntips of the branches. Instead of a jewelled string, on one side a cloud of darkness, on the other a \nstream of blood winds upwards. And on the top stands the great bird of prey, the Eagle, painted \nblack and white, with rufiied plumage, and stone knives inserted at the ends of its feathery crest \nand tail-feathers. The Earth Goddess, from whose body the tree shoots up. wears as a helmet mask \n\n\n\nThe Five Regions of the World and their Deities. 11 \n\nor disguise (naiudli) a stone knife, that is to say, her face looks out from the open throat of a stone \nknife furnished with round eyes and rows of teeth to represent a death's-head. Her colour, like that \nof her robe, is blue, that is, presumably dark. \n\nI'he tree figured in the second place in Vatican B resembles the first in its lack of character. The \nstem is painted a green colour, but at the same time furnished with a black des^ made up of \nlines and small circles, such as in this manuscript is usually shown on the body and limbs of the \nDeath God ; hence seems in a measure to suggest a bony structure. The flowers are yellow, and the \nballs surrounding the tree blue. But on the top the et^le, the great bird of prey, is s^ain clearly \n\n\n\n\nFig. 5. Tree of the Wert. \nCodes Borgia 51 ( = KingaborODgh 64). \n\n\n\nVig. bb. Stellar Eye or Radial Eje. \n\n(a) Vienna mb. (b) Wall Painting at Mitla. (c) Codex Fejirviry 25. \n\ndrawn, with its ruffled plum^e, and stone knives at the tips of the feathers. The stem of the tree \nis embraced by a god, whose bodily and facial colour \u2014 white striped in red \u2014 and the deep black, \nhalf mask-like painting about the eye, which in Sah^un's chapter on the Costumes of the Gods is \ndescribed as the painting of night and the stars \u2014 in ipan ixayac mixcitlalkuiticac moteneva \ntlayovalli \u2014 show him to be the deity of the Morning Star, or else CaTrMXtli-Mixeovatl, God of the \nNorthern Hunting-Tribes. Hence by this tree of the North the region of the North is indicated as \na r^ion of thorny plants, of unproductive rock, of the bird of prey, of war and the chase. This also \nis intelligible apart from mythological considerations, since for the Mexicans in the North lay the \nsteppes, the cactus and mezquite wastes, the home of the Chichimecs, of the predatory tribes living \non the hunt, war, and plunder. \n\nIn the third quarter of the heavens we meet with some variants. The third of the four \n\n\n\n12 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\ntrees, symbolising the West, is painted a yellow colour with a linear design meeting in the right \ncorner, which is doubtless intended to reproduce the angular facial painting by which the \nMaize God is indicated in this manuscript (c/. below, Fig. 26). At the tips of the branches \nare seen leaves and the male inflorescence of the maize shooting up from a kind of calyx. The \nstem bears another peculiar figure (Fig. 5a), which recalls the figures (Fig. 56) designated by \nme as 'Stellar Eye* or 'Radial Eye,' but in which the shooting rays of the stellar eye are \nreplaced by a kind of shooting flower. On the top is perched a bird, which is certainly painted \na blue colour like the humming-bird on the west tree of our FejervAry, but has its head drawn \nalmost like an eagle's. Although this is perhaps merely a conventional bird sign, still it makes \none hesitate to identify this animal directly with the humming-bird of the Fej^rvary. The \nEarth Goddess, from whose body the third tree of Codex Borgia shoots up, wears a jaguar's head \nas a helmet-mask or nauaUi ; that is to say, her face looks out from the open jaws of a jaguar. \nShe is herself painted a yellow colour, her attire and ornaments brown. The latter colour, how- \never, is doubtless to be taken as a degraded shade of yellow. \n\nThe third tree of Codex Vaticanus B (Fig. 6) is itself somewhat lacking in character. The \nstem is striped white and red; at the ends of the branches it carries a kind of round flower, \nand the surrounding balls are red. But on the top is again distinctly seen the same bird with \nthe blue plumage and pointed beak as on the West tree of Fej^rvdry, a bird which we may \npresumably explain as a humming-bird. The stem of the tree is clasped by a god, whose body \nis painted a blue colour, but otherwise presents no distinctive mark. Perhaps he may be the \nMoon God, who in this manuscript is figured as an old god with his body also painted a blue, \nthat is, a dark shade. \n\nThe Codex Borgia tree, with its yellow stem showing the facial painting of the Maize God, \nand with the maize bloom at the ends, doubtless finds its explanation in the fact that the West \nis the region of the women, and, as we shall see in another place, the Maize deity is in fact \nbrought into relation with this quarter of the heavens. MicUan (the Realm of the Dead, the \nNorth), Tonatiuh ichan (the House of the Sun), TlaZocan (the Realm of the Rain God), and \nCincalco (the Maize house) are also designated as the four' entrances to the Earth in a relation \nstill extant in the Sahagun Manuscript;^ and as the Cincalco, the Maize house, is sought in \ncaverns at Chapultepec, it is evident that this relation also assumes the Maize house to be in \nthe West.* As, moreover, this * Earthly Paradise ' is at the same time described as a place full \nof all needful food supplies, we may infer that the tradition recorded in our pictorial document \nalso assumes the western quarter of the heavens to be a region of copious rains and of super- \nabundant vegetation. Geographical facts seem here to be of less account than the already men- \ntioned mythological considerations, which regard the West as the region of the women, the \nkingdom of the Earth Goddess, and also the house of the Maize Corn. That the humming-bird \nappears as the characteristic bird of this quarter is explained by the simple fact that it was \nsupposed in a sense to make its appearance with the young maize, that in the dry season it \nhangs with its bill from a tree dead, dried, and featherless, but in the rainy season awakens to \nnew life, again puts on feathers, and again flits from flower to flower.^ Lastly, the radial eye on \n\n\n\n^ Sahagun, Book xii. chap. 9. \n' Saliagun, Book ii. chap. 2, \u00a7 7. \n\n\n\n^ Tezozomoc, Crdnica Mexicdna, chap. 103. \n\n\n\nThe Five Regions of the World aad their Deities. 13 \n\nthe stem of the Codex Borgia tree may presumably here be taken as the star of the West, the \nEvenii^ Star. But the artist may also perhaps have wished to recall Citlaliciie, the ' Goddess of \nthe Starry Robe,' that is Tonacacivatl, who is identified with Xochiquetzal, and has her home \nin the West. The only question is, how these notions are to bo brought into harmony with the \nfact that here in the Codex Fej^rv&ry the tree of the West bears feather balls and bands at the \ntips of its branches. I surest that here we have to think of flocks of cotton, and to remember \nthat the Earth Goddess is normally represented with feather-balls plastered on her arms and \nlegs; but, above all, I recall the fact that in the picture-writings the hmnming-bird's head is \nsomewhat regularly drawn, set ronnd with feather-balls. \n\nThe fourth tree of Codes Borgia, which indicates the South (Fig. 7), is, like that of the North, \nstudded on stem and branches with thorns, but is painted a red colour, while on its surface a kind of \n\n\n\nFig. 7. Tree of the South. Fig. 8. Tree of the South. \n\nCodex Bor^ S2 (=Eiiig3borough 63) Codex Vaticanus B 18 ( = King3borough 66). \n\ntongues are shown, which are perhaps intended to indicate fire or smoke, but perhaps also thorns or \nteeth. On various parts of its stem the tree bears small flowers, and on the main boughs lai^e \nround terminal flowers which are furnished with a crown of thorns, and on their surface show the \nsign chalckiuitl, 'Jewel' As with the North tree, a cloud of darkness and a stream of blood \nwind up the' stem. On the top stands a bird, which by its red colour, the waxy skin about its \neye, and the long red feathers ending in a blue tip, is indicated as an arara. The Earth God- \ndess, from whose body this tree grows up, wears as a helmet-mask an eagle's head, and she \nherself, her dress and ornaments, have all a red colour. \n\nThe last tree of Vatican B (Fig. 8) has a different shape from the others. It is doubtless \nintended for a feathery palm, with long bunches of fruit hanging out. On it is also seated a \ndifierent animal, not a parrot, but a Jf^^ar or some other beast of prey. The God clasping the \ntree below is indicated as Tezcatlipoca by his black body, the black and yellow bands across his \nface, and the forked heron-feather ornament in his hair. \n\nTo me all this seems to show that the quarter of the South is intended to be denoted as the \nregion of fire, of the fire bird, and of the Tierra Caliente ; hence 1 am not indisposed to explain \nas cacao pods the remarkable red pods which in our picture. Sheet 1 of Codex Fej^rviry, hang \n\n\n\n14 The Night Side of the Hanuacript. \n\ndown from the stem of the South tree, these being known to spring directly from the thick stem \nof the plant. That gloving heat, palms, parrots, cacao should be associated with the southern \nquarter has no doubt its explanation partly in the fact that throughout the greater part of the \nyear the sun stands in the South. But the common experience that the traveller going southwards \nalong the Pacific seaboard came to the home of palms, parrots, and cacao, has certainly its part \nin the development of these notions. \n\nThe four lai^e sheets, 49-52, of Codex Borgia ( = Kingsborough 66-63), from the middle of which \nwere taken the four trees (Figs. 1, 3, 5, 7), are followed on Sheet 63 ( = Kingsborough 62) by the \n\ngroup, Fig. 9, which, as we see, is composed \nin quite a similar way to the Figs. 1, 3, 5, 7, \nindicating the four cardinal points. As with \nthose, here also is seen in Fig. 9 a tree \nshooting up from the body of the Earth \nGoddess, with a bird on the top. The \ngoddess again wears as helmet- mask or \ndisguise a death's - head, that is to say, \nher dead features look out from the open \nthroat of a second death's-head. But she \nnow lies on a field which is drawn with \nthe colour, the design, and the row of \nspines of a cipactli, a crocodile, the 'fish \nof which the earth was made,' the symbol \nof the fertile earth. The stem of the tree \nrises from a disk which consists of water, \nand can scarcely indicate anything but the \nanauatl, the world-encompassing sea. And \nto the left and right of it are seen two gods \n\u2014 Quetzalcoiuitl and Macuikmchitl \u2014 with \nFig. 9. Tree of the Centre. (jg^g dwKers drawinfir blood from them- \n\nCodex BorgU 5.3 ( = Kingsborough 82). ^* \u00ab . j - ,_ \n\nselves, which, flowmg round with a great \n\nbend within the disk, fertilises the womb of the goddess. It is not therefore surprising that \nclose to the foot s>{ the tree two large maize ears are seen sprouting up, that the tree itself bears \nmaize ears at the end of its stem and branches, and that the bird on the top is again a quetzal. The \nwhole scene is obviously a representation of the fifth region of the world, which is here indicated \nas the region of abundant food supplies, of wealth, and prosperity, evidently because it is the \nkingdom of the Fire God, who is the principle of life. \n\nNo corresponding representation occurs in Codex Vaticanus B. Nevertheless here is seen \nimmediately before the sheets on which are pictured the trees of Figs. 2, 4, 6, 8, another very \nremarkable group, which obviously exhibits the five regions of the world, or rather the two fifth \nquarters, the House of the Earth, and the Cloud-house of the firmament. In Fig. 10 I reproduce this \ngroup. But to simplify matters and save explanations, instead of the pictures of the day-signs, I \nhave at once inserted their names. In the centre is seen the day-sign cipactli, the symbol of \n\n\n\nThe Five Regions of the World Mid their Deities. \n\nthe fruitful earth, surrounded by the four \ns^ns that follow it. \n\nFrom this central square run right and \nleft two series, each of nine day-s^;ns. The \nleft series is immediately connected with \nthe fourth of the four signs grouped round \nthe sign cipactli, and ends with the sign \nocelotl, 'Jaguar,' which stands just at the \nthreshold of a house which is built of \nbones, enveloped in Doctumal darkness \n(black with eyes), and decorated on the \nridge of the roof with skulls, hearts, and \nstone knives. This house, which is en- \ncircled by a centipede, and has an owl \ninside, is undoubtedly the Dark-house of \nthe Earth, the lower region. For it the \nday-sign ocelotl, 'Jaguar,' is determinative, \nbecause, as I have elsewhere explained,' \nfor the Mexicans the Jaguar symbolised \nthe solar eclipse, hence loss of the Sun, \ncomplete darkness. At the four comers \u20228 \n\nof this house are repeated the four day- \nsigns following ocelotl. | \n\nOn the right side of the central square \u2022< \n\nthe series of day-signs begins unsystemati- I \n\ncally, in fact with a jump to the sign J \n\nmaliTtalli, because this series of nine signs \n\nhad to end with the sign xockitl, ' Flower,' \" \n\nwhich is indicative of the house built on ^ \n\nthe right side. That is to say, this house \non the right presents itself as a richly de- \ncorated temple with a ehakhiuitl, 'Jewel,' \nas a ridge above the straw roof, and is \nfurther ortuimented with a row of jewels \nat the same place. Round it winds a \ndragon, and in the interior is seen the \nturkey, the bird of the Rain God.^ It re- \npresents beyond doubt the Cloud-house of \nHeaven, the upper region. At the four \n\n' The Tonalamatl of the Aubin collection, Berlin \n1900, LondoD 1901, p. 48. [The pAgea run uniformly \nin the German and English editions.] \n\n' i&,, p. 33. \n\n\n\n16 \n\n\n\nThe Night Side of the Haouscript. \n\n\n\ncomers of this house, as well as of that to the left, are again produced the four days following \nxochitl. The same two houses, but with a somewhat different grouping of day-signs, are also \nrepresented on the preceding Sheets of Vatican B 13, 14 ( = King8borough 61, 62). On these \n\n\n\nW\"^^ \n\n\n\n\n\n\n\naJP;aOD \n\n\n\n\n\n\n\nFig. 11. Allor-piece of the Cross Temple 11. Palcnque. \n\n\n\ntwo latter sheets the siga cipactli seems intended to be the determinant of the house with the \nowl, and the sign din for that of the turkey. \n\nNow yet another parallelism is called up by the trees symbolising the four, or, say, five \nquarters of the heavens, with the birds rocking on their summits, .is they are displayed in these \n\n\n\nI \n\n' I \n\nI \n\n\n\nI \nI \nI \n\ni \n\n\n\nThe Five Regions of the World and their Deities. 17 \n\nconcordant representations of the Codex Borgia group of manuscripts. With the trees on \nSheet 1 of our manuscript, and no less with those of Codex Borgia here reproduced (Figs. 1, 3, \n5, 7), we are at once struck by the horizontal position of both main boughs branching off from \nthe stem. When a third is associated with these two boughs lengthwise with the stem \u2014 as is \nthe case both with the trees of Vatican B, Figs. 2, 4, 6, as also, for instance, with all those \nintroduced in the hieroglyphs of the towns in Codex Mendoza \u2014 then we get in quite a natural \nway the form of a Cross, the occurrence of which on Central American buildings seemed such a \nwonderful mystery to the Conquerors. And then we are of course reminded of the two famous \nso-called crosses on the Palenque altar-pieces, and this all the more since a bird of rich plumage \nis poised on the top of both of these crosses. And, truth to say, if there might still be some \ndoubt about the cross on the altar-piece of the Palenque Cross-temple i. (Fig. 12), such a doubt \nis no longer possible with that of the altar-piece of the Cross-temple ii. (Fig. 11) \u2014 'the foliated cross,' \nas it is called by Maudslay. Even observers little familiar with the forms of these monuments \ncannot fail at once to recognise this as a tree. \n\nWhile in other respects closely related, the two Palenque altar-pieces deviate from the \nstelse at Copan, Quirigud, and the other ruins of those regions, in that the dates inscribed on \nthem are not reckoned from an initial date set back some 3000 or 4000 years, but from \nanother much more recent, on one of the slabs only a little over 754 years, but anyhow an \ninitial date bearing the same name. Hence one might perhaps doubt whether here there is \nquestion of the same relations as undoubtedly present themselves in the case of the related \nstelae of Copan and Quirigud, that is to say, whether those of Palenque denoted the beginning \nof a katun or period of 20 x 360 days, or the beginning of one of the four katunic quarters, and \nwere erected at the beginning of such a period.^ It is not inconceivable that with the \nPalenque altar-pieces the date inscribed at the top of the hieroglyphic series was merely \nintended to serve in a sense as the name of some particular deity, in whose honour this slab \nwas carved, and in whose honour the temple was erected, in the cella of which the altar-piece \nwas guarded. In fact, to me this seems to have been undoubtedly the case as regards the third \nof the altar-pieces, that of the so-called Sun temple.^ At the same time, in that case both altar- \npieces, which in the centre show the cross, that is, the conventional tree with the bird of rich \nplumage on top, the emblem of a distinct quarter of the heavens would have to be regarded \nas dedicated to two of the deities, who are the guardians of the four (or five) regions of the \nworld. And if we find not four (or five) but two only, or, including that of the Sun-temple, \nthree of such slabs, the reason must simply be that the people who built those edifices there \nhad no longer the time to carry out the projected scheme in its entirety. As shown by a \nglance at the plan given by Holmes in The Ancient Cities of Mexico, and by Maudslay in his \nwell-known work, the three temples with the altar-pieces are really disposed cruciform, and \nabout coinciding with the four cardinal points, so far as was compatible with the inequalities of \n\n\n\n^ The proof of this I have advanced for the stelae of Copan and Quirigud, the Cedrela wooden plaques of Tikal and some \nother monuments. Cf. Verhandl. d. Berliner Anthropol. Oesellschaft, 15 November 1899 [Zeitschrift fiir Ethnologie, xxxi. \n1899), pp. 670-238]; 17 March 1900 [Zeitschrift fiir Ethnologie, xxxii. (1900), pp. 188-227] und Zeitschrift fur Ethnologie, \nxxxiii. (1901), p. 101. \n\n^ Gf. Seler, Die alten Ansiedelnngen von ChacuH. Berlin (Dietrich Reimer), 1901, p. 94. \n\nC \n\n\n\n18 The Night Side of the Manuscript. \n\nthe ground. The Cross-temple il, that of the so-called 'fohated cross '(Fig. 11), corresponds with the \nEast, the Cross-temple i. (Fig. 12) with the North, and the so-called Sun-temple with the West. \n\nOn all these slabs the figures and symbols, which occupy the central part, are disposed in \n\n\n\nmV-y^tJ^^.^^ ;:#Sl; \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nar\"' \n\n\n\n\n^IJ^^^ \n\n\n\n\n!E3:^Miis \n\n\n\nFig. 12. Altar-Piece of the Cross-Temple I., Palenque. \n\nan absolutely similar way. We see to the right and left two worshipping figures \u2014 one a little \ntaller, with a string of lai^e beads thrown round his neck, and girdled round the loins either with \ncloths or with artistically worked chains; the other, the shorter, with his neck wrapped in a \nthick cloth which hangs down behind in a broad pleat, and wearing round his loins a wide \n\n\n\nThe Five Regions of the World and their Deities. 18 \n\ngirdle of cloths knotted together, which reaches up to his breast and seems to imitate the ribbed \nsides of a skeleton. The former is to be regarded as a priest of the Water God. In Fig. 11 he \nstands on a head which has on its brow the elements of the sign cauac, the rain, thunderstorm, \nand lightning sign, and is composed of four heads of the Water God, though in this view, of \ncourse, three only are visible, one full-faced and two in profile. To him apparently corresponds the \nhieroglyph on the altar-piece of the Sun-temple (Fig. 13a), which denotes the Ah bolon t^acah, the \nWater God. The smaller figure is to be taken as a priest of the God of the West, of the Setting Sun. \nIn Fig. II he stands on a snail's shell in which the Water God is concealed. And to him apparently \ncorresponds the hieroglyph (Fig. 13i) on the altar-piece of the Sun-temple, which denotes the Uuc \nekd ahau, the ' Lord of the Seven Blacks,' the God of the West, who also seems to be the War God.* \n\nThe . crosses, that is, the conventional trees which stand between these two persons, rise \nabove a monster's head. In Fig. 11 \u2014 the altar- \npiece of the Cross-temple No. ir,, which, as shown \nby the plan, corresponds to the East \u2014 his head \nhas large eyes like those of the Sun God, and \nbears on his brow the hieroglyph of the Morning \nStar. On the other hand, in Fig. 12 \u2014 the altar- \npiece of the Cross-temple i., which, as shown by \nthe plan, corresponds to the North \u2014 this- monster's \nhead is drawn like a skull, with fleshless, bony \nlower jaw, and bears on its forehead a hieroglyph \nwhich is remarkably like that of the element \nkin, ' Sun,* and may no doubt be confidently \nidentified with it. Above rises a triple group of \nelements, which in this connection occur not un- \n\nfrequently with the figures and in the hieroglyphs of pj jg^ pj\u201e ^^ \n\nthe monuments above the face of the Sun God, but \n\nwhich I cannot yet venture to interpret with certainty. For the rest, the whole of this monster's head, \nwith the A:m-sign on its brow, and above it the triple group of elements, is also to be seen in quite \na similar manner on the stele J of Copan. Here it forms the helmet-mask of the god who is figured \non the front side of this stele. Kinck ahau, the Sun God, also indicates the Northern quarter \nof the heavens both in the Dresden manuscript, and in the uayeyab feasts described by Landa. \n\nThe tree itself, the Cross, is developed in Fig. 11 in foliar designs, whose side branchlets \nenvelop the god with the kan sign, who is presumably to be regarded as the symbol of the \nmaize fruit and the God of Fecundity. On the other hand, on the uneven central branch, aa \nwell as on both sides of the foot of the tree, we seem ^ain to meet the face of the Sun God. \nIn Fig. 12 the tree ends off in each of its side branches in a kind of dragon's head, which is \ndistinguished by a snout bent back at an angle upwards, and corresponds to the Xiuhcouatl, the \nblue Snake, of the Mexicans.* A chain of jewelled beads, presenting partly the form of real \npearls, partly that of the hieroglyph yax, 'green,' hangs down over the anns of the cross, ending \non both sides in a conventional snake's throat. \n\n' S\u00abler, Die \u00abll\u00abn AiuiedelnDgen TOD Chaculi. Berlin, 1901, p. 95.  Zeitecbrift fUr Ethaologie, iLxxii. (1901),pp. 104, 105. \n\n\n\n20 The Night Side of the Manuscript. \n\nThe birds, which on both of these altar-pieces are seen on top of the cross, resemble each \nother in their general design. The head of the bird in Fig. 11, which represents the tree of the \nEast, bears the features of the Water God. That of the bird in Fig. 12, which denotes the tree \nof the North, has a beak curved downwards, and would sefem to be treated skeleton-fashion. \n\nAfter this digression, caused by the consideration of the trees which in the picture-writings \nof the Codex Borgia group are employed to symbolise the four cardinal points, I return to Sheet \n1 of our Codex Fej^rvAry. \n\nIt was above seen that the four sides and the four comers of the picture are distributed \namongst the four quarters of the heavens in such a way that always one side with the adjacent \nleft angle belongs to one quarter, and that, contrary to the revolution of the dial hand, the \nsequence of the quarters is East, North, West, South. But further, on these same lateral and \nangular sections of our picture thus co-ordinated with the four quarters, the 20x13 days of the \nTonalamatl are also distributed, and this in such a way that always exactly a fourth of the \nTonalamatl days is disposed in the space appropriated to one quarter of the heavens. These are \nthe trapeze figures which are delineated above the sides of the central square, and the elongated \nhorseshoes extended above the corners, which taken together represent a St. Andrew's Cross with \nintermediate arms, which are the bearers of the Tonalamatl days. And so the series begins, as \nis natural, each time at the foot of the right side of the trapeze. The trapeze figures themselves \nare painted in different colours in the different quarters of the heavens :\u2014 red, yellow, blue, green, \nin the East, North, West, and South quarters respectively. One of the lengthened horseshoes \nforming the intermediate arms \u2014 that of the right upper corner \u2014 is likewise painted, and indeed \na yellow colour. The colour sequence for the four quarters is by no means the same in the \ndifferent parts of the documents and amongst different tribes. We saw higher up, with the Earth \nGoddesses from whose bodies spring the four trees of Codex Borgia, that in their case the colours, \nwhite, blue, yellow, red, are employed for the respective East, North, West, and South quarters. \nWith the Zuni Pueblos it is white, yellow, blue, red. \n\nNaturally the limited space on our sheet did not allow of all the Tonalamatl days with their \nciphers and signs being transcribed in full on these trapeze figures and horseshoes. Hence the \nciphers have been entirely omitted, and the signs of those days alone inscribed which are the first \nof the twenty consecutive series of thirteen. The intervening days the scribe was fain to indicate \nwith dots alone. The series begins for the East with the sign cipactli, 'Crocodile,' which we see \nexhibited at the foot of the right side of the red trapeze delineated above the upper side of the \ncentral square. For the North the series begins with Tniquiztli, * Death,' which stands at the foot \nof the right side of the yellow trapeze delineated above the left side of the central square. For \nthe West with ogoTnAtli, ' Ape,' which is given at the foot of the right side of the blue trapeze \ndelineated above the lower side of the central square. And for the South with cozcaquavMliy \n* Vulture,' which stands at the foot of the right side of the green trapeze delineated above the \nright side of the central square. All four signs are, of course, to be provided with the cipher \n' one,' hence to be read as ce cipactli, ce miquiztli, ce ofomdtli, ce cozquauhtli. And these are in \nfact the initial days of the four quarters of the Tonalamatl. Each Tonalamatl quarter numbers \n5x13 days. The twelve days still belonging to the first series of thirteens of the Tonalamatl \n\n\n\nThe Five Regions of the World and their Deities. 21 \n\nquarter are indicated by twelve dots on the right side of the trapeze, and are thus connected \nwith the signs cipdctli, miquiztli, ofOTndtli, cozcaquauhtli. The second series of thirteens are \nindicated on the upper side of the trapeze figures by the signs of the initial days standing on \nthe right : \u2014 ocdotl, ' Jaguar/ quiauitl, * Rain/ (yaetzpalin, ' Lizard/ aU, * Water/ together with the \ntwelve dots connected with them on the left. The third series of thirteens on the left side of \nthe trapeze figures are shown by the signs of the initial days depicted at their upper end: \u2014 \nmofatl, ' Dear/ iruilinalli, ' Twisted/ olin, ' Rolling Motion/ eecatly * Wind/ \u2014 together with the twelve \ndots following them in the downward direction. Similarly the fourth series of thirteens on the \nadjacent looped figures to the right by the signs of the initial days given at their feet: \u2014 xockitl, \n* Flower/ couatl, * Snake/ itzcuintli, * Dog/ quavMliy * Eagle/ together with the twelve dots follow- \ning them higher up. Lastly, the fifth series of thirteens by the signs dcatl, ' Reed,' tecpatl, * Flint,' \ncalli, ' House,' tochtli, * Rabbit,' standing at the corners of the picture on the bend of the curved \nfigures, together with the twelve dots following along the left halves of the looped figures, the \nsigns themselves being those of the initial days of these thirteens. These initial signs of the fifth \nseries of thirteens of the Tonalamatl quarters are here presented to the observer at the corners of \nthe picture on special shields borne by four birds, the reason being that they at the same time \nsupply the names for the consecutively following years co-ordinated with the four cardinal points. \nThus are the 260 days of the Tonalamatl accurately and completely inscribed on the four trapeze \nfigures and the four elongated horseshoes. \n\nIt was customary, however, to dispose the Tonalamatl in still another way. The observation \nthat only five of the twenty day-signs fell on the initial days of the Venus periods, whose length \nwas known to the Mexicans, seems to have given rise to the arrangement of the whole Tonalamatl \nin columns of five signs each. Thus were obtained fifty-two columns, which were disposed in four \ngroups of thirteen each. Of these four groups the initial days are : 1. cipactli, 1. ocdotl, 1. Tnagatl, \n1. xochitl ; and the whole series of columns which came thus to stand at the beginning of the four \nquarters of the Tonalamatl arranged in this way, and which, like their initial days, were naturally \nbrought into relation with the four quarters of the heavens, are accordingly as under : \u2014 \n1. cipactli 1. ocelotl 1. mafatl 1. xochitl \n\n1. dcatl 1. miquiztli 1. quiauitl 1. Toalinalli \n\n1. couatl 1. tecpatl 1. o^omatli 1. cuetzpalin \n\n1. olin 1. itzcuintli 1. colli 1. cozcaquauhtli \n\n1. atl 1. eecatl 1. quauhtli 1. tochtli \n\nThese four columns we see exactly displayed on our picture by the respective signs at the left \nside of the elongated horseshoes precisely in this order (to be read from within outwards). They \nshow plainly to the observer how in this second special arrangement the Tonalamatl is disposed \nto the four cardinal points. \n\nThere now remain still to be described the deities who are depicted about the four arms \nof the St. Andrew's Cross, i.e. within the spaces enclosed by the trapezes above the four sides \nof the central square. In the central square itself we saw pictured the Fire God, indicating \nthe region of the Centre. He belongs to the Centre, because, as I have already stated above, \nhe is the representative of the hearth-fire which bums in the middle of the house. On the \nother hand, at each of the four arms of the St. Andrew's Cross we find two figures, so that \n\n\n\n22 The Night Side of the Manuscript. \n\naltogether nine figures are here represented as deities of the five regions of the world. This \nnumber nine must at once suggest the question whether these deities of the five regions should \nnot be regarded as answering to the sacral series of nine deities, who in various Tonalamatls \nare found accompanying the series of the consecutive days, who are known under the name \nof the ' Seliores de la Noche,' and * Acompailados de la Ifoche,* and regarding whom I think \nI may assume that they stand for the guardian deities of the nine hours of the night.^ Their \nnames are the following: \u2014 \n\nI. Xiuhtecutli, . . The Fire God. \n\nII. Itztli, .... The Stone Knife God. \n\nIII. ToTiatiuh'Piltzintecutliy The Sun God. \n\nIV. Cinteotl, . . . The Maize God. \n\n\n\nV. Mictlantecutli, \nVI. Chalchiuhtlicue, \nVII. Tlagolteotl, . \nVIII. TepeyoUotli, . \nIX. TUdoc, . \n\n\n\n^. The Death God. \n\n. Goddess of Flowing Water. \n\n. Goddess of Dirt, of Sin, the Old Earth Goddess. \n\n. The Heart of the Mountains, the Voice of the Jaguar in the Mountains. \n\n. The Rain God. \n\nNow the mere consideration that the god whom we see represented as ruler of the Centre \non the Fej^rvAry sheet, and with whom we must nevertheless naturally begin (or close) the \nseries of the tutelar deities of the five regions of the world, is at the same time the first of \nthe nine lords, this consideration, I say, already forces upon us the a priori assumption that \nthe deities figured on Sheet 1 of Codex Fej^rvary are to be identified with these nine lords. \nAnd the same assumption will be all the more strongly suggested by the fact that in our manu- \nscript, following immediately after this first sheet, the nine lords of the night are again specially \npictured. What might have been inferred from the first is in fact confirmed by a searching \nstudy of these figures, and confirmed despite their small size and the few details given in the \ndrawings, and although the identification is made more difficult by a special circumstance which \nI have already mentioned at the outset. That is to say, the remaining eight of the nine lords \nare seen to be all represented on the arms of the St. Andrew's Cross, but in reversed sequence. \nThey follow, not in the order that iis required by the series of the Tonalamatl days, that is \nin the opposite direction to that of the dial-hand, but in the same direction. South and North \nchange places. Of these remaining eight of the nine lords II. Itztli, the Stone Knife God, and \n\nIII. ToTiatiuh, the Sun God, are figured at the upper arm corresponding to the East; but \n\nIV. Cinteotl the Maize God, V. MictlanteoU, the Death God, at the right arm, which properly \ncorresponds to the South; VI. Chalchitihtlicue, the Water Goddess, VII. Tla^olteotl, the Earth \nGoddess, at the lower arm corresponding to the West; and VIII. TepeyoUotli, the Voice of the \nJaguar in the Mountains, and IX. Tlaloc, the Rain God, at the left arm, which denotes the \nNorth. At first I thought that this reversed sequence was intentional, and fancied that perhaps \nit was thereby meant to express the idea that this series of gods was intended to denote, not \nthe normal path traversed by the Sun during the day, but the course which it describes in \nthe reversed direction from evening to morning, from West to East. Now, however, I have given \nup this assumption. For in Codex Vaticanus B on the same sheets on which are shown the \ntrees, corresponding to those of our Codex Fej^rvdry sheet and denoting the four regions of the \n\n\u00bb The Tonalamatl of the Aubin Collection, pp. 21-26. \n\n\n\nThe Five Regions of the World and their Deities. 23 \n\nworld, we find pictured above them not indeed the same eight gods, but four of them. Thus: \nIII. Tonatiuh, V. Mictlantecutli, VII. TlagolteotL, IX. Tlaloc, and these not in the reverse order \nof our Fej^rvdry sheet, but in the proper sequence, the first corresponding with the East, the \nsecond with the North, the third with the West, the fourth with the South. Hence I now \nbelieve we have rather to assume a carelessness of the scribe on our Fej^rvAry sheet. And \nafter all in another place also a slight irregularity is to be noticed. Were the sequence rigidly \nand logically adhered to, the two female .figures should exchange places at the lower arm, in \nthe compartment answering to the quarter of the West. Indeed carelessness and inaccuracies \nalso occur elsewhere in the manuscripts. Thus I have already above shown, in connection with \nthe symbols figured immediately above the sides of the square occupying the middle of the \npicture, that a transposition of Norl'i and South is to be assumed. On the other hand, the \nfour trees, and in any case the bird\u00bb observed on them, appear to correspond to the cardinal \npoints in their proper sequence. \n\nIt will now be recognised without difficulty that most of the figures on our Fej^rvdry sheet \nreally indicate in the above given sequence the nine Seilores de la Noche. That the god II. \ndepicted on the right side in the upper (red) trapeze is Itztli, the Stone Knife God, is evident \nfrom the stone knife which forms his helmet-mask, his disguise (nauaUi). As facial painting \nthis god should obviously have had the yellow and black cross stripes of Tezcatlipoca. This \nis the god, as we shall see, who is as a rule to be certainly identified with the Stone Knife God. \nThe god facing him has a red bodily and facial colour, a white design fringed at the edge on \nhis mouth, and fiery red hair. Hence he deviates from the representation of the Sun God and \nof the . third of the nine lords, which is elsewhere usual in this manuscript. We shall again \nmeet the same peculiar facial painting with the figure of a god further on in our manuscript, \nwhere the parallel places show that this figure is meant to represent the god Xochipilli, or \nCe xochitl. But all said and done, this god is nothing more than a variant, a spscial conception \nof the Sun God. And thus it appears not at all unreasonable that this god should here take \nthe place of III. Tonatmh, or Piltzintecutli, the Sun God. \n\nIn the right (green) trapeze the god depicted on the right side of this compartment is \nclearly distinguished as IV. Cinteotl, the Maize God, by the yellow colour of his body and face \nand the maize ear on his head. And his opposite is with equal clearness recognised as \nV. Mictlantecutliy the Death God, by the skull which he wears on his . head. In the lower \n(blue) trapeze are shown two goddesses. That to the left (seen from within outwards) is deter- \nmined as VI. ChalchiuhUictLe, the Water Goddess, by the blue spot on her enagua, and her \nstep-like blue nasal ornament. But she should, strictly speaking, have stood on the opposite side, \nthe right side (seen from within) of the trapeze figure. The other goddess, facing her is with \nequal certainty designated as VII. Tlagolteotl, the Earth Goddess, by the black caoutchouc painting \nabout her mouth, her yellow crescent-shaped nose ornament, the spindle in her hair, and the \ncross-bones on her enagua. In the left (yellow) trapeze the god on the left side must be \nVIII. TepeyoUotliy the 'Voice of the Jaguar in the Mountains.' He has in fact the same \nred, painting of Tezcatlipoca, the large eyebrows, the long beard, the same peculiar nose orna- \nment, and wears on his temple the same disk or ring-shaped adornment with the pleated hair \nthat we shall meet in our manuscript associated with TepeyoUotliy the eighth of the nine lords \n\n\n\n24 The Night Side of the MonuacripL \n\nThe figure facing him is at once recognised as IX. TUUoc, the Rtun God, by the familiar peculi- \narities^ring round the eye, involuted bands above the lips, and the long teeth. \n\nThis first sheet of Codex Fej^rvAry is the most famous of all, not only on account of its \nreally most interesting contents, as we see, but also because this sheet for the first time renders \npossible a parallehsm between a sheet of a Ueiican and one of a Maya manuscript.' There \nis, however, yet another parallelism, in several respects of a highly interestii^ nature, in a \n\n\n\nPig. 14. The Goda of the Foar Eegioos of the World. \nCodex lAud I. (Riogiborough Notation.} \n\nMexican manuscript, the Codex Laud, which is closely related to our Fej^rvary Codex. It is \nthe last sheet of this document, Sheet 1 of the Eingsborough notation, that I here reproduce \nin Fig. 14. \n\nWe see at the first glance that the subject here pictured in the group comprised between \ntwo bands of cipacUi jaws must also be connected with the five r^ons of the world and their \ndeities, and further that the signs of the initial days of the four Tonslamatl quarters \u2014 cipactli, \nTnujuiztli, o^omdtli, cozcaquauhtli \u2014 are here also employed to denote the four cardinal points \nof the heavens and their sequence. But a first peculiarity is that, by the little circles or points \n\n' Cynu Tbomu, Not\u00ab8 on certaia Msyk and Mexican Manoaoripta (Third AnntuI Report of the BnreaD of Btbnology, \nWaahiogtoD, 1884, pp. 31-36). \n\n\n\nThe Five Regions of the World and their Deities. 25 \n\nabove these signs, the 64 days lying between the days 1. cipactli, 1. miquiztli, 1. ofomdtli, \n1. cozcaquauhtli, i.e, the initial days of the four Tonalamatl quarters, are not given in regular \norder, as might strictly speaking be expected, and as they appear on sheet 1 of our Codex \nFej^rvdry. The scribe would seem rather to have dealt with a double Tonalamatl, each arranged \nin columns of five members. The 2X52 = 104 columns thus obtained were then divided into \nfour sections, each of 26 columns, and co-ordinated with the four quarters of the heavens; but \nat the head of these sections were placed, not the day-signs really belonging to the beginning of \nthese sections, but the four above-mentioned day-signs, which are the initial days of the simple \nTonalamatl quarters, so that in this way, with each of these signs, the intermediate days are \nmarked by twenty-five little circles. \n\nRespecting the figures, here again we have nine chief persons, one of whom, as central point \nof a small group, takes his place in the centre, while the others are distributed in couples at \nthe four comers. The central figure is painted a red colour on the body, red on the upper, and \nyellow on the lower half of the face, and is seated in a solar disk, whose rays, however, strange \nto say, are given, not as elsewhere in the number of four or eight, but in the number of twelve, \nwhile the disk itself is enclosed by a ring of blood. This solar disk is in a sense borne in the \nbeak of a flying bird with variegated plumage, while a skeleton brings a human heart as an \noffering to the god seated in the disk. From the mouth of this skeleton a dark cloud rolls out, \npartly enveloping the front part of the solar disk. At first this god seated in the solar disk will \nnaturally be taken for the Sun God, and it may be so. But I still think his position here in \nthe middle of the sheet justifies us in bringing him into relation with the Fire God, who occupies \nthe middle of Sheet 1 of our Fej^rvAry Codex. If this comparison be admitted, then comes the \nquestion whether we may not also assume a parallelism between the four couples disposed in the \ncorners, and the four pairs of gods on the Fej^rvdry sheet. It will then be seen that in the first place \nthe sequence of these deities, that is, their distribution towards the four cardinal points, is decidedly \ndifferent, that also a number of new figures are introduced; but that, on the other hand, several \nof the figures represented on Sheet 1 of Fej^rvdry, and even a whole pair, return in quite a similar way. \nIf we assume, as we are justified, and even obliged to do, that the four initials of the \nTonalamatl, the day-signs cipactli, Tniquiztli, ofomdtliy cozcaquauhtli, are intended to denote the \nfour cardinal points, East, North, West, South, the eight deities would be distributed in the \nfollowing way, if we suppose that the two figures standing at one comer always belong to one \nquarter, and then number the members of the pairs distributed to the four comers of the picture \nalways from the centre: \u2014 \n\nIn the East : II. A god who appears to be indicated as Mioccovxitl, God of the Hunt, \n\nby the throwing-stick which he holds in his hand and a painting \nround his eye, which, however, is not correctly executed. \nIII. Tlaloc, the Rain God. \nIn the North : IV. Itztli, the Stone Eaiife God. \n\nV. Ce xochitl or XockipiUi, God of Flowers, Dance and Music, who \nis here, as in the Fej^rvdry sheet, the representative of the Sun God. \nIn the West : VI. A god figured with the attributes of Tezcatlipoca, and also with his \n\ntorn foot, but white (or with red stripes). \nVII. Q\\ietzal(xmatly the Wind God. \n\nD \n\n\n\n26 The Night Side of the Manuscript. \n\nIn the South : VIII. A red god figured with the attributes of TezcaUipoca, and also with \n\nhis rent foot, seems to be distinguished as Mdciiil xochitl^ God of \nSport and revels, by a feather-comb on his head. \nIX. Xipe Totec, * Our Lord, the Flayed.' \n\nBut to me it seems more probable that the two outer and the two inner members of a series \nare always to be taken together, which indeed is already suggested by their position facing each \nother, and by the similarity of the two inner members. On this assumption their distribution to \nthe cardinal points would be dififerent, in fact the following, which may be described as decidedly \nthe more natural. \n\nIn the East : II. Tlaloc, the Rain God. \n\nIII. Ce xochitl, or Xochipilli, God of Flowers and food supplies, here, as on \nthe Fej^rviry sheet, personating the Sun God. \nIn the North : IV. MixcouaU, God of the Hunt. \n\nV. Itztli, the Stone Knife God. \nIn the West : VI. Quetzalcouatl, the Wind God. \n\nVII. Xipe Totec, ' Our Lord, the Flayed.' \nIn the South : VIII. The god figured with the attributes of TezcaMipoca, and also with his \n\nrent foot, but white (or with red stripes). \nIX. The red god figured with the attributes of TezcaUipoca, and also with \nhis rent foot, who is indicated as MacuUxochiU, God of Sport and \nrevels, by a feather-comb on his head \n\nIn the same Codex Laud, but in another place, Sheet 16-9 of the Kingsborough notation, is \nfurther seen a second list of eight (not nine) guardians of the four (not the five) regions of the \nworld. These also agree in all essentials with the gods pictured on Sheet 1 of our manuscript, and \nare likewise figured under trees, but singly and seated, but are again disposed in quite a different \nway in relation to the cardinal points. The disposition towards the cardinal points is here made, \nnot in such a way as to be depicted at the arms of a St. Andrew's Cross, or at all grouped round \na centre; but the scribe has simply entered beside them the first and ninth columns of the four \nquarters of the TonalaTinatl disposed in columns of five divisions, thus assigning them in pairs \nto the East, North, West, and South. This series is as under : \u2014 \n\nf 11. Xochipilli, God of Flowers. \n\n' K III. Tlagolteotl, Earth Goddess. \n\n-- , f IV. TonativJi, Sun God. \nNorth .J \n\n\n\nV. Itztli, Stone Knife God. \n\nVI. Tlaloc, Rain God. \n\nVII. Mictlantecutli'QuetzalcoiLatl, Death God. \n\n( VIII. Cinteotl, Maize God. \nSouth . . ' \n\n\n\nWest . . I \n\n\n\nI IX. Mayaud, Goddess of the Agave Plant. \n\nWe see that, despite the totally difierent arrangement, this series agrees completely with the \nlast eight of the nine lords, if for Mayauel, Goddess of the Agave plant, which yields pulque \n\n\n\nThe Five Regions of the World and their Deities. 27 \n\nwe substitute ChxdahiuhtiicvtSy Goddess of Water, and for Xochipilli, the Flower God, TepeyolloUif \nthe Heart of the Mountains. \n\nUnfortunately I cannot here enter into a detailed description of these figures, which are extremely \ninteresting and remarkable. On them I must confine myself to the following brief remarks : \u2014 \n\nII. XochipUli or Ce xochitl, seated on a bejewelled jaguar skin beneath a flowering tree, the \nstone dagger in his hand. Before him Tamalea, viands (meat), pulque, feather ornaments (cf. below. \nFig 51). \n\nIII. Tlofolteotl, seated on a bundle of rushes at the crossways under a tree, which is painted \nthe colour of earth or fire (black and yellow), and beset with strings, stone knives, eyes, and weapons. \nShe holds in her hand the blood-stained broom, and before her are offerings \u2014 a heart, bones, and \nstone knives. \n\nIV. Tonatiuh, seated on a chair carved in the form of a cipactli, painted the colour of the \ncotinga (blue), and set with gems; before him a solar disk, and above him a flowering tree also \npainted the blue colour of the cotinga. In his hand a bone dagger and before him the same offerings \nas with 11. \n\nV. Itztli, seated on a bench of blood and hearts, under a tree formed of smoke clouds, from \nwhich fiery tongues break through, and which is set with stone knives, feather balls, cords, and \nweapons. In his hand he holds a shield and throwing-stick, before him a decapitated head, and \nstone knives in a dish as offerings. \n\nVI. Tlaloc, seated on a carved chair before a tlauhquechol (the red spoonbill, Platalea ajaja), \nunder a cloud-tree, from which fire bursts out, and which is surrounded by drops of rain. In his \nhand he holds the bone dagger, and before him are the same offerings as with II. and IV. \n\nVII. Mictlantecutli'Quetzcdcoiiatl, a double figure of a skeleton and an ape, seated on a backbone \nunder a tree made of nocturnal darkness, and beset with skulls, bones, hearts, and eyes. In one hand \nhe holds a heart, in the other a stone knife. Before him bones, hearts, agave-leaf spines, as \nofferings. \n\nVIII. CinteoUy seated on a carved wooden chair, before a parrot, under a flowering tree beset \nwith gold and jewels ; on his head a maize ear, in his hand a bone dagger ; before him offerings \nof gems and plumes, besides viands and pulque. \n\nIX. Mayauel, seated on a turtle borne by a dragon, under a blooming agave plant, which is \nset round with a flaming footprint, a copper hatchet, and a thorny weapon; holds in her hand \na green dish with flowers and gems ; before her offerings of pulque and tamales, both of which are \ndecked with heron-feathers. \n\nWith nearly all these eight figures is further given a burnt-offering of firewood and rubber \nball, which with Itztli alone is replaced by a bundle of spears set up in a black dish. Thereby \na relation is really established between these eight figures and the nine lords, as may be seen by \nwhat is adduced at the end of the following section. \n\nThe sixth of this series, the double figure of the skeleton and ape, which corresponds to \nMictlantecutli, fifth of the nine lords, is interesting as offering a parallel to the large double figures \nof MicUantecutli'QuetzalcoTiatL, which are seen depicted in Codex Boi^ia and in the corresponding \nplace of Vatican B, From the whole group above briefly described we learn that most of these \nfigures bore in themselves no special relation to any special cardinal point, but that they were \n\n\n\n28 The Night Side of the Manuecript. \n\nassociated now with one now with another of the quarters in accordance with the considerations \nwhich from time to time had the greatest weight with the projector of these pictures, \n\nI have now still to consider the other parallel case to which this Fej^rvdry sheet owes its fame \u2014 \nthat of Sheet 41, 42 of Codex Cortes, the Maya manuscript forming one of the chief treasures of the \nMuseo Nacional of Madrid. In Fig. 15 I give a picture of these two sheets, and in Fig. 15a an \n\n\n\nFig. 16. Codes Cortes 41, 42. \n\nexplanatory plate, and in doing so I have at once made a necessary correction in some of the day- \nsigns therein pictured. We see at a glance that in its general arrangement this sheet is an exact \ncopy of the Fej^rvAry Codex. Thus we have here also a central square, above the sides of which are \ndisposed four trapeze figures outlined with dark dots, and above the comers four narrow bands also \nformed with dots, the whole collectively forming a St. Andrew's Cross with intermediate arms. Only \n\n\n\nThe Five B\u00abgioiia of the World and their Deities. \n\n\n\nhere the quadrilateral is much lai^er, and ia further enclosed by a belt in which are inscribed twenty \nday-signs. The trapezes are shifted in one direction, whereby is effected a revolution opposed to \nthe movement of the dial-hand. And the narrow band beloi^ing to a given trapeze is connected \nwith it by cross rows of dots and by angular objects filled in with a black colour. Lastly, the \n\n\n\n.^- <^^\u00bb ' \u2022\u25a0 \u00ab. \u2022 \u2022 \u2022 \n\n\n\nm \n\n\n\n\n\n\nIII\u00ae. \n\n\n\n\nHill \n\n\n\n\n&\"(p \u00ab^ <\u00a7^ ^* \n\nFig. 16a. \n\nwhole sheet is placed upside down when compared with the FeJ^rv^. The sign imix, answering \nto the Mexican cipactli, stands, not at the foot of the right side of the trapeze erected above the \nupper side of the central square, but at the corresponding part of the trapeze erected above the \nlower side. Hence to the cardinal points East, North, West, South belong, not, as in the Fej6rv6ry, \n\n\n\n30 The Night Side of the Manuscript. \n\nthe upper, left, right, and lower sides and the corresponding adjacent angles on the left, but the \nlower, right, upper, left sides and the corresponding adjacent angles on the left. In other respects \nthe distribution of the day-signs is exactly the same as on the Fejdrv&ry sheet. At the foot of the \nright side of the trapeze figures stand the Maya day-signs iTnix, cimi, clinen, cib, answering to the \nMexican cipactli, miquiztli, ofomdtli, cozcaquauhtli. At the outer corners of the narrow dotted bands \nthe signs been, e'tznab, akbal, lamat, answering to the Mexican year-counts acatl, tecpatl, colli, tochtli. \nBetween these the other day-signs and the rows of twelve dots are shown exactly in the same places \nas on the Fej^rvdry sheet. Only, thanks to the employment of a red with a black colour, and to the \ngreater compactness allowable to the Maya hieroglyphic style of writing, it was found possible to figure \non the Maya sheet the corresponding Tonalamatl days not only by their signs, but also by the pertinent \nciphers. A novelty, however, on this sheet are the day-signs inscribed on the belt enclosing the central \nsquare. As above stated, a correction has here to be made. The sign eb, which stands at the left corner \nof the upper side, is to change places with the sign caban, the third on the right side. Moreover, \nthe first two signs of the left, as well as of the right side, have also to shift places one with the other. \nBut this correction once introduced, we have on the upper side, reading from right to left, the \nsigns iTnix, chicchan, muluc, been, caban, answering to the Mexican cipactli, couatl, atl, acatl, olin. \nAnd these are precisely the signs which are represented on the Codex Borgia sheets 53, 54 ( = Kings- \nborough 62, 61), the Vatican B 80-84 ( = Kingsborough 17-13), Codex Bologna 9-11, that is to say, \nthe signs on which fall the initial days of the Venus periods, when the first period begins with the \ninitial sign of the Tonalamatl, with cipactli (imix)} The five day-signs inscribed on the left side \nof the central square of the Codex Cortes sheet give correspondingly the initial days of the Venus \nperiods, when the first period would begin with the second Tonalamatl day, the sign ^^ ( = Mexican \neecatl). Those on the lower side of the central square denote the initial days of the Venus periods, \nwhen the first period would begin with the initial day of the third Tonalamatl day, with \nakbal ( = Mexican calli). Lastly, those on the right side denote the initial days of the Venus \nperiods, when the first period would begin with the initial day of the fourth Tonalamatl day, with \nA^aTi ( = Mexican cuetzpalin). This introduction of the initial days of the Venus periods in the \nsummary sheet of the Tonalamatl, disposed according to the cardinal points, corresponds strikingly \nwith the higher calendric knowledge, or the more developed calendric and astronomic system of the \nMaya peoples. Coming now to the figures and symbols themselves, we see in the central square, \nseated in a double house, the lords of the Centre, a divine couple, the old god and the old goddess, \nand before them the sign ik = ' wind,' ' breath,' the symbol of life. Herein the Maya sheet agrees \nwith the Mexican, at least in the fundamental concept. For the Fire God of the Mexicans is also \nthe ueueteotl, the 'Old God,' in his essence identical with the male member of the divine couple, \nTonacatecutli, Tonacaciuatl, lords of life, lords of procreation. And, on the other hand, the old \ngod of the Maya tribes, to whom applies the name ItzaTnnd, as I have already shown in one of my \nfirst essays,^ is honoured in Yucatan with fire ceremonies, which fully recall the worship dedicated to \nthe Fire God in Mexico. \n\n\n\n1 Cf. my treatise *Die Venusperiode in den Bilderschriften der Codex Borgia-Gruppe.' Verhandlungen der Berliner \nAnthropolog. GeaeUschaft, 16th July 1898 (Zeitschrift fiir Ethnologie, xxx. p. 364 8q,). \n\n\u00ab ' The Names of the Maya Gods figured in the Dresden Manuscript.' Verhandl. der Berliner Anthropolog. Gesellschafc, \n19th March 1887 (Zeitschrift f. Ethnologie, xix. pp. 224-231). \n\n\n\nThe Nine Lords of the Night Hours. 31 \n\nIn the four side-compartments the nature of the four celestial quarters is not expressed by such \ncomplicated symbols as on the Mexican sheet. Indeed, this would in a measure have been super- \nfluous. The Mayas had distinct hieroglyphs for the four cardinal points. Hence it sufficed to \ninscribe these, as in fact has been done by the artist. The four hieroglyphs standing at the arms \nof the St. Andrew's Cross, which I have reproduced in the explanatory sheet, Fig. 15a, were for the \nMayas the emblems of the four quarters \u2014 likin, East ; xaman, North ; chikin, West ; nokol, South \u2014 \nand it is precisely the occurrence of these hieroglyphs on this sheet that places their phonetic value \nbeyond all doubt. But in fact the nature of the celestial quarters is expressed not only by these \nhieroglyphs, but also by a few symbols which partly remind us of what I have adduced from \nthe Mexican manuscripts \u2014 the East denoted by the sign kan, meaning maize, crowned by two \nobsidian knives ; the North by a human sacrifice ; the West by the symbol of the maize fruit which \nthe gods figured in this compartment hold in their hands; lastly, the South by the corded mummy- \npack covered with a mask. But owing to the unfortunately very sketchy and but little characteristic \nexecution of this manuscript, it is difficult to say whether the pairs of deities figured in the four \nquarters correspond to the divine pairs of the Fej6rv&ry sheet and to the eight last of the nine lords. \nIn some places one fancies, indeed, that the agreement may be detected. Thus in the second division \nthe Death God, and in the third the figure of the goddess, present a decided identity. In other \nplaces, however, one's patience is exhausted in the endeavour to clearly establish the existence or \nnon-existence of such identities. And, in truth, I think it wisest for the present to leave it a moot \nquestion. \n\n\n\nII. The Nine Lords of the Night Hours. \n\nSheet 2-4 ( = KiNGSBOROUGH 43-41). \n\nIn immediate sequence with the first sheet, which displays the five regions of the world with the \ndistribution in them of the nine deities known as the Seiiorea de la Noche, or Acompafiadoa de la \nNoche, follows on sheet 2-4 of our manuscript yet another and more special representation of these \nnine lords. The figures are larger, better executed, and accompanied by all manner of symbols, \nwhile, at the same time, beside them are given the first nine of the twenty day-signs to be taken in \na sense as the numerals 1-9. This representation recurs in quite a similar way in two other \nmanuscripts of the Codex Borgia group \u2014 on Sheet 14 of Codex Borgia ( = BLingsborough 25), and \non the lower half of Sheets 19-23 of Vatican B (=Kingsborough 67-71). In the latter place it is \nmet in connection with the four above-described trees, which present a parallelism with the trees \nfigured on Sheet 1 of our manuscript as symbolising the four cardinal points. These nine gods I \nhave dealt with on pp. 21-26 of my explanatory text to the Tonalamatl of the Aubin collection, \nwhere I have also on pp. 23 and 24 given pictures, although only of their heads, that is, as they \n\n\n\n3a The Night Side of the Haouscript. \n\nare found depicted in Codes Telleriano Remensis and Vatican A, in the Codex Bologna Tonalamatl, \nin that of Borbonicus, and in the Aubin Tanaiamatl, in consecutive series beside the Tonalamatl \nday characters. The names of these nine lords I have already given above at p. 22. \n\nThe series begins on the right side of Sheet 2 of our manuscript, where beside the first day -sign, \ncijMctli, we see the first of the nine lords, Xiuhtecutli, the Fire God. In our manuscript the \ncoloration in places is somewhat defective. In the parallel parts of Codex Borgia and Vatican B \nthis god is distinctly pictured with red bodily and facial colour, lower half of the face deep black, \nand narrow, black cross-bands at the level of the eye (Fig. 16), and also in a similar way in the \ncentral square of sheet 1 of our manuscript, as above seen, whereas here the artist has obviously \nforgotten to colour the body red. Here, however, the god should perhaps be painted, not red \nbut yellow, as IxcofavJiqui, as he appears in Codex \nTelleriano Remensis, in the Codex Borbonicus Calendar \nof Feasts, in the manuscript in the Florentine Biblioteca \nNazionale, and in the Sahagun manuscripts. And I \nthink this is the reason why in our manuscript the lower \nhalf of the face is coloured red instead of black. For \na red painting about the mouth is shown both by the \nIxco^uhqui of Telleriano Remensis and Vatican B, and \nalso of Sheet 77 of the pictorial document in the Floren- \ntine Biblioteca Nazionale. Nor are the garb and symbols \nso accurately drawn in our manuscripts as in the two \nother Codices of this group. In our manuscript, as at \n\nFig. 13, the cotinga at the temple side of the fillet is \n\nFig. 16. Z\u00bb\u00abA(w\u00ab\u00abi, the Fire God. .,,,,, ^ ,.\u201e\u201e.,,, , . , \n\nFiistof the Nine Lords. ^till clearly shown. But this fillet itseli, the technical \n\nCoden Borgia 14 ( = King8borough 25). name of which is ckalckiuhtetelli, 'jewel heap,'' can no \n\nlonger be recognised. Similarly, it can only be conjectured \n\nthat &om his hair at the sides of the tiara the artist meant the ends of two arrow-shafts to project, \n\nwhich, as in Fig. 16 and in other pictures of the Fire God, symbolise the -mitzontli, tlacochtzontli, \n\nthe 'arrow- wig,' ' spear- wig,' and are the emblems of the two reeds, of the two sticks, quaTn/mamalitli, \n\nwith which fire is obtained by drilling.^ The breastplate has a cross, four-angled form, as in Fig. 16. \n\nBut from it are here suspended three thongs painted the colour of the jewel (chalchiuitl) and ending \n\nin disks or bells. While most of the nine lords of Codex Borgia, as also those of Vatican B, bring a \n\nburnt-offering of fagots and rubber balls, here in Codex Fej4rvdry the Fire God, as well as the \n\nfollowing three of the nine lords, is seen holding in one hand a bundle of spears, in the other a kind \n\nof receptacle formed of feathers or plastered with feathers, in which are stuck an arara plume and \n\na bunch of quetzal feathers. \n\nThe first of the nine lords of Codex Borgia and Vatican B stand before a temple, in which, in the \nBorgian, a structure consisting of a bundle of firewood, sticks placed upright, and a rubber ball \n\n\n\n' TonalamaU of the Aubin oollection, pp. 'i \n\" Aubin Tonalamatl, pp. 74, 76. \n\n\n\nThe Nine lords of th\u00ab Night Hours. 33 \n\nadorned with a quetzal feather, is seen burning, whereas in Vatican B the emblems of war \u2014 shield, \nbundles of spears, and throwing-stick \u2014 lie at the threshold of the temple. Here in Codex FejM'ary \nwe see at the feet of the Fire God \u2014 as in like manner will be seen further on with the Sun God, third \nof the nine lords \u2014 a mountain which, however, has been transformed to the figure of a head \nwith open throat and yawning upper jaw, almost recalling the conventional birds' heads which \nare much used ia the old Mexican ceramic art, as a central motive for the bottom of dishes, \non earthenware punclieons, and the like. This mountain is here the bearer of the bumt- \noHering, which likewise consists of a bundle of fi^ts, and a rubber ball adorned with a single \nquetzal feather. \n\nBut while Codex Borgia and Vatican B confined themselves to the chief figure and the above- \nmentioned temple, in Fej4rv4ry with the first of the nine lords, as \nalso with the following figures of this series, are shown yet another \ncouple of symbols illustrating the character of the god. These are, here \nwith the Fire God, a smoking, burning heart, with its aortic end turned \ndownwards. This doubtless indicates the offerings broughj, to the \nFire God, human beings cast alive into the fire. Further, in an en- \nclosed space, a captive with arms tied together, and on his mouth the \nsign which we above met on Sheet 1 with the God of Flowers, Ce xochitl \nhere representing the Sun God. To me it seems not inconceivable \nthat by this picture it was intended to express the notion that the \nGod of Fire becomes active when the sun is shut up in the chest, in \n\nthe earth, that is, at night. p-,g ^^ itMi-Tezcatlipoca, \n\nthe Stone Knife God, \n\nIn the middle of Sheet 2, under the second day-sign, eecatl, wind, Codeit Boroia 14 \n\nfollows the second of the nine lords \u2014 Itztli, the Stone Knife God. ( = Kingsborough 25). \n\nIn Vatican B he ia figured as Yayauhqui Tezcatlipoca, as 'black \n\nTescatlipoca' with a stone knife as helmet-mask or disguise, this stone knife being transformed \nto a kind of dead face or skull, from whose open throat the face of the god looks out. In Codex \nBorgia (Fig. 17) we have simply a black Tezcatlipoca with the warrior's headdresa and the smoking \nmirror at the temple, and represented, as usual, as ' one-legged ' \u2014 as Hurakan, as he is called in the \nQuich4 myths preserved in the Popol Vuh \u2014 that is, with rended foot and smoking stump. But here \nthe stump, instead of being enveloped In a mirror, is plunged in quite a large water vessel And, \nmoreover, in the place in Codex Borgia, Tezcatlipoca has also lost his second foot, which is stuck in a \nstone knife from which green and yellow plumes hang down. \n\nWith the Stone Knife God in the middle of the Fej^rvfiry sheet 2 the artist seems to have again \nfoi^otten the colour of the body. It is, however, conceivable that this colour is meant to be white, or \nwhite with red stripes. The facial painting is peculiar, deviating altogether from Tezcatlipoca's \nusual painting. It reminds one most of that of the Tezcatlipoca-itztlacolivJiqui, who denotes the \nnorthern quarter in the lower half of Sheet 50 of Codex Borgia ( = Kingsborough 65). Head and \nneck of our Fejerv&ry figure are wrapped in a cloth which is fringed round the hem and, properly \nspeaking, imagined as decked with feather balls on the surface, just as in precisely the same way it \nhangs down over head and neck of the red Teztathpoca, who in Codex Borgia 11 ( = Kii^borougb 28) \n\n\n\n34 The Night Side of the Manuscript. \n\nis figured as personating Xipe, On his breast our Fej^rvAry figure wears the anauatl, the white \nring, Tezcatlipoca's breast ornament. From all this it is clear that the Stone Knife God, the \nsecond of the nine . lords, is also conceived as Tezcatlipoca in our manuscript The foot, \nhowever, of our Fej^rvdry figure is not rended in the same way as the right foot of the \nTezcatlipoca of Fig. 17, and replaced by a smoking stump, but, like the left foot of the figure \nshown at Fig. 17, is stuck in a stone knife, which, however, here lies at a crossvxiy. For the \ncrossway (omcKcoc, oUimxiocac) belonged, as we shall presently see, to Tezcatlipoca, who was indeed \nthe great wizard. To Tezcatlipoca \u2014 nouiian quitlaXUia yn ichial, in mumuztli, in utlica, in \numaaxic, nouiian chialoia \u2014 'everywhere were erected reception-places, altars; on the roads, at the \ncrossways, everywhere he was waited upon,' \n\nSo here also a crossway is specially given with our Stone Knife God in all three manuscripts \neither before or below the god. In Codex Borgia the crossway is painted in four different colours \nand indicated as a road by the familiar black character, the imprint of a naked human foot. In our \nmanuscript it is painted in two colours only, red and blue. In Codex Borgia, on the crossway lies a \nbundle of firewood, on which are a green bush and yellow or brown feathers or flames in an upward \nposition, but no rubber ball. In our manuscript the treatment is similar \u2014 a bundle of firewood, two \nerect feathers, but instead of the green bush two agave-leaf spikes. But beside it is further to be seen \na strange-looking black animal apparently gnawing at or else bearing the bundle of firewood. In \nCodex Vaticanus B, at the crossway fronting the Stone Knife God, a jaguar is crouching; and \nthrusting a spear through his ear, hence is performing the customary ceremonial blood-letting. The \njaguar is the animal of the solar eclipse and of darkness, the animal into which the magicians change \nthemselves when they go abroad in the night to work evil. Some such notion may have been in the \nmind of the author of our manuscript when picturing the black beast crouching at the crossway. \nLastly, in our manuscript alone, and in the lowest place, is figured a human sacrifice, a man with \nopen bleeding breast The stone knife is the sacrificial knife, and its god is the god of human \nsacrifice. \n\nOn the left side of Sheet 2 of our manuscript is exhibited under the third day-sign, calli, ' House,' \nthe third of the nine lords, the Sun God, Tonatiuh, or, as he is always called in enumerating the nine \nlords, Piltzintecutli, the 'God of Princes' (or *the Young Prince' ?). In Codex Borgia (Fig. 18) this \ngod is depicted in the style of a red Tezcatlipoca, with a chieftain's headdress, with yellow upper and \nred lower half of the face, and with a suggestion of angularly bent lines surrounding the posterior \ncomer of the eye, in short, with the true painting of the' Sun God. Only on his cheek he has not, \nas elsewhere, a small red disk, but the four-cornered small shield painted red and white, which is \nthe facial painting of Tonacatecutli, of Xochipilli, and also of this Maize deity. In Codex Vaticanus B \nhis body and face are simply painted red. But he wears (Fig. 19) the characteristic fillet of \nthe Sun God, with the conventional bird's head on his brow, while on his head lies a kind of \ntemalli'fesLtheT adornment, from which hang out two long bands, hairy on one side as if made \nof pelt, and this is again a special mark of the Sun God. In our manuscript the Sun God is \npainted yellow. The fillet with the conventional bird's head and the feather ornament with \nthe long hairy bands hanging out are all clearly seen. The breast ornament resembles that \nwhich I have described with the Fire God, first of the nine lords of our manuscript And like \n\n\n\nThe Nine Lords of the Night Hours. 35 \n\nthe Fire God, the Sun tiod here also holds a bundle of spears in one hand, a receptacle with \nfeathers in the other. \n\nIn Codex Borgia and in Vatican fi, before the Sun God, as before the Fire God, is pictured a \ntemple, and in Vatican B inside it is seen a man tmnging an inceoBe ball. Instead of this, in our \nmanuscript is figured, before the feet of the Sun God, as bearer of a bumt-offering, the mountain which \nis formed to the shape of a head with yawning jaws, and which I have above described with the Fire \nGod, the first of the nine lords. Moreover, in our manuscript the nature of the Sun God is further \nillustrated by a few special symbols : a bundle of fagots, a heart with the aortic side turned down- \nwards, irom which emails a dragon, similar to the one figured with the Fire God, and lastly, a house, \nwhich is erected on a high pyramid, and at the base of which are shown quetzal feathers and gold \nornaments. At the threshold is seated a warrior, but the roof is drawn as if it had fallen in, while \n\n\n\nFig. 18. Toaaiivh-PilttinUetUli, Fig. 1\u00bb. TtmatitA-FiitMnUmtii, the Fig. 20. Cmttotl, the Maize God, \n\nthe Sun God, Third of the Nme Lords. Sun God, Thirf of the Nine Fourth of the Nine Lords. \n\nCodex Borgia 14 ( = Kingsborough 25). Lords. Code* Vaticanua B 20 Codex Boigia 14 \n\n(=Kingsborough 68). ( = Kingsborough 25). \n\nbelow, at the base of the pyramid, protrudes the tail end of a dr^on. This house with fallen roof is \ndoubtless to be likened to those Codex Mendoza temples with fallen roof, from beneath which flames \nburst out. In that codex such temples, depicted beside the hieroglyph of a city, indicate to the \nobserver the conquest of that city by the specified Mexican king. \n\nNow follows on the right side of Sheet 3 of our manuscript, below the fourth day-sign, euetzpalin, \n\u2022 Lizard,' the fourth of the nine lords, Cinteotl, the Maize God. Here, as in fact everywhere in the \nCodex Bo^ia group of manuscripts, he is represented as a male God. He is clearly enough indicated \nin Codex Boi^ia (Fig. 20) and in Vatican B by his yellow body and face painting, with two peculiar \nblack hnes drawn at an angle lengthwise on the face, and further in the Borgian by the maize ears \nand maize bloom which he bears on his head. In Borgia he wears on his brow a fillet with con- \nventional bird's head, exactly like that which I have described with the Sun God. In Vatican B he \nhas a notched crown similar to that seen on the stone eflSgies of the Mexican Maize Goddess. \n\n\n\n\nT.'/^ '^'^\u00bbn. ;;\u00ab% xut vh'/.'i ^-i'.yzit^ai 'if ihe ^A, a in Vatican B pamied ajtemateK a \n)-';!;>\u00bb \u00ab-'i ^T^en ':h'.i\",T. Id wiT L'laiiiviTifit, Ujhi. tbe Uaize God is paioted s Te;;<j\u00bb' cc-VjUF. \nau'l %'M> wears tb^ -Smd Gods i^jA, and is a'fyz^tber strikingly like the Sun fiod of our \nM>iai-Af:r.\\iK in bi^ vL'iie asp^:t, in dnss and ddctt. But on his head he wears, not the \nfealb*T >/l'inmtfuX wiib lb* l'*ii2 Mrip of pell ban:rinc oui, but a bloouinz maize plaoi tied \nro-itjfi \u00ab;tb a I'fyp at iu hat^. \n\nIn Oxi*:! IJi/nHa, op[A\u00bbii\u00ab the Maize God, rise* a high tpe\u00ab tearing Sovers, and at lis stem is \nB'>;n a hinit''/ri':r,iii! \u00bbith a b';ii';h of ytU'tfj; feathers. In Vatican B, before the founh of the nine \nlor'ii;. <m a ^^md the d'i'^i'ji of which can no lonaer be ciearlr recognised, we see a Tlaioc-head. \nv^rias titi top a maize plant in bloom. In our manuscript, \nat the feet of the Maize God, is hkewise depicted a fiower- \nryjP^ 1 ^^ }fi^^^ irig tree, which, like the mountain ficfured with tbe first and \n\n^^C~_ '\u2022^-^ GitSt^Kii^vi third of the nine lords, is changed to the form of a bead \nor face, an eye being shown near its root end, and this \nroot end itself is pictured as a kind of throat, with the \nopening turned groundwards. This root end serves as a \nsupport for the bumtK>frering, the bundle of firewood, and \nrubWr ball, beside which is also seen figured a bone or \nbone d^ger broken in two. \n\nMoreover, in our manuscript, and in this alone, the \n\ncharacter of tbe Maize God, fourth of the nine lords, is \n\nfurther specially indicated by a man eating, a vessel with \n\na bundle of (agots, a rubber ball, and two agave- leaf \n\nViii. 21. Tlie I>\u00bbaih tiod. Spikes, and lastly a tree, in appearance like the Xorth tree \n\n\u25a0n* Dr\u00bb.Jrn M\u00bb\u00bb\u00ab Ofci Kw ; W,. of Sheet 1. This tree, however, is broken, and on the surface \n\nof the wound are stuck, doubtless as a sjrmbol of the blood \n\nHowiug froiji the wound, two agave-leaf spikes, the familiar bearers of the blood, which devotees \n\nflrew from themselves at the religious practices. In the Tonalamatl of Codex Telleriano Remensis \n\nof f>\u00bbdex Borbfjnicus, of the Aubin manuscript, and also in the Codei Borgia group of manuscripts, \n\nthis broken tree is shown beside the ItzpajxUoU. the obsidian butterfly, ruler of the sixteenth day \n\nand of the fifteenth week,' and in these places denotes the Tamoanc}Mn, the forsaken primeval \n\nhome, the West, the house of the Earth Goddess, which no doubt is also thought of as the house \n\nof maize,^ Here abo the broken tree has the same meaning; here also it undoubtedly indicates \n\nthe CiiicaUi, the land where the maize plant was created. \n\nIn the middle of the third sheet, under the fifth day-sign, couatl, 'Snake,' is figured the \nfifth of the nine lords, MklUinlecoMi. the Death God, lord of the under world. In all the \nmanuscripts he apiwars with a skull for his head, but in our manuscript this skull looks out \nof a reptile's open jaws, which are furnished with long rows of teeth. This is one of the points \n\n\u2022 Tonalamail -if the Anhin <xAh<:ti;ii. pp. 104- lOS. \n' Cf. titjrra, p. V2. \n\n\n\nThe Nine Lords of the Night Uoure. :17 \n\nwhere to rae it seems th&t a contact is made evident between our manuscript and the Maya \ndocuments. For in the Dresden manuscripts (Fig. 21), as well as on the Maya monuments, the \nDeath God is very frequently represented in such a helmet-mask.* In Codex Boi^a the body \nand limbs of Mictlantecuili are painted a bone colour, but in Vatican 6 yellow filled in with \nblack, whereby, as seems to me, it was intended to give a bony character to the limbs, in contrast to \nthe yellow colour of living fiesh, almost invariably filled in with red, as, for instance, with Cinteotl \nand female deities. In our manuscript the limbs are simply painted brown. In hoth of the other \nmanuscripts we see bumt-oflferings, consisting of firewood and rubber balls, presented to the Death \nGod, as to the other nine lords, whereas in ours he holds in one hand a gouged eye, in the other \na tended heart, and above them is introduced what seems to be a sacrificial knife suspended \nby s string. \n\nIn Codex Boi^ia and Vatican B, opposite the Death God, is seen a crossway. Before it stands \na vessel which in Codex fiorgia is painted black, with white cross-strokes \nand white crosses (symbol of death) in the middle of the black square \nfields. On this vessel lies a bundle of firewood, and other similar bundles \nare leaning against the vessel, as if got ready for a funeral pile. Lastly, \non top of the whole structure stands an owl set round with three, or \nsay twice three, paper bannerets. It was usual to stick bannerets about \nthe dead bodies packed in bundles, and the whole apparatus is obviously \nintended to express notions associated with death and cremation. In \nour manuscript are pictured the same objects somewhat more simply, \nwithout being grouped together. Thus we have the vessel, in which are \nhere further stuck a few agave-leaf spikes, the bundle of fagots with \nrubber bull on top, and the crossway with the owl \n\nFig. 22. Chahhiuhtliair. \nthe Water Goddess, \n\nOn the left side of Sheet 3, under the sixth day-sign miquistli, Si^th of the Nine Lortls, \n\n'Death,' follows ChalchiuliUi icue, 'She of the Jewelled Robe,' the ( = KinBsboroiiah25). \n\nWaier Goddess, the Lady of Flowing Water, In Codex Boi^ia (Fig, 22) \n\nshe is depicted with blue, step-shaped, nasal plate, and looking out of the yawning jaw of a snake, \nhence with a snake as helmet-maak. In our Fej^rvAry manuscript is further seen a jaguar's ear \nbehind the snake's eye. In other pictures of the Water Goddess of our manuscript the same \njaguar's ear is also shown with the snake-like helmet-mask. On her breast the goddess of Codex \nBorgia wears suspended to a jewelled band a large golden disk {teocuitla-comxiUi). Her robe, the \nen^ua {cu^itl), is furnished with a broad hem, in which the colours green, red, and a white fringe \nreproduce the elements of the hieroglyph ckalchiuitl (cf. Fig. la above, p. 9), and with them the \nname of the goddess, 'Jewels {ckalchiuhtli) are her robe {i-cvZ).' The same purpose is served \nby a large disk which is painted blue, that is, the colour of the blue jewel which we meet with in \nthe middle of the Water Goddess's enagua both in Codex Borgia and here in Sheet 3 of Fej^rvary, \nthe same disk, in fact, that we have already raet on the robe of Chalchiuktlicue in the lower (western) \n\n' Verhandliingen dcr Berliuer Aiithropologiaclicn (k-scllatliaft, 17th March 1903 [ZeitHchritl fiir Etbnologiu, >[xxii. \n\n\n\n\u25a0'W The Night Side of the Manuscript. \n\n(Hvisioa of Sheet 1 of our manuscript. In Codex Borgia and in Vatican B Chalchiuhtlicue, Uke \nthe other eight gods, holds in her hand a burnt-oflering consisting of firewood and rubber ball. \nIn our manuscript she holds in one band a receptacle made of feathers, or plastered with feathers, \nsimilar to the one I have described with the Fire God, the first of the nine lords. But in it is \nhere stuck, beside the bunch of quetzal feathers, not an arara plume, as with the first four of the \nnine lords (Fire, Stone Knife, Sun, and Maize Gods), but a blue-and-white coloured plume (an \neagle's or turkey's ?), such as is also seen inserted in the feather headdress of the goddess on our \nsheet. In her other hand she has the bone dagger and agave-leaf spike, the implements which \nserved for the ceremonial blood-letting. Lastly, on our sheet the goddess is depicted standing in \nwater with a curling (foamir^) and eddying surface. And here on this water is borne the burnt- \noffering (firewood and rubber ball), which in the other manuscripts is presented by the goddess \nherself. \n\nAs before the Fire God and Sun God a temple is figured, before the Maize God a flowering \n\n\n\n\nFig. Sa quelB^cowUl, \n\nthe Dragon. \nCodex Vaticaniu B 81 \n{ = Eingsborough 69). \n\n\n\nFig. 24a. \n\nqaetiolctniatl, the Feather Snake. \n\nCodex Borgia 67 \n\n( = Kiagsborougb 48). \n\n\n\nFig. 24A. qntlaaleouaU, \n\nthe Feather Snake. \nCodex Vaticanus B 62 \n( \u2014 Kingsborough 35). \n\n\n\ntree, before the Stone Knife God and the Death God a crossway, so in Codex Borgia before the \nWater Goddess is shown a water-vessel, whose sides are painted the colour of jewels, and which \nis filled with a fluid, in which we i^ain meet with the picture of a jewelled ornament. On its \ncurling (foaming) surface this fluid bears a bumt-offering of firewood and rubber ball. In Codex \nVaticaDus B two whole sides of the square enclosure set apart for this sixth of the nine lords \nare covered with water. In this water is seen a large feather-snake (Fig. 23), which has a red body, \nand is set along his back with curling feathers. In other respects \u2014 form and coloration \u2014 he is \nexactly like the feather-snake which, in the Codex Vaticanus B and Codex Boi^a Tonaiamatl, is \nreproduced with Xipe, ruler of the fourteenth week (Fig. 24), but which here, with the Water \nGoddess, sixth of the nine lords (Fig. 23), is seen with its open mouth swallowing the bumt-offering \n(firewood and rubber ball) floating on the surface of the water. In our manuscript, as I have already \nstated, the goddess herself stands in the water, which bears a bumt-offering on its surface. But \nbelow are further pictured three different objects : \u2014 \n\n\n\nThe Nine Lords of the Night Hours. 39 \n\n1. The tail end of a red snake (dragon), which is held by a human hand and on which is \n\nshown a footstep, the imprint of a naked human foot, in a yellow colour. \n\n2. A heart pierced by an arrow-head. \n\n3. A water vessel, in which is seen the upper half of a human figure with red body and \n\nyellow face, the latter bearing on the frontal side of its fillet a blue bird (cotinga), and \naccordingly to be explained as the symbol of the Fire God. In one hand the figure \nin the water holds a burnt-offering, in the other a green bunch. \n\nThe representation in Codex Borgia is at once intelligible. The dragon also of Vatican B \nsignifies presumably nothing more than what is expressed by the hieroglyph * Jewel ' in the fluid \nfiUing the vessel of Codex Borgia ; that is to say, the dragon, like the hieroglyph, serves to express \nthe costliness of this liquid element. The three objects, however, which are shown in our manu- \nscript below the Water Goddess, must have still some special significance. In the section of the \nTonalamaU, whose ruler is Chxdchiuhtlicue, we see her figured in a stream of water which is \nsweeping away a coffer with a string of jewels, a man with shield and bundle of spears, and a \nwoman. And this is explained by the interpreters as loss of property, as death in war, and \nselling into bondage.^ For the Mexicans the flowing, moving element was precisely an emblem \nof the iravra pel, of the atocoua, ' all will be carried away by the water,' as the Mexicans expressed \nit \u2014 an emblem of the fleeting and changing nature of earthly being. May not, perhaps, the three \nabove more fully described objects of our manuscript have also the same meaning? By the tail \nend of the red snake with the yellow-coloured footstep on it the artist may have wished to \nindicate a fiery way or a track of fire. And when we see this snake held by a hand, the thought \nmay suggest itself that herein is to be detected a trace of fire made by the hand or produced \nartificially, that is, an imprinted brand mark. This, as we know, was a European custom, and a \npractice introduced by the Spaniards to distinguish those reduced to slavery, but is nowhere \nmentioned as known in old Indian times. It would be more in accordance with Indian notions \nto conceive the hand and the dragon and the footstep, so to say, as an expression of the te-tlepa^i- \nquetza, ' putting one in the fire.' And this was an expression meaning *to kill one by witchcraft,' \nbecause one form of the magic art, when harbouring evil designs against a living person, was to \nprepare an artificial pack like that of a corpse and set it on fire, at the same time taking care \nin some way to engage the intended victim in the ceremony, getting him to eat of the presented \nofferings, or some such proceeding.* Still, I cannot decide this question. On the other hand, the \nsecond of the objects here in our manuscript shown with the Water Goddess, the heart pierced by an \narrow-head, may without any straining be explained as death in war. Lastly, as regards the third \nof these symbols, the Fire God in the water vessel, we have presumably to reflect that for the \nMexicans the Fire God was an emblem of worldly power, of wealth, of high office in the State, of \nroyalty. Those who hold authority in the State are said to be seated on the left side of the \nMother of the God, of the Father of the God, who dwells in the navel of the Earth, of the old \nGod, of the Fire God.* Hence the picture here showing us the Fire God in the water, sinking \n\n\n\n' ToHcUamatl of the Aubin collection, p. 57. \n\n^ Veruflentlichungen aus dem Konigl. Museum f. Volkcrkunde, vol. vi. (ISIH)), pp. 48, 40. \n\n^ Sahagun vi. chap. xvii. \n\n\n\n40 The Nlgbt Side of the Manuscript. \n\nin the water, may be explained as the wreck of worldly sway, as poverty, as hidigevce. And in \nthis way, with those pictures, we should arrive at much the same line of thought as that which \nI gave expression to with the Water Goddess of the TonaUimall \u2014 the ' ups and downs of life,' \nthe mutability and evanescence of earthly conditions. \n\nThe representatioQ, however, of the .Water Goddess herself in this Codex Borgia group of docu- \nments, with the snake's jaws from which the face of the goddess looks out, deviates in a remarkable \nway from the usual presentation of CAoIcAiuAtiicite in Codex Borbonicus, in the Aubin Tonalamatl, \nand the other distinctly Mexican manuscripts, as well as from the stone effigies found in this region \n\n\n\nTig. 25. Stone Effigy of the Water Goddess Chalchiwhtiicnt. \nUhde Collection. Royal Museum for Ethnology, Berlin. \n\n(cf. Fig. 25). On the other hand, it agrees with some stone figures of a goddess holding a vessel \n(lience, doubtless, a water deity) which I found amongst the Tlalhttica people in the neighbour- \nhood of the famous Xockicalco ruins, as well as with smaller figures made of a liiie-grained stone \nwhich may be seen in the Trocadero, and in the Vienna Museum. \n\nThe right-hand third section of the fourth sheet of our manuscript is occupied by the seventh \n(lay-sign, mafatl, ' Deer,' and the picture of the seventh of the nine lords, Tlafolteotl, Goddess of Dirt, \nthe old Earth Goddess of the Huaxtecans. tn Codex Borgia (Fig. 27) she is depicted as a naked \nwoman with wrinkled paunch. This trait is doubtless intended to represent the condition immediately \nafter confinement. For we see depicted in the same way the CiuapipUfin, that is, the souls of \nwomen dying in childbirth, who dwell in the West and form the attendants on the Earth Goddess. \n\n\n\nThe Nine Lords of the N^ht Hours. 41 \n\nThe colour of the body of the goddess is yellow ; she has a deep-black painting about her mouth, which, \naccording to Sahagun's description, ia effected with fluid caoutchouc, and in the nasal septum wears the \nyellow (golden), crescent-shaped, Huaxtec ornament {yaea-metztii). Further, a fan-like feather adorn- \nment on her neck, her hair bound round with a band of unspun cotton {ichca^xockitl), in which is stuck \na spindle and a hollow ear-pit^, from which also hangs out a strand of unspun wool Lastly, her whole \n\n\n\nFig. 27. Tla^ttMll, the Earth Goddess, \n\nSeveaUi of the Nine Lords. \n\nCodex Bo^ia 14 \n\n( = Eingsborough 2&). \n\n\n\nFig. se. Fig- 88- TlofUteoa. \n\nStone Effigy of Miftcatlan. Codex VaticanuB B 22 ( = KingBborough 70). \n\nfigure is entwined by a red snake, whose tail end hangs down behind and between the 1^. In quite \na similar way is pictured the same goddess in Vatican B (Fig. 28), only the colour of her body is white \nwith longitudinal yellow stripes. Yellow or red longitudinal striping is always to be taken merely as a \nvariant for a white colour. Here the black caoutchouc painting is missing; and in her nose, instead \nof the Huaxtec crescent, she wears a rod with swallow-tail-like endings, which recalls the Xipe attire, \njust as the narrow slit eye of the goddess exactly reproduces the Xipe eye. Xipe and Tla^olteotl are \n\n\n\n42 The Night Side of the Manuscript. \n\nclosely related figures. For there can be no doubt that in her fundamental conception Xipe is to be \ntaken as an Earth deity.^ Round her loins the Tlofolteotl of Codex Vaticanus B is wrapped in a short \ncloth, on which lies a large red-coloured cross (symbol of the crossway ?). \n\nIn our manuscript the goddess is far less characteristically figured. The colour of the body \nshould doubtless be white, for yellow or white are the colours of this goddess. In the hymn to \nTeteo innan, seventh of the ' Cantares que decian k honra de los dioses en los temples y fuera dellos/ ^ \nthe goddess is invoked sometimes under the name of cofauic xochiUa, 'yellow flower/ sometimes as \niztcx xochitla, * white flower.' A caoutchouc painting about the mouth is not shown with the \nTlofolteotl on Sheet 4 of our manuscript. The crescent-shaped nasal plate ends below in some \nprocesses which give it the resemblance of a butterfly figure. The fillet and the band inserted in \nthe ear-hole should doubtless be made of unspun cotton, but they have simply been left white, without \nthe crotchets and strings with which elsewhere in the pictorial writings the objects made of this \nmaterial are filled, in order to indicate the flu%, globular nature of cotton. The feather ornament \ndoes not differ greatly from that of the other figures. The upper part of the body is naked, but \nwrapped round the hips with a cloth which forms a short skirt. She is coiled round, not by one \nsnake only, but by two, whose tail ends form a kind of girdle about the waist of the goddess, while the \nhead of one of them projects before her mouth, and that of the other comes out between her legs. \nUnlike the figures in the two other manuscripts, she holds a bunch of yellow feathers, and that not \nmerely in one, but in both hands. For this Huaxtec goddess such objects are altogether characteristic. \nIn the description of the adornment of this goddess the bunches are designated as (oyaU, ' palm [leaf] \nstrips,'' and they are doubtless intended as brooms, that is, the well-known emblem and implement \nof this goddess. \n\nAs before the Stone Knife God and the Death God, so also before the Earth Goddess, a crossway \nis figured. On it in Codex Borgia is seen a black vessel, on which are a bundle of firewood and a \npacked corpse decked for cremation with flags, and beside it, presumably as an offering, a green tuft \n(moZiTioUi-grass). After all, it is in the earth that are buried the ashes of the dead ; hence these \nsymbols have their legitimate place in association with the Earth goddess. In our manuscript are \nalso to be seen the black vessel, the bundle of firewood, and the green bunch of malinaUi-grsiSs, but \na heart is shown instead of the corpse-pack. This heart, however, is meant to embody the same \nconception, that of the destruction of life. Moreover, in our manuscript, below the goddess, are \nfurther to be seen a heart with a flower, and a temple pyramid with a burnt-offering at its foot. But \nhere the temple pyramid, unlike others elsewhere, shows no sanctuary, that is, a properly roofed nave \nor cella, but only an upright wall, on which lies a green bunch (moZinaZZi-grass, i.e. a broom ?), while \nan owl stands at the foot of this wall, that is, as it were, at the threshold of the building. Possibly this \nis intended to represent the peculiar style of the temple erected to this Huaxtec goddess, which con- \nsisted essentially of a wooden scaffolding. The owl is, of course, thoroughly appropriate to this \ngoddess, who symbolises the dark interior of the earth, and was called TlaUi iyoUo, * Heart (Interior) \nof the Earth.' \n\n\n\n^ Cf. VeruffentHchungen aus dem Konigl. Mnseum fUr Vdlkerkonde, vol. vi. (1899), pp. 88-91. \n\n' Sahagun, M8. Biblioteca del Palacio. \n\n' Tonalamatl of the Aubin coUeotion, p. 96. \n\n\n\nThe Nine Lords of the Night Hours. 43 \n\nIq the middle of the fourth sheet, under the eighth day-sign, tocktli, ' Babbit,' follows the eighth of \nthe nine lords. TepeyoUotU, the ' Heart of the Mountains.' This is the remarkable deity, who appears \nin the TonaZainatl as a jaguar, or as TezcatHpoca in jaguar form, and by the interpreters is explained \nOS 'Echo' \u2014 doubtless properly the voice that reverberates from the mountain \u2014 and as the 'Earth.' In \nhim would aeem to be combined the concepts of a cave god, of an alien barbaric god, perhaps identical \nwith the god whom the Maya tribes of Chiapas called Uotan, ' Heart,' a spook regarded as an uncanny \nportent and as the apparition of Tezcatlipoca^ \n\nIn Codex Boi^a (Fig. 29) this god is painted in dark colours, green and black, the colours of Tlaloc. \nThe face shows on its posterior half Tezcatlipoca's fecial painting, the ixtlam tlatkum. alternating yellow \nand black cross-bands. The anterior half, that is, the middle of the face, is yellow, and the r^ion of the \nmouth is painted with the markings of a j^uars skin. A wild bestial look is imparted to the face by a \n\n\n\nFig. 29. Fig. 30. \n\nTtpeyoUotl, the Eighth of the Nice Lords. Ckf Veaae] in the form of a Jaguar, \n\nCodex Boigia 14 ( = Kingaboniugh S6). Royal Museum for Ethnologie, Berlin. \n\nbeard enframing the cheeks and chin, and a prominent superciliary ridge which is painted a blue colour, \nand with its involuted ends corresponds exactly with those seen on the earthenware jaguar figures of \nthe Zapotec region (Fig. 30). An ornament of a blue colour quite clearly inserted, not in the nasal \nseptum, but in the nostrils, seems to me to indicate a stud which I have often seen inserted in the \nnostrils of clay figures from Chiapas and Guatemala, and which seems also shown in the head with \nwhich, in the tribute roll and in Codex Mendoza, is hieroglyphically represented the city of Xochltlan, \nthe present Juchitaa, not far from Tehuantepec on the low-lying Pacific coast. On its nape the Codex \nBorgia figure wears a fan-like feather adornment, while above the frontal band the hair projects high \nup in two strands knotted together at the base. Perhaps this again represents some local peculiarity. \nI would recall the fact that, as we are told by the interpreters of Codex Vaticanus A, the Zapotecs wore \ntheir hair loi^ and pleated in tresses, binding it up above the forehead with a strip of paper, that is, \n\n' Ct. on this dettj the Tonalamall of the Aubiu collectioii, pp. 4S-S1. \n\n\n\n44 \n\n\n\nThe Night Side of the Mtmuscript. \n\n\n\nof bast, I should observe, however, that this same peculiarity of two tresses worn on the crown is also \nseen on certain figures which are obviously associated with the rain gods, even the pulque gods, but \nare pictured with QweUalcowitl's facial painting. They are depicted to the number of four, in various \ncolours, answering to the four cardinal points, beside the Ckichicomecoua, the four Maize goddesses, \nin the large picture by which in Codex Borbonicus the ceremonies of the Ockpaniztli feast are \nillustrated (Fig. 31). Lastly, I would remark that this same headdress is also evidently shown on \nthe TepeyoUotli heads of the Ttmalamatl of the Aubin collection. \n\nThe Codex Borgia TepeyoUotli, eighth of the nine lords, like the rest of the nine lords, \npresents with one hand a burnt-offering of firewood and rubber ball. But with his other hand the \ngod seems to be holding the conch, which he has placed to his mouth and is blowing, and which \ndoubtless indicates the weird voice described by Sahagun, in his Mlh. book, as the first of the \nevil omens: \u2014 \n\n\n\nY\\g. 32. TepeyoOoai. \n\nTooalamatl of the Aubin \n\nManuscript. \n\n\n\nFig. 31. Teptyollotii (1). \nCodex Borbonicus 30. \n\n\n\nFig. 33. TepeyoUotli. \nCodes Vaticanus B 22 \n( = Eingsborough 70). \n\n\n\nin teqva/ai choca : [when] the jaguar roars, \n\ntegtiani ipan choca : [a voice] like a j^uar roars, \n\nin iuhqui tecciztli quipitza : as when a shell trumpet is blown, \n\ntepetl quinaTiquilia : the mountains answer (re-echo), \n\ntehcuiva tlavcUania : they howl, \n\niithquin ilamapiU choca : as an old woman bawls. \nIn Codex Vaticanus B the eighth of the nine lords (Fig. 33) is painted a red colour. But on \nthe face the parts about the mouth and a cross-band above the eye are yellow. It thus appears that \nhere also it was intended to give the facial painting of Tezcatlijyoca, but that of the red Tezcatli^}oca. \nThe part above the eye is indistinct. According to the drawii^ in .Kingsborough, there was here \ntoo a superciliary ridge, or an eyebrow of a blue colour. On the other hand the long beard is clear, \nand blue studs also seem to be shown in the nostrils. The hair stands high up, and from it project \nthree thongs painted the colours of the jewel and ending in bells, while a long tress dravm through \na ring hangs down behind. The mouth is open as if about to shout, tmd he wears the conch as an \nornament on his breast. In one hand he holds a bone dagger and an agave-leaf spike, and in the \nother apparently a bunch of meUinaUi grass. \n\nWith the TepeyoUotli of our manuscript the colour of the body seems to be again forgotten. \nThe face is painted red, but here also a yellow cross-stripe is distinctly shown above the eye, so that \n\n\n\nThe Nine Lords of the Night Hours. 45 \n\nhere again we have presumably to assume the TescaUipoca facial painting. The chin-beard and the \nblue ridge over the eye are clearly drawn, but in the nose is stuck a rod, which ends off outwardly \nin a kind of flower. Exactly the same nasal ornament is also worn by the TepeyoUoUi of Sheet 1 \nof our manuscript. Above the white fillet the hair stands stra^ht up, while through a ring at the \ntffirvple ia drawn a long treaa, ending off in bands and falling nearly down to the ground, so that the \ngod is obliged to hold it up with his left hand, as one m^ht hold a train trailing behind. At the \nocciput a bunch of bright feathers projects sharply upwards, and on the crown lies a white forked \nornament obviously like the aztaxdli, with which Tezcatlipoca and also his associated Mexican warriors \ndeck themselves when in their dancing array. Lastly, in his free right hand the god holds a rubber \nball (incense ball). \n\nIn Codez Borgia, &cing the e^hth of the nine lords, is depicted a temple which is very peculiar, \naod, in fact, unique of its kind (Fig. 34a). It \nhas, as we see, a pointed straw roof, topped ap- \nparently by a peculiarly arranged decoration. \nPointed straw roofs are also occasionally met \nelsewhere in the picture-writings on houses and \ntemples (Fig. Sib). Koo& of a steep, pointed \nform, thatched with palm leaves, are even now \nstill common in the rainy tierra caliente of the \nAtlantic slope. But the singularity of Fig. 34a \nlies in the fact that its threshold is formed by \na large reptile's throat. Such reptiles' throats \nare in the manuscripts a familiar conventional \nindication of a cavern. Hence this picture also \n\nmust doubtless be taken for a cave or under- \n\n. , , , , , Pig- 34\"- Cave Temple. Fig. 346. Calti, ' House.' \n\nground temple. As with the other temples of Codex Borgia u Codex Borgia 10 \n\n\n\n\nthis sheet, before the threshold lies a bundle of * = Kingaborough 25). ( = Kingsborough 92). \n\nwood, a burnt-offering. \n\nSimilarly in Codex Yaticanus B, opposite TepeyoUotli, is also figured a temple, which, however, \npresents no further peculiarity. At the threshold lies a conch. \n\nIn our manuscript the temple facing TepeyoUotli, as well as that of Codex Borgia, has a round \npointed roof, with an ornamented point. But here the point is curved backwards, and set with \nnotches in the style of the ItzUacoliuhqui, the hat of the Stone God, of Cold, and of Punishment.^ \nPerhaps in the drawing in our manuscript also the artist had, in fact, this comparison in his mind. \nFor, as with the itztlacoliuhqui, here also is seen an arrow stuck in the roof just below the terminal \npoint. In other respects this temple also presents no further peculiarity, and at the threshold lies \nthe same burnt-offering. In our manuscript, below the whole group, is depicted yet another temple \nwith roof of ordinary appearance, in which is likewise stuck an arrow. In the interior is seen a high \nvessel, set with spikes and ornamented with cords. Amongst Mexican antiquities proper such \nspiked vases are scarcely known to me. But on the frontiers of Chiapas and Guatemala I have \n\n Tanalamatl of the Aubln oolleotion, p. 92. \n\n\n\n46 The Night Side of the Manuscript. \n\nfound in caves an abundance of lai^e ^ure-vases aad smaller Teasels, which on the surface and at \nthe handles are thickly set with projecting spikes.^ \n\nLastly, on the left side of Sheet 4, below the ninth day-sign atl, ' Water,' is seen the ninth of the \nnine lords, Tlaloc, the Rain God. \n\nIn Codex Borgia (Fig. 35) he is depicted in the style usual to this manuscript, with green (or \nelse black) bodily colour, anterior face half black, posterior yellow, blue ring round his round eye, \nblue baod above the lip involuted at the end, and long teeth protruding downwards \u2014 peculiarities \nwhich represent a remnant of features originally formed by two snakes coiled together.^ Above hie \n\n\n\nFig. 3&. Tlaloc, the Raia God. \n\nCodex Borgia 14 , Fig. 36. Tlaloc, tlie Rain God, Ninth of the Nine Lords. \n\n( = Kingsboiongh 25). Codex Vaticantu fi 32 <=Kiiigsbon)ugfa 80). \n\nforehead he wears a bandage ending on both sides in two projecting spurs, and painted in two \ncolours \u2014 green and olpiT/av,ac (white, with rubber spots) \u2014 and above it the heron-feather crown \n(aztatzontti), from which hang out two large rosettes, with tassels painted the same colours (green \nand olpiyauac). \n\nIn Codex Vaticanus B {Fig. 36) Tlaloc is drawn on a much lai^er scale than the preceding \nfigures, because the representations accompanying the nine lords, and occupying the upper half of \nSheets 19-22, close on Sheet 23 with a picture which occupies only a small space. In Vatican B \nthe Rain God is as a rule depicted with a lai^e beard below the long protruding teeth, and in this \nhe deviates from the Borgian pictures, but closely resembles the Tlaloc figures of Codex Laud and \nthe Vienna Manuscript, And the other end of the strip, involuted at the ends and placed above the \nlip, but not exactly shown in the profile view, is seen before and above the mouth in the form of an \n\n> Seler, Die alten Aniledelnngen von ChacuU. Berlin {Dietrich Reimer), 1901, pp. l&a-lSS, 166-178, IB1-1S3. \n\" TonaiamaU of the Aubin collection, p. 64. \n\n\n\nThe Nine Lords of the Night Hours. 47 \n\nenlarged and ornamentally executed volute, which may again be seen treated in exactly the same way \nwith the Tlaloc figures of the Viennese document. In the Vatican B figure the headdress consists \nof a thong embellished with jewelled disks, and bearing on the frontal side a conventional bird's \nhead, which is properly the special head adornment of the Sim God (see Fig. 25, supra, p. 34). \nHence, like the Sun God, the Vatican B Tlaloc also wears on his head a bunch of feathers (temaZli), \nwith long strips of skin hanging out From the mouth of the figure protrudes a stone knife, and \nbehind it a broad strip painted yellow, which is doubtless meant to denote fire, consequently \nlightning. \n\nIn most details the Tlaloc figure of our Fej6rv4ry sheet resembles the above-described Vatican B \nTlaloc. Only the design is simpler, and the colours seem to have been again forgotten both on the \nbody and face. In other respects here also, besides the blue ring about the eye, the blue band above \nthe lip involuted at the end, and the long teeth, is seen the other strictly speaking invisible end \nof the lip band hanging out below and before the nose in the form of an ornamentally executed \nvolute, which is here even developed to a sort of snake's throat, an eye being shown at the posterior \nside. As in Vatican B, the hair is tied up with the thong of the Sun God set with jewelled disk, \nwhich at the frontal side shows a conventional bird's head. And here also from his mouth flows \na yellow stream, here and there bent at an angle and beset with objects which must denote fire \nand lightning, but here passes into the mouth of a crocodile lying in the water below the god, \nexactly as with the sixth of a series of six large Tlaloc figures which we see depicted in Codex \nVaticanus B 43-48 ( = Kingsborough 91-96). Lastly, while the Codex Borgia and Vatican B Tlaloc \nfigures present with their hands only a burnt-offering, like the other eight of the nine lords, our \nfigure grasps with one hand the fiery stream coming from his mouth, and with the other wields the \nstone or copper Ijatchet, which is indeed the appropriate weapon of the god who slays with light- \nning. Here also we have again a resemblance between our figure and the large Tlaloc figures \npictured in Vatican B on Sheets 43-48 ( = Kingsborough 91-96). For these also hold before them \na snake with outstretched arm, while with the other hand they grasp a hatchet in the act of \nstriking. \n\nOpposite the Rain God in Codex Borgia and Vatican B, two sides of the compartment (the \nwhole of the lower comer) are filled with water, in which fishes and snails are swimming. In the \nBorgian the water bears a burnt-offering, while in that of Vatican B a hand is visible stretched \ntowards the burnt-offering presented to the god. On our sheet the same objects are displayed in \nsimple form quite below in the section assigned to the ninth of the nine lords. But above them \nis still seen a spiked vase, which in its shape recalls the spiked vessels of Lake Amatitlan. In \nit lies, between the sacrificial knife and bone dagger, a heart surmounted by a maize ear. \n\nSuch is the series of the nine lords as depicted on special sheets in these manuscripts of the \nCodex Borgia group. But in the Tonalamatl of Codex Bologna, and in the Tonalamatl representa- \ntions disposed in consecutive series on twenty sheets, both of Telleriano Remensis and of Vatican B, \nas well as of Codex Borbonicus and of the Tonalamatl of the Aubin collection, they are found \npictured as small figures or heads accompanying the several days of the Tonalamatl, and on the \ninteresting Sheets 21, 22 of Codex Borbonicus, even with the initial days of the 52 years' cycle. \nOn the last-mentioned sheets students have been able to certify that here it is not the pictures of \n\n\n\n48 The Night Side of the Manuscript. \n\nthe nine lords that appear beside the initial days of the years which, with a further count beyond \nthe consecutive Tonalamatla, would fall on these initial days of the year, but once for all those that \nin the normal Tonalarruitl, beginning with 1. cvpacUi and the first of the nine lords, are combined with \nthe names of the respective initial days of the year. From this it results that these nine lords do \nnot serve for a real chronology, a continuous day count. On the other hand we learn from Sheet 1 \nof our manuscript that they were regarded as guardians of the five regions of the world. And \nthese have been again and again repeated on the several sheets devoted to the representation of \nthe Tonalarruitly precisely because they were thought of as the guardians of constsmtly returning \ndementary periods of time. In my elucidation of the TonalamaU of the Aubin collection, I have \nendeavoured to prove that they were held to be the guardians of the nine night hov/i*8, and that \ntherefore they were designated by the interpreters as Seflorea de la n^oche, or AcompafUidos de la noche. \nAnd it is in full accord with this notion and this designation that, in all the three manuscripts \nthat we have considered, we always find the figures of the nine lords depicted with a burnt-offering, \nwith firewood and rubber ball in their hand, and mostly also a burnt-offering shown in front of \nthem. We know that in ancient Mexico piles of wood flared up at night on all the temples, that one \nof the priests' chief duties was to feed these fires, and a chief function of the young men, the bachelor \nwarriors assembled in the telpochcalli, to gather the great quantities of fuel needed for these fires. \nWhen a young man wished to withdraw from the brotherhood and take a wife, the acceptance of \na woodman's axe was the symbol that the president of the bachelor warriors' club gave his consent.^ \nHence in my opinion there cam be no doubt that the bundle of firewood which the nine gods \nappear to be offering, or which stands ready in front of them surmounted by a rubber or pitch ball \ndecorated with a quetzal feather, denotes the fire which had to be renewed at certain hours of the \nnight, which blazed up for the guardians of the night, the Youaltetecuhtin, who in turn watched over \ntheir people at the different hours of the night. And thus the question of itself arises whether we have \nnot to recognise in these nine lords of the night hours the lords of the starry sky^ that is, nine stars, \nI will not venture to say the nine planets. The inference makes more and more headway that the \nobservation of the starry firmament and of its changes must have been the starting-point for the great \nbody of mythical notions and for numerous religious practices of the Mexican and Central American \npeoples, especially for everything associated with the Tonalamatl. Unfortunately we know next to \nnothing about the astronomy of the Mexicans. Still, we may perhaps hope that some day some \nlucky find may come to our aid, and bring clearness where we are now fain to confess our ignorance. \n\n\n\n1 Sahegun, book vi. chap. xxvi. \n\n\n\nA Ghanged List of Gvfardians of the Five Regions of the World. 49 \n\n\n\nIII. A Changed List of Guardians of the Five \n\nRegions of the World. \n\nSheets 6-14 ( = Kingsborough 40-31). \n\nt \n\nOn Sheet 14 of Codex Borgia, where were shown the pictures of the nine lords figured on \nSheets 2-4 of our manuscript, and whom I have just discussed, there follows on Sheets 15-17 of Codex \nBorgia a series of remarkable representations, which, like the sheets with the nine lords, has its \nparallels both in Vatican B and in our manuscript. But unlike Codex Borgia, in our manuscript \nthese representations do not follow directly on the Sheets 2-4 just dealt with, but occur much later \nat the beginning of the other side of the painted strip forming our manuscript, where they occupy \nthe upper halves of Sheets 23-29 ( = Kingsborough 22-16). Between them, filling the rest of the first \nside of the strip, are inserted a number of sheets which are covered partly with figures, partly with \nwhole rows of numerals. Apart from all other considerations, these numerals are at once remarkable \nin that they are entered not in the Mexican way, but according to the Maya arithmetic system; that \nis to say, they do not follow the Mexican plan, in which all the ciphers are given, each separately by \ndots or lines, but the Maya, which denotes the units 1 to 4 alone by the corresponding number of \ndots, and the fives by a bar. The position here assigned to these sheets, in immediate sequence to \nSheets 2-4, and before the representations which in Codex Borgia follow the sheet with the nine \nlords, suggests that on these sheets it was intended to picture something associated with the nine \nlords. And support is lent to this suggestion by the fact that, at least in the first half of these \nsheets, before the figures depicted on them, as before the nine lords, is always given a burnt offering, \na large bundle of wood from which flames shoot up, and which is surmounted by a rubber ball. \n\nOf these eighteen sheets the first ten, 5-14 of our manuscript (= Kingsborough 40-31) form \na special group. And for this group we have at the same time an undoubted parallel instance, \ndespite deviations in the details. This is a series depicted by another hand on the reverse side of \nthe blank sheets of Codex Bologna, a manuscript, which was evidently left in an unfinished state. \nThis remarkable series, of which hitherto little could be made, I am now inclined to consider from the \nabove standpoint. I think I am justified in regarding the eleven figures comprised in the series \nas a new variant series of the nine lords, who are assigned to the five regions in the same way as the \nmembers of the ordinary series and those of the two special series of Codex Laud, which are above \ndiscussed in the first section ; only here two other figures have been introduced as indications of a \nsixth and a seventh quarter, the upward and downward quarter. I should hke first of all to discuss \nthis series parallel to Sheets 5-14 of our manuscript, because in several respects it is simpler and \nwill facilitate the understanding of the representations in our manuscript. \n\nFrom the way the representations are usually arranged in these books, consisting of strips \nfolded together, and also from the orientation of the figures, it follows that on this side of the \nBolognese manuscript we have to begin the reading at the right side of the strip and then proceed \ntowards the left. That is to say, we begin with Sheet 21 of the facsimile edition of the Codex Bologna \n\nG \n\n\n\n60 The Night Side of the MaoUBCript. \n\nprepared by the Duke of Loubat, which sheet is the lost of the Kii^borough notation. Thie first \nsheet ahowB us a figure (Fig. 37), in which we have to recognise the Fire God XiuktecvMi. For it \nhas not only the red colour of body and drese and the facial painting of this god, but also wears \nthe xiuktotoamacalli} which broadens upwards, is painted the colours of the cotinga, blue, red, yellow, \nand shows the two bunches of feathers, the tnitzontli, tlacochtzontli, the two arrow-shafts which \nsymbolise the fire-drill. The only deviation is the cross-band at the level of the eye, which is painted \nyellow instead of black, a deviation which seems intentional, and made for the purpose of at the same \ntime distinguishing the god as the red Tezcatlipoca. \n\nLastly, the whole figure is pictured in a blazing fire, and also shows the flame as a distinctive \nmark on its attire. Like most figures of this series the god is equipped with throwing-stick and spear \nin position for throwing, and in his left hand, beside the bundle of spears and feather banner, he holds \na square shield painted the colours of the cotinga \u2014 blue, red, and yellow. Before the god is seen a \n\n\n\nFig. 37. Ce toehtli, ' 1 Rabbit' Fig. 3a Ce aeatl, ' 1 Reed.' \n\nCodex Bologna 21. Codex Bologna 22. \n\nsacrificed warrior with breast cut open, from which blood gushes out on both sides. Lastly, after the \nmanner of the Mixtec-Zapoteo picture-writings, beside the head of the god is shown the day ce tocktU, \n' I Rabbit,' which in a sense is to be taken as his name. This is the day with which begins the \ntwentieth of the thirteen-series of the Tonalamatl. And this is in fact the week of the Fire God. \nHence the sign is regarded, both by the interpreters and by Sahagun,* as ensuring wealth, abundance \nof food supplies, long life. \n\nThe Fire God is followed on Sheet 22 ( = Kingsborough 23) by Fig. 38, a Tezcatlipoca with the \nfacial painting of the black (yayaukqui) Tezcatlipoca, and his mirror at the temple, but with two- \ncoloured {chictlapaiujui) garb, half black, half red-striped {i.e. half white). Above the brow are two \nlocks rising upwards, and in the hair the warrior's headdress (aztaxelli), consisting of two heron- \n\n' Tonaiamail of the Aubin collection, pp. 74, 15. \n\n1 SahaguD iv. chap. xxxviiL Cf, TotuUanall of the Aubin coIlectioD, p. 126. \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 51 \n\nfeathers, and in his right hand he holds the throwing-stick, in his left a bundle of spears and a round \nshield, which, however, is likewise painted the colours of the cotinga. One might suppose that here \nthe usual series of the nine -lords is being repeated, that is to say, that here the Fire God is followed \nby Tezccdlvpoca, who indeed in other places also personates the Stone Knife God, second of the nine \nlords. But this is at variance with the hieroglyph of his name, the date which is shown beside the \nhead of this god : to wit, Ge acatl, ' 1 Reed,' hieroglyph of the Morning Star. And in truth this \ngod is already distinguished as the Morning Star by the two lambent locks (cf infra, Figs. 58, 59) \nabove his forehead. In the Ton^alaTnatl the Morning Star is shown facing the Fire Grod.^ We must \ntherefore conclude that here also the two-coloured Tezcatlipoca called Ce acatl is thought of only \nas the associate of the Fire God, and jointly with him symbolises the Middle, or else the Below- Above. \n\nIn point of fact the figures which now follow correspond to the four pairs of the last eight of \nthe nine lords. But strange to say, the sequence of the cardinal points is exactly reversed, going, \nnot from East by North and West to South, but from South by West and North to East. That is \nto say, on Sheet 23 ( = Kingsborough 22) of Codex Bologna, the first of the two now to be taken \nconsecutively, there follows the last of the nine lords, Tkdoc, the Rain God, who in his facial aspect \nresembles the pictures of Vatican B, is clothed in black garb, and holds in one hand a hatchet, in \nthe other a shield and bundle of spears with a dragon, the lightning snake. The latter closely \nresembles the stream which, in the Tlaloc picture of Sheet 4 of our manuscript, we saw flowing from \nthe mouth of the god to that of the crocodile, that is, from the welkin to the earth, but is here further \nspecially provided with a snake's head. Beside the god is shown the day Chicunaui ocdotl, \n* 9 Jaguar,' as his hieroglyph. \n\nAssociated with this god, that is, following him on Sheet 24 ( = Kingsborough 21), is here seen, not \nthe eighth of the nine lords, Tepeyollotliy in the characteristic form with which we are now familiar, \nbut a peculiar deity painted in two colours, blue and red, with lambent locks above the forehead, in \nfact in a style such as is of rare occurrence in the Borgian group of pictorial writings. As the \nhieroglyph of his name, beside him is shown the day Ce din, '1 Rolling Motion.' Olin is the \nseventeenth sign, and in the picture-writings is indicated by a god named Xolotl, who is called \nQuetzalcouatla* twin brother,^ and was the god of the game of ball.* As a rule this god is figured \nwith a dog's head, and with distorted limbs, as the god of monstrosities. But his original meaning \nis not monstrosity, but twins, this being the meaning of the name Xolotl. And it is highly probable \nthat the god here pictured in human form, but in two colours, blue and red, merely represents another, \nthough at bottom equally justified, conception of the god Xolotl. \n\nNow, should the justification of the parallelism with the series of the nine lords seem doubtful in \nthe case of the latter figure, the following two sheets will accord better, inasmuch as both of them \nshow two female deities answering to the seventh and sixth of the nine lords, and this, as I assume, \nto indicate the West. Only their sequence, compared with the order adopted in the series of the nine \nlords, seems reversed, since the Tlofolteotl, who should be expected to come first, follows only after \nthe other, that is, in the place which corresponds to the sixth of the nine lords. The goddesses are \nboth depicted above an open throat (chasm) of the earth. Tla^olteotl, second of the pair, is at once \n\n\n\n^ Tonalamatl of the Aubin collection, p. 78 aq. \n^ MS. Biblioteca Nazionale, Florence, f. 21, verso. \n^ ToncUamatl of the Aubin collection, pp. 108-112. \n\n\n\n52 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\nrecognised as such by her facial painting (yellow, with black caoutchouc application about the mouth), \nthe crescent-shaped nasal plate, and the spindle in her hair. In one hand she holds a throwing-stick, \nin the other shield and bundle of spears, and for banneret a reed-stalk with a tuft of unspun cotton. \nBeside her, as the hieroglyph of her name, is shown the day Chicwnuui acatl, ' 9 Reed.' This is in \nfact a day which is mentioned by Sahagun as the day consecrated to the goddess TlagoUeotl} \n\nThe second figure again deviates from the second in the list of the nine lords who is shown in \nthis quarter of the heavens. From her facial painting and distinctive mark it is clear that here there \ncan be no question of the Water Goddess. We see a face painted yellow in the upper half, red in \nthe lower, the hair in tangled locks, as with TlagoUeotl, and also, as with this goddess, in the pierced \near-lobe a band which is apparently intended for unspun cotton. Noteworthy as a special distinction \nis a wreath of flowers in her hair. In one hand she holds a throwing-stick, on which is placed a \nspindle as a spear, in the other shield and bundle of spears. Beside her, as the hieroglyph of her \nname, stands the day Chicuei acatl, '8 Reed/ On the significance of this day I have hitherto \nnowhere found any direct statement. But it is the eighth day of the sixth week which begins with \nCe miquiztli, ' 1 Death.' And everywhere in the Tonalamatl this sixth sign is indicated by the \npicture of the moon. I think we must infer that here it was intended to represent the deity of the \nmoon, which indeed we find pictured as a female figure in one place in Codex Borgia. And for this \nconjecture I find a confirmation in the fact that this very floral wreath in the hair, as here worn by \nthe goddess, is in several places of the picture-writings a special and characteristic mark of the \nMoon God. \n\nOn the two following sheets, 27, 28 ( = Kingsborough 18, 17), should have been pictured Mictlan- \ntecutli and Cinteotl, that is, those of the nine lords who correspond with the North. In point of fact \non Sheet 27 we see the Death God, but in female form as Mictecaciuatl, in her right hand holding \na hatchet, in her left a bundle of spears and a shield, which shows on a red field cross-bones as \nemblem. As hieroglyph, beside her appears to be given the day Chicunaui cipactli, ' 9 Crocodile.' \n\nBut on Sheet 28, where we expected to meet the fourth of the nine lords, Cinteotl, the Maize \nGod, we find a figure of Tezcatlipoca. And Tezcatlipoca figures are also represented on the following \ntwo sheets, which should have indicated the East, and on the supernumerary last sheet, which again \nshould indicate the Middle. All hold in their right hand a throwing-stick with a spear lying on it \n(Fig. 39), and have their head covered with the cloth decorated with a fringed hem and feather \nballs fastened to it, such as we have also met with the Tezcatlipoca picture on Sheet 2 of our \nFej6rv4ry manuscript. But if these four figures, pictured on the last four sheets, 28-31, of Codex \nBologna, may almost be described as alike in the design, still they differ in the coloration. The \nfirst, who on my assumption should have corresponded with the fourth of the nine lords, the Maize \nGod, is certainly pictured with yellow face and black cross-bands, i,e. Tezcatlipoca' s usual facial \npainting, but his attire is entirely white, or else white with vertical red stripes, and I should \naccordingly indicate him as Iztac Tezcatlipoca, the white Tezcatlipoca, As the hieroglyph of his \nname, beside him is shown the day Ce eecatl, ' 1 Wind.' \n\nThe second, who on my assumption must correspond with the Sun God, third of the nine \nlords, is a red Tezcatlipoca, a Tlatlanhqui Tezcatlipoca. As his hieroglyphical name, beside him \n\n\n\n^ Book iv. chap. xx. \n\n\n\nA GhoDgect list of Guardutns of the Five Regiona of the World. 53 \n\nBtauda the day Ce ocdotl, ' 1 J^uar,' which is the initial day of the thirteen-series, whose fourth \nday is the day iiaui olin, ' 4 Motion,' the day and the symbol of the now existing sun, the \nhistorical sun. On this day, ce ocelotl, was begun the netovativJi^ualiztli, the fast kept in honour \nof the Sun God worshipped on the day navA. olin} \n\nThe third of these last four figures, who must correspond with the Stone God, Itztli, is a black \n(Yayaukgui) Tezcatlipoca. As his hieroglyphical name, beside him stands the day Otuc acatl, \n' 2 Reed,' which is the day of the fire-drill, the beginning of a new period,* and by Sahagun is \nexpressly mentioned as the day and sign of TezcaUipoca? The last of these figures (Fig. 39), which \nmust ^ain denote the Middle and correspond to the Fire God, first of the nine lords, is, like \nthe figure following the Fire God on the second sheet of this series, pictured with half white (red \nstriped), half black attire, a Ckictlapanqui Tezcatlipoca. Only the face, which with that god was \npainted with black and yellow cross- \nbands, is here painted with white (red \nstriped) and yellow cross-bands. As \nhieroglyph of his name, beside him \nappears to be shown the day Ckicome \nacatl, ' 1 Reed,' which, like the day \nCe acatl (the day of the Ckictlapanqui \nTezcatlipoca on Sheet 22 of this series), \nwas celebrated in Cholula as the feast \nof Quetzalayuatl, and r^arded as the \nbirthday of this god.* \n\nIt will be admitted that my paral- \nlelism of these eleven figures with the \n\nnine lords of the night hours, as here Fig. 39. Ckicome acaU, ' 7 Reed,' Codex Bologna 31. \n\nset forth, has its justification. For it \n\nis self-evident that the red and the black TezcatUpoca can be classed with the Sun God and the \nStone Knife God, who is elsewhere represented in the figure of Tezcatlipoca; and this is still more \nconvincingly proved by the relations established by the dates placed beside these figures as their \nhiert^lyphs. Nor can it be denied that the two-coloured Tezcatlipoca of the last and of the \nsecond sheets of this series, i.e. the Ckicome acatl and the Ce acatl, the Quetzalcouatl identified with \nthe Morning Star, may in a measure stand for the Fire God. All this is in fact obvious enough \nfrom the popular tales current about this god, from the association of the Morning Star with the \nFire God in the ToTvala-matl, and from the fact that the Fire God also was the god of the gloaming, \nwho was before the Sun was bom. \n\n\n\n' Sahkgun II. , Appendix : ' aynnabaD cnatro diu por hourft del sol ; ale Bfuao ae bacia de doacientos en doadantoa y \ntrea dUa,' i.e. from the 200th to the 203rd Ai,j of the Tonalamall, t.c. from the day a oaioU to the day naui Mn. \n\n'* 'Hiatoria de loi Mexicanoa por ana pintanu' (Garcia Icazbalceta, ' Nueva Colecoioa de Docameatoa para U Hiatoria de \nMexico,' III. p. 234). \n\n> Sahagnn iv. chap. xv. : ' decian qae eata (caaa) era bien af ortunada, puea que era de TtxeaUipoca, porque tenia la \ncam pintada eomo I> imagen de eate dioa.' \n\n* Codex Tellerianc Remenaia, Sheet 10 ( = Eingaborongh ii. 5), Secood Interpreter (Pedro de Rioe). \n\n\n\n54 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\nOf course deviations occur also in the other quarters. The displacement of TepeyoUotli by \nXoloU, of Chalchiuhtlicue by the Moon Goddess, of the Maize God by the white Tezcatlipoca, and the \ntransposition of the two female deities belonging to the West, are undoubtedly discrepancies which \nhave to be considered. The most striking deviation is the displacement of the Maize deity, Cinteotl, \nby the white (Iztac) TezcaUipoca. I might conjecture that this white Tezcatlipoca is the repre- \nsentative of the white Mxxcouatly whose acquaintance we shall make further on, and who is assuredly \nonly a form of Tcmacatecutli, the old lord of food supplies. We shall see further on that in our \nmanuscript this white Mixcouatl is in fact distinguished by the name of Ce eecatl, ' 1 Wind.' And on \nthe other hand it certainly seems reasonable that a god who may be classed with the ' lord of food \nsupplies ' should be introduced in the place of Cinteotly the Maize deity. \n\nIn the subjoined table I once more give a general view of the two lists, indicating by an arrow \nthe order in which they are set forth : \u2014 \n\n\n\nI. The Nine Lords of the Night. \n\n(Usual List.) \n\nMiddle I. Xiuhtecutli, The Fire God. \n\n\n\nII. Codex Bologna 21-31. \n\n\n\nEast \n\n\n\nNorth \n\n\n\nWest \n\n\n\nSouth \n\n\n\nII. Itztli, The Stone Knife God, \n\nIII. Tonatiuh, The Sun God. \n\nIV. Cinteotly The Maize God. \n\nV. Mictlantecutli, The Death God. \n\nVI. CJialchiuhtli icue, The Water \nGoddess. \n\nVII. Tlagolteotly The Earth Goddess. \n\n'VIII. TepeyoUotli, Voice of the Jaguar \nin the Mountains. \nIX. Tlalocy The Rain God. \n\n\n\nchicome acatl \nSeven Reed. \n\nome acatl \nTwo Reed. \n\nce ocelotl \n\nOne Jaguar. \n\n\n\nMiddle \n\n(Below- \nAbove) \n\n\n\n% Chictlapanqui Tezcatlipoca . chicome acatl ^ \n\nThe Two-Coloured T. \nYayauhqui Tezcatlipoca . . \n\nThe Black T. \nTlatlauhqui Tezcatlipoca . . \n\nThe Red T. \n\nIztac Tezcatlipoca ce eecatl \n\nThe White T. One Wind. \n\nMictecoAiiuatl chicunaui cipactli \n\nThe Lady of the Realm of the Dead Nine Crocodile. \n\nTUtgolteotl chicunaui acatl \n\nThe Earth Goddess Nine Reed. \n\n(to be transposed with the following). \n\nMetztli chicuei acatl \n\nThe Moon Goddess Eight Reed. \n\nXolotl ce olin \n\nThe God of Twins One Motion. \n\n4^ Tlaloc chicunxiui ocelotl \n\nThe Rain God Nine Jaguar. \n\nChictlapanqui Tezcatlipoca . ce acatl \n\nThe Two-Coloured T. One Reed. \n\nXiuhtecutli ce tochtli \n\nThe Fire God One Rabbit. \n\n\n\nFrom the reversed order of the quarters which is followed in the enumeration of these eleven \nlords of Codex Bologna, it may be at once inferred that with this count something special is \nmeant, that not merely the gods of the five, or else seven quarters, not merely the guardians of the \nnight hours, are intended to be named, but that these guardians are to be taken in some special \n\n\n\nA Changed List of OuArdians of the Five BegioDs of the World. \n\n\n\n55 \n\n\n\napplication, perhaps as they bad to be used and invoked by the wizard, or as objects of some \nspecial esoteric doctrine. The same may also be inferred from the accessories which, besides the \neleven figures already described, we further meet on these eleven sheets. That is to say, as elsewhere \nthe divine figures depicted in these books are accompanied by series of day-signs, mostly members \nof the Tonalamatl disposed in columns of five sections, whereby, being arranged in a definite manner, \nthey become by their position determinants for certain sections of the Tonaicvmatl, or for other great \nperiods of time, so here also we see these figures accompanied by columns of 4, 5, or 6 pictures, \nwhich however have quite a different, an occult, or esoteric significance. \n\n\n\n\n\nC_) \n\n\n\n^mi^ \n\n\n\n^ \n\n\n\nCkxlex Bologna 21. \n\n\n\ndOK \n\n\n\nFig. 43. \nCodex Bologna 23. \n\n\n\nFig. 43. \nCodex Bologna 24. \n\n\n\n^ \n\n\n\nFig. 44. \nCodex Bol^^na 2 \n\n\n\nOn the first sheet, 21 of Codex Bologna, we see, beside the Fire God, the so-called column of \nthe day and night signs, that is. Spider, Winged iTisect, Scorpion, Snake in the Hole, Jaguar in \nthe Mowntain Gave (Fig. 40). Naturally this can only have some uncanny meaning. But I would \nat the same time remind the reader that amongst the accessories of various sheets of Codex \nBorbonicus (Fig. 41) the Spider also occurs, and indeed with such deities as Tlauizcalpantecutli, \nNam eecatl, TepeyoUotli (Tezcatlipoca), ChalchivMotolin, Mictlantecutli, Tla^oUeotl, ItzpapaloU, \nXockiquetzaX, Mayauel \u2014 deities whose names are mentioned in sundry places in the lists of the \nTzitzimim^, i.e. of the demons descending from heaven. It is also to be remembered that by these \nTzitzimim^ we have, strictly spealdng, to understand Stellar divinities, who in the imagination of the \n\n\n\n56 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\nMexicans become demons of darkness, merely because the stars become visible in the fearful time \nof the solar eclipse, a time otherwise of bright daylight. I further recall the fact that a constellation \nof the Scorpio was seen in the heavens by all the old Mexican and Central American tribes, and that \nby the Maya manuscripts and Maya documents it is placed beyond doubt that conspicuous \nconstellations were also distinguished by the names of the Snake and the Jaguar. \n\nOn the second sheet, 22 of Codex Bologna, are seen beside the two-coloured Tezcatlipoca the \nsame three objects \u2014 Spider, Winged Insect, Scorpion \u2014 ^but differently arranged, and instead of \nthe Snake and Jaguar two arrow-shafts and two jaguar-claws (Fig. 42). Lastly, on the third \nand fourth sheets we see figured, beside Tlaloc and his associates. Spider, Scorpion, and two \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nFig. 45, \nCodex Bologna 25. \n\n\n\n\n\n\nFig. 46. \nCodex Bologna 28. \n\n\n\nFig. 47. \nCodex Bologna 27. \n\n\n\nFig. 48. \nCodex Bologna 29. \n\n\n\nWinged Insects, together with an arrow and the curious object Fig. 43, which perhaps represents \ntwo teeth (?). \n\nOn the fifth and sixth sheets, Codex Bologna 25, 26, on which are figured the two goddesses \nsymbolising the West, the signs undergo a change. No longer spider, winged insect, and scorpion, \nbut Snail (the one hidden in his shell), and Orub, he who dwells in the earth, and with them \nfour other signs (Fig. 44), about the exact meaning of which I have nothing to say, and will merely \nremark that the first (third of the series) has no colour, while the next and the last are painted \nhalf green half yellow, the last but one black and white. Opposite them is seen the same enigmatic \nsign of the two teeth, which I have already reproduced in Fig. 43. But beside it are two others, \none of which looks like nebulous balls, the other like a green vessel made of pleated rings, out \nof which flows some fibrous or ramifying substance (Fig. 45). The snail is the symbol of the Moon. \n\n\n\n\n\nA Changed List of Guardians of the Five Regions of the World. 57 \n\nFor the Moon is the object concealed in the shell, which does not shine with full brightness like \nthe Sun, which has its phases, and only at the time of full Moon emerges completely from the shell. \nHence, precisely for this reason, he is called by the Mexicans Tecciztecatl, ' he of the sea-snail,' and \nas a rule is figured with a snail's shell on his forehead. The grub seems to me introduced here as \na picture appropriate to the Earth Goddess. The other objects have reference, perhaps, to weaving \nor other female pursuits. \n\nOn the following two sheets \u2014 Codex Bologna 27, 28 \u2014 real day-signs appear, but present the \npeculiarity that all of them have behind them the figure of a human heart, on which, as it were, \nthey are seated. On Sheet 28 we have the series. Fig. 46. At top stands a sign, which is perhaps \nTnaliTiaZli. After it follow a turtle, a dog, and lastly a deer and a rabbit. If we assume, as we are \nfully justified in doing,^ that here the turtle (ayotl) stands for the sign atl, ' Water,' then 4, 5, 2, 3 \ngive the signs Tnagatl, ' Deer,' tochtli, ' Rabbit,' atl, * Water,' itzcuintli, * Dog,' and these are the four \nsigns in the consecutive series of the day-signs which follow the sign Tiiiquiztli, 'Death.' Here \nwe have again an indication of the ominous, and in any case of witchcraft. For Ce miquiztliy \n\n* 1 Death,' is in fact the sign of Tezcatlipoca and the chief sign of the magicians, a point to which I \nshall have to return further on. And that here the scribe has this relation in his mind is clearly \nshown by the last three sheets, Codex Bologna 29-31, since in them, \n\nand indeed in all three, we find pictured the same four day-signs, ^n -v,<><^ \n\nalways differently disposed, but beside them also the day-sign couatl, \n\n* Snake ' (Fig. 48), that is to say, we have here the four signs following \nmiquiztli, 'Death,' and the sign preceding this miquiztli sign. A \npeculiarity, of which I have no explanation to offer, is further shown Codex Bologna 27. \nby Sheet 27, where (cf. Fig. 47) instead of the sign itzcuintli, * Dog,' is \n\nshown a bird's head (parrot ?). Beside it are again to be seen on sheet 27 the two objects at Fig. 49 \n(the lower painted half green, half white), and on all the sheets before the chief personages the \nthree objects at Fig. 45. Lastly, beside the fifth of the chief figures (Sheet 25), as well as beside the \neleventh and last (Sheet 31) is again shown a footstep, the imprint of a human foot, probably as \na distinctive mark. \n\nNow, if in all these things lie hid any occult nonsense, magic foolery, or \u2014 possibly \u2014 unintelligent \ncopying of certain texts embodying a higher esoteric astronomic lore, in the style, for instance, of \nthe second half of the Dresden Maya Codex, then we should also be able to judge of such lore \nfrom the numerical series which occupy the entire lower half of the sheets below the eleven chief \nfigures. It is, in the first place, remarkable that, like the series inscribed on Sheets 5-22 of our \nmanuscript, these numerals are written in the style of the Maya numbers, that is, the cipher five is \nindicated by a bar. The series consist of a varying number of groups, but are always formed by the \nsame cipher : now an eleven, now a nine, and again a seven, a six, or an eight. At the same time, on \neach sheet the chief series are always enclosed by four smaller rows distributed at the four corners, \nand consisting of only two groups each. For totting up the numerals no law can be discovered. \nI also think the prototype for these numerical documents is to be sought rather in the decomposi- \ntion which, starting from the fourth sign cuetzpalin, 'Lizard' ( = Maya kan)y is effected by the \n\n^ In the list of day-signs in the Cr6nica Franciscana of Guatemala the sign quiauitl, * Rain,* stands as a synonym beside \natl, * Water,.' and quiauitl itself is replaced by at/atl, 'Turtle.* \n\nH \n\n\n\n58 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\ndiacritical mark of a footprint in the Tonalamatl disposed in columns of five members on the \nfirst sheets of Codex Borgia and of Codex Bologna, whereby the whole Tonalamatl of 260 days is \ndecomposed into 9-9 + 7-7 + 9-9 + 7-7 days. In the following table are brought together the \nnumeral series inscribed on sheets 21-31 of Codex Bologna: \u2014 \n\n\n\nCodex \n\n\nBologna \n\n\n\n\nIn the Middle \n\n\nSheet 21, \n\n\n\n\n9- 11 + 9-11 + 9.11 \n\n\n\u201e 22, \n\n\n\n\n\n\n\n\n\n\n10- 11 + 1111 4- 10-11 \n\n\n\u201e 23, \n\n\n\n\n\n\n\n\n\n\n9.7+9.7^9.7 \n\n\n\u201e 24, \n\n\n\n\n\n\n\n\n\n\n9.7+9.7+9.7 \n\n\n\u201e 25, \n\n\n\n\n\n\n\n\n\n\n9. 8 \n\n\n\u201e 26, . \n\n\n\n\n\n\n\n\n\n\n9. 6 \n\n\n., 27, \n\n\n\n\n\n\n\n\n\n\n9.9 + 9.9 \n\n\n\u201e 28. \n\n\n\n\n\n\n\n\n\n\n9. 9 \n\n\n,. 29, \n\n\n\n\n\n\n\n\n\n\n11. 11 \n\n\n\u201e 30, \n\n\n\n\n\n\n\n\n\n\n9. 9 \n\n\n\u201e 31, \n\n\n\n\n\n\n\n\n\n\n7. 7 \n\n\n\nAt the Four Corners \n\n\n\n2 \n2 \n2 \n2 \n2 \n2 \n2 \n2 \n2 \n2 \n2 \n\n\n\n.11 2- \n\n\n11 2 \n\n\n\u25a011\u20142. \n\n\n. 11 2 \n\n\n. 11 2 \n\n\n\u2022 n 2. \n\n\n.11 2- \n\n\n11 \u2014 2. \n\n\n11 2. \n\n\n.11 2- \n\n\n11 2. \n\n\n11 2. \n\n\n 8-2- \n\n\n. 8 2. \n\n\n8 2. \n\n\n. 6 2 \n\n\n. 6 2 \n\n\n. 6 2. \n\n\n. 9 2 \n\n\n9 2. \n\n\n9 2. \n\n\n. 9 2 \n\n\n. 9 2. \n\n\n9 2. \n\n\n.11 2 \n\n\n11 2 \n\n\n. 11 2. \n\n\n. 9 2 \n\n\n 9 2 \n\n\n. 9 2. \n\n\n. 7 2- \n\n\n. 7 2. \n\n\n7 2. \n\n\n\n11 \n11 \n11 \n11 \n\n8 \n6 \n9 \n9 \n11 \n9 \n7 \n\n\n\nThe very pith and essence of these numeral series I find in the relation to the cardinal points. \nThis relation is, in the first place, revealed in the distinction between the main groups in the middle \nand the smaller uniform groups distributed to the four comers, and then also in the numerals \nthemselves. For seven is Middle, East, North, West, South, Below, Above. Nine is Middle, twice \nEast, twice North, twice West, twice South. Eleven is Middle, twice East, twice North, twice West, \ntwice South, Below, Above. Similarly the sixes may be taken as East, North, West, South, Below, \nAbove ; the eights as twice East, twice North, twice West, twice South. \n\nOne is tempted to ascribe a real significance to the sums on the first two sheets. Here we \nare concerned with nocturnal protecting deities, perhaps even with the tutelar deities of nightly \npractices, witchcraft, and the like. In that case we must think before all of the night orb, the \nMoon, and next to it, perhaps, of the Evening Star. Now ten sjniodic months actually give the \nsum 295, that is, two days less than 3 x (9-11). And twelve synodic months make 354 days, ix. \nthirteen days more than 10 \u2022 11 + 11 \u2022 11 + 10 \u2022 11. The number 9 \u2022 8, which is given on Sheet 25 \nbeside the Moon Goddess, would, multiplied by three, give 216, that is, ten days more than seven \nsynodic months. Lastly, the 7-7 of the last sheet multiplied thrice would give 147, which is \nalmost exactly five sjniodic months. A second and more probable explanation, applicable to the \nsecond of the groups here mentioned: 10 \u2022 11 + 11 \u2022 11 + 10\u00ab 11, 1 shall adduce further on when \ndiscussing the parallel series of our manuscript. Another relation may be presented on Sheet 29, \nthe sheet with the red Tezcatlipocay who, as we have seen, here represents the Sun God. The number \n11-11 which we meet on this sheet, taken three times, would give the sum 363, which again \napproximates to the length of the solar year. ^ \n\nBut even supposing such a relation really to exist with one or other of these numerals, still \nthe whole of the numerical groups seem to me a mere jugglery with numbers which, according to \none or another conception, are brought into connection with the cardinal points. Eleven is dominant \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 59 \n\nin the fifth region with the Fire God and his associate, the two-coloured Tezcatlipoca, who is \nindicated by the hieroglyph of the name of the Morning Star. It denotes, perhaps, the expanse \nabove the nine lower heavens, the celestial region. In the South, with the Rain God, stands the \nnumber seven. The eleven in the corners I hold to be merely miswritten. Seven is the number of \nthe Maize Goddess,^ who is called the Chicome couatl, * 7 Snake,* or tiho Chicomolotl, ' 7 Maize Ears.'* \nHence, in general, seven was considered a lucky number, ensuring abundance of food supplies. \nOn the following two sheets with the Ladies of the West we find even numbers, the eights and \nsixes ; and we shall see below that eight is also the dominant number in the series of our Fej^rvdry \nCodex corresponding to these sheets of Codex Bologna. It is not clear to me what special kind of \nprevailing relation this may imply. But it is a fact that the even numerals are also taken into \nconsideration in the cult of the Earth Goddess in the capital Mexico, as described to us in the \nworks of Sahagun. On the broom feast Ochpaniztli, the feast of the Earth Goddess, the neTaatlaxo, \na dance executed by a to-and-fro motion of the hands, lasts eight days, and four days are devoted \nto the gonecali, the war game of the women, and immediately afterwards the effigy of the goddess \nis immolated in the night. \n\nOn the seventh and eighth sheets of Codex Bologna, showing the region of the North, nine is \ndominant. For nine is the number of the underworld,^ and nine is also the number propitious to the \nmagicians.* The realm of the dead was assigned to the North. The number 11 \u2022 11 on the following or \nninth sheet, where the Tlatlauhqui TezcaUipoca stands as representative of the Sun God, has perhaps \nthe above-indicated special relation to the solar year. After all, the Sun God belongs also, in other \nrespects, to the celestial region, and this may be the reason why the eleven has here been placed. \nThe number nine again appears on the tenth sheet, which belongs to the Stone Knife God, who is \nhere, as in other places, represented by the Yayauhqui TezcaUipoca. For this god denotes ' Death,' \nand is the wizard in a pre-eminent sense. And if the number seven is again introduced on the eleventh \nsheet with the two-coloured (Chictlapanqui) TezcaUipoca, the reason may be that this god again \nindicates the fifth region, while the deity personating the Fire God is here thought of as the Lord of \nfood supplies (Ton,acatecuUi\\ that is, as Maize God. \n\nIncidentally, I may further remark that the grouping of the numerals, which I have above \nadduced from Codex Bologna, seems also to explain certain puzzling ritual numbers. Motolinia tells \nus that at the great feast celebrated by the Tlaxcaltecs in the spring in honour of their god CamaxUi, \nthe priests began a rigorous fast 160 days before. After sacrifices were offered to the Rain Gods on \nMount MaUaUueye, and the required number of obsidian knives struck off by experts in this handi- \ncraft amid fasting and strict ceremonial observances, and a large number of little sticks the thickness \nof a finger cut to the proper size, the priests pierced their tongues and passed a prescribed number \nof the sticks through the hole, all amid h3rmns and songs to the gods. Of such sticks the high-priest \ndrew no less than 405 through his pierced tongue. And after solemn offerings were made to the \n' Son of the Sun,' at the feast proper other captives to the number of 405 were likewise immolated \nin Ocotelolco, capital of the confederate clans. This number 405 cannot be brought into agreement \n\n\n\n^ Sahagun iv. chap. xiii. \n\n2 Verofifentlichungen aus dem KonigL Museum ftir Volkerkunde, vol. vi. (Berlin, 1900), pp. 109, 112, 113. \n\n3 Tonalamatl of the Aubin collection, p. 19. \n* Sahagun iv. chap. xxxi. \n\n\n\n60 The Night Side of the Manuscript. \n\nwith the usual sacred numbers composed with the ciphers four or twenty, or represented by a five, \nnor yet with the calendric numbers. But it is readily decomposed into 5x9-9, that is, nine times \nnine, the group which is introduced with the gods of the North and with the Stone Knife God \nof Codex Bologna, the number of the nine lords, of the gods of the five quarters, potentially repeated \nin each of the five quarters. \n\nAfter this digression, if we now return to Sheets 5-14 of our Fej^rvdry manuscript, a cursory \nsurvey alone will at once suffice to show that in these sheets we have to recognise a parallel to Codex \nBologna 21-31. It is not merely that on them we find depicted in a similar way the figures of gods, \nand series of numerals inscribed in the Maya manner, but the first sheet begins exactly with that \nremarkable column of day- or rather night-signs which is shown on Sheet 21 of Codex Bologna \u2014 Spider, \nScorpion, Winged Insect, Snake in the Hole, Jaguar in the Mountain Cave (cf. Fig. 40 above, p. 55). \nOnly here the spider is pictured almost like the winged insect, merely in a white instead of a black \ncolour. The jaguar in the mountain cave is shut out of the series, and shown behind the god \ndepicted on Sheet 5, while in the series are further given as accessory figures a prickly plant (tziuactli) \nand a cactus {nopcdli). But still the series of representations, as shown on Sheets 5-14 of our \nmanuscript, again deviates very markedly from the parallel series of Codex Bologna in that it con- \ntains, not eleven, but ten members, and that the chief figures of the groups, the deities, are mostly \ndifferent, so that beside them are also shown different dates as the hieroglyphs of their names. Other \ndiscrepancies are the tzitzimiU pictures, spider, scorpion, winged insects, and so on, which occur on the \nfirst sheet alone, the absence of the other remarkable objects at Figs. 44, 45, 49, as well as of the day- \nsigns at Figs. 46-48, and lastly the numerical groups themselves, which also differ, although the \nprinciple of their formation is undoubtedly the same. \n\nNevertheless, in these representations also we shall be able to assume the same fundamental \nthought in the arrangement which has distinctly resulted from the investigation of the parallel series \nof Codex Bologna. In other words, we shall be able to assume that here also the representations corre- \nspond in pairs to the five quarters, these pairs of guardians of the quarters being already shown to be \nthought of as lords of the night hours, and that in a special way on the sheets of our manuscript by \nthe large piles of burning wood with the rubber ball on top. It will, however, further appear that \nthe sequence in which the quarters and the guardians of the night are here displayed is reversed, \nthat the sequence is not Middle, East, North, West, South, but Middle (above and below), South, West, \nNorth, East. I now enter on the discussion of the several groups. \n\nThe first pair on Sheets 5 and 6 must correspond to the middle or the below-above direction. On \nthe first sheet b seen, on a seat covered with a jaguar-skin {ocelocopaUi), a god somewhat of the \nappearance of the Sun or else of the Fire God, with red body and decked with the Sun God's jewelled \nfillet with the conventional bird's head on the frontal side, but showing about his mouth the sign' of \na bone, which contrasts by its yellow colour with the rest of the face, painted red. In one hand he \nholds a bone dagger, in the other a cord and a sacrificial stone knife fixed in a handle. Beside him \nis shown the day Ce miquiztli, * 1 Death,' as the hieroglyph of his name. \n\nMiquiztli, * Death,' is the sixth in the series of day-signs, and at the same time also the beginning \nof the sixth week of the TonalamatL As its patron or its symbol is seen in the picture-writings, not \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 61 \n\nthe Death God, but the Moon God.^ But, according to Sahagun,* Miquiztli was the sign of \nTezcatlipoca, and was worshipped with much awe by the kings and the rich, the magnates of \nthe world, because this was the god who was supposed capriciously to humble the great and raise \nthe poor and the slaves from the dust. Hence on this day the slaves were allowed full freedom, were \nfeasted and honoured as ' the beloved sons of Tezcatlipoca/ And children bom on this day received \nthe names of Miquiz or Yaotl, * warrior,' Ce yaotl, * 1 warrior/ Necoc yaotl, ' on both sides foe,' \nChico yax)tl, * on one side foe ' (or * the two-coloured Taotl ' ?), YaoTnauitl, ' the dreaded warrior,' names \nall of which were thought of as names of Tezcatlipoca, As sign of the Moon and sign of TezcaUipocay \nCe TYiiqvAztli was naturally al^o a sign favourable to magicians, seems indeed to have been their chief \nsign, and is as such unanimously explained by all interpreters. And of those bom on this day, says \nSahagun,* nobody could hate or wish them dead, that is, nobody could bewitch them. We have \naccordingly the option of taking this god figured on Sheet 5 of our manuscript either as the Moon \nOod or Tezcatlipoca. Certainly no characteristic marks are present which should compel us to \npronounce for one or the other ; yet the relation to one of the two is presumably beyond question. \nPossibly we have to conceive this god in the narrower sense as Ood of the Wizards, and we accordingly \nsee him here figured in this peculiar manner, with the picture of a bone about his mouth. And \nperhaps we have especially to think of Tezcatlipoca as the god of whom it is said that, nouiyan \nineraiya Tnictlan tlcUtiopac ilhuicaCy * he dwells (or roams) everywhere in the underworld, on the earth, \nin heaven.* Hence this is the god whom we recognise in this place, which after all is intended to \nexhibit the guardian of the fifth quarter of the Below and Above.' \n\nOn Sheet 6 follows an old white-haired god painted a yellow colour, depicted thin and with \nwrinkly skin, his face looking out of the open throat of a bird, which has a feather crest \ncurling up and a variegated rosette on its beak. Like the foregoing god, he is seated on a \njaguar-skin stool, below which, however, is here spread a mat, obviously a mark of the higher \nrank of the personage seated above.^ In one hand he holds a bone dagger, in the other a \nstaflf tied round with a white-fringed cloth. As hieroglyph is shown beside him the day Ce \neecatl, '1 Wind.' The day-signs which are further to be seen on the left side of the upper \nborder \u2014 olin, 'Rolling Motion,' tecpatl, 'Flint' \u2014 are presumably to be supplemented by ciphers, \nto denote other dates to be also taken as expressions of the nature or of the name of the figure \nhere depicted. Facing the god is a turkey with bowed head. In the picture-writings the turkey \nappears as a symbol of the eighteenth day-sign tecpatl, ' Stone Knife,' and as patron of the seven- \nteenth week. There he is called chaZchivJitotolin, 'Jewel Fowl,' and interpreted as an image of \nTezcatlipoca, Beside him are pictured the nocturnal mortifications, the blood-letting, and it seems \nthat he was intended to symbolise the trickling blood. Here the bird further wears on his \nbreast a white-spotted disk, which presumably denotes copaL See the pictures of copal which \nI have brought together in Fig. 50. In any case, on Sheet 26 (Kingsborough's notation of Codex \nLaud) the turkey, somewhat as on our sheet, is combined with spur and copal (cf. Fig. 50a). \nWith copal and incense I also connect the yellow cuitlatl']ik.Q objects which are further to be \n\n\n\n^ TonalamcUl of the Aubm collection, p. 58. \n\n^ Book IV. chap. iz. \n\n' Sahagun i. chap. iii. \n\n* Amongst the Maya peoples ah -pop, the * Lord of the Mat,' is the proper word for * king.' \n\n\n\n62 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\nseen on the upper border of the picture. Similarly, the jaguar's claw shown by their side is \nalso to be regarded as an incense-pouch.^ Lastly, behind the god, and also forming a series \nat the lower border of the picture, are further seen downy feather balls and white feathers, of \nwhich, for reasons presently to be advanced, we may say that they are probably intended to \nrepresent heron feathers. \n\nThe sign eecatl, 'Wind,' should properly denote the Wind God, QuetzalcouatL In Codex \nBologna we met it as the hieroglyph of the name of the white TezcaUipocay who there personates \nthe Maize Go^ In Sahagun Ce eecatl is mentioned as a sign of the magicians,^ chiefly perhaps \nbecause the day Chicunaui itzcuintliy '9 Dog,' belongs to the thirteen-group, beginning with \n' 1 Wind,' this day being one of the chief days of the magicians. In a later section of this \nbook, the fifth, on the other side of the manuscript, we shall have to speak of an old god, \nwho, like the god of our Fej6rvAry Sheet 6, is pictured in Codex Borgia with white hair and \nbeard, but consisting of heron feathers (cf. below, Figs. 169, 170). He also holds in his hand \n\n\n\na \n\n\n\n\n^^^m^ \n\n\n\n:\u2022.;:\u2022\u2022.. v///////<r I \n\n\n\nVjiiiio'^L \n\n\n\n\n\n\n\n\nFig. 50a. * canastillo de copale bianco refinado.' Codex Mendoza 38, si. \n\n50&. * pellas de copale para refinar, ennieltas las pellas en hojas de palmas.' Codex Mendoza 38, 85 ; 39, 88. \n50c. Codex Laud 25, 26 (Kingsborough Notation). \n60d. Codex Fej^rvdry 20 ( = Kingsborough 25). \n60\u00ab. Codex Laud 26 (Kingsborough Notation). \n\n\n\n>\u00bb \n\n\n\nj> \n\n\n\n\u00bbj \n\n\n\na staff, but one bent in the form of a heron's head and neck; and we shall have to identify \nhim with the god of Chicomoztoc, with the white cloud-snake Iztac Mixcouatl, the patriarch of \nthe tribes and father of QuetzalcouatL With this god, who is figured as a priest with the \ntobacco calabash (yetecomatl) on his back, or holding in his hand the tobacco or incense-pouch \nmade of the skin of a jaguar's foot, we shall doubtless have to class the god of our Sheet 6, \ndistinguished by the name Ce eecatl. For this god also has the white hair made of feathers \nand the white beard. The staff tied round with white-fringed cloth is certainly a homologue \nof the white heron staff. And with this god also we see the incense-pouch made of the skin \nof a jaguar's foot, the copal, and the white heron feathers. This Iztac Mixcouatl is identified on \nthe one hand with CitlaUatonaCy God of the Starry Sky, of the Milky Way, of the Zenith. But \non the other there can scarcely be a doubt that we have to class him with the old God of \nProcreation, Tonacatecutliy lord of food supplies, who again, in a sense, coincides with the old \ngod Ueueteotl, the Fire God, but is also in a sense regarded as the Maize God, maize being \n\n\n\n^ ToneUamaU of the Aubin collection, p. 66. \nof side B of the manuscript. \n^ Book IV. chap. xxxi. \n' TonalamcUl of the Aubin collection, p. 116. \n\n\n\nCf. also what I state below, pp. 159-161, with the old god at section v. \n\n\n\nA Changed List of Gimrdiana of the Five Regions of the World. 63 \n\nin fact the chief alimeDtary substance. This god has his abode in the uppermost thirteenth \nheaven. Hence he represents the upper region less doubtfully than any of the other mythical \nbeings. And, as will be seen further on, the numerical groups also make it evident that here, \nin the god denoted as Ce eccatl, ' 1 Wind,' it was intended to represent the deity of the \nthirteenth heaven. \n\nOn the following two sheets, 7 and 8, of our manuscript, which, on my hypothesis, must \ncorrespond to the South, the chief figures are a god and a goddess. On the first sheet we see a \ngod on a jaguar-skin seat, below which is ^ain spread a mat, the mark of royal state. He is \npainted yellow, but on body and limbs further decorated with jewelled disks, wears the jewelled \nfillet of the Sun God with the conventional bird's head on the frontal side, and is enclosed before \n\n\n\nV \n\n\n\nFig. r.2. XochipiUi. \nSymhol uf the Xochiiktiill, \nthe Feast kept on the Day thicomx xoAill, ' 7 Flower.' \nFig. 61. XochipUli. (Pictorinl Codex of the Florentine \n\nCodex Laud 16 (KiDgsborough Notation). Biblioteca Nazionale.) \n\nand behind by two flowers. As his hieroglyph, beside him stands the day Ce xochitl, ' 1 Flower,' \nand also further on the dates Ce cipactli, '1 Crocodile,' and Ckicunaui eecatl, '9 Wind.' Facing \nhim, seated on another mat, is an old goddess in white attire, and beside her, as her hieroglyph, \nstands the day Ce qv.iau.itl, ' 1 Bain.' Between the two, on the mat occupied by the goddess, is \nseen the burnt-offering. This, however, is here erected on a seat covered by a j^uar-skin, and \nis not a simple bundle of wood, but looks like a very lai^e flower bound up with bark paper \nand surmounted with the usual rubber ball. This god is sumptuously, regally equipped, deco- \nrated on his body with jewels, enclosed by flowers, distinguished hieroglyphically by the sign \n' 1 Flower,' and also faced by the burnt-offering built up m the shape of a flower. Hence he can \nnaturally be no other than the god whom in Codex Laud. Sheet 16 (Kingsborough notation), we like- \nwise saw seated under a flowering tree on a rug, but one made of jaguar-skin (Fig. 51). He was the \ngod whom the Mexicans honoured on the day chicome xochitl, ' 7 Flower,\" and on the day Ce xochitl, \n' 1 Flower,' the xochilhuitl, the ' Flower Feast,' and whom they represented in the disguise of a bird \n\n\n\n64 The Night Side of the Maouscript. \n\nwith variegated plum^e and comb-shaped feather crest (Fig. 52), and holding a rod with a heart \n{yoUo-topilli) in his hand. With him they associated all things floral, or pertaining to the decorative \naide of life \u2014 colour and art, music and dance, superabundance of food supplies, wealth, kingly state, \ngaiety, pleasure, sport, wantonness, and indulgence in sexual excesses, venereal diseases, and the like. \nHence also on the Uei teev/Uhuiil, the ' Feast of the Great Lords,' the eighth of the eighteen \nannual feasts, he was carried about on a Utter decorated with flowers and maize (Fig. 53), as \nXockipiUi, ' Flower Prince,' or Tlofopilli, ' Noble Prince.' ' \n\nOn Sheet 8 of our manuscript with this god is associated as his consort a goddess who, like \nsome others following on the next sheets, is decorated with white enagua ornamented with a jewelled \n\n\n\nFig. 53. XoehipUli. \nPicture of the Eighth Annual Feast J7\u00abt UcuUkuUl. (Pictorial Codex of the Florentine Biblloteca Nazionale.) \n\ndisk, a white tippet-like quechquem/itl, and a frontal band painted the colour of the chalchiv/iii jewel, \nending on both sides with a jewelled rosette. But, as a special distinction, she shows a chain of \ngems which hangs down from the rosette attached to the loins, the so-called euiUatezcatl, the ' back \nmirror.' To all this is added a feather headdress, which terminates in two long bands with tassels. \nThis style of ornament points to the goddess Xockiquetzal, the Goddess of Flowers, patroness of \nfemale artistic work, tutelar goddess of the twentieth day-sign {xochitl, ' Flower'), and of the nine- \nteenth week. In the Calendars she is usually represented with two feather bunches on her head, \nand often with a cipactli's jaws as helmet-mask (Fig. 54). It is noteworthy that before the mouth \nof this goddess, and with her alone in the whole series of Sheets 5-14, is shown the little tongue, \n\n' MS. Biblioteca Nazionile, Florence, f. 3S. \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 65 \n\nsymbol of discourse, and that to this little toi^e is superadded a lai^e, decorated tongue, formed \nas if of breath and feathers. We must look upon this, as well as the lai^e ornamental tongue before \nthe mouth of the musiciaos on Sheet 4 of Codex Borbooicus (Fig. 55), and the similar one in the \nhieroglyph of the city of CwicaUan (Fig. 66), as symbols of soi^, and assume that here Xockiqvstzal \nis thought of as goddess of song, as patroness of musicians and dancers. In point of fact, a dancer \n(masked dancer ?) is seen with the picture of this goddess figured on Sheet 62 of Codex Borgia \n( = Eii^borough 53), where she is the symbol of the nineteenth week of the Tonalamatl. \n\nAt the side of this goddess on Sheet 8 of our manuscript is shown the day Ce atl, ' 1 Water,* \nas hien^lyph of her name, and further, the two dates Ce cuetzpaZin, ' I Lizard,' and Ge cipactli, \n' 1 Crocodile.' The latter date, which is also shown as a second date with the male god. on the adjoin- \nii^ Sheet 7, is the hieroglyph of the heavenly couple, Tonacatecutli, Tonacaoiwiii, ' the Lord and \n\n\n\nPig. 56, cutcotl, 'Song.' \nCodex Borbonicua 4. \n\n\n\n\nFig. 54. Xochiqiutial. Fig. 66. Hieroglyph of Cvicallan. \n\nCodex Borgia (=Kii]gsbon)ugh 03). Codex Mendoza 45. 11. \n\nLady of food supplies,' the two gods of procreation, and we know that by the interpreters TcmacacivAiU \nis universally identified with Xockiqiietzal, or plainly depicted as Xochiquetzal. Ce cttetzpalin, \n' 1 Lizard,' is the fourth of the twenty day-signs, the sign of Ueiiecoyotl, the old Coyote, who is \nthe god of music and feastings, and in Codex Borbonicus is pictured swinging the rattle and facing \na musician. This also,' as we have seen, accords with the character of our goddess. Lastly, the \nfirst date, Ce atl, ' 1 Water,' is the symbol of war, as will be more fully explained in another \nplace farther on. Here it seems to be introduced because Xochigtietzal is the associate of the \nwarriors, the patroness of the maqui, the ' entremetidas,' of those joining the ranks, that is, of \nthe courtesans who accompanied the bachelor warriors to the field,' and were their companions \nin the telpochcaUi (young warriors' house). \n\nIn Codex Bor^a, and the correspondii^ part of Vatican B, with XockiqTietzal, Lady of the \n\n' Torqnemada, Uonarqnia indjaiia, x. chap. xxxt. Of. T(niatamiUt of the Aabin coll\u00abction, p. 119. \n\n\n\n66 The Night Side of the Manuscript. \n\ntwentieth day-sign, is figured the old goddess, Tonacatecutli's associate, as the first woman busy at \nthe grinding-stone. Here in our manuscript we see the same old goddess, shown, not indeed with \nXochiqvstzal herself, but with her associate, the XochipiUi of Sheet 7 ; she is distinguished by the \ndate Ce quiauitly ' 1 Rain,' the eighteenth sign, which is properly the sign of the goddess ChanticOy \nwho, however, is undoubtedly nearly related to Xochiquetzal. \n\nThe burnt-oflfering, which is pictured with the goddess of Sheet 8, has a peculiar appearance. \nIt seems to consist entirely of liquid caoutchouc, or some other inflammable, resinous substance, and \na jug of water is pouring out over the rubber ball, which here also, as on the other sheets, is shown \non top of the pile of wood. It is not quite clear to me what kind of special relation is meant to be \nexpressed by this motive. Nor do I quite understand the meaning of all the objects which are \nfurther to be seen under the groups of numerals on both Sheets 7 and 8. Some seem intended to \nrepresent flowers, others feathers. \n\nThus here on both of these sheets, which on my assumption must correspond with the southern \ncardinal point, we find depicted the god XochipiUi^ god of flowers and revelry, together with the \ngoddess Xochiquetzal, who is of a kindred nature. This is a deviation in contrast with the parallel \nseries of Codex Bologna, but is otherwise intelligible, because for the Mexicans the South was the \nTierra Caliente, the land of flowers \u2014 xiUaminacan huitztlan hmtznahuaUalpan amilpan Q^ochitlalpan, \n' ye shall shoot in the South, in the land of the watered fields ' \u2014 as we read at the beginning of the \nfragment which has been preserved by the Anales de Quauhtitlan. And, again, in a later passage, \naTnilpampa xochitlolpan^ * Land of the watered fields, land of the flowers,' occurs alone to indicate \nthe cardinal point of the South. \n\nWe cannot identify quite so confidently the deities who are pictured on both of the following \nsheets of our manuscript, which on my assumption must correspond to the West. On Sheet 9 is \nagain seen a god with the general aspect of the Sun God or of the Maize God, with body and face \npainted yellow, and holding the bone knife in his hand. On his head the god wears a peculiar \nattribute \u2014 a figure painted half red, half white \u2014 which, however, I am unable to explain. As the \nhieroglyph of his name, beside him is shown the day Chicome colli, ' 7 House,' and with it the addi- \ntional dates, Matlactli omei xochitl, ' 13 Flower,' and Chicvmaui eecatl, ' 9 Wind.' The burnt-offering \nhas the form of an ordinary bundle of firewood, with the rubber ball on top. As determining and \nchief date is doubtless to be taken the day Chicome colli, ' 7 House,' which stands immediately beside \nthe figure, and this is the seventh day of the thirteenth week of the ToTialamatl, whose tutelar deity \nis the old Earth Goddess Tla^lteotL Hence one might conjecture that the god figured on this sheet \nis intended for the male counterpart of Tla^olteotl, the CinteoU mentioned in the description of the \nMexican Ochpaniztli feast, the son of Teteo innan or TUigolteotl Although I cannot reject this \nconjecture, I still think that for the explanation of this figure in this place something else comes \nalso into consideration, and this is supplied by the day Chicome colli, * 7 House.' As Sahagun tells \nus in his ninth book, this day, like the corresponding day Ce colli, ' 1 House,' was regarded by the \ntraders as the propitious day for the homeword jov/mey. When the traders returned from their \nexpeditions they entered their house, not by day, but by night And for this they waited for a \nfavourable omen. Such was considered one of the two specified dsi,yB \u2014 quihtouoyo co ye ic cencoloqni \nin icococouh in tloqne nouaque in tlolticpaque iyoualli in ehecotl \u2014 ' they said that along with it \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 67 \n\ninto the house went the gift of the god, the Lord of the Earth who is Night and Wind/ ' decian que \n. las cosas que traian entraban en casa de tal manera que alii habian de perseverar por ser cosas de \nDios.' ^ Obviously, in the idea of returning on the day-sign ' 1 ' or * 7 House,' the chief part was \nplayed by the notion of the house as something closed, secured. And the return was made by night \nbecause the merchandise was brought secretly into the house, and because ' night * and ' house ' were \nequivalent concepts, as is clearly expressed in the name of the third day-sign.^ Thus here also is \npictured the god distinguished by the name Chicome colli, since this very sheet, like the following, \nrepresents the region of the West, the dark House of the Earth, into which the Sun enters in the \nevening. \n\nWhat is thus yielded by the analysis of the day figured with the god on Sheet 9 seems to be \nlikewise confirmed with the goddess of the following (tenth) sheet. The outward aspect of this \ngoddess is somewhat similar to that of the Xochiquetzal of Sheet 8 ; only the head-dress lacks the \ntwo long bands ending in tassels. From the disk attached to the loins hangs down a band of simple \ndesign. And we also miss the decorated tongue before her mouth, which, as we have seen, symbolises \nwith Xochiquetzal, the song, music, and dance, whose patroness she is. As hieroglyph of her name, \nwith this goddess of the tenth sheet is shown the day yei cuetzpalin, * 3 Lizard.' This is the third \nday of the eighteenth week of the Tonalamatl, whose patroness is the goddess Chantico, the Goddess \nof Fire, the goddess of Xochimilco. We should perhaps assume that this goddess is here intended \nto be represented. For it seems that three, the number of the hearthstone {tenamaztli '), must also \n.have been contained in the names of the days which served as the days of the Fire God, as the \nhieroglyph of his name. Thus in Codex Telleriano Remensis Yei itzcuintli, the third day of the \ntwentieth week, whose patron is the Fire God, is expressly mentioned as the feast or the name of this \ngod. And so Yei cuetzpalin, ' 3 Lizard,' the third day of the week beginning with ce eecatl, * 1 Wind,' \nwhose patroness is Chantico, Goddess of Fire, must similarly be the feast and the name of this \ngoddess. . If this be so, the picture of this goddess finds its appropriate place here on these sheets, \nwhich are meant to symbolise the West. For Chantico is, in fact, called ' in the House.' And, as \nreported by Duran, her idol was kept shut up in the TliUan, the ' Place of Blackness,' an imlit, \ndark house. \n\nIn conclusion, this ' shut up in the house ' was, in point of fact, also symbblised in Codex Bologna \nwith the two goddesses who are there represented in the West ; for TUxfolteotl is the ' Heart of the \nEarth,' * the dark interior of the Earth,' while the Moon is the ' Hidden in the Shell,' and is likened \nto the snail, because he does not shine with full brightness like the sun, or because he has his \nphases, and only at the time of full moon emerges entirely out of his shell. Hence we saw the snail \npictured in Codex Bologna on both sheets of the West as the initial of one series of day-signs. \nBut if ' shut up in the house,' ' hidden in the house,' is really the concept intended to be expressed \nby the figure of the deities pictured on Sheets 9 and 10 of our manuscript, then we may also perhaps \nunderstand the smaller objects which are further depicted on these sheets below, or else beside the \n\n\n\n^ Sahagun ix. chap. vi. \n\n3 Tonalamatl of the Aubin collection, p. 10. \n\n3 Cf. tenamaztin * piedras sobre que ponen la olla al fuego ' und ' tres criaturas nacidas juntas de un vientre ' (Diccionario de \nMolina)\u2014 ^ tmac in XiuhtetUli in HuehueteoU xiquiUalican inpicucque eyntin MixcocUl Tozpan Ihuitl in totoca in Unama/zlli quitemo \n\u2014 * put it in the hand of the Fire God, of the old God, that it be kept by the three, MixcocUl, Tozpan, luiU they are called, \nthey who sought the hearthstone ' (Anales de Quauhtitlan). \n\n\n\n68 The Night Side of the Manuscript. \n\ngroups of numerals. These evidently represent a little bag which is tied up, and to which is attached, \nas a determinant, a blue disk, a jewelled disk. Obviously this can scarcely mean anything else but \nvaluables carefully looked after \u2014 a bag of jewels. \n\nNow the next two sheets of our manuscript must be meant to place before the observer the \nNorth and its divinities. Here we see in reversed order a female deity on the first sheet, a male on \nthe second, the first being in her coloration, design, and equipment somewhat similar to the two \npreviously described goddesses, Xochiquetzal and Chantico, But her enagua and her quechquemitl \nare red. And on her cheek is seen, as a distinctive mark, a small rectangular field painted in two \nColours, red and white. This mark, which indicates a maize-field, or the facial painting of the \nMaize God, is shown on the clay effigies of the god of Teotitlan del Camino,^ in Codex Borgia \nwith the pictures of this same god, who is to be identified as XochipUli, and also with Tonacatecutli \nand with the Maize God, in Codex Bologna exclusively on the face of the latter. For all three \nspecified deities are in a sense Maize Gods, and are plainly indicated as Cinteotl. Hence we must \nalso accordingly infer that this goddess of Sheet 11 of our manuscript is just intended to personate \nthe Maize Qoddess, And indeed with this view the red robe is in accord ; for red is the characteristic \ncolour of the Maize Goddess. With red features and red garb she is everywhere depicted in the \nMexican pictorial writings proper, and traces of a red pigment can almost always be detected on \nthe stone images representing this goddess. \n\nWith her is shown, as hieroglyph of her name, the day Ce olin, ' 1 Rolling Motion.' This is the \nthirteenth of the twenty day-signs, and has decidedly nothing to do with the Maize Groddess. \nI believe that this sign has here been placed with reference to the neighbouring figure, the god of \nthe following Sheet 12. For this is the same half-blue, half-red god whom we have already come \nacross in Codex Bologna 24 (cf. above, p. 61), where beside him stands this very sign Ce olin, and \nwhom I therefore considered we should identify as Xolotl, god of the game of ball, god of twins and \nmonstrosities, twin brother of QuetzalcouatL Here on Sheet 12 of our manuscript he is still more \nclearly distinguished as QuetzalcovxiiVa twin brother, consequently as Xolotl, by QaetzaUouatCa half- \nblue, half-red, wedge-shaped cap, the Huaxtec copilli, and by QuetzalcovMVs implements of mortifica- \ntion, the bone dagger and the agave-leaf spike inserted beside it. In other respects he too wears the \njewelled fillet with the conventional bird's head on his brow, like most of the remaining male deities \nof this series. With him is shown, as hieroglyph of his name, not the day Ce olin itself, but the day \nChicvmaui cotuitl, * 9 Snake,' the ninth day of the thirteen-group beginning the sign Ce olin, that is, \nthe most powerful magic day of this week. For the days composed with 'nine' are in truth all \nfavourable to the magicians, as we are told by Sahagun. Beside it are further seen the days Chicome \ncuetzpalin, ' 7 Lizard,' Chicome eecatl, ' 7 Wind,' and Chicvmaui acatl, ' 9 Reed.' The first is perhaps \na parallel with Ce cuetzpalin, ' 1 Lizard,' the feast-day of the god UeuecoyotL Chicome eecatl is the \nseventh day of the sixteenth week beginning with Ce cozcaquauhtli, * 1 King Vulture,' this week \nstanding like the seventeenth day-sign, under the protection of XoloU, and being represented by \nhim.* Chicunaui acatl I have already above mentioned as the day of the goddess Tlafolteotl. \n\n\n\n^ Cf. Seler, Wandmalereien von Mltla. Berlin, 1895. Plate xiii. \n^ TonalamcUl of the Aubin collection, pp. 108-112, \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 69 \n\nWhere Xolotl is introduced in the Tonalamatl as patron of the sixteenth week, beside him is \nfigured the Tlalchi tonatiuh, the ' Noar-the-earth Sun,' the sun entering the chasm of the earth. \nPerhaps to this has reference the earth's throat which we see here figured just below the burnt- \noffering of his female associate pictured on Sheet 11, and that beside it is repeated the tied-up bf^ \nwith the determinant ' Jewel ' which we met on the two previous sheets as the expression of the \nconcepts which were to be explained by the western quarter, the dark house of the earth. But \npossibly also, and this is even more probable, the jaws of earth stand here, as in the right section of \nSheet 1, to iadicate the interior of the earth, the realm of the dead, the North, \n\nOn Sheet 12 of our manuscript, beside Xolotl himself, are further to be seen a turquoise disk on a \ncarved wooden stool under a kind of lid of the same material, a large chalchiuitl and a string of jewels. \nThis is perhaps meant to indicate the costly objects which constituted the stakes and the winnings at \n\n\n\nFig. 57. The Bed and the Black TactUlipoca in the Tennis Court. \nCodex Borgia 21 ( = Eiugsborough 18). \n\nthe game of which this god was patron. With the bumt-offerii^ pictured close by, the rubber ball is \nnot surmounted, as with the other figures, by a quetzal feather, but by a green bail, a jewel balL \nPossibly this also has reference to the game of ball which, as I have shown in the description of the \ncorresponding section of the Tonalamatl, constituted the special function of this deity. \n\nThe Maize Goddess we also found assigned to the North in the series of the nine lords. But \nin the parallel series of C3odex Borgia Xolotl stands in directly reversed order beside the Bain \nGod in the southern quarter. This striking discrepancy we shall have to exphiin by the fact \nthat Xdoil is precisely the God of the NoHk and the South ^mt as TezcaUipoca is of the tlacoch- \ncatcall and of the uitznauacatl of the warriors m the North temple and in the South temple,' \nFor Xolotl the two-coloured, the 'Double,' must after all have been nothing more, or explained as \nnothing more, than the Tlatlauhqui and Tayauhqui Tezcatlipoca, the red and the black god whom \nwe saw on the beautiful Sheet 21 of Codex Boi^a [ = Kingsborough 18] throwing the rubber ball in \nthe tennis court. \n\n> Ver{lfrentlichDi]g\u00abD aus dem Kgl. Muieum fiir Viilkerkunde, vol. vj. (Berlin, 1899), pp. 128, 129. \n\n\n\n70 The Night Side of the U&nuscript. \n\nOn the last two sheets of this series, 13 and 14 of our maDuscript, which must correspond with \nthe East, we meet a pair of new figures. On Sheet 13 is seen a god with dark (bla^k) complexion, who \nbesides a large white patch on his nose, has a quincunx of five dots on the aide of his face, and arrests \nattention by a fiery yellow wig with three lambent disk-shaped locks above his forehead, ending in \nwhite disks, and a white headband set with small shells. In one hand this god holds a throwing-stick, \nin the other shield and hand-flag. With him, as the hieroglyph of his name, ia shown the day, \nNaui acatl, ' 4 Reed.' Here the burnt-offering stands on a high steep pjTamid, and the rubber or \nresinous ball surmounting it has no quetzal-feather attachment. Three other bundles of firewood, \neach with a rubber ball also without quetzal feathers, are further pictured by its side. \n\n\n\nFig. 66. TlauuealpanUeiitli, Deity of the Planet Veniu. Codex Borgiu 1 9 ( = Kingaborough 20). \n\nThe dark colour of his body and the quincunx of white spots on his face, together with the three \nlambent locks above his forehead enable us to recognise this god as one of the two forms in which \nTHE DEITT OF THE PLANET Venus, Ttauizcalpan teoutli, appears in the pictorial writings. I adduce \nfor comparison {Fig. 58) the picture of this god from the upper half of Sheet 19 of Codex Boi^a \n( = Kingsborough 20), and with it I give in Fig. 59 a drawing of the face of this personi^e, as it must \nhave looked from the front view. We see that with the figure of Sheet 13 of our manuscript the \nquincunx of white dots, which with the figure of Codex Borgia could be clearly seen only in a front \nview, is already shown in the profile, but that the artist has left in its place the white dot on the nose, \nwhich with the Codex Borgia figure occupies a central place in the quincunx. That the figure of \nCodex Borgia (Fig. 58) really denotes the deity of the planet Venus I have already shown in my \nessay on the Venus periods in the pictorial writings of the Codex Borgia group.' I have there pointed \nout that this quincunx of white dots appears to represent the hieroglyph of the planet Venus which \nFcirstemann has discovered in the Maya manuscripts (cf. Figs. 60-62). Where the five consecutive \nVenus periods are represented in the picture-writings,' we see the deity of this star with throwing-stick \n\n\n\n> Verbuidluiigen der Berliaer ADthropologiichen Geselbchafl, 16th J\u00ablj 1S9$ (Zeitach rift fur Ethuologie, vol. xix. pp. 346-383). \n\u00ab CodexBorgia53, 54( = KiiigBborongh62, 61); Vntic\u00bbnui B 80-84 ( = Kingsborough 17-13); Codex Bologna 9-11. \n\n\n\nA Changed List of Giurdiftna of the Five Regions of the World. 71 \n\nand bundle of spears in his hand, or else with the spear poised on the stick in the act of throwing. \nAnd in fact of him also it is said in the Anales de Qiiauhtitlan that : \u2014 auk yn iuk quimatia yn \niquac huaJme^iuh yn tleyn ypan tonalii cecentlamantin ynpan miyotia, qv/inmina qv,intlakuUia \n\u2014 ' and as they (the old people, the forefathers) were informed when he (the star) shines out, according \nto each sign in which he (rises), he strikes various classes of people with his ra3'8, throws his light on \nthem.' Therefore we see the god of Sheet 13 of our manuscript here also figured with the throwing- \nstick in his hand. \n\nFor the same reason, the other form of the planet Venus deity, the one where he is figured \nwith a deep-black, halfmasklike painting edged with Uttle white circles about his eye, represents \nthe God perhaps as the Morning Star. This form is also everywhere identified with the god of the \nhunt and of the hunting tribes, the Mixcouatl and the Tlaxcaltec god Cavnaxtli, since these gods, too. \n\n\n\n\nFig. 60. \n\nHieroglyph of Venus. \n\nDresden Maya \n\nManuscript 46- &0. \n\n\n\n\n\n\nFig. 61. \n\nHieroglyph of Venus, \n\nin Celestial Shields of tlie \n\nDresden Manuscript. \n\n\n\n\nFig. &9. Facial Painting of TlattueaipanUeuUi, \nDeity of the Planet Venos. \n\n\n\nFig. 62. Hieroglyph of Venua. \nCopan. Altar R. \n\n\n\ncombine the same deep-black, halfmasklike punting edged with little white circles round the eye. \nwith white, or else white and red striped body and face painting. Nay more, this identity of the \nMorning Star with the god of the hunt may even still be verified amongst the few tribes who have \npreserved the old heathen traditions. Tabatsi, ' our elder brother,' is the name of the Morning Star \namongst the Cora people. This is the same word as the Huichol word TaToats, which in this tribe, \nwho are akin to the Coras, is current as the name of a god who is undoubtedly the God of the \nMorning Star, although regarded as the patron of the hunt.* \n\nHence the date Naui acatl, ' 4 Reed,' which here on Sheet 13 of our manuscript stands beside \nthe head of the god as the hieroglyph of his name, might also be referred to the Morning Star, as \nthe spear-throwing, the shooting god. For Naui acatl, ' 4 Reed,' may also be understood in the \nsense of ' all kinds of darts,* just as Naui olin, ' 4 Rolling Motion,' stands as symbol of the Sun God \nevidently for ' all kinds of rolling motion,' and Kaai aU, as symbol of the epoch of the deluge, \ncertainly stands for 'nothing but water.' In Xaui acatl, however, yet another relation may be \n\n' Cf. my Report on ' The Hnichol Indiana of the State of Jaliaoo in Mexico ' (Mittheilnngen der Anthropologiachen Gesell- \n\u25a0chaft, Vienna, I90I, part iif.). \n\n\n\n72 The Night Side of the Manuscript. \n\ncontained. From the Annals of Chimalpain we know that this was the day on which the new fire \nwas kindled by the drill.^ But in the myths the pre-eminent fire-driller, fire-twirler, is always \nMixccmatl, who, as I have pointed out, has the colour and the face painting of the Morning Star, and \nanyhow is fundamentally identical with that god. That this relation is here implied, that the god \nof Sheet 13 of our manuscript was intended to be represented as the Fire-twirler, the god of the fire \nfeast, who kindled many and great fires,^ seems to me plainly indicated by the three burnt-offerings, \nthe bundle of firewood surmounted by the rubber ball, which, besides the large burnt-ofi'ering, are \nfurther pictured on the left side of the sheet. \n\nIn the lay to Macuilxochitl, nineteenth of the ' Cantares que decian k honra de los dioses en los \ntemples y fuera dellos,' preserved in the Sahagun manuscript, the fourth strophe runs : \u2014 \nTezcatzonco moyolcan ayyaquetl yya tochi \n\nIn the temple of the Pulque God the Rabbit has come to life \nqui yocuxquia noteuh \nmy God created it \nniquiya Uagaz niquiya maTnaliz \n\nI will bring it down (the fire-drill), I will drill it (the fire) \nmixcoatepetl colhoacan \n\non the mountain of Mixcoatl in Colhuacan. \nThe Commentator explains : \u2014 \n\nTezcatzoTico moyolcan q. n. \u2014 T. m., that is \ntezcatzonco, oyul, in tochtli ynic yaz \u2014 \n\nin the temple of the Pulque God the Rabbit has become alive, so that it goes about \noquiyocvAC, oquipic, y noteuh \u2014 it has made it (that is), \n\nit has created it, my God. \noquito \u2014 he spoke : \nnictlofaz nicmaTnaZiz, in mixcoatepetl colhoacan \n\nI will bring it down, I will drill it on the mountain of Mixcoatl in Colhuacan \nid eat, nictopevaz \u2014 that is to say, \nI will make fire. \nThus in this strophe, and again in greater detail in the following strophe, the fire-drilling, the \nfire-twirling, is brought into association with pulque, the freshly made intoxicating drink, with which \nthe feast is to be solemnised. For tochtli, the rabbit, he is the pulque, or the pulque intoxication \nthe Pulque God. And it is evident enough that with the fire-drill begins the feast, and the feast \n\n\n\n^ 8 aeatl =A,T}. 1487 (the first year of the reign of AuitzoU when the newly built temple was dedicated) : \u2014 auh ytlemamcUque \nyn tlectMhuUl quitlazque, Mexica yn ypan cemilhuitlapokucUli nahui aecUl 'and the Mexicans drilled fire, brought down the \nfirewood on the day 4 Reed'; \u2014 2 acatl=A,J>. 1507: \u2014 ypan in tosciuhmolpili HuixachteccUl yn ycpac hvjttz tUcucUiuitl . . . huel \nicpctc in HuixachtecatepeU Ytztapalapan . . . tlemamalque ypan cemilhuitonaili nahui a^atl * that was the beginning of the new \nperiod. On the HuixachtecaU the firewood came down. On the mountain HxUxachttcaU (by) Ytztapaiapan , . . they drilled \nthe fire on the day 4 Reed.' \n\n^ Cf. Historia de los Mexicanoe por sns pinturas (Garcia Icazbalceta, Nueva Ck>leccion de Documentos para la Historia de \nMexico, Tomo III.) \u2014 '. . . y en el segundo afto despues del diluvio, que era ouMtl [i.e. in the year oTne acatl, <2 Reed'] \nTezcatlipoca dej6 el nombre y se le mud6 en Mixcoatl, . . . y quizo en este afio hacer fiesta k los dioses, y para eso sac6 lumbre \nde los palos que lo acostumbran sacar, y fud el principio de saoar fuego de los pedemales, que son unos palos que tienen \ncora9on y sacado el fuego, fu^ la fiesta hazer muchos y grandes fuegos.' \n\n\n\nA Changed Liat of Guardiajia of the Five Regions of the World. 73 \n\ncan only be kept when the material is there, when a sufficient quantity of the intoxicating drink is \nready, as this alone can bring about the proper frame of mind. \n\nThe same association is here also implied on Sheets 13, 14 of our manuscript. For the Morning \nStar of Sheet 13, who, as we have seen, is the Mixcouatl, hence also the fire-driller, is associated on \nSheet 14 with a god whom I must explain as the Pvlque God ; ' for his face is two-coloured, black \nand white, Uke that of all pulque gods. But he has another Huaztec article of dress, the copiUi, \nQuetzcUcouatl'B two-coloured wedge-shaped cap, exactly like the Pulque God, who is shown on \nSheet 90 of Codex Yaticanus B ( = Kingsborough 7) as representative of the twelfth day-sign \nmalinalli (Fig. 63). And like him also, and Uke the corresponding figures of Codex Borgia 13 \n( = Kingsborough 26) and Vatican B 31 ( = Kingsborough 79), Figs. 64, 65, he wears a fillet, which \nshows as an ornament a human head on the frontal side. The breast ornament also, consisting of \n\n\n\nFig. 63. The Pulque God. Fig. 64. PatetaU, llie Pulque God. \n\nCodes Vaticanus B 90 Codex fior^ 13 \n\n( = Kingsborough 7). ( = Kingsborough 26). ( = \n\na stone knife, is common both to the god of our Fej^rvdry sheet and the Pulque God (Fig. 63) of \nSheet 90 of Codex Vaticanus B. As a speciaUty is here also to be noted with the god of our \nmanuscript, the large tongue consisting of nocturnal darkness, and set with eyes (stars), this tongue \nbeing no doubt intended to symbolise the obscure confused speech, the muddled intellect of the \ntoper. In his hand this god holds bone dagger and agave-leaf spike, the implements of blood-letting, \nof mortification, QuetzalcouaWa set of instruments, but which here \u2014 perhaps \u2014 symbolise the 'sharp' \npulque. As the hieroglyph of his name, with him is shown the day Naui cipactli, ' 4 Crocodile,' \nwhich is the fourth of the tenth thirteen-group (beginning with c.e tecpatl, ' 1 Flint '), the week \nof the Death God. \n\nOn my hypothesis Sheets 13 and 14 of out manuscript are intended to denote the East. This \nwill now be found justified, since on the first of these two sheets the deity of the planet Venus is \nfigured as the chief deity. But that the Pulque God is shown in this quarter may also be allowed \nto pass, when it is known that the Pulque God belongs to the twilight hours, that beside him are \n\n' Ct. TonaJamatl ot the Aubin collection, pp. ST -90. \n\n\n\n74 \n\n\n\nThe Night Side of the Manuscript. \n\n\n\nin most places to be seen the half-sun and the half-night, the gloaming, the symbol of the parting \nof day and night Nor is perhaps the idea to be altogether excluded that the locating of these \ngods on the Atlantic coast, in the Huaxtec country, has also had its influence in introducing them \nhere in the East \n\n\n\nNow I have still to deal with the numeral series which stand below the personages on Sheets \n5-14 of our manuscript As I have already stated, they are written, like those of the parallel series \nof Codex Boigia, in the Maya style, and also composed in a similar way, but not like them every- \nwhere. Moreover, here in the Fejervary are lacking the small groups distributed to the four \ncomers, and uniformly in all four, groups which in Codex Bologna we had to distinguish from the \nchief groups. Subjoined I give a juxtaposition of these numerals, as they are inscribed on our \nsheets : \u2014 \n\n\n\nCodex Fejervary \n\n\n\n\n\n\n\n\nSheet 5 . . . \n\n\n\u2022 \n\n\n10. 11 + 10. \n\n\n11 + 11 . 11 \n\n\n\n\n\n\n1 \n\n\u2022 1 \n\n\n10. 5+10- \n\n\n5+10- 5 \n\n\n1 \n\n\n,, 6 . . . \n\n\n8 . 8+ 8 . \n\n\n8+8-8 \n\n\n=3x(10 13) \n\n\n\n\n1 \n\n\n\n\n8. 6 \n\n\n\u201e 4 ... \n\n\n{ \n\n\n10. 11 + 10. \n\n\n11 + 10. 11 \n+ 11 \n\n\n} \n\n\n.. J< . . . \n\n\n\n\n10. 10+10. \n\n\nlC + 10. 10 \n\n\n\n\n.. 9 . . . \n\n\n\u2022{ \n\n\n9 . 9+ 9 . \n\n[2-8+7+2 \n\n\n8+9-7 \n- 8+7+3 . 8] \n\n\n} = 3x(9-8)+[9-8-2] \n\n\n,. 10 . . . \n\n\n\n\n9 . 8+ 9 . \n\n\n8+9.8 \n\n\n\n\n\u201e 11 \n\n\n\n\n11 . 11 + 11 . \n\n\n11 + 11 . 11 \n\n\n\n\n., 12 . . . \n\n\n\n\n11 . 11 + 11 . \n\n\n11 + 11 - 11 \n\n\n\n\n..13 \n\n\n\n\n9- 7+9. \n\n\n7+97 \n\n\n\n\n\u201e 14 . \n\n\n\n\n9. 7+9. \n\n\n7+9.7 \n\n\n\n\n\nThe numeral group given on Sheets 5-7, beside the magician TezccUlipoca and Xochipilli, is like \nthe one which in the parallel series of Codex Bologna is shown beside the two-coloured Tezcatlipoca, \nwho is indicated by the hieroglyph of the name of the Morning Star, i. j. the date Ce cLcatl, ' 1 Reed.' \nThe group 2x(10.11)+ll'll is remarkable, and it might in fact be conjectured that this sum, which \namounts to 341, has some definite meaning. We shall feel all the more inclined to make this \nassumption, since the 341 stands here with the first god of the series, the Wizard, while the other god \nalso with whom the same number is given is brought into direct connection with witchcraft, if not \nin his own person, still in that of the female figure corresponding to him and associated with him. \nWhat I above advanced as somewhat pertinent, viz. that the 341 might be taken as the number \nof days, less 13. which make up twelve synodic months, is after all not very satisfactory. There \nis perhaps more to say for another hypothesis. In a paper on the planet Venus, which unfortunately \nis not yet published. Father Motolinia holds that for the Indians the Tonalamatl of 260 days signified \nthe time that the planet Yenus was visible in the sky as the Evening Star (in eastern elongation), and \nthat as Morning Star (in western elongation) it remains 273 days above the horizon, which together \n\n\n\nA Changed List of Guardians of the Five Regions of the World. 75 \n\nmakes a period of 533 days.^ Here 273 and 533 are doubtless to be corrected to 243 and 503. For, \nin point of fact, with us 243 are as a rule taken as the duration of its visibility as the Morning Star. \nThen, on Motolinia's assumption that TonoZama^^-duration and visibility period as Evening Star \ncoincide, there would be left 81 days for the time of the planet's invisibility in the lower and upper \nconjunction; and this also is not very far from the reality, since with us about -89 to 92 days are to \nbe calculated for this period.- Now 341 is 260 + 81, hence denotes the time when no Morning Star is \nvisible, when the Tlauizcalpan tecutli remains in the evening sky or else is not visible at all. If the \nMorning Star be the symbol of daybreak, then this number would denote the opposite. \n\nThe 11-11, which in the parallel series of Codex Borgia we met with the red Tezcatlipoca \npersonating the Sun God, is here shown with the gods of the North, with the Maize Goddess, and the \ntwo-coloured god of twins and of ball-playing. I there assumed that the sum 3 x (11-11) or 363 might \nbe considered as a number approximating to the real length of the solar year. But the subject here \ndepicted is not very favourable to this view. \n\nAn apparent deviation is shown by the numeral groups which appear with the old god on \nSheet 6 of our manuscript. But it is easily seen that by the lowest row of 8-6 the 3x(8-8) are \nincreased to 3 x (10-8), and that then the 3 x(10-5)+3x (10-8) yield a sum of 3 x (1013), composed \nin quite a similar way to the groups of the other sheets. Hence here the essential determining \nnumber is the thirteen, and this is presumably given in order to indicate the god dwelling in the \nuppermost thirteenth heaven, the old God of Procreation and Creation, the source of life. \n\nWith the Xochiquetzal of Sheet 8, which still belongs to the South, the even number ten makes \nits appearance ; and this is followed by the even number eight with the two personages on the sheets \nof the West, Sheets 9 and 10. For the sum 9-9 + 9-8+9-7 is doubtless to be resolved into 3x(9-8). \nThe numbers seen below, consisting only of rows of dots, seem to have been added afterwards. \nEven numbers (eight and six) we met also with the goddesses, who in the parallel series of Codex \nBologna represent the West. For this there must be some special reason, although I have no idea \nwhat line of thought was here followed. \n\nLastly, we have in the East in our manuscript three series of 9-7 \u2014 the same series that we met \nin Codex Borgia on the sheets of the South with Tlaloc and XoloU. I have there assumed a \nrelation to the Maize Goddess, and to the significance of the number seven as foretelling wealth and \nabundance. Such a notion, however, will scarcely be suggested by the figures of our manuscript. \n\n\n\n^ Chavtro in the Analea del Musto Nacional de Mixico, ii. p. 343. \n\n^ Cf. C. Forstemann, ErUiuterungen zur Maya-Handsohrift der Konigliohen offentlichen Bibliothek zu Dresden, pp. 66, 67. \nDresden, 1886. \n\n\n\n76 The Night Side of the Manuscript. \n\n\n\nIV. Death by Witchcraft and other Deaths. \n\nSheets 15-18 ( = Kingsborough 30-27). \n\nOn the preceding sheets we met a series of ten figures of gods, lords of the night, who are \nassigned to the five quarters of the world in a peculiar way, in a sequence opposed to the normaL At \ntheir head we found a god whom, from his aspect and because he bore the date Ge raiquiztli, \n\n* 1 Death/ as the hieroglyph of his name, we had to indicate as a Magic God ; and we saw him \naccompanied by a series made up of spider, scorpion, winged insect, snake in the hole, jaguar in the \nmountain cave, thorny growths and cactus. These I was inclined to look upon as symbols of the \ntzitzimime, those peculiar forms which were originally constellations, but for the Mexicans had \nbecome demons of the night, of the devouring darkness. Lastly, we were able with some probability to \nshow, with respect to the numerical series lO-11 + lO-ll + ll-ll given with this god and with the third \nof the series, as well as with the second god of the parallel series of Codex Bologna, that these \nnumbers indicated the time when no Morning Star was visible in the sky, when the god shone in \nthe evening twilight^ when he consequently denoted the approaching darkness \u2014 nightfall. From \nall this it results that this series had a foreboding significance, that it was intended to introduce the \nlords of night, the guardians of the five quarters, as the patrons of witchcraft and of nightly practices. \nAnd here the large numeral series appear to be mainly nothing more than copies of astronomic \npicture-writings, which, embodying a dark mystic lore accessible to few and by few understood, must \nnaturally have been regarded as specially potent in witchcraft. Hence it cannot be surprising that \nthe parallel series of Codex Bologna on the last sheets is plainly an illustration of the sign viiquiztli, \n\n* Death.' With this corresponds the fact that in our manuscript, where we do not find the series \nof day-signs (see above, p. 56) which include the sign rriiquiztli, 'Death,' there at once follow \na number of sheets, which give direct expression to the various kinds of death in figures and \nsymbols. As, however, these sheets are to be taken as in a measure a continuation, a supplement, \nor elucidation of the preceding, here also to the figures and symbols are added similar groups of \nnumerals written in the Maya style, sometimes filling the whole sheet, and even suggesting the \nidea whether they may not be meant to exhibit the main substance of these sheets. \n\nOn the first sheet of this series. Sheet 15 of our manuscript, at the top is given the date ce \nitzcuintli, '1 Dog.* But the dog is not pictured in full figure, or shown as a head, but merely \nsuggested by the ear, which is painted a red colour, and drawn with yellow, mangled, upper edge, \ni.e. the torn lip of a wound, hence intended to be figured as a cropped ear, one the tip of which \nis torn or cut off, a treatment which the Mexicans appear to have practised with their dogs. \nThe dog is the tenth in the series of the day-signs, and in Codex Borgia 13 and at the corre- \nsponding places of Vatican B is symbolised by the picture of the Death God accompanied by the \nfigure of a sick person, a body tied up in a bundle above an open throat of the earth, and a \nstack of firewood with a paper flag, emblems of cremation. We shall venture to assume that \nalso on Sheet 15 of our manuscript the date Ce itzcuintli is meant to denote death, all the more \nsince the same notion is awakened by the cross shown beside it and formed with cross-bones, a \nsymbol also current amongst the Mexicans, and by the bunch of white feathers, a familiar sacri- \n\n\n\nDeatii by Witchcraft and other Deaths. 77 \n\nficial decoration. But it is probably not merely deatb alone that is here intended to be repre- \nsented. As suggested by the figures pictured on the left border of the sheet, here death by \nwitchcraft is meant For these objects \u2014 a heart between two dogs, one dead, the other gnashing \nhis teeth \u2014 may be plainly indicated as hierM;lyphs for teyoUoqualiztli, 'to eat one's heart,' that \nis, death through witchcraft; for the dog is the biting animal. In the Maya tongues from the \nsame root {chi, tz'i) have been evolved the words for ' to bite ' and ' dog.' And in fact, on Sheet \n2 of Codex Vaticanus A, the teyolloqualoyan, 'where one's heart is devoured,' one of the nine \n\n\n\n\nFig.ee. \n\n' Where banners wave.' \n\n' Where people are shot with arrows.' \nTeyolloqualoyan, \n'Where one's heart ia eaten.' \n(Three of the Nine Places in the Underworld.) Fig. 67. Muuniiy-p\u00abck prepared for Dead Warriors, and Sacrificial Papers. \nCodex Vaticanus A, \u00a5'\\^. S. Manuscript in the Florentine Biblioteca Nazionale, Sheet 60. \n\nregions of the underworld (cf. Fig. 66), is indicated in precisely the same way, by the picture of \na heart and a dog's head. \n\nCorresponding with this notion there follow on Sheet 16 a number of figures and day- \ncharacters, which presumably are collectively to be regarded as the pictures or the hieroglyphs of \nthe names of gods proficient in magic and practising the art. The turkey is the emblem of \nTezcatlipoca, and by the interpreters is expressly described as such.^ Ome tochtli, '2 Rabbit,' \nis one of the names of the Pulque God, who would seem in a special way to indicate the teix- \ncuepani, the conjurer who acts by suggestion, the m^ician who generates delusive and frightful \nforms, hallucinations, and visions. Ce xochitl, ' 1 Flower,' Chicome xochitl, ' 7 Flower,' are the \nsigns of Xochipilli and of Xochiquetzal, the goddess skilled in art and in art lore, and therefore \nalso in magic lore, facing whom, in the Tonalamatl, are depicted the night animals or the \ndancing wizard.* Chicome colli, ' 7 House,' was met above on Sheet 9 as the hieroglyphic name \n\n\n\n> Codex Telleriano RemenaiB, f. 30 verBo( = Eingsborough ii. 26). \n< TonalamaU of the Anbin colloctioii, p. 121. \n\n\n\n78 The Night Side of the Manuscript. \n\nof one of the two deities assigned to the region of the West. It is the seventh day of the \nthirteenth week, whose mistress is the old \u00a3arth Goddess, patroness of physicians and sooth- \nsayers, of the maize-corn strewers, of the knotters of threads, and other consulters of the fates.* \n\nOn these two sheets now follows on Sheet 17 a second pair of illustrations. On the right \nside is seen a group which again brings unmistakably before our eyes the image of death \u2014 \nabove the open jaws of earth a corpse bundled up. and corded round, and surmounted by an \nartificial head, whose eyes however are closed. Beside it papers tied up at several places, just \nlike the papers which on Sheet 60 of the pictorial document of the Florentine Biblioteca \nNazionale are seen spread before the false mummy-pack set up for the commemorative feast of \nthe dead (Fig. 67), and in the way they are tied round seem to simulate the vertebral column \nof a skeleton. But a dart is seen flying at the mummy-pack here figured on Sheet 17 of our \nmanuscript. And above it is shown the date ce ail, ' 1 Water.* The flying dart denotes the \ntemiTninaliztli, the * shooting with arrows,' which corresponds to the temiminaloyan \u2014 the second \nof the three of the nine places of the underworld reproduced above at Fig. 66. And Ce ail, \n' 1 Water,' ninth of the twenty day-signs, denotes atl tlachinolli, * Water (spear-throwing) and \nConflagrations,* i.e. war; hence in the pictorial document it is explained by the image of the Fire \nGod, and of Tlauizcalpan tecwtli, the Morning Star, who faces the Fire God, and is the symbol \nof the eastern quarter, of the abode of the warriors fallen in battle or slain on the sacrificial \nstone.^ Thus the whole group here figured on the right side of Sheet 17 denotes death in war. \n\nIn full agreement with this we see figured on the left side of this sheet the old Earth \nGoddess Teteo innan, * Mother of the Gods,* or Tlagolteotl, the ' Goddess of Dirt.' She is pictured \nas a naked woman, with the half-crescent-shaped, Huaxtec, nasal ornament (yacametztli)^ with the \nfillet of unspun cotton (ichcaxochitl), with the strands of the same material in her ear, and with \ntwo spindles in her hair. In her hand she grasps a red dragon, and what is a remarkable \nparallelism with the Walpurgis-night witches, she rides on a broom, the handle of which is \nwrapped in paper and sprinkled with drops of blood. Here also beside the goddess is to be seen \nthe date Chicimawi acatl, '9 Reed,' which is mentioned in Sahagun* as her sign, and which we \nalso found given with the Tlagolteotl of Codex Bologna 26. By Duran Teteo innan is called \n' madre de la discordia,* that is. Mother of Strife. Doubtless from the fact that the fertilising of \nthe fields with human blood was the chief incentive to human sacrifice, while the material for \nhuman sacrifices was obtained by war, the Earth Goddess presents herself to the Mexicans in war- \nlike form. In the legends she is the first who made captives in war. In the Tonalamatl she \nis pictured with spear and shield in her right hand, and with her left presenting a fettered \ncaptive to the god in jaguar form.* On her feast she was honoured with war games. With \nsuch games the wretched woman was cheered up, who, as personating the goddess, was to be \nimmolated to her.* Wherever the goddess appears, she is always preceded by a combat. And \nthe special form of the sacrifice to the Earth Goddess is a tlacdcali, a ' vanquishing of the \npeople,' a temiminaliztli, a 'shooting with darts.* The very day which here and in other places \n\n\n\n^ SahagUD i. chap. viii. Cf. Verofifentlichungen aus dem Konigl. Museum fur Volkerkunde, vol. vi. p. 30. Berlio, 1900. \n^ Cf. TonalamcUl of the Aubin collection, pp. 71-82. ' Book iv. chap. xx. \n\n* Tonalamatl of the Aubin collection, p. 51. ' Sahagun i. chap. viii. \n\n\n\nDeath by Witchcraft and other Deaths. 79 \n\noccurs as the hieroglyph of her name, is the ninth day of the ninth week, when the gods of the \nday atl, the Fire God and the Morning Star, the gods of war, are potent. Lastly, this form of the \nEarth Goddess was considered as the chieftain of the iniociuaquetzqMS, the women dying in child- \nbirth, the female counterparts of the warriors fallen in battle or slain on the sacrificial stone. With \nthe Mexicans death in war meant to be slain as a sacrifice to the gods. For all the wars which were \nwaged by them had for their object far less the killing of the enemy, or putting them hora de combat, \nthan the capturing of prisoners, who could be sacrificed to the ever-bloodthirsty gods. Hence here \nalso beside the goddess we see figured, not the deadly implements of war, but a series of objects, \nall of which, apparently, symbolise various kinds of human sacrifice. First, above comes the snake, \nwhich means ' casting alive to the flames ' ; below it the heart, i,e. cutting open the breast and \ntearing the heart out ; then the tangled cord, presumably the entangling in nets, as was practised by \nthe Matlatzincas ; then the stone knife, the cutting up or quartering the body into five pieces, as \nwas customary with traitors to their country ; lastly, the flower, perhaps the victim's blood generally. \nThe following sheet (18) places before our eyes the king of the realm of the dead himself, Mict- \nlantecutli, and with him the third kind of death, by sickness. The god is figured as a skeleton, with \na human hand in his ear, and with paper flags, i,e, the decoration of corpses and funeral piles. \nIn his right hand he holds a club in the act of striking. At his left arm hang spear-bundle, \nshield, and hand-flag, while the left band itself holds a blazing fire in a handle. As king \n(tecutli = tldtovuni, * Speaker ') he is shown with the little tongue of discourse before his mouth. \nBut here this object takes the form of fire or smoke, and shield, darts, and teeth are attached to \nthe margin. Beside the god, as the hieroglyph of his name, stands the day Naui caMi, * 4 House,\" \nwhich here presumably denotes ' house on all sides,' * shut in on all sides,* \u2014 the opochquiauayoean, \natU calocan, the place where all doors shut on the left, i,e, the wrong way, the land whence no paths \nlead to human abodes.^ In accordance with this, on the left half of the same sheet, we see figured \nthe date chicunaui cipactli, ' 9 Crocodile.' In Codex Bologna 27 this sign stands, as her hieroglyphic \nname, beside Mictecacivxitl, Queen of the Underworld, Consort of the Lord of the Dead, who dwells \nwith him in the Cidcunaui mictlan, the ninth, the deepest, Hades, the very place whither those \ndying of sickness go to their eternal rest. \n\nWith the numeral series, which are introduced on these sheets below the figures and symbols, \nit is made still more evident than with those of the preceding sheets that they are mere arithmetic \njugglery, destitute of any real significance. They occupy the largest space on the first two sheets, \n15 and 16, where they fill nearly the whole surface. With sheets such as these, which symbolise \ndeath through sorcery, it was manifestly indispensable to endow them with a specially erudite, a \nspecially occult character. \n\nSubjoined I give a tabulated survey of the numerals that can be determined on these sheets : \u2014 \n\n\n\nCodex Fej^rviry \n\n\n\nSheet 15 . \n\n\n\n5+6+7+8+9 \n10. 11 + 10. 11 + 10. 11 \n10. 13 + 10. 13+10. 13 \n10. U + 10 . 14+10. 14 \n\n\n\n* Sahagun iii., Appendix, chap. i. \n\n\n\nThe Night Side of the Manuscript. \n\n\n\nCodex Fej6rvilry \nSheet 16 \n\n\n\nSheet IV right \n\u201e 17 left . \n\u201e 18 riglit, \n\u201e 18 left . \n\n\n\n5  5 \n\n2 \u2022 6+3- 7+4 . 8+5  \n\n21 + 18+19 \n\n\n\n9 -9 + 10. 10 \n\n9- 13+10  10 \n\n22+14+8- 10 \n\n9- 10+4  16+4  14 \n\n\n\n9+6 . 10+7  11+8  12+9 -13 + 10  14 \n\n\n\nnil nil im nil \nnil ini niiiiini \n\nFig. 63. Codex Lniid 26 (Kingsborough Notation). \n\nOn Sheet 16 the topmost 5  5 is doubtless to be decomposed into 1  5 + 4  5, and the numerals \nthen arranged in the following two series : \u2014 \n\n1  6 + 2 6 + 3 . 7 + 4 - 8 + 5  9 + 6 - 10 + 7  11 + 8  12 + 9  13+10  14 \n18+19 + 20 + 21. \n\nThus the last three rows of Sheet 15 and the first row of Sheet 16 end with the number 14, \nthat is 2 - 7 ; the second row of Sheet 16 in 21, that is 3  7 ; and the row of Sheet 15 yields 35, \nthat is 5  7. On the right side of Sheet 17, which symbolised the warrior's death, we have the \nnumber 9  9, which in Codex Bologna stood beside the Yayauhqui Tezcatlipoca personating the \nStone Knife God. On the left aide of Sheet 17, which shows the picture of a female deity, Tla^olteotl, \n\n\n\nDeath by Witchcraft and other Deaths. \n\n\n\n81 \n\n\n\nthe essential number is again even, the number 12. Similarly, on the left side of Sheet 18, which \nshows the hieroglyphic nante of the female half of the rulers of the underworld, the distinctive \nnumbers are even : 10, 16, 14, and the multiplier, 4. In the suras a law can nowhere be \ndetected. \n\n\n\nAs we were able to show in Codex Bologna a parallel for Sheets 5-14 of our manuscript, so also \nfor the just-described Sheets 15-18 we have a parallel in another manuscript, one, however, which \nbecomes intelligible only by a comparison with these just-described sheets, This is Codei Laud 26, \n25 (Kii^borough notation), which, as \n\n\n\n\u00ae 0\u00ab\u00a9 \n\n\n\nf \n\n\n\nis easily recognised by a closer inspec- \ntion, exhibits the same three kinds of \ndeath in a summary form. \n\nThus the first sheet (cf. Fig 68) \nshows in the upper half the sign ce \nitzcuintli, ' 1 Dog,' which means 'death,' \nand is here depicted even in the same \nway as on the first sheet (15) of the \nparallel series of our manuscript. Be- \nside it is seen the large and distinct \npicture of a dog, which here stands \nfor the two dogs with the heart be- \ntween them, i.e. for the teyoUoqualiztli, \nfor witchcraft, or death by witchcraft. \nBelow and facing it are figured the \ngods who practise magic. On the left \nis the turltey, who is the sym^ipl of \nTezcatlipoca ; and on the right an old \ngoddess, who beside and above her \nhead displays the date Chicuei ma^atl, \n' 8 Deer' The deer is not indicated \nby the figure or the head of this \nanimal, but only by his foot with its \n\ncloven hoof. Ckicuei magatl is the eighth of the fourth week beginning with Ce xochitl, ' 1 Flower,' \nand like the sign Ce xockitl itself, doubtless denotes the goddess Xockiquetzal, whom on Sheet 16 \nof our manuscript we found indicated by the two dates Ce xockitl and Chicome xockitl. Perhaps the \nflower also, which is seen before the turkey on the Codex Laud sheet (Fig. 68), is by an added ' one ' \nto be connected with the date Ce xochitl. The old goddess is piercing her ear with a bone dagger, \nand the blood flows on to a burnt-oftering, a stack of firewood with the rubber ball tsontemoc, which \nfalls 'with head downwards' into a cave formed by the jaws of Earth. From this cave a track \nleads out, ending just at the date Ckicuei magatl, '8 Deer,' the name of the goddess. This \ngoddess is thereby doubtless indiciited as she who comes up out of the earth, or else who comes out \nof the West, the Tamoiinckan, the house of descent. \n\n\n\n\n111! III! Ilil lilt \n\n\n\nFig. 69. \nCodex Lftud 2& (Einesborough Notation). \n\n\n\n82 The Night Side of the Manuscript. \n\nNow if this upper half of Sheet 26 of Codex Laud (Fig. 68) agrees completely with the contents \nof Sheets 15, 16 of our manuscript, that is, with what the figures and symbols on these two sheets \nare meant to denote, the date Ce atl, ' 1 Water,* in the lower half of the same sheet, 26 of \nCodex Laud, gives in a nutshell what Sheet 17 of our manuscript sets forth in two separate repre- \nsentations. For this date, the ninth of the twenty day-signs in point of fact indicates, as we have \nseen, ail tlachiTiolli, ' Water (spear-throwing) and Conflagration,* i.e. war, consequently also death by \nwar, the warrior's death, the sacrificial death. \n\nBut then the second sheet, 25 (Kingsborough notation) of Codex Laud, Fig. 69, also indicates, \nthough by quite a differently arranged exposition, the same notion that is expressed on the two \nhalves of Sheet 18 of our manuscript. Here are figured, not the lords of the underworld, of the \nregion to which those go who die of maladies, but the funeral pile on which the bodies of the \ndeparted are cremated. And as after the burning of the body the priests conducting the service \nquench the glowing heat by pouring out water from jugs,^ so here too we see a goddess, indicated \nby the accompanying hieroglyph as Chicuei atl, * 8 Water,* quenching the fierce heat of the funeral \npile with water from a jug. That this goddess is identical with Chantico, Goddess of Fire, is shown by \nthe same day-sign, * 8 Water,* which belongs to the eighteenth week, over which Chantico presides. \n\nOf numerals only a few series are here given. To the first picture, that of death by sorcery, the \nfirst row, 8 x 10, of the sheet at Fig. 68 should doubtless be referred ; to the second picture, that of \ndeath in war, the second row of the same sheet, 9 x 10. With the third representation. Fig. 69, we \nhave again 8 x 10, but above it is further inscribed 5 x 10, perhaps by a later hand. Here the ten \nobviously dominates, this number being, indeed, also employed on all the sheets in the parallel \nseries of our manuscript. I consider it quite possible that this application has its motive in the fact \nthat the t\u20ac7ith sign (itzcuintU, ' Dog*) is the sign of death. \n\n\n\nV. The Gods of Pleasure. \n\nSheets 19-22 ( = Kingsborough 26-23). \n\nOn this A side of the folded strip, occupied with the paintings of our manuscript, there still \nremain the four last-pictured sheets, which obviously form a coherent representation, and regarding \nwhich there is an a priori probability that from the nature of their contents they will form a con- \nsecutive series with the preceding sheets. For they also are, for the most part, inscribed with \nnumerals written in the Maya manner. And here too are to be seen structures consisting of a \nbundle of firewood and a rubber or copal ball, such as on the preceding sheets we found indicative \nof the fire blazing up in honour of the Guardians of the Night. But, whereas even on the very last \nof the preceding series at least individual personages were still depicted in full figure, here, on the \n\n\n\n' Sahaguii iii., Ap|>\u00abiidix, chap. i. \n\n\n\nThe GodB of Pleasure. 83 \n\ncontrary, beside certain symbols nothing is any longer given except dates, which are intended to \nexpress the names of certain deities in hieroglyphic form. \n\nOn the first, the nineteenth, sheet stands the date Macuil xochitl, * 5 Flower,' about the meaning \nof which there is absolutely no doubt. It indicates the remarkable god whom the Mexicans also \ncalled Auiatl, and who for them was the god of merriment, of feasts, 6f sports, but also of sexual \nacts and sexual excesses. \n\nThe next sheet (20) is divided by a longitudinal line into two halves.. In the right half, going \nfrom right to left, are seen the following objects :\u2014 \n\n1. The date Ge acatly * 1 Reed,* the hieroglyph of the Morning Star. \n\n2. The date Ome tochtli, * 2 Rabbit/ which yields the name of a Pulque God, and is at the same \ntime the name of the conductor of the temple music. \n\n3. The sign quiauitl, ' Rain,' below which lies a cross. I might suppose that the latter stands \nfor the number four, so that we should have to read the two taken together, as Naui quiauitl, \n*4 Rain.' This is a date which belongs to the same week, ce cozcaquauhtli, '1 King Vulture,' to \nwhich also belongs the day macuU xochitl, * 5 Flower,' and which precisely denotes the day preceding \nthe day macuil xochitL \n\nOn the left half of Sheet 20 are inscribed in the top row, going from right to left, five dates \nas under : \u2014 \n\n1. MacuU xochitl, ' 5 Flower,' the name of the God of Pleasure, \n\n2. Ce cipactli, *1 Crocodile,* which is the sign of the gods of procreation, the lords of life, \nTovucatecutli, Tona^aciuatL But this sign we have also met above, on Sheets 7, 8 of our Tnanuscript, \nwith the gods Ce xochitl, Xochiquetzal, It is well known that by the interpreters the goddess \nXochiqiLetzal is very generally identified with Tonacaciuath \n\n3. The cipher one in combination with an eye thrust out of its socket. This I think is a some- \nwhat rare representation of the sign Ce mxilinaUi, * one twisted * (gouged out ?), referable, perhaps, to \nsome occult processes. And in fact, in this group of manuscripts a lower jaw occurs in combination \nwith such an eye thrust out of its socket, as denoting the sign rnalinaUi. Ce malinaUi is the initial \nsign of one of the five weeks to which belong the gods who are named from a day composed with the \nnumber ' five ' \u2014 the gods of feasts, of the dance and music, of merry-making generally, gods whose \nprototype is Ma^uU xochitl. \n\n4. The cipher one combined with a deer's antlers. This must doubtless denote the date \nCe magatl, *1 Deer.' The day-sign 'Deer* is Tlaloc's sign, and this indeed presumably, because \nfor the priestly theorists Tlaloc was the god of the fiery rain, of one of the four prehistoric ages.^ \nBut Ce magatl is also the first of the five days which form the first of the third quarter assigned \nto the West in the TonaZarruitl disposed in columns of five members. Hence these were regarded as \nthe days when the CiuateteS, the ghostly women, the cortege of the Earth Goddess, the souls of women \ndying in childbirth, who dwell in the West, in the ciuatlampa, and swoop down on the earth, striking \nchildren with epilepsy, and beguiling men to deeds of lust and sin. Ce magatl is at the same time \nthe first of the week to which belongs the day Ome tochtli, '2 Babbit,' the chief symbol of the \nPulque Ood. \n\n\n\n^ On this see TonalamcUl of the Aubin oollection, p. 63. \n\n\n\n84 The Night Side of the Manuscript. \n\n5. Ce ail, * 1 Water/ The sign ail is the sign of the Fire God and of the Morning Star, since ail \nmeans not only water, but also spear-throwing, and that perhaps in its original sense, hence is the \nsymbol of the War God and his associates. We have above met the date Ce atl on Sheet 8 of our \nmanuscript, but also with XochiquetzaL \n\nThe following sheet (21) likewise contains two special groups, although here the scribe has \nomitted to mark the division by a line. In the first half we find the just-described date Ce mafatl, \n* 1 Deer * ; on the left apparently again the date Ce cipactli, * 1 Crocodile.' \n\nThe last sheet (22) is also divided lengthwise into two halves. On the right side stands the \ndate Ce cuetzpalin, ' 1 Lizard.' The day-sign Lizard is the symbol of Ueuecoyotl, the old Coyote, the \nDance God. But ce cuetzpcdin is also, like ce xochitl, ce malinalli, ce cozcaqvxivJttli, ce tochtli, the \ninitial day of one of the weeks to which belong the gods of feasts and of merry-making generally, who \nare indicated by the number five and a day-sign, i.e, Macuil xochitl and his boon companions. \n\nLastly, on the left half of the same sheet is again given, although somewhat smudged, still clearly \nenough, the date ce cipactli, * 1 Crocodile,' the symbol of the divine couple Tonacatecutli'Tonacaciuatl \nand of the goddess XochiquetzaL \n\nThus the most prominent figures that we find indicated on these four sheets are Macuil xochitl, \nthe God of Pleasure; Ce a^atl, the Morning Star; OTne tochtli, the Pulque God; Ce cipactli ( = 7Vna- \ncaciuatl), Goddess of Procreation ; Ce mofatl, a name which presumably here denotes the women, the \nCiuateted ; Ce atl, perhaps here standing for the goddess Xochiquetzal, who is known as the patroness \nof the courtesans; and lastly, Ce malinalli and Ce cuetzpalin, by whom presumably are meant \nMacuil xochiiVs associates. Thus we are here dealing with a series of deities whose special signifi- \ncance is still partly obscure, who perhaps stand in some relation to astronomic forms, but are here \nobviously meant for tutelar deities of nightly feastings and nightly revels nay, even of nightly \nexcesses. \n\nOf any further symbols that might perhaps serve to clear up obscure points but few are extant. \nOn the first sheet with Macuil xochitl we meet turkey, heart, and flower, and a few others which I \ndo not venture to explain with certainty. Similarly I would refrain from a decision respecting the \nfigures which are further seen beside the specified dates on the left side of Sheet 20. On the right \nhalf of Sheet 21, beside ce nia^tl, we may detect a siream of water descending from above. It is \ncertainly uncoloured, but still in outline closely resembles the water pouring out from the jug on \nSheet 8 of our manuscript. Lastly, on the right half of Sheet 22 is seen on the left side an ornament \nwhich reproduces the swallow-tail-like ends of Xipes loin-cloth, besides trees, water, and what looks \nlike water-drops falUng. \n\nLastly, in most of the sections we find depicted in a dish a burnt-oflFering consisting of bundles \nof firewood and rubber or copal balls. On Sheet 19 we see the flames shooting up from this object. \nDifferently from what we observed in the preceding series, in the last five sections, a copal ball instead \nof a rubber ball surmounts the structure. In both halves of Sheet 22 the bumt-oflering is set upside \ndown in the vessel, and above each of them is seen an animal, apparently a dog and a frog, with open \nbreast, from which blood gushes over the burnt-oflering. \n\nI here subjoin a juxtaposition of the numerals inscribed on these sheets: \u2014 \n\n\n\nThe Gods of Plraeiire. \n\n\n\nCodex Fej^rvary \nSheet 19, upper half. \n\n19, lower \u201e \n\n20, right \u201e \n\n20, left \n\n21, right \u201e \n\n21. left \n\n22, right \u201e \n22, left \n\n\n\n3 X (10 \n\n\n6) \n\n\n\n\n1\u00ab0 \n\n\n13x(l \n\n\n5) + \n\n\n16- \n\n\n276 \n\n\n22 X (4 \n\n\n5) \n\n\n\n\n440 \n\n\n3x(4 \n\n\n5) \n\n\n\n\n60 \n\n\n2x(4 \n\n\n5) + \n\n\n9- \n\n\n49 \n\n\n3x(4 \n\n\n5) + \n\n\n12- \n\n\n72 \n\n\n4. 5 + 16 \n\n\n\n\n36 \n\n\n2x(4 \n\n\n5> + \n\n\n16. \n\n\n66 \n\n\n\nFrom the separate numerical groups 1 have been uuahle to extract any meaning. The sum \nyields the number 1169, which is exactly a double Venus period, with one over. I have, however, \nno idea whether we have here merely \nan accidental t^reement, or whether this Q \n\napproximation corresponds with some \nactual relation. \n\nHitherto I have not yet found any \ndirect parallel to this remarkable and \nobscure series, but for comparison is \ncertainly to be adduced the representa- \ntion which is presented on Sheet 3 \n(Kingsborough notation) of the closely \nrelated Codex Laud (Fig. 70). Here is \nseen an upright throat of the earth, \nto which is attached the date ce oceloil, \n' 1 J^uar,' or perhaps only a jaguar's ear, \nas with the serpentine helmet-mask of the \nWater Goddess (cf. above, p. 37). To this \nthroat of the earth a rubber ball is being \npresented by a personage who cannot \nbe quite confidently identified, at least \nfrom the reproduction in Kingsborough, \nbut is doubtless meant for T&icatli'poca. \n\nAnd above him is seen a man with a dart stuck in his eye, who is perhaps to be likened to the Kinchil \nCoba of the Chilam Balam books, i.e. the Maya god Itzamnd. Alongside of this whole group stand \nfour dates, each accompanied by a bundle of firewood and a numeral written in the Maya way, which \nare to be read upwards : \u2014 \n\n\n\n\nCodex Laud 3 (Kingsborough Notetion). \n\n\n\n1. Ghicunaui acatl, ' 9 Reed \" (bundle of firewood), \n\n2. Ckicaei acatl, ' 8 Reed ' \n\n3. MacuH xochitl, ' 5 Flower ' \u201e \n\n4. Ce avail. ' 1 Reed ' \n\n\n\n26 \n\n\n\nS5 Tlie Ni^t Side of the JUnuscript. \n\nThus ve hare here the ccnxibiiuitioii of MocvlU xochitt, God of Feasts, and Ce aratl, deitr of the \nH<frmnf^ Star, aad beside him the hi^xp^d jph of the goddess vho is speeiallj indicated as TlatolteoiL \n(j'Mldem of Dirt, and TUu^wini, the Eater of Filth, the Sinner; we have the bundles of firewood, \nj^ymbol c^ the fire flaming up to the lords of night, and we have the numerals written in the Mava \nway, though certainly much smaller. But here on Sheet 3 of Codex Laud a relation to astronomic \nconditions seems clearer, for Ce a/xitl is the Morning Star, and above, in Codex Bologna, we have \nalready recognised Chicvuti a/xUl as the hieroglyph or name of the Moon Groddess. It might, no \ndoubt, be supposed that here the moon stands simply as companion of Tla^teotl, with whom it \nin in fact frequently pictured in the form of a familiar symbol, which will be more fully described \nbelow. But the moon has still a natural and original significance of its own. \n\nFor the other two dates, one of which denotes Macuil xochitl, God of Pleasure, the other chicunau i \n\u20actrnU^ a familiar name of the old Earth Goddess Tdeoinnan, already met scTeral times above, certainly \nno astronomic relation has hitherto been pointed out. Still it is but probable that an astronomic \nsignificMice was attributed to them, and especially to Maeuil xochitl. And this for two reasons : \nfirst, because we have to assume almost positively that both of these deities came from the \nAtl^itic side of Mexico, perhaps from the seaboard itself; and further, because the special centre \nparticularly of the ctdt of McuniU xochitl, the region inhabited by the descendants of Xelhua. \nappears to have been the district of Tehuacan, Cozcatlan, and Teotitlan del camino, which are known \nas seats of astronomic lore, and also at the same time as chief centres of the worship paid to the \nMorning Star.^ For the numerals given with these dates or deities I have again no particular clues \nu> offer Their sum, 83 multiplied by seven, gives 581, of which, however, I can make nothing, \nami must here again conf^ my ignorance \n\n> Cf. 8eler, Wa;ndmaUreien, z<m MiOa, p. 35. Berlin, 1895. \n\n\n\nB. The Day Side of the Manuscript. \n\n\n\nI. The Four Times Five Guardians of the Venus Periods. \n\nSheets 23-29 ( = Kingsborough 22-16). Upper Halves. \n\nWith Sheet 22 we reached the end of one side of the folded strip which is covered with the \npaintings of our manuscript. As we have seen, this side was entirely devoted to the Guardians \nof the Night, or of nocturnal practices. The other side of the strip, with which Sheet 23 now \nbegins, should be directed towards the bright side of existence, should be occupied with the \npowers who operate by day, and are to be considered in connection with the norraal conditions \nof human activities. As a matter of fact, the very first series of representations which we here \nmeet on the upper halves of the strip, and which extend to seven consecutive sheets, is devoted \nto the orb which ushers in the day, the morning, to the Morning Star. \n\nOf the Mexican (Aztec) tribes settled on the frontiers of the Zapotecs and Mixtecs in Tehuacan, \nCozcatlan, Teotitlan del camino, the Augustinian monk, P. Gerdnimo Ramon y Zamora, relates \nthat they held the Morning Star in great honour, and kept careful records of its appearances. \n' Such accurate account did they keep of the day when it appeared and when it set, that \nthey never erred' [y tan gran cuenta tenian con el dia que aparecia y quando se escondia, \nque nunca erravan].^ The length of the Toncdamatly the period of 260 days, which was the \nfoundation and starting-point of the whole astrological science of the Mexicans, is determined by \nthis writer as the time during which the planet Venus is visible in the sky as the Evening Star.* \nA similar statement occurs in a chapter devoted to this planet which is introduced in a manu- \nscript that belonged to the late Joaquin Garcia Icazbalceta, at the end of the first part of \nP. Motolinia*s Hiatoria? and from which Pater Ramon presumably took his materials. \n\nWhat these historians are able to state regarding the accuracy with which the ancient \n\n^ Fr. Jerdnimo Ranion y Zamora. Repilblicas de las Indias, Idolatrias y Gobiemo en el M<^xico y Peiii (1575), book i. \nchap. XV. (Colecciou de librns raros 6 curiosos que tratan de America. Tome xiv. Madrid, 1897, vol. i. p. 170.) \n* lUid. book I. chap. x. (1. c. vol. i. p. 128). \n^ Anales del Museo Nacional de Mexico, ii. p. 339. \n\n\n\n88 The Day Side of the Manuscript. \n\nMexicans observed the appearance and reappearance of the planet Venus has recently found a \nsurprising confirmation in Forstemann's investigation of the Maya manuscript in the Dresden \nRoyal Public Library. As Forstemann pointed out in his commentaries on this document, \npublished in the year 1886, on the remarkable Sheelis 46-60, the apparent course of Venus, which \ncomprises 584 days (exactly 583 days 22 hours), is represented five times over, and indeed each \ntime divided into 90, 250, 8, and 236 days. On each of the sheets these 90, 250, 8, and 236 \ndays are given partly by days which are named after the Tonalamatl system, and which \nhave these intervals between them, partly by uinaZ (so-called monthly) dates, and lastly by \nseries of ciphers which proceed at these intervals. Similarly, in a treatise published in \nthe year 1898,^ I have shown that this same period of 584 days lies at the foundation of a \nnumber of various representations which are in like manner repeated in the Codex Borgia \ngroup of manuscripts. \n\nIn the number of 584 days, comprising the apparent course of Venus, the Tonalamatl of 260 \ndays is contained twice, with 64 days over. From this it results that when one Venus period begins \non the first of the 20 day-signs, the initials of the following periods fall on the fifth, ninth, thirteenth, \nseventeenth signs, and the initial day of the sixth Venus period is again named with the same sign as \nthat of the first. Only the cipher combined with the sign changes. In other words, only five of the \ntwenty signs forming the foundation of the Tonalainatl coincide with the initial days of the \nconsecutive Venus periods. \n\nThis important fact seems to me at once to explain the well-known arrangement of the \nTonalamatl in columns of five signs each. We see this arrangement fully carried out in the \nTonalam^atly with which Codex Borgia, Vatican B, and Codex Bologna all begin in the same way. \nAnd it is implicitly presented on many other sheets of the Codex Borgia group, and with the great \nmajority of the representations in the Maya documents. \n\nBut this important fact explains above all hovi jive consecutive Venus periods were grasped as one \nunit, as happens on Sheets 46-50 of the Dresden manuscript. And in the face of this fact, it must \nto some extent be regarded merely as a coincidence that this epoch of five Venus periods was also \nexactly equal to eight solar years, each solar year being reckoned as 365 days. And if on the same \nsheets, 46-50 of the Dresden document, this epoch of five Venus periods is repeated thirteen times, \nthis also is quite consistent, and in my opinion solely to be explained by the system of day-naming \nas presented by the Tonalamatl, The great epoch which was thus obtained, and comprised the \n13 X 5 Venus periods, had this property, that after its expiration the Venus period again took the \nsame sign and the same cipher. This great epoch thus essentially corresponded to the cycle \nof 52 solar years, which possessed the same property. And it is again to some extent to be \nregarded merely as a coincidence that this cycle of 13x5 Venus periods was likewise equal to \n13x8 or 2x52 solar years. \n\nAn epoch of five Venus periods, if not fully calculated, is still clearly indicated on Sheet 25 \n( = Kingsborough 14) of Codex Borgia, and on Sheet 70 ( = Kingsborough 27) of Vatican B. In the \nfour comers of the sheet we see pictured four large figures of deities, and beside them the twenty \n\n\n\n^ * Die VeDUsperiocle in den Bilderschriften der C<)dex Borgia-Gruppe. ' Verhandlungen der Berliner An thropologischen \nGesellBchaft. Meeting of 16th July 1898. [Zeitsohrift fiir Ethnologie, vol. xxx. pp. 34G-383.] \n\n\n\nThe Four Times Fire Guardians of the Venus Periods. \n\n\n\nday-signs disposed in a peculiar way, by which ia prescribed a reTolving movement in the opposite \ndirection to that of the dial hand. In the centre of the sheet is shown on a large scale, and \nenframed in a special four-cornered space, the seventh day-sign oUn, ' Rolling Uotion,' and beside \nit twice five dots, which together represent the cipher ten. MadacUi olin, ' 10 Motion,' is the very \n\n\n\nFig. 71. Deity of the Planet Venus. Fig. 78. Deity of the Pkinet Venns, \n\nCodex Vaticanus B 80 ( = Kingsborough 17). Codei Boigia 63 ( = Kingsborough 62). \n\n\n\nFig. 73. Deity of the Planet Venna. Codex Bologna 9. \n\nday with which the fifth 584-day period must begin, when the first began with the initial day of \nthe ToncdoTnatl, i.e, ce cipactli, ' 1 Crocodile.' \n\nOn the other hand, the great Venus period, which comprises 13 x 5 periods of 584 days, is \ninscribed on Sheets 53, 54 ( = Kingsborough 62, 61) of Codei Borgia, 80-84 { = Kingsborough 17-13) of \nVatican B, and 9-11 of Codex Bologna. Here the deity of the Evening Star is figured in five aections \n\n\n\n90 The Day Side of the Manuscript. \n\nin a more or less uniform way, in fact hurling the spear against a deity who changes in the five \nsections. Each of the sections is surrounded on two sides by the day-signs cipactli, * Crocodile/ couatl, \n* Snake/ atl, * Water/ acatl, * Reed/ olin, ' Motion/ the initial signs of the consecutive Venus periods, \nwhich being repeated thirteen times, and combined with the ciphers 1-13, indicate the initials of the \n13 X 5 periods of the great Venus cycle (cf. Figs. 71-73). Moreover, in each section are shown the \nthree day-signs which lead from one of the five initial signs to the following. For instance, at \nFig. 71, in the first section, are the signs eecatl, 'Wind,* calli, * House,' imetzpalin, 'Lizard,' \nwhich lie between cijpactli, the initial sign of the first, and couatl, the initial sign of the second \nperiod. \n\n. For the just-described two representations of the five and of the 13x5 Venus periods, there \noccurs no parallel in our Codex Fej6rv&ry manuscript. But the twenty pictures which are presented \nin the upper halves of Sheets 23-29, and to which correspond Sheets 15, 16, and the upper halves \nof Sheet 17 ( = Kingsborough 24-22) in Codex Borgia, and the upper halves of Sheets 39-42 ( = Kings- \nborough 81-90) in Vatican B, are unquestionably also devoted to the representation of Venus periods. \nThis is inferred with certainty from the fact that under these pictures the signs dpacUiy couatl, atl, \nacatly olin, the initial signs of the consecutive Venus periods, recur in regular sequence, always \ncombined by three dots, which give the number of the intervening signs. But it is not merely 5, nor \neven 13x5 periods that are here exhibited by these signs, but 4 x 5, or 20, hence a higher unity in \nanother (the normal) sense, which corresponds in fact to the vigesimal numeral system current \namongst these tribes. The periods themselves are not symbolised, as with the above-described \npresentation of the great cycle, by pictures of the god of the Morning or Evening Star, repeated in \na more or less uniform manner, but, like the first-described representation of the five periods, by \nvarious deities, whom we have accordingly in a way to regard as guardians of the consecutive \nperiods, and at the same time as guardians of the five regions of the world. But these \nguardians are not figured with throwing-stick and spear, as if 'shooting,' as are figured \nthe deity of the Morning Star itself, and the guardians of the first four periods shown on \nSheet 25 of Codex Borgia, and 70 of Vatican B, but, as is obvious, exclusively functioning \nas priests. \n\nIn the first row of five pictures are seen the gods with a bone sharpened, at one end, a bone \ndagger, gouging out the eye, in Codex Borgia, of a naked human figure standing before them with \nclosed lids, in Vatican B and in our manuscript of a human head, which in Vatican B is also shown \nwith closed lids, but in our manuscript with open eye. As I have already pointed out in one of my \nfirst essays,^ this is a symbol of priestly mortification, of mutilations and blood-letting, the offering \nof blood, which among the Mexicans and the other Central American peoples was one of the com- \nmonest religious functions, and indispensable as a preparation for all serious business. That the \neye-gouging had this meaning is clearly shown by the groups of Figs. 74, 75, which in Codex Borgia \n10, as also in Vatican B 93, are depicted beside Chalchiuhtotolin, ruler of the eighteenth day-sign, \nand show us the priest in an enclosure of plaited rushes, with a pointed bone gouging out his own \neye. That is to say, to these groups of Figs. 74, 75 corresponds Fig. 76 on Sheet 64 ( = Kingsborough \n\n\n\n1 Verhandlungen der Berliner Anthropologischen Gesellschaft, 19th March 1887 (Zeitschrift fiir Ethnologie, xix. \np. 232). \n\n\n\nThe Four Times Five Ouardiana of the Venue Periods. 91 \n\n61) of Codex Borgia, and Fig. 77 in Codex Telleriano Remensis (f. 21 recto = King8borough, part ii. \nLam. 27), which ia there to be seen beside the same OhalchiuktotoUn, ruler of the seventeenth week, \nand flhowB us a priest with copal pouch in his right hand, and with a sharp bone piercing his ear, so \nthat the blood streams out. And analogous, if not homologous, with this is Fig. 78, which in Codex \n\n\n\nPig; 74. ntfoiiili, 'Mortification,' Fig. 78. nepofwrt*, Mortification. \n\nMid chalchiuh-ati, ' the Precious Water (of Mortifioatbn).' Codei Vnticanus B 93 \n\nCodex Botpa 10 ( = Kingsborough 29). ( = Kingsborough 4). \n\n\n\nFig. 76. dudchiuh-iiUt-atl, Fig. 77. Fig. 7B. The Penitent \n\nthe PrecioQf Fluid of MortiBcation. The Penitent (monaeozfafutni). {moatnepilteqKini, foaiqwviiim).' \n\nCodex Borgiu 64 Codex Telleriano Bemenais Codex Telleriano Bemensis \n\n( = Kingsborough 51). f. 21 recto E 9 recto \n\n(=Eing8borough ti. 27). ( = Kingsborough ii. 3). \n\nTelleriano Remensis (f. 9 recto = Kingsborough, part ii. Lam. 3) is pictured facing QuetsaicouaU, \nthe Wind God, and exhibits the priest drawing stalks through his gashed tongue. NenacaztequiliztU, \nnenenepUtequiliztli, ' to gash one's ear and tongue ' ; tlaeoguixtUiztli, ^acaquixtUiztli, ' to draw rods, \nstalks through,' were the Mexican expressions for these religious exercises.' FigF, 74, 75 are con- \n\n\n\n' Sahagnn, MB. Biblioteca del FaUcio. \n\n\n\n92 ^e Day Side of the HanuBcript. \n\ncemed with adf-gtnigi'ng, and to this corresponds 77, 8elf ear-piercing. In the first five pictures with \nwhich we are here occupied, Sheets 23, 24 of our manuscript, and in the parallel places of Codex \nBoi^a and Vatican B, the gods are gouging the eye of another with the sharp-pointed bone. We \n\n\n\niji^^id \n\n\n\n\n'/^ncs^ \n\n\n\nFig. 79. Coden Tro I8\u00ab a. \n\n\n\nFig. 80. Codex Tro 17* 6. \n\n\n\nFig. 81. Codex Tro 14* <l \n\n\n\nFig. 82i, 6. Blood. 82e, d. Knife. 82it,/. Ear. \n\nmust, accordingly, infer that this is intended to indicate, not self-mortification, but the offering of the \nblood of another, of a foreign victim, hence a real hvman sacrijice. \n\nThe two above-explained practices \u2014 self ear- and tongue-piercing, and the symbolic treatment of \neye-gouging \u2014 by the gods, who perform the act on a head held in their hand, are also found repre- \nsented in the Maya manuscripts. In the first, Codex Tro 18* a (Fig. 79), we see the old god, the \ngoddess, the young god, and f^ain the old god piercing their ears with a sharp obsidian knife, while \nthe blood flows on to two leaves lying on the ground before the specified gods. And in Codex \n\n\n\nThe Four Times Five Guardians of the Venus Periods. 93 \n\nTro 17*6 (Fig. 80) the old god is again piercing his outstretched tongue with a knife, or passes a \nstalk through the hole in his tongue. Of the hieroglyphs which here accompany the figures, the \nelement which I have again specially indicated at 82a denotes blood. For we see this element, for \ninstance, in the hand of the Death God at Codex Tro 13* a, where the other gods hold in their hands \nthe sign kan, symbol of maize, of food supplies, of prosperity. The element at Fig. 826 undoubtedly \ndenotes the same. Fig. 82c is the picture of the stone knife, a form which has been developed from \nthe Mexican pictures of stone knives furnished on one side with rows of teeth.^ And Fig. S2d \nshows a fist grasping a stone knife. Lastly, the element at Fig. 82e, / is presumably the drawing \nof an ear. \n\nThe symbolic treatment of eye-gouging is seen in Codex Tro 14* d (Fig. 81). The hieroglyph \nwhich here illustrates the extraction of the eye I have also again reproduced at Fig. 82<7. This \nhieroglyph appears in Codex Tro 12* 6 as a synonym of the figure S2h, regarding which it may be \nshown from other passages that it is intended to symbolise the practice of gouging.^ \n\nThe second five of the twenty pictures which are displayed on the upper halves of Sheets 23-29 \nof our manuscript, and in Codex Borgia and Vatican B, show five other gods, who, however, obviously \nstand in a certain relation to the first five. They are all making a gesture of offering yith their left \nhand, while with the right they present a small human figure, which is thought of as their emblem, \nas is absolutely clear, at least, in the pictures of Codex Borgia. This is undoubtedly a symbol of \nhiunan sacrifice proper, of the tlacamictiliztli. For it was the constant practice of the Mexicans to \nclothe in the garb of the god the victim immolated to him ; in other words, to sacrifice an image of \nthe god to the god. \n\nIt is more difficult to elucidate the subject dealt with in the third five pictures, which are \nrepresented on Sheets 26, 27 of our manuscript. We again see five deities, corresponding to some \nextent to those of the two previous groups, and before them a naked man, from or out of whose body \nthe gods are drawing a narrow band which ends now in a jewelled ornament, now in a sun, or again \nin a stellar eye, a flower, or some similar motive. In our manuscript the naked child is simply \nsquatting, or else (on the last sheet) erect, and figured in Codex Borgia (see Figs. 85, 112) in a \nkneeling attitude. But in Vatican B he lies with closed eyes with his back on the ground (Fig. 119), \nand in one (the second) of the two pictures even with open breast on the sacrificial stone (Fig. 95). \nHence there can be no doubt at all that this scene also is intended to represent a human \nsacrifice. \n\nThe narrow band drawn from or out of the naked figure's body is everywhere painted yellow. \nIn our manuscript it is edged with straight lines, or else set with a few rough excrescences. But in \nCodex Borgia and Vatican B it has a wavy margin, and this, together with the yellow colour, which \nin Vatican B is even picked out in red, recalls the design and colour of the flayed victim's skin, in \nwhich, for instance, the god Xipe walks about. On this account, and also because in this group of \nfive deities Xipe himself is represented, I had explained this band as a human skin, and the whole \nsubject as the flaying of human beings, the tlacaxcipeualiztli? As, however, in Codex Borgia and in \nVatican B this band is distinctly shown as coming out of the middle of the body or from below the \n\n\n\n^ This also has already been pointed out by me in one of my first essays (Zeitschnft filr Ethnologie, xix. p. 234). \n\n^ Zeitsohrift filr Ethnologie, xix. pp. 235, 236. \n\n3 Zeitsohrift fiir Ethnologie, xxx. (1898), p. 360, and Globus 74, p. 299. \n\n\n\nM The Day Side of the JUnnscript. \n\nbreast, and, aboTe all, because it is not a mere strip possibly of skin, but always ends in a jewelled \nornament, a sun, a stellar eye, a flower, or the like, I haye again had my doubts about this inter- \npretation. I have, in fact, returned to my former explanation that this subject also is meant to \nsymbolise nothing more than the extraction of the precious jewel, of the flower, of the quetzal \nfeather, that is, of the heart ; hence is also merely a symbolifflng of human sacrifice in general \n\nIn the fourth and last group, occupying the upper haWes of Sheets 28, 29 of our manuscript, \nwe see fiye female deities, most of whom have a naked human being at the breast \u2014 ^in Codex Borgia, \nin one instance, it is a fish \u2014 so that they are figured suckling or nursing. And nwrsing, that is, \nwhat is designated in the Sahagun manuscript as tladaUaqvudiztli, the nursing of the god with \nblood, the smearing of the idol's mouth with a dishful of sacrificial blood, as was customary in \nMexico at every human sacrifice, that is what seems to me embodied in these pictures. \n\nOf the people of Tehuacan, Cozcatlan, and Teotitlan del camino Father Roman ^ tells us that \non the day when the Morning Star again became visible for the first time they offered a human \nsacrifice, at which the king had to officiate, and that the number of victims went on increasing; \nthat every day, as the Morning Star rose, the priests greeted him with incense-burning, while drawing \nblood from themselves at the very hoiir when he appeared. So likewise Sahagun^ relates that in \nthe court of the great temple at Mexico was found a high thick column covered with a straw roof, \nwhich was called HhuicatiUan, 'within the heaven,' and on which was painted the image of the \nMorning Star; and that at the time when this planet rose again in the sky, captives in war were \nsacrificed before this column. \n\nWhen, therefore, on the twenty sheets which here occupy us, and reveal themselves by the \nassociated day-signs as emblems precisely of so many Venus periods, human sacrifice is invariably \ndisplayed before the observer under four different forms, the simplest explanation we can offer is, \nthat it was intended by human sacrifice to proclaim the entrance of the new period when the planet \nagain became visible for the first time as the Morning Star. \n\nJust as, according to the exposition here given, the twenty pictures resolve themselves into \ngroups of five each, so too the personages who appear in these pictures as the representatives or \nguardians of the Venus periods are disposed in series of five each, and in such a way that in these \nfour series the first, second, third, foiirth, and fifth members are always related one to another. And \nwithal we have an undoubted relation to the five regions of the world. It is not the mere five itself \nthat is characteristic of the Venus periods, with the beginning of which, after all, only five of the \ntwenty day-signs coincide, but the five that are disposed according to the five quarters, that is to \nsay, the quincunx. This arrangement, : \u2022 :, is in point of fact also the essential element in the \nhieroglyph of the Morning Star, as it is inscribed in the Maya documents (cf. Figs. 60-62 above, \np. 71), and completes the facial painting of the deity of the same orb (cf. Figs. 58, 59 above, pp. 70, \n71). Hence I might have given the title of ' The Guardians of the Five Regions' juat as well to this \nsection as to the first section on the other side of the strip. \n\nThe only doubtful point is, which direction was followed, which quarter was taken first, in what \norder were the cardinal points supposed to follow each other. I have already had occasion several \n\n\n\n\u00bb I.e. p. 170. \n\n' Book II., Appendix, edit Bostamante, i. p. 205. \n\n\n\nThe Four Times Five Guardians of the Venus Periods. 95 \n\ntimes to point out that, speaking generally, there can be no question of any fixed connection between \na given god and a given cardinal point Just as, for instance, the different colours appear to be by \nno means combined in a definite way with the different quarters, but amongst various peoples and \nin various documents of the same people now one now another arrangement of the colours is \nregarded as appropriate to the cardinal points, so also we find, according to the line of thought \nuppermost at the moment, the same deity in the picture-writings assigned now to one now to \nanother quarter. I think, however, that here in these four times five presentations of the Venus \nperiods we have to assume the same sequence as is shown on Sheet 1 of our manuscript, and with \nthe nine lords of the night, that is to say, that we have to begin with Middle, and proceed by East \nto North and West, and end with the South. \n\n1. The First Members of the Four Series. \n\nThe first member of the first series, on the right side of the upper half of Sheet 23, above the \nsign cipactli, is not represented in our manuscript in a specially characteristic way. We see a god \nof a light yellow colour, with yellow hair, and a jewelled fillet adorned with a conventional bird's \nhead on the frontal side. From his crown radiates forwards a rosette painted in red and white \ncolours, recalling the so-called miotli, or meyotli, rosettes which are seen attached to the four comers \nof the large square headdress of Chicome couatl, the Mexican Maize Goddess. If all this is still \nbut an indistinct indication, the character of the deity here depicted is none the less plainly revealed \nin the little tongue before the head which the god holds in his hand and is jobbing with the bone \ndagger. This tonguelet is seen winding from the head and ending in a maize ear. As it must \nbe assumed, from the analogy of the figures which the gods of the second series are presenting \nwith outstretched hand, that the heads held by the gods of the first series are their symbols, it \nfollows that this first member of the first series must be the Maize God, Cinteotly who, in the \nmanuscripts of the Codex Borgia group, is indeed generally represented as a male god. In point of \nfact the homologous figures of the parallel places, the first figure (on the right) of the lowest series \non Sheet 15 of Codex Borgia, the first figure (left) in the upper half of Sheet 33 of Vatican B, show \nthe Maize God of these documents in his characteristic form, with the yellow body and face colour, \non his face the black longitudinal band bent at an a.ngle, and the maize ears and maize bloom in \nhis hair, all exactly as I have reproduced him in Fig. 20 {swpra, p. 35) with the nine lords according \nto Codex Borgia 14. \n\nIn the two last-mentioned manuscripts with the Maize God, the first member of the first series, \nis further shown a special symbol which is missing in our manuscript. This is a stone knife, from \nwhich springs a flower, that might recall the fruit of the sacrifice or else the life sprouting from the \nhard stone. But in the absence of parallels I cannot venture on any interpretation. \n\nThe first member of the second series, which stands above the sign cipactli, on the left side of \nSheet 24, is in our manuscript very like the above-described figure. The garb seems a little richer, \nand we miss the red rosette radiating forwards from the crown of the head. On the other hand, \nthis figure shows on his face the black longitudinal band broken at an angle, which is the appro- \npriate facial painting of the Maize God of the Codex Borgia group. I look upon this, however, as \n\n\n\n06 The Day Side of the MaouBcript. \n\nin point of fact a mistake of the artist, and here the figure has decidedly to be differently explained. \nIn its attitude it deviates from the other figures of this series. It does not present the naked \nhuman being, its own symbol, directly with its hand, but the latter squats at the feet of the god, \nwhile a long band proceeds from its mouth, and this is grasped by the god with both hands, which \nalso hold an obsidian sacriticial knife and a bone dagger. This baud ends in a flower and quetzal, \nfeathers. And as with the first member of the first series, the maize ear at the end of the little \ntongue, before the head representing the symbol, enabled us to recognise the god himself as the \nMaize God, so here also we must infer from the flower and the quetzal feathers, at the end of the \nband proceeding from the symbol, that the god here figured is a god of flowers (xockitl), and of the \nquetzal feathers (quetzaUi), hence the male representative of the goddess (Xochiquetzal). \n\nAnd this is confirmed by the homologous figures of the parallel places. For in Codex Borgia, \nwhere the corresponding figure stands on the left side of the lowest series of Sheet 16, we simply see \n\n\n\nFig. 83. XochigueUal, Goddess of Flowers. Fig. 84. XoehipilH. \n\nCodex Bor^ 16( = King8borough 23). Codei Vaticanua B 35 (^KiDgsborough 83). \n\nrepresented the Goddess Xochiquetzal (Fig. 83), in quite a similar way to the figure which I have \nreproduced at F^. 54 {\u00bbu.pra, p. 65). And the special charaoter of the goddess is further indi- \ncated by a string of jewels, ending in a flower, which here projects from her hand, but is really \nsupposed to proceed from her mouth. On the other hand, in Vatican B, where the homolc^ous \n%ure stands on the right side of the upper half of Sheet 35, we see a male figure, which is cer- \ntainly drawn in a different way, and is painted a blue colour, with yellow stripes (Fig. 84); \nnevertheless the string of gems, proceeding from its mouth and ending in a flower, shows that the \nsame sphere of activities must be assigned to this figure as to the previously mentioned goddess. \nWith the deities of Figs, 83, 84 is further shown, as a special symbol, some water, which is \nencireled by a festing-belt, and in which are stuck a bone dagger, a stone knife, and an agave- \nleaf spike fashioned to the form of a flower. This corresponds to the symbol which, in the \nTonalaTnatl of Codex Borgia, is seen beside ckalchiuhtotolin, ruler of the seventeenth week (cf \nFig. 76 above, p. 91), and no doubt symbolises the ckalchiuh-uitzatl, the precious water of \nmortification, the sacrificial blood. \n\nThe first member of the third series is in our manuscript depicted in the middle of the \nupper half of Sheet 26, above the sign cipacfli. Here, again, it is a god, who is almost like the \n\n\n\nThe Four Timea Five OuardiaoB of the Venus Periods. 97 \n\nfirst members of the first tvo series. But he is distii^^shed by a special face-paintii^, a white \nmark about the mouth, which is fringed roimd the edge, and which we have already met higher \nup on Sheet 1 of our manuscript with the god who there personated Piltzintecvili, the Sun God, \nthird of the nine lords of the five quarters. This white mark about the mouth, and edged with \n\n\n\nFig. S&. XodixpiUi. \nCodex Borgia 1& ( = Kin^borough 2 \n\n\n\nFig. B6. (k xorhia, ' 1 Flower.' \n\nRuler of the Fourth ToDalBmatl Quarter. pjg, 57, (j^ xoeiM, 1 Flower.' \nCodex Borgia 7 Symbol of the Son. \n\n{ = KingBborough 32). Vienna Manuscript S3. \n\nfrii^e, can surely be nothing but a conventional sign, a shortened form of a butterfly's ^ure. \nFor, as we shall presently see, this god is to be identified with the god who has the white \nbutterfly painted about his mouth, the god of Teotitlan del Camino, who wears the bird Goxcoxtli \nas his helmet-mask, the Xochvpilli or Ce xockitl. But I cfumot help in this connection recalling \nthe Maya hieroglyph km, 'Sun,' all the more since the god with this facial painting does in \n\n\n\n98 The Day Side of the Manuscript. \n\nfact personate the Sun God, and since Ce xochitl, ' 1 Flower/ or, in Maya, Hun ahau, is a name \nof the Sun God, or of the setting sun. This appears both from the Tomalamatl of Codex \nBorgia disposed in columns of five members (cf. Fig. 86), and also from an interesting picture in \nthe Vienna manuscript (Fig. 87). \n\nThe homologous figure of Codex Borgia, which occupies the exact centre of Sheet 15 \n(Fig. 85), is, as I have already pointed out, the god who has a white butterfly painted about his \nmouth, where the butterfly's head is to be looked for at the tip of the nose. He is the god who \nis shown on parti-coloured clay figures, like the one which I have brought to Europe,^ looking \nout of the open mouth of a Coxcoxtli bird, and is described in picture-writings, from the vicinity \nof the Mexican capital, as Ce xochitl, ' 1 Flower,' or XochipiUi, ' Flower Prince,' or simply Tlofo- \npiUiy * Noble Prince' (cf Figs. 52, 63 above, pp. 63, 64). \n\nNow, while the Codex Borgia figure agrees with the Teotitlan figure in the butterfly design \nabout its face, and also in the rest of the facial painting, especially in a small field on the cheek \nbrightly coloured white and red, and bordered by straight lines at right angles, and also in the \ncolour of its body, still, strange to say, neither here nor in any other part of Codex Borgia is \nshown the Coxcoxtli bird helmet-mask. Yet this mask is distinctly, and even very realistically, \nreproduced, even in the pictures of the Florentine manuscript, which decidedly comes from a \ndistrict near the capital city, Mexico, much further removed from the home of this bird. This \nbird-mask seems in the Codex Borgia pictures to be everyivhere rather suggested merely by a \nwhite vnng, which is found depicted on the head of the figure, beside the usual feather ornament \nresembling a bird's tail, and falling backwards. \n\nFar less characteristic is the corresponding figure of Vatican B. Still here also a butterfly- \ndesign is suggested about the mouth. And here also, by a slight detail, the character of the deity is \nclearly expressed. On his wrist he wears, not a band with bells, or, for instance, two jewels like the \nfigures of Telleriano Remensis, but a group of four jewels, which exactly reproduce the picture of \nthe tonallo emblem which is seen in the Sahagun manuscript of the Biblioteca del Palacio on the \nback-flag and shield, not indeed of the god Xochipilli, but of the related figure of MacuilxochitL \nMoreover, the same kind of armlet is likewise shown, at least on one arm, by the first member of \nthe second series in Vatican B, who is also to be identified as Xochipilli. \n\nThe god of our manuscript holds in his left hand an obsidian knife, and from his efligy' seated \nbefore him draws out a band ending in a jewelled half-disk (chaZchiuitl-) decked with flowers, above \nwhich further lies a variegated tube, from which fire seems to proceed. The band which the figure \nin Codex Borgia (Fig. 85) draws from the body of his effigy bears at its end a jewelled vessel, out of \nwhich two jewelled thongs project. With the Vatican B figure the band is set with eyes, and \nseems to end in feathers and flowers. All these \u2014 jewelled disk, feathers, flowers \u2014 are here symbols \nof something precious, a figurative expression for the heart, which the gods draw out of the body \nof their effigy. \n\nThe fourth series is that of the female deities, who are nursing a child at the breast. The \nfirst member, on the right side of the upper half of Sheet 28 of our manuscript, represents Mayauel, \ngoddess of the agave plant. The goddess in a way grows up out of the plant itself. Her hair is \n\n^ Seler, Wandmalereien von Mitla. Berlin, 1895. Plate ziil. \n\n\n\n\n\n\nThe Four Times Five Guardians of the Venus Periods. 90 \n\nbound with a floral wreath, and behind her a flowering stem shoots upwards. The homologous figure \nof Codex Boi^a, on the right side of the upper series of Sheet 16, has a somewhat more intricate \ndesign (Fig. 88), Here the goddess is seated on a stool, behind which the ^ave leaves become visible, \nwhile a thick flowering stem overhangs in front. The goddess herself has the general aspect of \nTlofolteotl, wearing, like her, a bandage of unspun cotton in her hair and ear-lobe, also the black \ncaoutchouc painting about her mouth, and the half-moon-sbaped golden plate yacametztli of \nairOfolteotl and the pulque gods suspended under her nose. But her face is white. The tippet-shaped \ncollar {quechquemitl) and the loin-cloth {cueitl) are painted in the colour and outlines of water, and \nedged round with white disk-shaped snail-shells, while three such objects are seen on the surface of \nthe loin-cloth itself, and tbe goddess is suckling, not a man-child, but a fish. At the corresponding \nplace In Vatican B, Sheet 40 above to the right, the goddess is not shown at all, but only the agave \nplant (Fig. 89), with foliage find a double flowering-stalk shooting upwards. But the inside of the \n\n\n\nFig. 88. Mayauel, Goddess of the Agave Plant. Fig. 89. mttl, the Aftare Plant. \n\nCodex Boi^ 16 ( = Kiagaborough 23). Codex Vaticanus B 40 (=KingBborough 48). \n\nplant develops a sort of cave, the walls of which affect the form of the crescent-shaped, golden, nasal \nornament yacametztli of Tla^oUeotl and the pulque gods, the outside being decked with jewelled and \ngold hangings, and the interior filled with liquid. From the roof of the cave a sort of peg hangs down, \nat which a flsh is sucking. \n\nThe deities of the maize and i^ave plants, the god XockipiUi, who in the hymns is also invoked \nas Cinteotl, as the Maize God, lastly the goddess Xochiquetzal, who is identified with Tonacaciuatl, \n' Lady of Food Supplies,' and her male representative, hence one and all gods of the means of \nexistence : such are the divinities who constitute the first members of the four series. The gods of the \nmeans of existence stand naturally for the Earth Goddess, who produces the food supplies from her \nbosom. She, the Earth, is the realm of the centre, whence space expands towards the four cardinal \npoints. She is what I have generally designated as the flfth quarter of the heavens, but what the \nancient Mexicans were wont, &r more logically, to regard as the first of the five regions of the world, \nas is here seen, and as we also learn from Sheet 1 of our manuscript. \n\n2. The Second Members of the Four Series. \n\nThe second member of the first series, who in our manuscript stands in the middle of Sheet 23, \nabove the sign couatl, ' Snake,' is a deity who seems rarely to appear in the pictorial writings of this \n\n\n\n100 The Day Side of the Manuacript \n\ngroup, and in the Mexican manuscripts proper not at all In our manuscript his distinctive marks \nare an old face with long beard enframmg the chin, and a cipacUi as helmet-mask. To these is added \na two-coloured face-painting, the anterior half red (or yellow), the posterior dark-green {or black), in \nthe homologous figures of the other two manuscripts, which are shown in Codex Borgia in the \nmiddle of the lowest series on Sheet 15 ; in Vatican B on the right side of the upper half of \nSheet 33, and which I reproduce at Figs. 90, 91. And as a special symbol, in these manuscripts \nis superadded a rubber or copal ball surmounted by a quetzal feather, similar to those which on \n\n\n\nFig. 90. God of the East. Fig. 91. God of the East. \n\nCodex Boi^ 15 ( = Kingsborough 24). Codex VaticanosB 33 (=Kingsborough 81). \n\n\n\nFig. QSa. M eipacBi. Fig. 92b. ee eipaeili. Fig. 93a. c\u00ab cipaeUi. Fig. 936. ce eijxulli. \n\nVieDna Manascript 1. Tienna Manuscript 32. Vienoa Manuacript 2. Vienna MonuBcript !8. \n\nthe other side of our manuscript were always placed on top of the bundle of firewood, but is here \nin Codex Bo^ia also painted (like the face) in two colours. He appears to be a special Ood of \nthe Eaet. I think I may confidently identify him with a god who occurs in the pictorial writings \nof the Vienna Imperial and Royal Court Library under the name of ce cipactli, ' 1 Crocodile,' \nlikewise with a cipactli as helmet-mask (Fig. 92), but also with a jaguar's head as helmet-mask \n(Fig. 93). On Sheet 13 of this manuscript he is depicted in two forms, once as nam cipactli, \n'4 Crocodile,' the second time as matlactli oce cipactli, ' 11 Crocodile,' and is here seen in a hall \nformed of stellar eyes, receiving offerings and worship (Fig. 94). On Sheets 1 and 2 of the Vienna \nmanuscript this god is associated with the goddess tnatlactli omei xockitl, ' 13 Flower,' who wears \na quetzal bird as helmet-mask, and is doubtless to be identified with Xochiquetzal. I have \n\n\n\nThe Four Times Five OutwdianB of the Venue Periods. \n\n\n\n102 The Daj Side of the Manuscript. \n\naccordingly no doubt that we should regard this god as a special form of the lord of food \nsupplies, of the representative of the sign cipactli, of the god TonacatectUli. And as in these \nmanuscripts this god is as a rule elsewhere figured in another form\u2014 as a bright-coloured god \nwith flame-coloured hair \u2014 the special form here exhibited may be distii^uished from that other \nform by the name' of Cipactonal. \n\nThe second member of the second row, which in our manuscript stands on the right side of \nSheet 25, in Codex Borgia on the left side of the middle row of Sheet 16, in Vatican B on the \nleft side of Sheet 36, is the familiar figure of Tlaloc, the Rain God. The small figure which he \npresents is in Codex Borgia quite distinctly, and in Vatican B still perceptibly, depicted as the \nsymbol of the god. \n\nThe second member of the third row, shown in our manuscript on the left side of Sheet 26, \nresembles the first members of the three first series in design and equipment But the colour of \n\n\n\nFig. 96(1. Tonaliuk, the Sun God. Fig. 956, TonafiuA, the Sun God, \n\nCodex Borgia 16 ( = Kingsboroiigh 24). Codex Vaticanua B 38 { = Kingsborongh 86), \n\nbody and fece is red. And at the end of the strip which this god is drawing out of a naked squatting \nfigure before him a half-solar disk is seen aboTe a variegated tube, from which fire seems to proceed. \nIt is in fact the Sun God who is intended to be represented by this second member of the third series. \nThis is placed beyond all doubt by the corresponding figure of Codex Boi^ia, on the right side of the \nmiddle row of Sheet 15, where we see the Sun God pictured in his typical form and equipment, and \nwith a half-solar disk on his back (Fig. 95a). To the Sun were presented the hearts of the victims. \nHence in Vatican B the naked human figure which is shown with this deity, and from whose body \nthe gods extract the strip ending iu gems, suns, eyes, or flowers, is represented lying with open breast \non the sacrificial stone (Fig, 956). In Codex Borgia also, beside the naked person from whose body \nthe strip has been drawn, is seen the sacrificial stone {techcatl), painted black and decked with \na bow. \n\nIn the fourth series, that of the female personf^es, the old mother of the gods, the Earth Goddess \nTeteo innan, or Tla^lteotl, is the second member. In our manuscript, where she occupies the middle \nof Sheet 28, she is not represented suckling, as are the other members of the series, but seems rather \nto be strangling the squatting figure before her with a red snake. And, moreover, hatchet and string \nare further depicted as special symbols above this group. \n\nIn Codex Boi^ia, where the corresponding figure is shown on Sheet 16 in the middle of the upper- \n\n\n\nThe Four Times Five Ouordians of the Venus Periods. 103 \n\nmost row, we see (Fig. 96a) the typical image of Tla^lteotl, and here she is pictured suckling like the \nother figures of the series. Before her is shown the half-moon-shaped nasal ornament of the pulque \ngods in a dark field, the emblem of the moon, from which, however, here a stream of blood is further \nseen flowing down. In Vatican B, where the corresponding figure stands on the left side of Sheet 41, \nthe goddess is depicted with outstretched legs, which, as in Codex Borbonicus, is doubtless to be taken \nas the posture of delivery. The peculiar symbol beside her \u2014 a ring filled up inside with a red colour, \nand out of which a flower is growing \u2014 is doubtless intended to figure the navel or the lap. Beside it \nis further seen a red and white coloured string, while beside the flower is shown a dart. \n\nRespectii^ the god who is reproduced at Figs. 90, 91, and is the second of the first series, I am \nunable to give any further particulars ; but one can understand that the Sun God, as well as the Rain \nGod, Tlaloc, could quite well have a relation with the East. With the Sun God this is self-evident. \nBut TkUocan, the realm of the Rain God, lay also in the East. Here were the lofty mountains, \n\n\n\nFig. 96a. TlofoUeotl, the Earth Goddess. Fig. 966. TIap>Ueoa, the Eurth Goddess. \n\nCodex Boi^a 16 ( = Kingsborough 23). Codex Vaticamis B 41 (^Kingsboniiigh 89). \n\nabout whose summits the clouds first gathered, and here was the well-watered Atlantic sea-board. \nTlalocayotl, ' he that cometh from the Rain Land,' was the name applied by the Meiucans to the \nEast Wind. But it is not quite so clear to me why Tla^teotl is here thought of as in the same \nquarter. Possibly the home relations were here also borne in mind. Tlafolteotl is the Huaitec \ngoddess, who comes from the Huaitec land, and is accompanied by Huaxtecans (icuextian) as \nher ministers.* And the Huaxtec land is precisely the northern section of the Atlantic, i.e. of \nthe East, coast. \n\n3. The Third Members of the Fourth Series. \n\nAs third members we see pictured in all the four series the Death God, or related personE^s. \nAnd this corresponds to the cardinal point which we should now expect to follow, i.e. the North, \nFor the North was the mictlaTnpa, the region of the land of the dead. Here was the realm of \nMidlantecutli. \n\nIn the first series \u2014 in our manuscript Sheet 23 on the left side, in Codex Borgia Sheet 15 on the \nleft side of the lowest row, and in Vatican B Sheet 34 (left) \u2014 the Death God is designed as a skeleton \n\n' Cf. Tonaiamall at the Aabin collection, pp. 88, 93-95. \n\n\n\n104 The Day Side of the Manuscript. \n\nand represented in the usual way, with a paper rosette {cuexcochtechiTnaUi) on the nape, above which a \nflag (pam-toyauaUi), broken in the middle and inclined forwards, projects upwards. In Codex Borgia \nwith him is further given, as a special symbol, a green bunch which presumably denotes TtmlinaUi, \nuprooted grass (i,e. withering), or else medicinal plants (i,e. death by implication). \n\nIn the second series in Codex Borgia (exactly in the middle of Sheet 16) we see a skeleton which \nis equipped in precisely the same way, and with which by way of special symbol is merely shown a \nkind of hill painted half black, half red, and on both sides set with eyes, and out of which a green \nbush is growing. \n\nBut in our manuscript, where the corresponding member of this series is found in the middle of \nSheet 25, as also in Vatican B (Sheet 36, right), a somewhat different aspect has been given to the \nfigure. In Vatican B we have a form which is painted a yellow colour, but in other respects equipped \nwith death symbols ; it further wears a kind of dog's or animal's head, but with which the lower part \nof the face is fashioned like a skull, with exposed teeth and fleshless lower jaw. With the figure in \nour manuscript no further death symbols are given beyond the exposed teeth and fleshless lower jaw. \nThe upper part of the face is half black, half yellow, while the hair is bound up with a strap which \nwears a human or ape head on the frontal side. In these last two distinctive marks this figure agrees \nwith the Pulque God, as we saw him pictured, for instance, in the upper half of Sheet 14 of our \nmanuscript. And in fact I believe that here, instead of the Death God, the Pulque God has been \nreproduced ; for after all it is he who is called the teatlauiani, the * Drowner,' the teqnechTnecauiani, \nthe * Throttler,* and of whom we read in the first book of Sahagun \u2014 tetepexiuiya, tequechToecauia, \nteatlauia, temictia, 'who hurls the people from the cliffs, strangles them with the rope, drowns \nthem in the water, slays them (as sacrificial victims).' Beside the figure in Codex Vaticanus B stands \na symbol resembling that of Codex Borgia \u2014 a kind of cliff painted half blue {i.e. dark), half red, but \nfrom which here a flower shoots up. In our manuscript we see a heart, which is pierced by an agave- \nleaf spike, a maguey thorn (uitztli). \n\nIn the 'third series of all three manuscripts is depicted a peculiar form, not the Death God, but \na hliTidfold figure. And in all three manuscripts the whole of the anterior part of the compartment \nfacing it is occupied by a field studded with eyes, and painted the colour of night, i.e. dark. \n\nIn Codex Borgia (Sheet 15 of top row to the right) the figure is pictured as Tezcatlipoca, and \nindeed exactly as this Tezcatlipoca is figured with bandaged eye on Sheet 12 of Codex Borgia, as \nruler of the thirteenth day-sign, i.e. as Itztlacoliuhqui, as the 'bent obsidian knife, the God of \nAvenging Justice, the Grod of the Stone, of Blinding, of Sin, of Cold.' ^ In our manuscript (on the \nright side of Sheet 27) he is painted, not black like Tezcatlipoca, but a blue colour ; but he has the \nforked heron-feather ornament in his hair and Tezcatlipoca's breast ornament, while his face is, \nixtlan tlatlaan, covered with parti-coloured cross-bands, only not yellow and black, as with Tez- \ncatlipoca, but blue and white. Here, in fact, he is conceived, not directly as Tezcatlipoca himself, \nbut as Tezcatlipoca-Itztlacoliuhqui, the God of Punishment, the God of Cold, of the cold, sharp \nStone. \n\nA deviation is presented by the third member of the third series in Vatican B (on the left side \nof Sheet 39). No doubt here also the aztaa>dli, the forked heron-feather ornament in the hair. \n\n\n\n1 Cf. ToncUamcUl of the Aubin collection, pp. 90-93. \n\n\n\nThe Four Times Five OuardiauB of tfae Venus Periods. lOS \n\npoints distinctly at Tezcatlipoca, but body and hair are yellow. On bis face he has the broad and \nthe narrow black longitudinal band and the bandage of his eye like Itztlacoliuhqui, but his hair is \nruffled, as with the Death God. In our manuscript the god, being the avenger, holds the hatchet in \nbis hand, and this is absent from the other two manuscripts. On the other hand, in Vatican B a \nhatchet is to be seen before the god on the field painted the colour of night. Instead of this, in \nour manuscript a skull is pictured on the black field, and in Codex Boi^a two hearts spitted \non a stake. \n\nThe fourth series is that of the female deities. Hence here is pictured in the third member, not \nthe king of the realm of the dead, but his consort, Mictecaditatl. In our manuscript, left side of \nSheet 28, the Death Goddess is portrayed as a woman, but with a skull for her head, and in the pierced \nlobe of her ear wearing an eye as a plug. Moreover, she is clothed, like Ciuatetei, as a warrior, i.e. \nhalf as a man, having also a toin-cloth. But, unlike the other members of this series, she does not \nsuckle, but swallows blood and human beings. As a special symbol there are further shown with \nher, as with the third member of the second series, a heart \nand an agave- leaf spike, a mt^ey thorn (uitzUi). \n\nIn Codex Borgia, on the left side of the uppermost \nseries on Sheet 16, are exceptionally seen two figures \u2014 the \nDeath God and the Death Goddess \u2014 whose open mouths \nare connected by a stream of blood. This is doubtless \nintended here, as with the pair figured on Sheet 61 of \nCodex Borgia beside Tonacatecvili, to be taken as a symbol \nof sexual union.' The Death God further presents to the \ngoddess a (or else his own) bleeding heart. Lastly, on the \nupper border of the picture, we further perceive cross- \nbones and a heart In Codex Vaticanus B (Sheet 41, on ^K- ^\\ Q^t^^^otl, the Wind God. \n\nCodex BoT^ia 16 ( = KiDgaboroiigh 23). \nthe right side) are also depicted two figures, but of the \n\nfemale sex. On the left side the Death Goddess painted a red colour, with a skull for her head \nand an eye in her ear ; on the right side a woman clothed with a loin-cloth, painted a yellow colour, \nand with her face looking out of the open jawa of a snake. Possibly this is intended for CiuacouaU, \nthe Earth Goddess, personating the Death Goddess. Above both is stretched a kind of festoon, with \nan object like a navel for its centrepiece. \n\n4. The Fourth Members of the Four Series. \n\nThe fourth members of the four aeries had to correspond with the West. In the first series we \nhave the Wind God, Quetzalcottatl, who in our manuscript stands on the right side of Sheet 24, \nin Codex Borgia on the right side of the lowest row on Sheet 16 (Fig. 97), and in Vatican B on the \nright side of Sheet 34. In all three manuscripts he is depicted in the style of the idol at Cholula, \nwith the region of the mouth protruding like a bird's beak, but, strange to say, the body of the god is \nin our manuscript painted red, in the others black, with face in two colours, red and black (or blue), \nand chin enframed by a long beard. On his head he wears the wedge-shaped cap {copilli), which is \n\n' TtmtdauxUl of the Aabin collection, p, 40, Fig. IS. \n\n\n\n106 The Dfty Side of the HaDiucript. \n\npainted in tvo colours, red and black, or red and blue, with an eye at the parting-line. The god's eye \nis thrust out, a symbol of mortification and blood-letting in honour of the gods, which practices were \nsupposed to have been taught and first observed by this god. And in his hair is stuck the bone \nda^er, on which the blood is indicated by a flower. As a special symbol, with him is shown some \nwater enclosed by a iasting-belt, in which are inserted stoae knife, stone dagger, an ^ave-leaf spike, \nexactly like the symbol which we met above with the Xochiquetzal of Codex Borgia (Fig. 83 \nsupra, p. 96). \n\nIn the second series we meet as fourth member the god concerning whom I have shown * that \nhe is another form of Tlauizcalpantecutli, the deity of the Morning Star, that is to say, the planet \n\n\n\nFig. 99. \n\nDeity of the Plsnet Venus (ETening Star). \n\nCodex Borgift 16 ( = Eingsboniugh S3). \n\n\n\nFig. 98. Tlauixcaipan ttevtii. \nCodex Telleruno Bemensia, \u00a3 14 verso Fig. 100. The Evening SUr. \n\n( = Eingsboroiigh ii. 14). Codex Vaticanaa B 37 ( = Kingsborongh 85). \n\nVenus represented as the Evening Star. In Codeii Borgia, where he stands on the right side of the \nmiddle row of Sheet 16, he is figured with the same characteristic headdress as Tlauizcalpantecutli, \ndeity of the Morning Star, in Telleriano Remensis (F^. 98). But this god of Codex Borgia (Fig. 99) \nhas quite a difierent facial painting \u2014 dark with two deep-black cross-bands, one at the level of the \nmouth and one at level of the eye, and with white spots which in the front view (cf. Fig. 59 above, \np. 71) develop to a quincunx, and represent the very hieroglyph of the planet Venus, as it is written \nin the Maya documents (cf. Figs. 60, 62 above,p. 71). The identity of this deity of the Evening Star \n\n' 'Die Venusperiode in den Bildencbriftender Codex BorgiK-Gruppa' (ZeltschriftftlrEthiioIagie, XXX., 1S98, pp. 369-364). \n\n\n\nThe Four Times Five Guardians of the Venus Periods. 107 \n\nwith that of the Morning Star is further established by the fact that the effi^gy presented by this god \nof Codex Borgia has the colour and face-painting of the deity of the Morning Star \u2014 the black, half- \nmask-like painting about the eye. As characteristic marks common to both forms, are further to be \nmentioned the locks flaming up above the forehead in the manuscripts of the Codex Borgia group. \nIn the profile are shown two, in the full-face view properly three, as may in fact be seen here at \nFig. 99, both with the deity and with his differently painted effigy. \n\nThe homologous figure in the second series of Vatican B (on the left side of Sheet 37) is less \nfinely and not quite so characteristically depicted (Fig. 100). Nevertheless, the observer will easily \ndetect the white (red-striped) colour of the body, the three lambent locks above the brow, and the \ndark facial colour, with the quincunx of white spots. Only here, as we shall also see with the \ncorresponding figure of our manuscript, the quincunx is already shown on one side of the face, \nwhile at the same time the scribe has retained the spot on the nose, which properly represents \nthe central spot of the one quincunx, which comes fully out only in the front view; or \nrather, here also it forms the central spot of the quincunx, although shifted to an eccentric \nposition. \n\nThe corresponding figure of our manuscript will be found on the left side of Sheet 25. He \nis clearly indicated as the deity of the planet Venus, as the Evening Star, by the quincunx of white \nspots \u2014 ^in which the central spot lies on the tip of the nose, as with the Vatican B figure (Fig. 100) \u2014 \nand by the three lambent locks above the forehead, as well as by the large, radiant, stellar eye which \nis worn by this figure, and corresponds in every respect with the radiant eye above pictured on \np. 11, Fig. 56. Here, however, the face is not dark, as with the corresponding figures of the other \ntwo manuscripts (Figs. 99, 100), but, like the rest of the body, i.e. white, with yellow longitudinal \nstripes. \n\nWith the Codex Borgia figure (Fig. 99), as a special symbol is shown a cord with two little, \nwhite, paper fans. This is a sacrificial ornament, as for the Mexicans the deity of the planet Venus, \ni.e, more particularly the Morning Star, denoted the warriors death, i.e. sacrificial death. For the \nsoul of the sacrificed warrior went to the eastern heaven, to the house of the Sun, in order thence to \naccompany the Sun with song and dance to the zenith. Thus the soul of the sacrificed warrior was \na minister, a guide, a herald (tecpoyotl) of the Sun, just as the Morning Star is a minister, a \nherald of the Sua Hence also the image, which is here presented by the Codex Borgia figure, \nis adorned as a victim, and also shows the colour of the planet Venus, but has the other form \nof facial painting, that of the figure in Telleriano Remensis (Fig. 98). The hair is plastered with \nwhite downy feathers, and round its neck is slung the aztamecatl, the heron-feather cord, the \nsacrificial cord, the rope with which the victim was made fast to the round stone, the temalacatl. \nBut in its hand the effigy shows a couple of spears. For, as I have already stated above,* by the \nMexicans the planet Venus was regarded as the Darter of rays, the Spear-thrower, the Shooter, \nand is, therefore, also figured with spear and throwing-stick in those places in the picture-writings \nwhere it is represented as the expression of the 5 x 13 Venus periods (cf. Figs. 71-73 supra, p. 89). \n\nIn our manuscript, beside the deity of the Evening Star, is pictured a flag, and, as would \nseem, a shield. This has obviously the same meaning as the cord and the two little flags with \nthe Codex Borgia figure; it has undoubtedly reference to the warrior's death, the sacrificio \n\n1 Seep. 71. \n\n\n\n108 \n\n\n\nThe Daj Side of the Hanuscript. \n\n\n\ngladuitorio. Less intelligible is the symbol shown with the figure in Vaticanus B (Fig. 100) \nthough it has presumably originated in the same elements. \n\nThe fourth member of the third series, pictured in our manuscript in the middle of Sheet 27, \nin Codex Borgia in the middle of the topmost row of Sheet 15 (Fig. 101), in Vatican B on the \nright side of Sheet 39, is the famiUar figure of Xipe totec, ' Our Lord, the Flayed,' of the god who \ngoes about draped in the skin of a flayed human being. He is everywhere depicted in a charac- \n\n\n\nFig. 101. \nXipe Tottc, 'Our Lord, the Flayed.' \nCodex Borgia 15 ( = Eingsboiongh 24). \n\n\n\nFig. 102a. \nChaidnuhilieuey the Water OoddeBi. \nCodei Borgia 17 ( =EiDgslMiroiigh 82). \n\n\n\nteristic way. In our manuscript he has also the face-mask of a human skin, which is wide open \nat the mouth, with only a narrow slit for the eye ; with the nasal ornament which reproduces \nthe form of Zipe's peaked cap, the yopitzontli, and in his hand holdii^ the rattle-stick, the \nehicauaztU. The girdle of zftpote leaves (tzapocueiil), worn by \nthe Xipe figures of the Mexican manuscripts proper, is lackii^ \nin these pictures of the Codex Borgia group, and is replaced \nby a girdle, which has the form of Xvpe's loin-cloth, with its \nswallow-tail-like ends, drawn regularly, at least, in Codex Borgia. \n\n\n\nIn the fourth, the female, series the fourth member is the \nWater Goddess ChakkiuhUi icue. She is distinctly to be \nrecognised as such in Codex Boi^ia, where she stands on the \nright side of the uppermost row of Sheet 17 (Fig. 102a). This \npicture should be compared with the Chalckiv^tlicue figure \nreproduced above on p. 37, Fig, 22. \n\nLess characteristic is already the figure of Vatican B, on \nthe left side of Sheet 42. Here the two quetzal-feather bunches, \nfor instance (cf. Fig. 1026), shown on the crown of the head, \nare positively misleading, as they would wrongly induce one to explain the picture as that of \nXockiquetzcd. To her character as Water Groddess nothing really points save the symbol given \nbeside her, inasmuch as this is actually seen to be a variant of the symbol shown on the Codex \nBorgia figure (Fig. lOSa), the element chalchiuitl, 'Jewel,' being replaced by a floreated ring, and \n\n\n\nFig. lost. \n\nChalekivkai ime, the Water Goddess. \n\nCodex Vaticanus B 42 \n\n( = Kiogsborovgh 90.) \n\n\n\nThe Four Times Five Guardians of the Venus Periods. 109 \n\nthe element atl, ' water/ by a flowering tree, whose stem is painted the colour of the water. This \nvariant itself of course becomes possible only because to the Mexicans the water suggested the \nnotion of the chcdchiuhatl, ' the Jewel Water/ the precious liquid, i,e, the sacrificial blood. For \nblood in the picture-writings is quite normally indicated symbolically by flowers. But this variant \nof Codex Yaticanus B further explains the picture in our manuscript. \n\nIn our manuscript the fourth member of the fourth series is figured on the right side of \nSheet 29. Here we have a figure in which again there is, strictly speaking, nothing to recall \nthe Water Goddess. We might beUeve that the chalchiuitl, which the goddess wears in her hair, and \nfrom which an eye starts out, had been accepted as such an allusion. Before the goddess is pictured \na flowering tree growing out of an emerald vase. But here, also, beyond being painted a blue \ncolour, there is nothing in the stem of this tree to suggest the idea of water. But if we understand \nthat this picture is homologous to the symbol with Fig. 1026, and that again with the chalchiuhatl, \nthe emerald water, the relation will occur of itself. For the rest, as a clear indication that the \nlatter also, the chalchiuhatl, with the Codiex Borgia figure, is intended for sacrificial blood, we here \nsee further pictured with the figure in our manuscript blood with a heart floating in it. \n\nThat the four figures \u2014 Qv^tzalcouatl, the Planet Venus (the Evening Star), Xipe, and Chal- \nchiuhtlicue, the Water Goddess \u2014 jointly indicate the cardinal point of the West will have to be \nadmitted. And should any doubt arise, for instance, with the second, the planet Venus itself, \nsince this could, after all, have been equally intended for the Morning Star, then the figure of Xipe \nwill weigh all the more conclusively in the balance, since he is unquestionably an Earth god, and \nalso represents the western quarter on Sheet 25 ( = Kingsborough 14), where the Venus periods are \npictured. \n\n5. The Fifth Members of the Four Series. \n\nAs fifth member we have in the first series, in Codex Borgia (middle of the lowest row of Sheet \n16), the same god that we met as first member of the third series, the god with the white butterfly \nmotive about his mouth, the god of Teotitlan del Camino, Ce ooochitl, or XochipiUi (Fig. 103). \nThis deity had his proper place amongst the first members of the four series, because he is the \nCinteotl, the red Maize God, hence a god of the means of subsistence ; and in this part of the \nmanuscripts these first members denoted the region of the Middle, the Earth, as the producer of \nfood supplies. The fifth members of the four series belong, on the contrary, to the cardinal point \nof the South. Hence here (Fig. 103) XochipiUi is also somewhat distinct from the XochipiUi the \nfirst member of the third series (cf. Fig. 85 above, p. 97), since he clearly shows on the upper half \nof his face the red bands which are drawn round the posterior angle of the eye, bands which in this \nmanuscript, and also in others, indicate the Sun God. As a special symbol, with him is shown a \nflower springing from the dark central point of a disk. \n\nNot so easily to be recognised is the figure of Vatican B (left side of Sheet 35). Strange to \nsay, here the eye is closed, and below it the face is intersected lengthwise by a red band, which \nalmost recalls the bands on Xipe*s face. XochipiUi himself is suggested, strictly speaking, only by \nthe symbol which is shown beside the god, and is the same as that of the just-described figure of \nCodex Borgia. I will, however, not leave unmentioned the longitudinal band on the face, such \n\n\n\n110 The Day Side of the H&nuscript. \n\nOS ia ahown by this Vatican B Sgure, and is also met with the blue Xochipilli (f^g. 84 above, \np. 96), who in Yatican B takes the place of the Borgian Xochiquetzal that forms the first \nmember of the second series. \n\nOn the other hand, in our manuscript at this place (middle of Sheet 24), apparently quite a \nforeign god is depicted \u2014 an old god with long beard, who is painted blue, and on his face half blue \nhalf red, like the XoloU of Sheet 12 of our manuscript and of Codex Bologna 24, and wears \nthe sea-snul shell {tecciztli) on the frontal side of his fillet. These combined marks leave scarcely \nany doubt that here it was intended to represent the Tecciztecatl, the Moon God, who is here \n\n\n\nFig. 103. XoAijnlH. Fig. 104. \n\nCodex Boigi\u00ab 16 ( - Eingsborough 23\\ Oodei Vaticanna B 38 ( - Kingsborougfa 8 \n\n\n\nm^^ \n\n\n\nFig. 105. Fig. 106. \n\nCodex Laud (=> Eingsborough 34}. Codei Borgia 60 (=Kingsboroiigh 65). \n\nintroduced for his luminous brother the Sun God Xochipilli. I would, however, call attention to \nthe fact that in the lower half of Sheet 38 of Vatican B, and on Sheet 34 (Kingsborough notation) \nof Codex Laud, a figure makes his appearance as a Musician, who agrees in all these essential \nmarks with this Tecciztecatl of our manuscript, while in the corresponding place of Codex Boi^a \n(Sheet 60 = Kingsborough 55) we simply find the god of music and of dance (cf Figs. 104-106). \n\nAs fifth personage of the second series a figure appears in Codex Borgia, in the left compartment \nof the middle row of Sheet 15 (Fig. 107), and in Vatican B, on the right side of Sheet 37 (Fig. 108), \nwho ^rees with the other form of the deity of the planet Venus, the Tlauizcalpan tecutli, the \n\n\n\nThe Four Times Five Ooardiacs of the Veooa Periods. Ill \n\nMorning Star, in nearly all distinctive marks, especially the white (or else white and red striped) \npainting of body and &ce, and the black half-mask-like painting with white circles around the eye \u2014 \nthe face-piunting of stars and darkness (TnixciUalhuiticac moteneua UayouaUi) \u2014 as also the lambent \nlocks above the forehead; only he does not wear the fillet and the feather crown of the deity of \nTetleriano Remensis (Fig. 98 above, p. 106), but has his hair plastered with downy feathers after \n\n\n\n1 \n_* \n\nFig. 107. Mixcouail. Rg. lOa MixeotMtL \n\nCodex Bot^ 1 5 { = Kingsborough 24). C'odei Taticanna B 37 { = Kingsborongh 86), \n\n\n\nFig. 109. Mixantaa. Fig. 110. MixemuUi. \n\nCodex Borgi* 25 (=KiiigsboTODgb 14). Codex Vaticaous B 70 (=Kingsborough S7;. \n\nthe feshion of the warriors, and has inserted in it the forked heron-feather bunch, aztaxelli, the \nadornment of the war dance. \n\nWe find this figure depicted with exactly the same equipment also on Sheet 25 ( = Hii^borough \n14) of Codex Borgia (Fig. 109), and on the corresponding Sheet 70 ( = Kingsborough 27) of Vatican B \n(Fig. 110), where he displays the second in order of the deities of the five Venus periods, that is to \nsay, the guardian of the northern quarter. We may, therefore, presumably assume that this god is \nintended to personate, not TlautzccUpantecutli, the Morning Star, in the strict sense, but as the \nShooting God, the Spear-thrower, the Hurler of Darts, the God of the Hunt and of the Hunting \nTribes, Mixcouatl ; and also, as we shall presently see, another corresponding god, Vitznauatl. \n\n\n\n112 The Day Side of the Manuscript. \n\nIn the Mexican sagas are very frequently met, clothed in divers forms, certain tales which \ndeal with a multiplicity of gods, or more precisely, with 400 gods or heroes. The drift of these tales \nis generally that the upper gods, that is, in each case the particular tribal or national gods, fall \nout with these heroes, or are attacked by them, with the result that the heroes are annihilated. Or, \nagain, that the tribal god utilises them, in order by them, i.e. by sacrificing them, to nourish the \nwaning sun. Or else the tribes themselves fall upon the heroes, as their lawful booty, and slay them. \n\nIn the Popol Vuh, the saga book of the Quichfe, these 400 lords appear in the form of the omuch \nc*aholab, the 400 young men who are destroyed by Zipacna. Even in distant San Salvador, at the \nupland lake JJluapan in the vicinity of the San Miguel volcano. Pater AUmso Ponee^ heard that \nthe fish of this lake were once 400 youths who rushed into the lake and perished there. By the \nMexicans these four hundred are more precisely described either as the Centzon MimiTccoua, the four \nhundred Mixamatl, i.e. the four hundred Northerners \u2014 for Mimixcoua in tlalpan, the land of the \nMiiaixcoua, is the North \u2014 or as the Centzon Uitznaua, i.e, the four hundred Southerners. The latter \nare especially the hostile brothers who are overcome and vanquished by the new-bom UitzilopochUi, \nwho springs fully armed from his mother's womb. The former are more or less expressly identified \nwith the inhabitants of the northern steppe ; and in a report in the Historia de los Mexicanos por \nsus pinturas,' their home is stated to be Cuzco, doubtless a misreading for Cozcatlan. \n\nTheir great number, which constitutes the most distinctive mark of these demigods, leads \none at once to think of the host of stars ; and the story of their pursuit, dispersion, and destruction \nby the new-bom god is a very transparent myth, in which we may doubtless, with some confidence, \nrecognise the chasing away of the stars by the rising orb of day. With the enumeration of the \nvarious heavens, which is given in the Historia de los Mexicanos por sus pinturas, it is also \nstated that the four hundred hv/man heings, who were said to be created by Tezcatlipoca, and \nare identified with those very heroes vanquished by UitzUopochtliy hence with the Centzon \nUitzn^ua, had their abode in the third heaven, following on the CitlaUicue and CiHaUatoruLc and \nthe heaven of the Tetzauhciua or Tzitzimime, and further, that they were of five colours \u2014 ^yellow, \nblack, white, blue, red \u2014 ^and were the guards of heaven.^ And, on the other hand, the Popol Vuh * \nrelates that, in the opinion of some people, the mnuch caholah entered the constellation called motz, \ni.e. the Pleiades. The Centzon Miinixcoua and the Centzon Uitpnavxi would accordingly be the stars \nof the northern firmament and of the southern firmament, the ecliptic being taken as the parting-line. \n\nLike the dtlalpol, the 'great star,' i.e. the Morning Star, the other stars too are believed to be \nthe 'radiant,' the 'shooting.' At the Panquetzaliztli, the chief feast of the Mexicans, the feast of \nUitzilopochtli, the chief exploit of this god, the conquest and dispersion of the Uitznaua, was reacted \nin mimetic fashion, the slaves destined for the sacrifice, and the warriors chosen along with them, \nbeing told off into two parties, one representing the UitznxLua, the other doubtless the god UitziUh \npochtli, who then fought it out with sharp weapons. One of the parties were armed with oak \nbludgeons, the others, that is, those who personated the UitzTiaua, fought on the contrary with \nthrowing-spears \u2014 auh yn uitzn/iua quimjHjUeuia tlatzontectli ynic Uayecoa. yn quiUxiga.^ \n\n\n\n^ Coleocion de Docnmentos in^itos para la Historia de Espafia, vol. Mi. pp. 333, 334. \n^ Joaquin Garcia Icazbalceta. Nueva Coleccion de Documentos para la Historia de Mexico, iii. p. 241. \n' Joaquin Garcia Icazbalceta. Nueva Coleccion de Documentos para la Historia de Mexico, iii. p. 256. \n* Popol Vuh, I. chap. vii. * Sahagnn, MS. Biblioteca del Palacio. \n\n\n\nThe Four Times Five Guardians of the Venus Periods. 113 \n\nAccordingly, we find amongst the gods two spear-throwers, Mixcouatl and VitznauatL Both are \nessentially identical with Tlauizcalpantecutli, for the former are the stellar gods, and TlanizcaU \npantecuUi the god of the Morning Star. Only he belongs to the East and the West, and Mixcouatl- \nUitznauatl to the North and South. \n\nNow in my opinion it is this Mixcouatl^Uitznaiiatl who is here represented with the painting of \nthe deity of the Morning Star, and also with his frontal locks and breastplate, but wears the hair \nadornment of the warriors instead of the characteristic feather crown of the deity of the planet \nVenus. And, in point of fact, the personages at Figs. 109, 110 correspond on the respective sheets to \nthe Northern quarter, while Figs. 107, 108, the fifth members of the second series here in this part \nof Codex Borgia and Vatican B, must indicate the southern quarter. In the last two figures the \nidentity or kinship with the deity of the planet Venus finds expression in the fact that the effigy \npresented by them corresponds almost exactly with that of the deity of the Evening Star (Figs. 99, \n100) : nothing is missing save the heron-feather rope which the effigy of the latter has flung round his \nneck. And the relationship is further shown by the shooting- weapon which this effigy of Uitznauatl \nholds in his hand. In Codex Borgia the effigy of the planet Venus (Fig. 99) holds two spears, that of \nUitznauatl (Fig. 107) a throwing-stick. But in Codex Vaticanus B, contrariwise, the effigy of the \nformer (Fig. 100) wields a throwing-stick, that of the latter (Fig. 108) a spear. \n\nLastly, the identity or kinship of Tlauizcalpantecutli and MixcouatUUitznauatl is also expressed \nin the symbol which is here given in Codex Borgia and Vatican B beside the picture of Uitznxiuatl \n(Figs. 107, 108). Here we find depicted, not indeed the two bannerets of the warrior's death, but \nthe ermhlefm of war itself \u2014 shield, bundle of spears, and hand-flags, or else shield, bundle of spears, \nand throwing-stick. \n\nThe corresponding figure of our manuscript, on the right side of Sheet 26, again deviates from \nthat of the other two manuscripts, and presents altogether a very foreign appearance. We see a figure \nattired quite in the style of the mediaeval fops, that is, on the left side of the body and corresponding \nextremities painted blue, on the right side red, with his face also half blue half red, or, strictly \nspeaking, red and yellow. He is shown naked, with a large penis, in the pierced nasal septum a tube \nwith a flower projecting at both ends, wearing on his head the copilli, i,e. the wedge-shaped Huaxtec \ncap, and on his breast the eye which answers to the white ring, the anxiuatl, Tezcatlipoca's breast \nadornment. We shall see further on that in our manuscript exactly the same figure takes the place \nof the Mixcauatl of the other two manuscripts, but in the latter case is associated in the closest \nway with Mixcouatl by the superadded, deep-black, half-mask-like painting about the eye, the \nTniiccitlalhuitico^ laoteneua tlayouaUi. \n\nThe whole aspect of this figure tells us that, as I have stated, in it is embodied the thought that \n\nalways finds expression with the Centzon MiinioccovAi and the Centzon Uitznaua, that is to say, the \n\nnotion of a wild, alien, barbaric tribe. In the picture shown in our manuscript the author may have \n\nhad more especially in his mind the Ctuexteca, the Huaxtec people. For regarding them stress was \n\nalways laid on what was considered specially remarkable and specially unseemly, that they went \n\nnaked, that is, without the Maxtlatl, or loin-cloth. And Huaxtec is also not only the wedge-shaped \n\ncap, the capUli, but also the nasal adornment. For of the Caexteca Sahagun relates that they ' make \n\nthemselves a handle for the nose ' (moyacauicoltiaya), have a nasal handle (yacauicolli)^ that is, not, \n\nas I formerly understood it, that they had a nasal crescent involuted downwards at the ends, but that \n\np \n\n\n\n114 The Day Side of the Manuscript. \n\nthey made such a large hole in the nasal septum that the anterior unpterced edge stood out like \na bow, like the handle of a vessel (uicoUi), Qoyatica, yn quicoyava yn inyacavicol, auh in oeoyavac \noncan caquiaya teucuida^oyatl, ano^ acatl, cue^ali iiticopa qvAquixtia \u2014 ' with a strip of palm-leaf \n(rolled up) they enlarge the hole made in the nasal septum, and when sufficiently enlarged insert in it \na gold palm-leaf roll, or a tube, and let an arara feather come out of it.' ^ This is therefore the very \nornament which we see in the nose of the figure which in our manuscript represents the UitzTiauaU, \nof the other manuscripts. \n\nThe fifth member of the third series stands in Codex Borgia on left side of the upper row of \nSheet 16 (Fig. 111). This is the god who is characterised by a yellow rectangular field about the eye, \nand the sign of a hand of a white colour about or at the side of the mouth. This god is to be seen on \nthe Sheets 47, 48 ( = Kingsborough 68, 67) of Codex Borgia (Fig. 112), and in a corresponding place \nof Yatican B, pictured in five forms and in five colours \u2014 black, blue, yellow, red, green. At the part \nof Codex Boi^ia with which we are here occupied, he is painted a red colour as fifth member of the \n\nIT \n\n\n\nFig. 111. MacvU xochill, God otPleaaare. Fig. 112. Macuil cvetspalin. \n\nCodex Borgia 15 ( = Kiugaborongh 26). Codex Borgia 47 ( = Kingaborou^ 68). \n\nthird series of the four times five guardians of the Venus periods (Fig. 111). On Sheets 47, 48 of \nCodex Boigia, parallel with these gods, are shown female deities, who are likewise depicted in five \ncolours, but these are white, blue, yellow, red, black, because the principal colour of these deities is \nwhite (Fig 113). Beside the latter are sho\\m the weeks \u2014 Ce mofatl,' 1 Deer,' ce quiauid, ' 1 Riun,' \nce ofomdtli, ' 1 Ap\u00bb,' ce caUi, ' 1 House,' ce qtuvuktli, ' 1 Eagle,' all indicated by the initial signs, the \nfifth and terminal signs, and connectii^ dots. Beside the five male gods (Fig. 112) the weeks \nCe xockitl, ' 1 Flower,' Ce m.ali'naUi, ' 1 Twisted,' Ce cuetzpalin, ' 1 Lizard,' Ce cozcaquauhili,' 1 Vulture,' \nCe tochtli, ' 1 Rabbit,' are also indicated by the initial, fifth, and terminal signs, and connecting dots. \n\nThe weeks which are shown with the female deities. Fig. 113, are the times when, as we know \nfrom Sahagun's fourth book, the Giuatete6, the spectral women, the souls of women who have died in \nchild-bed, the female counterparts to the warriors slain on the sacrificial stone, descend upon the \nearth, strike the children with epilepsy, and seduce men to lust and sin. And at the same time these \nare the signs which in the TonalaTnatl disposed in columns of five members, form the beginning of \nthe third quarter of the Tonalam/id assigned to the West Hence the figures shown with them must \n\n' SahaguD X. p. 29, % %. MS. Acadcmis de la HisCoria. \n\n\n\nThe Four Times Five Guardians of the Venus Periods. 115 \n\nsymbolise both the West and the Ciuateted, who, as Sahaguo relates in his first book, are in fact \nthought of as having white body and face, and as five in number. \n\nThe weeks which are given with the male deities (Fig. 112) denote in tlie same way the fourth \nquarter of the ToTialamatl, disposed in columns of five members, and belonging to the South. \nHence, as the Citbateted correspond to the West, so must these male deities correspond to the South. \n\nThe initial days of the weeks represented beside the specified Jive female deities must be \ntaken as the names of those deities. On this sheet of Codex Borgia this is clearly indicated by the \nfact, that in the compartment preceding the series of these five female deities are shown the dates \n13 miq-wiztli, 13 tecpatl, 13 itecmntli, 13 eecatl, 13 ocelotl, i.e. the days preceding the initial days \n1 magafl, 1 quiauiU, 1 o^omatli, 1 caMi, 1 quauhtli. \n\nOn the other hand, the fifth days of the weeks given with the five maZe deities belonging \n\nto the South (Fig. Ill) must be regarded as the names of those deities. This is again clearly \n\nshown by the &cl that in the compartment preceding the \n\nseries of these five male deities are figured the days 4 calli, _ ^ \n\n4 qitauhtli, 4 mafoff, 4 quiamtl, 4 ofOTnatli, i.e. those preceding \n\nthe fifth days of the weeks given with the male deities. \n\nHence the names of these fifth days, i.e. the dates Macuil (\u00a71 \n\nouetzpalin, ' 5 Lizard,' MacwU cozcaqtutuhtti, ' 5 Vulture,' ygl \n\nMacuil tochtli, ' 5 Rabbit,' MoamU xochiU, ' 5 Flower,' Macuil ^-^ \n\nmaHnaUi, ' 5 Broom,' are the names of those five male deities JS \n\ndp \nbelonging to the South. And from this it follows that the /^ \n\nname of the fourth of these five deities belonging to thb ^a \n\nSouth, i.e. of the god painted a red colour, Macuil xochitl, Sgfi \n\n' 6 Flower,' must also be the name of the god who is \n\npictured in the part of Codex Borgia with which we are ^* ''%^\u00a3iwor?w)^'\"^ ^' \n\noccupied in this section, i.e. the fifth member of the third \n\nseries of the four times five guardians of the Venus period, the god who is reproduced at \n\nFig. 111. \n\nMacuil xochitl is a well-known deity whose name is frequently mentioned in Mexico. In \nSahagun he is to some extent confused with the god Xochipilli, spoken of by me in an earlier \nplace. Macuil xochitl, yvan XochipUli fOTi neiicuhque, ynie neteotiloya tecpantzinca yn teouh, \n' MacuiZ-xochitl and Xocki^iUi are alike in the worship which was paid to them. This is the \ngod of people living in the palaces of the great,' says Sahagun in the first book of his work. And \naccordingly, in the pictures given by Sahagun, these two deities are little distinguished. The same \nmust be said of other Mexican documents strictly so called, \u2014 for instance, the pictorial manuscript \nin the Florentine Biblioteca Nazionale. And this is the reason why in earlier writings I also \ntreated these two deities as essentially alike. But that, I now admit, was an error. \n\nXockipiUi, called the ' Flower Prince,' the young Flower God, also simply Tla^opilli, ' Prince,' is \nthe god who in Codex Boi^ia is painted with the figure of the white butterfly about his mouth, \nthe god of Teotitlan del Camino, He is the god of food supplies, the Cinteotl, red Maize God, the \ngod of the feast of the great lords, of Uei tecuilhuitl, the feast of the young maize.' He is the \n\n See Fig. 6.3 above, p. 04. \n\n\n\n116 The Day Side of the Manuscript. \n\nQuetzalcoxcoxtli, the bird with the coinb-shaped featber-crest, who in the early morning sings in the \nTennis Court. \n\nTlacktli icpacaya vel in cuicaya, quetzalcuxcoxaya \nquinanquilia finteutla oay. \n\nIn the Tennis Court sings the Quetzalcoxcoxtli, \n\nAnswers him the Maize God. \nye cuicaya tocnivaya ovaya yeo, \nye cuicaya ye quetzalcoxcuxa, \nyoalticatla o ^nteutla oay. \n\nSings our iriend (our comrade), \n\nSings the QiietzaZcoxcoxtli, \n\nThe Lord of the Morning twilight, the Maize God. \ng. 71. ca otoTiac ca otlatvic ca ye euico ca ye cuica centeoU in qttetzalcoxcox \u2014 that \nis, day has broken, it is light, they already sing, already sings the Maize God, the \nQ uetzalcoxcoxtli. \n\n\n\nFig. 114. MaaiH xochiti, Fig. lie. MacaU xochitt, fig. 116. IxtlOton. \n\nGod of the Game of Dice ( patotli). God of Sport. Sahagnii US., \n\nPictorial Manuscript of the Florentine Bibliot\u00abca Nazionale, f. 48. Sahagan hs., BibL del Palacio. BibL del Pakoio. \n\nThus we read in the lay to XochipiUi, the seventh of the 'Cantarea que decian i honra \nde loB dioses en los templos y fuera dellos.'^ Hence it is that this god appears in the di^;uise of \nQtietzalcoxcoxtli, his face looking out from the open beak of this bird decked with a feathered crest.* \n\nMacvAl xochitl, on the other hand, is the god who in Codex Borgia is pictured with the \ndistinctive mark of the white hand about or beside his mouth. Ha is the representative of the \nsouthern quarter of the Tonalamatl, and the associate of the Oiuaiet^S, the AuiaU, God of \nMerriment, Feasts, and Sports, and in the picture-manuscript of the Florentine Biblioteca Nazionale is \nfigured as presiding over the game of PatoUi (Fig. 11*). In the hymn to him Tezcatlipoca is invoked, \n\n' SahagUQ us., Biblioteca del Palacio. \n\n^ Cf. The clay figure from Teotitlan del Comino (Seler, Wandmalereien von Mitla, Plate xHL), and above, pp. 63, 64. \nFigs. 62, 53. \n\n\n\nThe Four Times Five Guardians of the Veaus Periods. 117 \n\nand it ends with the summons to the feasting and pulque drinking-bout, which I have above \nreferred to (p. 72). To him especially, and to his dark brother IxtlUton, would seem to belot^ the \ntonaUo emblem, the four balls or beads, which we have already found alluded to with the XochipiUi \nof Vatican B, but which in the Sahagun pictures (c\u00a3 Figs. H5, 116) are exclusively assigned to the \ngods Macuil xockitl and IxtlUton, and are depicted in the same way as shield devices with the \nIxUAUzin of the Florentine Biblioteca Nazionale (Fig. 117). \n\nBut like XochipilU, he too has to be supplied with the quetzalcoxcoxtli disguise. And it is \njust in thiB fact that is shown the relationship, and presumably also the identity of birthplace, \nof these two deities. But in the pictures of the Sahagun manuscripts, as well as of the Florentine \n\n\n\nFig. 117. IxliatMit. Fig. U8. MmmU xocIM, Stone Effigy. \n\nMtmusciipt in the Biblioteca Naztooale, Florence, f. 01. R. Museuin of Ethnology, Berlin. \n\nBiblioteca Nazionale, nothing survives of this helmet-mask with its bird-like feathery comb \nexcept a towering crest formed of stone knives and plumes, and a rosette on each side of the \nhead. And the same object is shown by most of the stone effigies of this god, of which there \nwere a great number, apparently because his image formed part of the regular features of tennis- \ncourts and other playgrounds. On these statues the bird-like feather-crested helmet-mask is indeed \noften reduced to a narrow pyramid rising above the crown of the head (Fig. 118). \n\nIt is noteworthy that, like the XochipiUi figures of this manuscript, the MacuUxochitl figure \nof Codex Borgia (Fig. Ill) shows a mere suggestion of the feather-crested helmet-mask, which is \nproperly a characteristic of MacuiLnochitl as well as of XochipilU. Here too is seen the incipient \ndegradation of the essential elements, which I have just mentioned m connection with the figures \n\n\n\n118 The Daf Side of the Manuscript. \n\nof the Sahagun manuscripts and the stone effigies. Not a trace Burvives of the bird's beak which \nis shown very clearly and distinctly in the clay figure from Teotitlan. The plumed crest on the \nhead, which in the Sahagun figures and on many stone effigies still appears as a row of feathers \ndisposed lengthwise, is here in Fig. Ill indicated only by the three bands which are painted in \nthe colours of chaichiuitl, the 'Jewel,' and tower above the top of the head. The large bird's eye \nof the Teotitlan clay figure is marked in the Saht^n figures and on the stone statues, and here \ntoo on Fig. Ill, by a large rosette, which is shown at the sides of the head behind the temples, \nand from which one or several bands project. The bird's wing, which on the clay figure is sadly \nd^raded, is here represented by a huge wing made of variegated feathers. But it is possible \nthat this lai^e feathery fan is intended to reproduce the wheel-shaped outspread bird's wing, which \nwould else be wanting in the picture. \n\n\n\nFig. 119. MacuU xotkUl. \nCodex Vftticanua B *\u00bb *^W- \u2022^''- Mummy-pack, set up for the dead Warriors. \n\n( = Kiueaboroufrh 88) (Pictorial Manuscript of the Florentine Bibl. Nazionale.) \n\nWhile the Codei Boi^ia picture of the fifth member of the third series renders a precise \ndetermination at once possible in all respects, the corresponding pictures in Vatican B and in our \nmanuscript are quite divei^nt, and would scarcely allow of any determination if we had them alone \nbefore our eyes. On the other hand, these two pictures of Vatican B and of our manuscript are \ndecidedly related. \n\nThat of Vatican B (Fig. 119) stands on the left side of Sheet 40 of this manuscript. We see a \nfigure of yellow body and face colour, but showing below the eye a broad, red, longitudinal band, \nhence in this respect resembling the XochipiUi of Sheet 35 of Vatican B, fifth member of the second \nseries. But here (Fig. 119) the figure has a peculiar nasal ornament, which is seen in precisely the \nsame form on the mummy-pack figured on Sheet 60 of the pictorial document in the Florentine \nBiblioteca Nazionale (Fig. 120). This structure, as noticed by the interpreter of the sheet, consists \nof a bundle of brushwood furnished with clothes, mask, and decorations, erected on the feast Tititl \nin memory of the dead, honoured with song and music, and then made a bonfire of Hence this \n\n\n\nThe Pour Times Five Guardians of the Venus Perioda. 119 \n\nnasal adornment, for whicli the interpreter of the specified manuscript supplies the name yacaxiuitl \n\u2014 i.e. simply ' blae nose ornament,' or one made of turquoise mosaic \u2014 belonged to the decorations of \nthe dead, and more especially, as would seem, to that of the departed who could not himself be \ncremated and buried, because he had remained in the hands of the enemy, and was slain on the \nsacrificial stone For this mummy-pack wears a mask with the painting Tn-iaxitUdkuiticac moteneua \nUayoualli, i.e. with the paintii^ of the Morning Star, hence the colours of the deity of the eastern \nheaven, the region whither went the soul of the immolated warrior, who was, in fact, directly called \ntonatiuh iixco yauk, ' who goes before the face of the Sun,' i.e. to the East, to the eastern heaven. \nIn point of fact, this yaccueiwitl may be seen, in couples however, exactly in the same form \namongst the decorations for the dead warriors (Fig. 121) which are pictured in Codex Borbonicus 9 \nwith XirthteciUU, the Fire God, and Tlauizccdpantecutli, the Morning Star, and similarly also on \nSheet 10 of this manuscript with Tonatiuh, the Sun God, and MicUantecuiU, the Death God. \nWith this decoration, which would thus seem to symbolise the warrior's death, our Vatican B figure, \nFig. 119, combines, in fact, the warrior's hair- \nadomment, the aztaxeJM, the forked heron- \nfeather ornament, and a peculiar neck-pendant, \nwhich perhaps represents a string with en- \ntwined animals' claws or teeth. \n\nThe corresponding figure of our manu- \nscript, which stands on the left side of Sheet \n27, has the same peculiar ornament in its \nnose, but the colour of the body is white, or \nwhite with yellow stripes, while the face-paint- \ning is that of Tezcatlipoca, the ixtlan tlatUutn, \nthe alternate yellow and cross bands. Further, \n\nthe three locks fiaming up above the brow, and as breast adornment the eye, which corresponds to the \nanavatl, the white rii^ in its upper half bound round with red Chongs \u2014 Tezcattipoca's breast adornment. \n\nIt would accordingly appear that in Vatican B and in our manuscript MacuU xockitl, the \nGod of Pleasure, Feasts, and Sports, the representative of the southern quarter of the Tonala'/natl, \nis replaced by Tezcatlipoca, as the Uitznavacatl or Uitznaiiac yaotl, ' the Warrior in the South- \nhouse,' the Lord of the CuicacalU, of the Danqe-house. For it seems that Tezcatlipoca, the god \nof the Tooscatl feast, respecting whom I have shown ' that he is the Lord of the Sun that wanders \nfrom North to South, the tlacoohcalcatl and uitznauacaU, the Tlacockccdco yaoU, ' the Warrior in the \nSpear-house ' (in the North temple), and the Uitznauac yaotl, ' the Warrior in the South-house,' \nis also Lord of the telpochcoMi, of the club and training-house of the bachelor warriors, and of the \nCuicacalli, the Warriors' Dance-house, thus representing both the North and South cardinal points. \n\nThe fifth member of the fourth or female series is in Codex Boi^ia (on the left side of the upper \nrow of Sheet It), not very characteristically represented by a richly-clad woman who, like the other \nmembers of this series, holds a naked child to the breast. On her cheek is shown a plaster, a round \n\n' 'Die achta\u00abhn Jahre\u00abfe\u00abte der Mezikuier' (VetuffeutHcbvngeii ana deia Kunigl. Mnteum filr Viilkerkaiide, vol. vi., 1899, \npp. 129 iq.). \n\n\n\n\n120 The Day Side of the Manuscript. \n\ndisk, such as that described by Sahagun with the Earth Goddess. And on her head lies a feather \nadornment, in which a couple of eagle's feathers are attached to the base of a quetzal feather. \nQuite a similar feather adornment is seen with the Sun God on Sheet 15 of this manuscript. \n\nIn the present series the more characteristic figures are those of Vatican B and of our manu- \nscript. At Fig. 122 is shown the Vatican B picture, where the corresponding figure stands on the \nright side of Sheet 42, while in our manuscript the corresponding figure is seen on the left side of \nSheet 29. Both show the goddess with the quetzal-bird helmet-mask, her face looking out of the \nopen beak of a quetzal-bird. And this is the goddess Xockiqnetzal, who is introduced with the same \nhelmet-mask and other characteristic marks on Sheet 9 of Codex Borgia as symbol and effigy of the \nday-sign xochitl, ' Flower ' (Fig. 123). \n\nSpecially remarkable in Fig. 122 and on the goddess pictured on the left side of Sheet 29 of \nour manuscript is the large disk which is attached at the region of the loins ; at any rate, at the \n\n\n\nFig. 122. Fig. 123. \n\nXorhiquelxai, Oloddess of Flowers. XoeKiqueixal, Lady of the Twentieth Day-mgn. \nCodex Vaticinus B 42 Xockill, ' Flower.' \n\n{ = Eingaborough 90). Codex Borgia 9 (=Kiiig8borough 30). \n\nplace where the girdle was tied which fastened the skirt, the enagua, to the waist. Such disks are \nto be seen with nearly all figures of the Codex Borgia group of manuscripts, as well as with those of \nother picture-writings. They are called cuitlatezcatl, ' back- mirror.' They are also seen in large and \ncharacteristic form with the figures of the Chicken itza sculptures (Yucatan), which, taken in con- \nnection with other details, thereby reveal their Mexican origin. But here, with these two goddesses \nof Vatican B and our manuscript, this cuitlatezcatl is of huge size, and in each case supposed to be \nmade of a large turtle's carapace, as is distinctly shown, especially by the personage at Fig. 122. \nAs a special symbol, with the goddess of our manuscript is further pictured a flowering tree, at the \nfoot of which are inserted two stone knives. With the figure at Fig. 122 we see, at the upper border \nof the picture, a jaguar's skin, from which proceeds a flower, and in which are stuck agave-leaf spike, \nstone knife, and bone dagger. \n\nOn the other side of the strip, at Sheets 7 and 8 of our manuscript, we have already made the \nacquaintance of XochipiUi and Xochiquelzol as representatives of the South. Macuilxockitl is the \ndirect expression of the South cardinal point, as is at once shown by its name, as above clearly set \nforth. And from the fifth member of the second series it also resulted that this goddess may be \nconceived as representing the North quite as well as the South. \n\n\n\nThe Gods of the Six Quarters. 121 \n\nIt accordingly follows that, in point of fact, the five members of the four series correspond to the \nfour cardinal points in the very way that might seem to be a priori inferred from a comparison with \nSheet 1 of our manuscript. Thus these guardians of the four times five Venus periods stand at the \nbeginning of the Day Side of the strip, as the gvxirdians of the Jive quarters, in a similar way and \nin the same order as do the nine lords of the Night Hours at the beginning of the Night Side \nof the strip. \n\n\n\nII. The Gods of the Six Quarters. \n\nSheets 23-25 ( = Ktngsborough 22-20). Lower Half. \n\nI should, perhaps, have begun my treatment of this side of the manuscript with this group of \nrepresentations, since with the reading from back to front (from right to left), as is required with these \ndocuments, it would seem that we should also proceed from below upwards. For these representa- \ntions we have a parallel in Codex Vaticanus B, where the corresponding pictures occupy the upper \nhalves of Sheets 9-11. There they are associated with the six gods in houses, who are exhibited \nsomewhat later in our manuscript on the lower halves of Sheets 30-32. In Vatican B both groups \nare in immediate connection with the Tonalamatl, disposed in columns of five members, which forms \nthe beginning of the book in this manuscript, as in Codex Borgia and Codex Bologna. \n\nTo this group belong, as we see, six pairs of gods, who are pictured facing each other, and mostly \nseated. Beside them are given 40 days by means of signs and connecting dots, and indeed in such a \nway that cipdctli, atl, olin, cawatl, acatl, the first, ninth, seventeenth, fifth, thirteenth signs \u2014 hence \ndates that are always separated from each other by eight signs \u2014 are placed beside the five first groups, \nwhile the day- counts are altogether lacking with the sixth group. \n\nBy these groups there might thus be meant to be represented either five periods of eight or \nX. 20-1-8 days, or a single period of 40 days. In the latter case the initial days of the periods would \nread : 1 cipcLctli, 2 cipactli, 3 cipactli, and so on up to 13 cipactli. Hence a larger period of 13 x 40 \nor 520 days, i.e. two Tonalamatls, might have also been intended. As in the signs the numeral \nfive is contained, a relation with the Venus periods might likewise be thought of. With dpactliy atl, \nol'iUy couatl, acatl would begin epochs of 1168 days, or double Venus periods. The five signs given \nwith the first five groups would accordingly give expression to a complete epoch of ten Venus periods. \n\nBut whatever may be the significance of the signa given on these sheets, the groups of personages \narc obviously thought of as in relation to the quarters, not, however, to five but to six, and in a \ndifferent order from that in which we found them on Sheet 1 of our manuscript, and on the just- \ndescribed representations on the upper halves of Sheets 23-29. For here the second, not the third, \nplace is taken by the group with the Death God, which must indicate the mictlampa, the region of \nthe realm of the dead, the North. Hence we have to begin, not with the Middle, but with the East, \nand must assume that the groups here figured are intended to correspond with the cardinal points m \nthe order from East to North, West, South, above, below. \n\nQ \n\n\n\n122 The Day Side of Ibe Manuscript. \n\nThe first group in our lUEmuscript, on the right side of the lower half of Sheet 23, shows, facing \none another, each seated on a j^uar's skin, two figures, the first of whom \u2014 the one to the left clothed \nin the qti\u00a3ckquemitl of the colour of the ckaXckiuitl, the green jewel, and in a white, yellow-striped \nenagua (euHtl) \u2014 is undoubtedly to be taken for a woman. But the other, with an animal's, and in \nfact a dog's head, as shown by a comparison with the parallel figure of Codex Yaticanus B (Pig. 124), \nis clothed in a long garment of red colour, covering the whole body down to the feet, \u2014 a garment \nwhich, generally speakii^, is unknown in this form either as a man's or a woman's article of attire, \nand perhaps represents a so-called giiemitl, a long apron-like garment which was fastened round the \nneck of idola. lite person here draped in this garment is doubtless to be regarded as a man, as \nis suggested by a comparison with the homologous figure of Vatican B (Fig. 124). Still more \ncertainly the same is inferred by the fact that the figures represented in the fifth group of this series \nin our manuscript are likewise clothed in such a garment. \n\nThe female figure shows nothing particular by which she might be determined with any \nconfidence. In the homologous group on the left side of Sheet 9 of Vatican B (Fig. 124) she is \napparently replaced by a male person painted a yellow colour, but also scarcely displaying any \ncharacteristic mark. For the symbol which the figure wears in \nfront on the fillet cannot be explained. The two red rectangles \non the quemitl, which the figure has tied in fi-ont, are known as \nfacial painting with Xockipilli, ToTiacatecutli, and the Maize \ndeity (Cinteotl). They occur, in fact, in Codex Borgia as a \ndecoration on the ent^ua of the female Maize deity (cf. below, \n\n^ .\u00bb\u00bb.,,.  X, F^. 204). I should explain the female fiimre of our picture as \n\nRg. 124. Codex Vaticanns E 9 - ^ ' ^ \u00b0 \\ \n\n(\u00bbKingsbon)ugh57}. Xochiqiietzal, and the homologous male figure of Vatican B as \n\nXockipilli. For further on, to the right side of the lower half of \nSheet 35, we shall meet the goddess Xockiqiietzal, and opposite her the god XochijnUi, likewise as \nrepresentatives of the East But the above-mentioned little rectangle we also find in exactly the \nsame form on the dress of the male god in the third picture of Vatican B (Fig. 126), and we shall \nthere see that this god is also to be identified as XochiyHli. \n\nThe dog-headed form on the right side of the Fej4rv&ry picture, which we have to regard as a \nmale, recalls the pulque gods by his facial painting in two colours, as shown in our manuscript, as well \nas by the two-coloured Huaxtecan hat (copUli) and the fan-like nape ornament {eue^luitoncatl) of \nthe god Quetzalcouatl, which we see with the figure in Vatican B (Fig. 124). He agrees, in fact, \ncomjdetely in these three distinctive marks with Pdtecatl, J,he ruler of the twelfth day-sign, as he is \ndepicted on Sheet 90 of Vatican B (c\u00a3 Fig. 65 above,p. 73). We miss, however, the human or simian \nhead which there forms the frontal part of the fillet \n\nOn the other hand, the same facial painting in two colours, the equipment with the attributes \nof Quetzalcovatl, and above all the dog's head, point still more to another deity whom we have \nalready once met on Sheet 12 of our manuscript, and shall again meet further on in diverse \ntransformations; that is to say, the God Xdotl, who is the god of ball-playing, of twins, and \nmonstrosities. This god seems here to stand as representative of the East, because he stands in \na certain relation to the Morning Star, which after all is also a twin, appearing as Morning and \nEvening Star. \n\n\n\nTbe Gods of the Six Quarters. 223 \n\nBetween the two figures in the picture in our manuscript we see a dish on which is lying \nthe foot of a beast of prey. We shall again come upon the same symbol further on, in the just- \nmentioned right section of the lower half of Sheet 35 of our manuscript, with the god Xochipilli. \nAnd there I have found reason to explain this foot as the oceloyataztli, the priests' tobacco- \npouch made of a jaguar's skin, which perhaps is the very symbol of Tlalocan, the paradise of \nthe Rain God. For on Sheet 67 ( = Kingaborough 48) of Codex Borgia the oceloyataztli is seen \nfigured with Tlaloc, lord of the seventh thirteen of the Tonalamatl, as a prominent symbol \n(Fig. 124\u00ab). In any case, like the tobacco-calabash, it is an emblem of fertility, of an abundance \nof food supphes. On Sheet 51 ( = Kingsborough 64.) of Codex Borgia the tobacco-calabash \ndenotes the temple of the Maize God. Hence the homologue in Vatican B of the dish with the \njf^uar's foot in our manuscript is a vessel which is painted the colour of the jewel, and out of \n\n\n\nPig. 124a. Tlaloe, the R*in God. Lord of the Bevenlh Week of the Tonakimutl. \nCodex Boi^ia 87 ( = Kingsborough 48). \n\nwhich three jewelled bands project between two maize ears, and end off in flowers. In this manu- \nscript the same vessel recurs in exactly the same way with the third picture, where it perhaps \ndenotes precisely the Xochitl ioacan, the '.place where the flowers stand upright,' the paradise of \nToTMcatecutli, of Tov/icaciuatl, lords of food supplies. The East, as the region of abundant food \nsupplies, or of the gods of abundant food supplies, seems to me to be indicated by the figures and \nthe accompanying symbol of the first picture of this series. \n\nThe second group, in our manuscript on the left side of Sheet 23, in Vatican B on the right \nside of Sheet 9, shows a body packed up in worm-like form with the skull of the Death God, \nand facing it the Earth Goddess Tla^teotl. In our manuscript the latter exhibits the same \ngeneral features as the other pictures of this goddess \u2014 for instance, the middle figure of the upper \nseries of Sheet 28 \u2014 but is distinguished by her facial painting. The upper half of the face is \npainted yellow, the lower red, a twofold arrangement of facial colouring which the Sahagim \nmanuscript prescribes for Ilamatecutli, goddess of the Tititl feast. In the homologous picture in \nVatican B (Fig. 125) another characteristic of this goddess is to be mentioned : \u2014 beside the bands \n\n\n\n]24 The Day Side of the Manuscript. \n\nof unspyn cotton in her hair, the ffta-shaped nape adornment cue^aluitoncatl, which, being an \narticle of Huaxtecan costume, is worn by this goddess, as well as by the dc^-headed god of the \nEast (Fig. 124) and the Wind God, Qmtz(dcouatl} \n\nIn our manuscript, between these two figures, are shown blood and a heart, emblem of \nsacrifice, that is, of the victim's death. In Vatican B we have a gouged eye, which is likewise an \nemblem of sacrifice, and a bundle of firewood, besides a rubber ball decked with a single quetzal \nfeather, doubtless in this place intended as a symbol of cremation. The Goddess of Earth and \nthe Death God, with these emblems of death, show that this group is intended to be taken as \nrepresenting the North. \n\nThe third group, pictured in our manuscript on the right side of Sheet 24, in Vatican B on \nthe left side of Sheet 10, is again formed in our manuscript by two not very characteristic figures \n\n\n\nPig. 125. Kg. 12fl. \n\nCodei Vaticanus B 9 (=Kihgiborongh 57). Codex ValicanUB B 10 ( = Kingsborough 58). \n\n\u2014 a female, who, however, is represented as an oM person by the contracted comer of the mouth, \nand a male person clothed like the dog-headed god of the first group. The homologous group \nof Vatican B (Fig. 126) likewise shows a male god dressed in loin-cloth and qtiemitl, and a goddess, \nwith whom a blue colour is dominant. \n\nThe drawn-in angle of the mouth with the female figure of the picture in our manuscript \npoints to the inference that here it was intended to represent Tonucaciuatl, the Lady of Food \nSupplies. And as this goddess is by the interpreters identified with the young goddess Xochiquetzul, \nwe should doubtless explain as Xochipilli the young male god who is depicted facing this goddess. \nBoth deities presumably stand here as representatives of the Tumoanchan, the house of descent, \nof Xochill icacan, of ' the place where the flowers are straight,' the paradise of the Earth Goddess, \nthe West. I have already above mentioned that this region seems also directly pointed at by \nthe symbol which in the group of Codex Vaticanus B (Fig. 126) is shown between the two \nfigures. For this symbol \u2014 a jewelled dish in which are seen three flowers with long stalks \nbetween two maize ears \u2014 may be regarded as the hieroglyph of this very Xochitl icacan, the \n' place where the flowers stand straight up.' And the latter name occurs, both in the songs and \nin the interpreters' commentaries, as a synonym for Tamoanchan, the often-mentioned name of \nthe ' Earthly Paradise,' as it is explained by Sahagun, of the primeval home, which was undoubtedly \nthought of as in the West. \n\nThe third group, which is depicted on the left side of Sheet 24, and in Vatican B on the \nright side of Sheet 10, and must now correspond to the South, contains a pair of new and \n\n\n\n' Cf. ToiuUaTiiati of the Aubin maim script, pp. 46, 47. \n\n\n\nThe Gods of the Six Quarters. 125 \n\niateresting figures. Both bave on their heads the white-fringed cloth, such as is worn by Tez- \nadlipoca (cf. the Stone Knifo God in the middle of the upper row on Sheet 2 of our manuscript, \nand supra, p. 53, Fig. 39), and on the top a bunch of downy feathers with a crest of four plumes \nending in white tips. By way of decoration they wear a kind of collar made of vertebrae or \n\n\n\nFig. 127. The Dance God. Fig- 128. The Dance God. \n\nCodex Borgia 62 (=KingsboroHgh 53). f^odei Borgia 64 { = KingBboruugh 51). \n\n\n\nFig. 1S9, The Dance God. Fig. 130. The Dance God. \n\nCodex Vaticanus B 62 { = Kingsborough 45). Codex Boi^ 69 ( = Kingsborough 66). \n\nanimals' claws, and on the upper arm a ring furnished on one of its sides with a projection \ntapering to a point. With both the loin-cloth is fastened and coloured in the same way. But \none of the figures is white, with his face painted black and white in a peculiar manner. The \nother is painted half red, half like a jaguar's skin, the breast being left white on the right side, \ndoubtless through the carelessness of the author of the manuscript; and about his month he \n\n\n\nThe Day Side of the Manuscript. \n\ni \n\n\n\nFig. 131. Codex Vatic\u00bbncis B 40 \n(-KingsboTough 88). \n\n\n\nFig. 134. Ijitillnn (Pictorial \nManuscript in the Florentine Biblioteca Na^ionnle). \n\n\n\nFia. 133. Ixll'UUm. ^- 13^- TtAalvtl, the Grey Squirrel. \n\nSBhHgun MS., BibL del Palacio. (Manuscript in the Fbrentiae Biblioteca Nazionftle.) \n\n\n\nThe Gods of the Six Quarters. 127 \n\nhas what seems like the drawing of a bone painted in a white colour, which contrasts strongly \nwith the red colour of the rest of the face. \n\nThe facial painting of the first agrees in all details with that of the dancer who is repre- \nsented on Sheet 62 ( = Kingsborough 53) of Codex Borgia facing the goddess Xochiquetzal, Lady of \nthe Nineteenth Week (Fig. 127), as also with that of the dancer who is depicted in Codex Borgia \n64 ( = Kingsborough 51), and in the corresponding place, Sheet 52 ( = Kingsborough 45) of Vatican \nB, facing the 'old Coyote,' UeuecoyoU, God of the Fourth Week (Figs. 128, 129). The same \nfacial painting may be described in the being that stands on the right side of the group Fig. 130, \nand is distinguished by a white painting of the body like the figure of our manuscript. The group \nthis being belongs to, is taken from Sheet 59 ( = Kingsborough 56) of Codex Borgia \u2014 the homologous \nfigure of Vatican B is the black-painted man, shown on the left side of Fig. 131 \u2014 the group itself \nbeing obviously intended to be represented as leading off a dance or else taken in festive garb. \n\nTo a certain extent we can also again recognise the facial painting of our Fej^rvAry figure in \nthat of the musician who, on Sheet 4 of Codex Borbonicus, takes the place of the dancer of the \nother manuscripts, being there pictured before the 'old Coyote' singing and beating the tlalpan \nueuetlf the skin kettle-drum (Fig. 132). There can accordingly be scarcely any doubt that the \nfigure represented in our manuscript, on the left side of the group on Sheet 24, below to the \nleft, is intended to denote the God of Dance and Music, And if we look for a name, we shall \ndoubtless think of Ixtlilton or IxtlUtzin, the 'little Black-feuce' (Figs. 133, 134), a god who is, no \ndoubt, mentioned in Sabagun, in the first instance, as the god of a specific cure for sick children ; \nbut then also as the god who starts a pulque-carouse, and in fact, as would seem, leads off all \nkinds of private dancing-revels. It is in connection with him that Sahagun takes occasion to \ndescribe 'la mantra que iienen estaa danza^ 6 bailee que por otro norribre ae Uaman areytos, y \nen 8U lengvxi se llama macevalizUi' And, indeed, this god is also introduced in the pictorial \nmanuscript of the Florentine Biblioteca Nazionale, behind the series of pulque gods, beside the \ntechalotl, 'the Squirrel' (Fig. 135), i.e. presumably the masked dancer. And the pictures of him, as \nwell as of the techalotl given in the Sahagun manuscripts and in the manuscript of the Florentine \nLibrary (Figs. 133-135), exhibit both of these absolutely as the dark brothers of Macuilxochitl, God \nof Feasts and Sports. \n\nA speciality of the figure in our manuscript, a white ball or disk, covered with a radial design, \nand held by the god in his right hand, is perhaps a symbol for ilhuitl, * Day, Feast,' and should be \ncompared with the parti-coloured whirl-like disk which the dancer at Fig. 136 holds in his hand \u2014 \na symbol which, in Codex Telleriano Remensis, represents the sign of the eighth annual feast, the \nfeast of UeitecuUhuitl, the ' great lord's feast' I cannot refrain from comparing this white disk, \ncovered with a radial design, with the hieroglyphic element which, in the Maya manuscript, repro- \nduces the sound and the sense of the Maya word kin, which has also the very meaning of ' Sun, Day, \nFeast' And, in fact, I had above occasion to point out that we meet this same white radial disk as \na facial painting, a distinctive mark about the mouth, with the Sun God of Sheet 1 in our manuscript, \nand with the XochipiUi, who is figured in the middle of the upper row on Sheet 26 of our manuscript. \n\nNow, if the above-attempted identification of our Fejdrv4ry figure with the Ixtlilton of the \nSahagun manuscript and of the Florentine document is right \u2014 and of this I have no doubt\u2014 then \nwe must take the associate of this ' Black-face,' the god figured in our manuscript on the right side \n\n\n\n128 The Day Side of the Manuscript. \n\nof the group on Sheet 24, below to the left, who is painted half red, half the jaguar-skin colour, for \nhis red brother himself, the god Macuihochitl, ' 5 Flower,\" the God of Feasts and Sports. And, in \npoint of fact, the white painting about the mouth, which I above denoted as indicating a bone, may \nbe just as well taken as a degraded form of the white hand on the mouth, an attribute of the god \nMactiUxockitl, or; better still, of the white butterfly on the mouth of his associate XochipiUi. In the \nsame way the indistinct white mark, which in the Sahagun manuscripts and ia the document in the \nFlorentine Biblioteca Nazionale is shown about the mouth with the pictures of Macuilxockitl (Figs. \n137, 138), is undoubtedly a degraded form of the white hand or of the white butterfly. So also the \ncrest of black feathers, which in our manuscript is worn both by the white black-faced and the \nred figure, appears to be nothing but the crest embellished with quetzal feathers and stone knives \nwhich, in the Sah(^^uu manuscripts and in the Florentine document, is shown on the heads of \n\n\n\nFib- 136. UtiteenHhuitl \n\nthe Great Lord's Feaat. \n\nCodex Telleriano \n\nReiiiensia, f. 1 verao \n\n( = Eingsborough i. 2). \n\n\n\nFig. 137. Macuil xochiti, \n\nGod of Pleasure (Sahugun ms \n\nBiblioteca del Palitcio). \n\n\n\nFig. 138. Macuil xorhWI, \n\nGod of Qnmbling (patolli). \n\nManuscript in the Florentine Biblioteca Nazionale. \n\n\n\nthe pictures of Jxtlilton and Macuilxockitl, and which, as I have elsewhere long ago fully explained,' \narose out of the feather crest of the Coxcoxtli bird, in whose form these two gods are properly figured. \n\nShould any one, however, feel more inclined to explain the white facial painting about the \nmouth of the red figure in our manuscript as a bone, in accordance with my first assumption, \nthen this personage should be indicated as a parallel, or rather as the double of the figure who is \npictured on Sheet 5 of our manuscript under the name of Ce raiquiztU, ' I Death,' and which I \nthere thought should be determined as a god of the moon or of magic. But even on the \nassumption of this last identification we should, in ray opinion, have to return to Macuilxockitl, \nthe red brother of IxtlUton, since the dance, feasting, sports and ju^lery, thimble-ri^ng and \nconjuring went hand in hand. Of the Caexteca, the Huaxtecans, Sahagun relates : \u2014 * \n\nIniquey guil quitquique in akavillotl, in ilapitzalli, ipampa miec tkimantli in ic omavil- \ntinya, miec tkiTnantli in ic otetxcuepaya ic teixcuepaya yn quitlatia xacalli yn quickiva \nntf, in Ttwtetequi, miec tlamantli in quickivaya. ' These took with them as their share \n\n' Veruffeutlicbnngen aua dam Konigl. Museum ttir Volkerknnde. voL i. part iv. \n' Sahigun, book x. uhap. xxix. % 12. \n\n\n\nThe Oods of the Six Quartern. 129 \n\n(their speciality) diversions, the flutes, for they amuse themselves with many things. With many \nthings they also play at jugglery and trick the people, setting a straw hut on fire, making water \nspring up, cutting themselves to pieces. Many such things they do.' \n\nFeasts and sports and m^c go hand in hand. Ma^ilxochitl, as I have already shown in \nanother place,^ is at bottom merely another form of Tezaitlipoca. \n\nMacuUxochitl, as I have above (pp. 114, 115) fully set forth, is the Uitznaiutc teotl, the 'God \nin the South,' in a pre-eminent sense. I have already above given proof that these four pairs of \ngods must in fact denote the South. \n\nThe picture in Vatican B (Fig. 139) corresponding to the IxAlilton-Mnaiilxochitl group of our \nmanuscript, however sketchily the figures of this very series are generally drawn in Vatican B, still \nbrings out quite clearly the resemblance between the two forms, those of the red and of the white \n\n\n\n\u00ab \n\n\n\nFig. 139. Fig. 140O. Fig. 1406. \n\nCodex VHticaniis B 10 King AvMmAVs Mum my- pock. Crowning of MoUevh^oma. \n\n( \u2014 Kingsborough 58). Duran. trat, l chap li. Lam. 18. Durau. trat. i. chap. UL Lam. 18. \n\n(properly black-faced) god. The peculiar ornament worn by both of these figures on the temple \nanswers, perhaps, to the coyote's ear, which is seen distinctly shown with the Dance God (Fig. 130), \nand also with the two figures at Figs. 128, 129. \n\nBetween these two figures in our manuscript is seen a vessel containing a feather motive and an \nobject painted blue, which is also perhaps to be taken as a requisite of the danca In Vatican B, \nfrom the vessel projects a necklet which, being blue, is doubtless made of stone beads, with golden \nbells attached, and an object which obviously represents the ring extended on one side and tapering \nto a point, that is worn on the upper arm by the IxtliUon and the Macwih;ochitl of our manuscript. \nIt is a decoration which, though further provided with a bunch of quetzal feathers, is given with \nthe dancing-dress of the Mexican kings, and described under the name of quetzalmarhoncotl} \nA picture of this ornament is seen with the figures of the kings who are pictured in the historical \n\n' Veruffen(licb\u00abng\u00abii &uh dein Kiinigl. Miueain ftlr Vulkerkuude, vol. vi. (1899), pp. 13T-I39. \n\n' gvttialmachoncoll tla^ollanqvi nepapan tla^oyuitica yoan cotltc UoemOaya \u2014 ' asaban unoB brualetsB de muulco, heobo de \ntarquezaa, con unaa plumna ricM que aalian de elloe, qae eran mas alias que U cabeza, y bordadaa cou plutnu ricae y cou oi'o. \ny nnaa bandai de oro, que Eubian con laa plumas.' \u2014 Saliaguti viii. chap. ix. (us. Academia da la Hiatoria). \n\n\n\n130 The Day Side of the Manuscript. \n\nsection of the atlas to Duran's Chronicles. Judging from these pictures, this ring on the upper arm, \nextended un one side and tapering to a point, must have been sliced off the shell of a ki^ sea-snail. \n\nLastly, in Vatican B, above the dish with the dance requisites, is further shown a utensil which is \napparently furnished with a handle, and perhaps resembles the so-called wooden 'manoplas' that, as \nrelated by Hermann Strebel,* the Totonacs of the district of Misantla held swinging in their hands \ndurii^ the dance, and are reproduced by this author to illustrate the stone objects of similar \nformation foimd by him. \n\nThe fifth of the pairs of deities belonging to this series is shown in our manuscript on the right \n\nside of Sheet 25, in Vatican B on the left side of Sheet 11. As the four cardinal points have \n\nalready come to an end with the preceding group, this pair must now stand for one of the central \n\nquarters, for the below or the above. We shall presently see that they are intended to symbolise the \n\nupward direction, that is, the upper region. \n\nThe Vatican B picture, though drawn (Fig. 141) on a small scale and somewhat defectively, \n\nstill makes it so far clear that here are meant to be represented two figures with the headdress of \n\nchieftains {tequiua). \n\nThe pictures of our manuscript, far more carefully executed, obviously also exhibit two warriors \n\nor chieftains. For they likewise wear, although not so distinctly \n\nmarked, the teqaiua headdress brushed up on one side, and \n\nbesides at the occiput the azfascelli, the forked heron-feather \n\nadornment, the Mexican warrior's dancing-headdress. Both are \n\nmoreover ixtlan tlatUum, that is to say, they have Tezcatlipoca'a \n\nand UitzilopocktWs facial painting, consisting of alternately \n\ncoloured cross-bands. They occupy seats covered with iaguar \nFig. 141. Codex Vatiewms B n .,,,,, r , ^ , , \n\n{ = King3boroiigh 59). skins, and uke the dog -headed god of the nrst group and the \n\ngod figured in the third group facing the Water Goddess, both \n\nare clothed in a long robe falling down to the feet, with an apron-like garment over it in front (the \n\nqti,eniitl). Differences present themselves first of all in the headdress, where the figure to the left \n\nshows above the forehead the three lambent locks of the deity of the Morning Star {TUitiizcalpan \n\nieciUli) and of the allied god of the hunt {MixcouMtl). Then in the colour of body and face, which \n\nwith the figure to the left is red, and with the figure to the right blue. Lastly, in colour of the robe, \n\nwhich with the figure to the left is green, i.e. presumably dark, showing disks or mirrors which are \n\ndotted white and black, a design or painting which in the Mexican picture-writings was employed to \n\nexpress a variety of things, such as for sand (xnUi), for painting with white chalk {ti(ail), as well as for \n\nsnow, frost, cold (cetl). The figure on the right wears, on the contrary, a blue robe which is doubtless \n\nmeant to be of a light shade, and Instead of the mirrors or disks shows downy feather {iuifl) balls., \n\nThe left-hand figure has, moreover, a bandage over the eye, and his mouth shut with a triple tie. \n\nThe figures are of the TezcatUpoca type. This is shown in the ixtlan tlatlaan, the facial \n\npainting, where two cross-bands of a yellow colour stand out in contrast to the rest of the face colour, \n\nwhich corresponds with that of the body. But with the left-hand figure the upper yellow band is \n\n' Uermonu Strebel. Alt-Mexico. Archiiologiacbe Beitriige znr Kaltargeichichte seiner Bewohner. Eambnrg unil Leipzig, \n18S5. \u2014 Deraelbe, ArchaologiBche und Etboologiache Mittlieiluii);eD aut Mexico. (Abhand lunge n des NatunriisenEcbafUicbeu \nVereina in Hamburg, vol. XI. part i. p. 8.) Plate ii. Fig. 16. \n\n\n\n\nThe Gods of the Six Quarters. 131 \n\nconcealed by the white bandage covering the eye. And this type is further shown in the warrior^s \nheaddress and the warrior's feather decoration. But the left-hand figure is conceived as Tezcatlipoca- \nitztlacoliuhquiy the God of the Stone, of Punishment, of Blinding, of Sin, of Cold. This is again shown \nin correct fashion by the bandage over the eyes, and the gagged mouth, as well as by the white- \nspeckled mirror on the robe, which are given in exactly the same way on the limbs of the god figured \non the left side of the lower half of Sheet 33 in our manuscript. The latter, who is also depicted with \nthe bandage over his eye, but as ^the god of cold painted a blue colour, has homologous forms both in \nCodex Borgia and Codex Bologna, as I shall have to show further on. And in both of these \nmanuscripts the corresponding figure is represented with the peculiar bent hat painted white and \nblack, which is the distinctive mark of the deity who is called by the name of Itztlacoliuhqui in the \nTonalamatl, and indicated as the God of Cold, and in the Sahagun manuscript is also quite clearly \ndescribed imder this name with a personage who plays a chief part in the Ochpaniztli feast. Lastly, \nin all three places, this god, corresponding with the left-hand figure of our group, is undoubtedly \nthought of as the symbol and illustration of the cardinal point of the North. \n\nIf, therefore, this interpretation appears to be established for the figure on the left of our fifth \ngroup, the inference will follow almost inevitably that then the right-hand figure must indicate the \nTezcatlipoca of the South. That this god was thought of as determinant both for the region of the \nNorth and for that of the South I have proved in my essay on the eighteen annual feasts of the \nMexicans,^ to which I have already repeatedly referred in the foregoing pages. That the figures of \nthis fifth group have to be in this way contrasted with each other is also pointed at by th6 symbol \nwhich in our manuscript is given above between the two figures. For the broad white-dotted band \nhanging down on the left, when taken in connection with what the left-hand figure symbolises for us, \ncan denote nothing but snow or cold, i.e. the region of the North. And in that case surely the half- \nsun on the right cannot possibly be anything at all except an indication of the region of the South. \n\nThe figure on the right has both body and dress painted blue, and corresponding with this are \nthe alternating blue and yellow cross-bands on the face. This, as is no doubt well known and evident \nenough from the pictures in the Sahagun manuscript, is the facial painting of UitzUopochtli, the \nWar God, the potent god of the tribe which was able to acquire the hegemony over the other \ntribes of Mexico. \n\nIn truth, the intimate relation between this tribal god of the Aztecs and Tezcatlipoca is manifested, \nnot only in this facial painting, but also in a thousand other details. But it is at the same time no less \nevident that Tezcatlipoca is also in the stricter sense conceived as god of the North. He is the god of \nthe Toxcatl feast, which was kept at the time when the sun prepared to pass over to the northern part \nof the sky. He is the (Jod of Night and Darkness, who is brought into relation with the realm of the \nEarth and of the Underworld ; he coincides with the God of the Stone, of Punishment, of Blinding, \nof Cold, and is also the representative of the second quarter of the Tcmalamatl, i.e. of the North. \n\nOn the other hand, Uitzilopochtli presents himself, not merely in the narrower sense, but \nexclusively, as God of the South. This is at once expressed in his very name. As we are assured \nby. Miguel Palma, author of a modern Aztec grammar, a born Mexican with an accurate knowledge \nof the language, amongst the Mexican Indians the expressions iyecarixpa tonatiuh, ' on the right \n\n\n\n1 Veroffentlichungen aus dem Konigl. Museum f. Volkerkunde, vol. v, (1899), part ii.-iv. \n\n\n\n132 The Day Side of the Manuscript. \n\nof the sun,' and iopockpa tonatiuh, ' on the left of the sun,' are still current in the sense of North \nand South respectively.' \n\nThus the term Opochill, the 'left,' simply means the Sovihem. And in connection with this \nI might advance the view that the remarkable name Moyocoyatzin, ' the god acting according to \nhis pleasure,' an epithet applied to TezcafUpoca, may perhaps have originated by a popular etymology \nfrom Mayeccayyotzin, the Right,' i.e. the ' Northern.' \n\nAs regards Uitzilopochtli, the chief exploit recorded of him is that, as the new-born god he put \nto flight the Gentzon Uitznami, ' the four hundred Southerners.' As I have already fully explained \nabove, that means after all nothing more than that the young Sun God, born of the Coiuxtlicue, of \nthe Night or the Earth, chases away the host of the stars of the southern heaven. And thus also \nthe feast of this god, the PanquelzalizfU, nearly coincides with the winter solstice, i.e. the time \nwhen the sun has moved farthest to the South. \n\nBut if UitziU^Kichtli is really the TezcatUpoca of the South, we may almost infer that the \ngod pictured with the colour of Uitzilopochtli, on the right side of our fifth group. Sheet 25, below \nto the right, who is also a TezcatUpoca of the South, represents the god Uitzilopochtli himself. \nAnd this would be the first instance in which, in one of the strictly calendric and, so to say, \nastrological picture-writings, the figure of this god was referred to, being otherwise one of those \nwho were honoured only in a very contracted geographical area. \n\nBut TezcatUpoca and Uitzilopochtli are not merely the gods \nof the North and the South. They are above all the young \ngods, as is indeed indicated by the very peculiarity of their \nfacial painting. For the yellow cross-bands, as is expressly \nstated in Sahagun, are the pilneckiualli, the 'face-painting of \nchildren' : they are made of conecuitlatl, ' children's dirt,' ' children's \nfffices.'* They are the new-bom aoAs, the voune Sun God, \n\nFig. U2, Codex Vaticanus B U , . , , , , , ' , , ^ \n\n( = KingaboroHgh 59). \"^^Q rises and chases the host of the stars, here the Centzon \n\nMimixcoua, the ' four hundred cloud-snakes,' ' four hundred \n\nNortherners,' there the Centzon Uitznaua, the ' four hundred Southerners.' \n\nAccordingly, their domain is the space previousiy occupied by these stars \u2014 the North sky, in \n\nwhich the suQ runs its course during the shorter section of the year, and the South sky, in which it \n\ntarries during the greater part of the year. And in fact, as Sabagun tells us, Uitzilopochtli is also \n\ncalled this very Uhuicatl xoxoukqui, the ' blue Heaven.' It is thus evident that, as I above stated, \n\nthese two personages, Tezcatlipoca-itztlacoliuhqti.i and Uitzilopochtli, who are here pictured on Sheet 25 \n\nof our manuscript, symbolise as fifth group and fifth quarter this upper region of the heavens. \n\nThe sixth and last pair of deities of this series occupies, in our manuscript, the left side of \nthe lower half of Sheet 25, in Vatican B the right side of the upper half of Sheet 11. We see two \nold women with the contracted angle of the mouth, as it is depicted in this and in other manuscripts, \nto indicate the toothless and wrinkled mouth of old people. \n\n' Orammatiea axiKa, p. 122. \n\n^ yoan yc yxtlan llallaaH yc onuniehiuJi yn iconeeuiU mitoaya ypUntehival\u2014' and on his face he i\u00ab painted with crosB-bands \nin various coloum. He ia paiDted with hia child-dirt, which ia called child [ace-paiating.' \u2014 Sahagun, book iii. chap. i. (hi'. \nKbiioteca del Palacio). \n\n\n\nThe Gods of the Six Quarters. 13^) \n\nBetween them is seen an insect, with which, in the Vatican B picture (Fig. 142), one might \nthink it possible to distinguish eight legs and a spinneret, such as in our manuscript is clearly \nseen seated on a cobweb, hence must in any case represent a spider. Below it, in our manuscript, is \nfurther seen a death's head. \n\nNaturally the old women are to be taken as representatives of the Earth, For amongst all \npeoples the earth is regarded as of the feminine sex, as the mother who from her bosom brings \nforth maize and the other fruits. And to picture it as old, as existing from primeval times, is \nlikewise a notion current amongst most peoples. The earth is the ground on which we tread, \nand accordingly denotes the below, the lower region. \n\nIn order to express such concepts, the death's head is here also introduced in our manuscript. \nBut the spider, as I have already had occasion to point out higher up, seems for the Mexicans to have \nbeen the emblem of the beings who come down from above, of the TzitzimiTne, of the demons \nof darkness. In the Tonalamatl of Codex Borbonicus (cf Fig. 41 above, p. 55) the spider is \neverywhere pictured with those gods who were regarded as belonging to the category of the \nTzitzimim^. Possibly the dropping of self-spun threads, as may indeed be often observed with \nspiders, may have occasioned the choice of this image in this connection. In any case, it would \nhave been scarcely possible by any other emblem to give more vivid expression to the downward \ndirection, to symbolise which this sixth group must have been set apart. \n\nNow I return once more to the day-signs, which are here presented with these six pairs of \ndeities, or rather with the first five of them. Further back it was impossible for me to indicate \nwith more positive and undoubted certainty a period whose total sum, or whose initial counts, could \nhave been symbolised by these signs, and consequently also by these pairs of deities. But now \narises the further question, whether these signs may not here be thought of simply as names of \nthe pairs of deities pictured above them, or of some of them. If we add the ciphers, which according \nto the Tonalamatl system must be combined with these signs, we shall find given with the six pairs \nof gods of this series the following dates, possibly to be regarded as names : \u2014 \n\n1. (East). \n\nXolotl and Xochiqiietzal \u2014 1 cipactli, 4 ciietzpalin, \n\n2. (North). \n\nTUi^olteotl and Death God \u2014 9 art, 12 malinuUi, \n\n3. (West). \n\nXochipilli and Tonacaciiuitl \u2014 4 olin, 7 xochitl, \n\n4. (South). \n\nMacidlxochitl and Ixtlilton \u2014 12 comatl, 2 tochtli, \n\n5. (Above). \n\nUitzilopochtli and Tezcatlipoca itztlacoUnhqui \u2014 7 acatl, \n\n6. (Below). \n\nIl^imatecutli and Citlalin iciie. \nAnd here we see that, at least in the first group, Ce cipa^tli, * 1 Crocodile,' really corresponds \nto Xochiqaetzal, who in fact is equivalent to Tonacaciuatl; and in the third group {cln^ome xochitl, \n' 7 Flower') to the god Xochipilli; that in the fourth group, ome tochtli, * 2 Rabbit,' a familiar name \nfor the pulque gods, is thoroughly appropriate to the gods of the dance, feasts, and sports figured \nin this group; and that in the fifth group, the date chicome acatl, appears to be suitable to the \n\n\n\n134 The Day Side of the Manuscript. \n\ndeities represented in this group, at least as regards the character of the sign. For acatl, 'Reed,' \nwas for the Mexicans the emblem of judicial authority, while Tezcatlipoca itztlacoliuhqiii was the \nrepresentative of this sign and the God of Punishment.^ Hence it is possible that, as with the nine \nlords of the night, the first nine day-counts were given to some extent simply as the ciphers 1-9 ; \nso here these above-indicated dates are given to some extent as standpoints for the memory, in \norder by the familiar association of certain of these dates with certain deities to fix in the mind the \nsequence of the series of the gods. \n\n\n\nIII. The Period of 59 Days. \n\nSheets 26-29 ( = Kingsborough 19-16). Lower Half. \n\nThis series consists of eight groups. With the first, and reaching into the second group, is \ninscribed the initial column of the ToTialamatl disposed in columns of five members, i.e, the day-signs \ncipactli, ' Crocodile,* avail, ' Reed,' conatl, ' Snake,' olin, ' Rolling Motion,' atl, ' Water,' where, however, \nthe author of our manuscript has by mistake interchanged the two signs couatl and olin. As being \nthe initial column, the cipher *one' should accompany this column, i,e. should appear with all \nthe five signs. Then beside each of the following groups the number of days, or rather columns \nof day-signs, is indicated by a number of coloured circles, which denote so many units, and these \ncounts lead from the sign or the column of day-signs of the preceding group to the sign or column \nof day-signs which is intended to be the determinant or the name-giver of this group. Thus, \nwere these signs fully and accurately written out, to the eight groups of this series the following \ncolumns of day-signs would correspond : \u2014 \n\nI. \u2014 1. cipactliy acatl y couatl, olin, atl, \nII. \u2014 8. tochtli, xochitl, TnalinaZli, cuetzpalin, cozcaqvxxivhtli, \n\nIII. \u2014 1. ocelotl, miquiztli, tecpatl, itzcuintli, eecatl, \n\nIV. \u2014 8. cipactli, acatl, couatl, olin, atl, \n\nV. \u2014 5. oforrultli, calli, quauhtli, magatl, quiauitL \nVI. \u2014 1. xochitl, malinalli, cuetzpalin, cozcaquauhtli, tochtli. \nVII. \u2014 12. ofomdtli, calli, quauhtli, ma^tl, quiauitL \nVIII. \u2014 7. quiauitl, Ofomdtli, calli, quauhtli, TrmfoM. \n\nBy adding the signs or columns indicated only by numerical units, these make altogether 59 signs \nor columns of day-signs. And it would accordingly seem as if by these signs, and consequently also \nby the groups of figures beside which these signs are placed, it was intended here to symbolise \ncontinuous periods of 59 days, or two synodic Toonths. These, however, are periods which do not \nall go evenly into the Tonalamatl or any multiple of it, so that it is only after 59 x 260 days that the \nsame number and the same sign again fall on the initial day of these periods. The names of the \ninitial days are shown in the following table : \u2014 \n\n^ Cf. Tiinalamatl of the Aubin collection. \n\n\n\nThe Period of 60 Days. \n\n\n\n135 \n\n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\ncipactli \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\nxochitl \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\nquiauitl \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\nt \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\ntecpail \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\nolin \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n6 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\ncozccu/iuivJUli \n\n\n\u20224 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\nquauhtli \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\nocelotl \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\nacatl \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\nmalincUli \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\no^omatli \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\nitzcuintli \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\nall \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\ntochtli \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\nma^tl \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\nmiquiztli \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\ncouatl \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\ncuetzpalin \n\n\n10 \n\n\n7 \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\ncalli \n\n\n4 \n\n\n1 \n\n\n11 \n\n\n8 \n\n\n5 \n\n\n2 \n\n\n12 \n\n\n9 \n\n\n6 \n\n\n3 \n\n\n13 \n\n\n10 \n\n\n7 \n\n\neecail \n\n\n\n59 X 260 days make 15,340 days, which are 42 Mexican years of 365 days and 10 days over, or almost \nexactly 42 real years; only 4 hours, 9 minutes, 15 seconds less than 42 solar years of 365 days, \n5 hours, 48 minutes, and 47^ seconds. It would accordingly appear that these periods of 59 days \nwere intended not so much to determine the revolutions of the moon, or establish a concordance \nbetween the lunations and the solar years \u2014 for, after all, two synodic months are still rather more \nthan 59 days, since 260 times a real double month would make 42 years and 26 days \u2014 as to effect \na correction in the length of the year. This was done at the end of this great cycle by i)uttin^ \noff for ten days the time when the regularly recurring annual feasts should be kept. I shall \nreturn to the discussion of these relations further on. \n\nNow these periods of 59 days are represented in our manuscript by eight groups of figures, \nI have not yet found either these periods or the groups of figures in any other manuscripts, although a \ncertain relation seems to exist between them and the large, splendidly executed Sheets 18-21 ( = Kings- \nborough 21-18) of Codex Borgia. Here, however, the series of day-signs and the numeral differences \nyield, not periods of 59 days, but a complete Tonakimatl. In the groups of figures, also, a likeness between \nthe subjects seems to occur only here and there, the arrangement appearing to be altogether different. \n\nIn our manuscript the series begins on the right side of the lower half of Sheet' 26 with the picture \nof Tlaloc, the Rain God. He is clothed only with the loin-cloth, but has the headdress of a priest, \nand occupies a seat of jaguar-skin in an unroofed hall painted a green colour, with a burnt-offering \u2014 \na bundle of firewood and rubber ball \u2014 in front. Facing him is a deer, and above him a pulque jug. \nThe deer (Tuagatl), the seventh day-sign, is the emblem of drought,^ and is shown with Tlaloe, perhaps, \nnot so much simply by way of contrast as because Tlaloc; the Rain God, also represented for the \nancient priests the tlequiaiiitl, the fire-rain, one of the four prehistoric ages of the world. In the \ncalendars the day-sign magatl, ' Deer,' is symbolised by the picture of Tlaloc, \n\n^ Tonalamatl of the Aubin coUectioD, pp. 62, 63. \n\n\n\n1% The D&7 Sld\u00ab of the Manuscript. \n\nIll the second picture, on the left side of Sheet 26, we see a temple, with an arrow sticking in \nits straw roof. A jaguar (oeeU/U) is entering the temple, and looks as if inclined to seize the \noflerings placed there. \n\nThe third picture, on the right side of Sheet 27, shows us a temple pyramid, with a mass of \nroptd rising in notched rays on the upper platform. The two red-coloured snakes coiled tt^ether are \ndoubtless meant to denote fire, the blazing flame. Before the pjTamid stands a priest in the priestly \nvest (xiroUi), who holds in one hand a bumt-ofleiing \u2014 bundle of firewood and rubber ball \u2014 and with \nthe other presents copal in an incense-pan furnished with a shank. \n\nIn the fourth picture, on the left side of Sheet 27, we see a space formed of water, which contains \na lai^e red centipede, and must consequently denote fiery seething vxiter. In it is a goddess, holding \nin her hand a vessel shaped like a cooking-pot, out of which come water and a red snake {i.e. no \ndoubt, more fire), hence ^ain fiery seething water. In this picture there seems to be presented an \n\n\n\n\nanalogy with the lower half of Sheet 20 of Codex Boi^ia. For there, also, is shown a utensi] with \nseething water. In front is a dragon, and before him Chalchiuhilicue, the Water Goddess, with a pot \non her back, from which a red snake (fire) is escaping. \n\nIn the fifth picture, on the right side of Sheet 28, is figured a person with a pack on his back \nand a fan in his hand, hence in the act of vxindering, or travelling, such as we shall again repeatedly \ncome upon further on in this manuscript. The fan {ecaceuttztli), the walking-staff {otUttopiUi), and \nthe carrying- frame {cacaxfU), supporting a corded pack, are the distinctive marks of the traveller. \nThese three objects are shown in the picture at Fig. 143, taken from the Codex Mendoza, where are \ndepicted the itinerant traders set upon by hostile warriors. With fan and staff the same Codex \nfigures the envoys (Fig. 144), who were sent abroad by Motecuh<;<inut (Montezuma). \n\nBut it is diflScult to say who this wandering god can be. The only striking marks to L^ seen on \nhim are the red longitudinal lines on his face. We found something similar with the XoehijnlH of \nCodex Vaticanus B. In the places further on, where we meet with wandering gods, I shall n>^e to \nshow that these are to be regarded as representatives of the celestial wanderers, the stars. Witl' one \nof them, the last \u2014 the deer-headed god on the left side of Sheet 32 \u2014 our deity agrees in one particiiV'\". \nwhich may not perhaps be without some significance, i.e. the loin-cloth, half red half blue, and fallii-g \nin two long bands. As I shall have to point out below, we have to identify this deer-headed got \n\n\n\ny \n\n\n\nThe Period of 59 Days. 137 \n\nwith the god of Chicomoztoc, the old Iztac Mixcovxitl, who denotes the Milky Way, or the Zenith. \nThis deity is essentially one with the other old god of the manuscript, Tonacatecutli, the lord of food \nsupplies. And he again shows a relation with Xochipilli, as results, for instance, from the right side \nof the lower half of Sheet 35 in our manuscript. Tonacatecvili*^ female counterpart, the goddess \nTonacaHuatl, lady of food supplies, is in point of fact generally treated as equivalent to Xochiqnetzal, \nXochipUli's female correspondent, so that the little detail of the red, longitudinal, facial lines may, \nafter all, have perhaps put us on the right scent. \n\nThe two intertwined snakes in our fifth picture are obviously intended again to denote ^re. \n\nThe sixth picture, on the left side of Sheet 28, shows us a figure painted a red colour, whose \nyellow hair not only curls up in three locks above the forehead, but also rises with involuted end at \nthe occiput. The loin-cloth is likewise of a yellow colour. I think this figure is intended to repre- \nsent a Fire Ood, tzoncoztli, the * Yellow-haired.' On his shoulder he carries an axe, and has seized \na tree, which is formed of two entwined stems of different colours (yellow and blue), bears a jaguar \non its summit, and in my opinion likewise indicates fire. \n\nThe next \u2014 seventh \u2014 picture, on the right side of Sheet 29, possesses an antiquarian and historico- \ncultural interest. In other words, it shows us a baU-player (oUamani) in his full equipment As we \nknow, it was a rule in the rubber-ball game (oUi) that the heavy ball was to be pitched, not with the \nhands, but with the hips. Therefore the players had a deer-skin {quezeuatl) round the buttocks. \nAnd as during the quick movements in the ball-court, and also in order in this way to toss the ball \nforward, they had frequently to support themselves with their hand on the ground ; the players had \nalso a glove (mayetiatl) fastened at the wrist.^ \n\nQaezevutl and rriayeuatl are both seen here with the personage in our seventh picture. Before \nhim is pictured a ball-court (tlaehtli), with ground painted a red colour, and in the middle we see \nthe black rubber ball (oUi). The side ornaments are like the turrets which are shown on the roof \nof the temple in our second picture (on the left side of the lower half of Sheet 26), And, in point \nof fact, we know from Duran * that the side walls of the tennis-courts, the so-called tlaehmatl, were \noften furnished with battlements.' \n\nThe opposite party, the second ball-player, is here indicated by a lizard (cuetzpalin). This \nstands presumably for the first of the five deities who are named by the dates Macuil cwetzpalin, \n* 5 Lizard,' macuil cozcaqvxiuhtli, * 5 Vulture,* rrmcuil tocktli, ' 5 Rabbit,' TnacuU xochitl, * 5 Flower,' \nTTuicibil maZirudli, ' 5 Broom,' these being the gods of feasts and sports, whom I have fully discussed \nabove at pp. 114, 115. \n\nThis picture also recalls another in the above-mentioned Codex Borgia series, which is figured \non the lower half of Sheet 21, where we see the red (tladauhqui) and the black (yayauhqui) \nTezcatlipoca in the tennis-court (Fig. 145). The red figure, to the left, has hit with the rubber ball \na strip of skin furnished with a string, which here no doubt represents the quezeuatl, the ' hip-leather,' \nwhich in our Fejervary figure is seen fastened on the buttocka The black Tezcatlipoca, to the right, \nshows hanging on his right arm a similar strip furnished, however, with a thong instead of a string. \nIn the tennis-court are seen on both sides the ring-shaped stones, tlachtemalacatl, to send the ball \n\n\n\n^ Sahagao, book viii. chap. x. (ms. Biblioteca del PaUcio). \n\n^ Daran, HiBtoria de los IndioB de Nneva Espaiia Tratado, 2\u00b0, chap, xxiii. \n\n' On ball-playing and the form of the ball-court, cf. Seler, Die alten Ansiedelungen von Chacoli. Berlin, 1901, pp. 26-32. \n\nS \n\n\n\n138 The Day Side of the Manuscript. \n\nthrough the openmgs of which was considered a master-stroke. Moreover, the dr^on's head pro- \ntrudes froui both BtoneB, as also from the rubber boll, which is seen dripping with blood in the \nforeground of the tennis-court. Hence the relation to fire, which was not brought out in the picture \nin our manuscript, is here distinctly seen. \n\nIn the last picture, on the left side of Sheet 29, we see the jaws of Earth, out of which ascend \na dragon and two maize plants showing the male inflorescence. Before it is seen a bearded god \npainted a blue colour, who is perhaps identical with the god depicted in the middle of the upper \nhalf of Sheet 23. In his band he holds the ' Coa,' the uictli, the stick which broadens at one end like \na shovel, and was in ancient Mexico, and still often is, the only implement used for di^ng and \nworking the ground. \n\n\n\nFig. 14&. The Bed and the Black Ttzeatlipoea ia the Teimi8.court. \nCodex Borgia21 (=Kiii|^borough 18). \n\nThus in all the pictures of this series there is a distinct relation to fire. Even in the second \npicture the straw roof pierced by a dart and the jaguar have to be interpreted in the same way; \nand I have already pointed out above that the deer in the first picture indicates that with the \nTUiloc figure we have to think of the thquiauitl, the fiery rain. \n\nThe pictures themselves seem to dispose themselves in pairs towards the cardinal points. But \nwhat in other respects may be the special meaning of this series of figures, I have so far \nformed no idea. Parallels are lacking, and the pictures themselves tell us so little. And as to \nthe period which is shown with these figures, even if I should think it possible to give it a \ndefinite meaning, since no points of comparison have yet been discovered in other manuscripts, \nI need not here indulge in further speculation. \n\n\n\nAnother List of Guardians of the Six Quarters. 139 \n\n\n\nIV. Another List of Guardians of the Six Quarters. \n\nSheets 30-32 ( = Kingsborough 15-13). Lower Half. \n\nIn the study of the sheets that are now to follow, I begin with the lower half. As I have \nalready stated above, this is the natural order with the system of writing from right to left, as \nadopted in this manuscript. Moreover, the series here following in the lower half seems in a \ncertain sense to connect itself with the Series ii; of this manuscript, which is represented on the \nlower half of Sheets 23-25, from which it is separated only by the just-described Series iii. That \nsome such association or coherence really exists seems to be necessarily inferred from the fact \nthat in Codex Vaticanus B the same Sheets 9-11, which in their upper half display a series \ncorresponding with the Series ii. of our manuscript, in their lower half show six pictures pre- \nsenting a perfect parallel with the figures which are depicted in the lower half of Sheets 30-32 of \nour manuscript, and which I now proceed to describe. \n\nAs in the other series, here also a definite number of days are indicated on the sheets beside the \nfigures by means of day-counts and numerical units inserted between them. They make 80 altogether, \nhence just double the number given with the Series ii., on the lower halves of Sheets 23-25. \n\nWhat I there stated with the Series ii. regarding the possible significance of the period of \n40 days will in a corresponding way necessarily hold good also for this 80 days period. A \nremarkable difference, however, is shown by the signs of this series compared with those of \nSheets 23-25. Here the day-counts begin, not, as elsewhere, with the first day-sign, cipactU, \n* Crocodile,' but with the twelfth, malinalli, * Twisted,' ' Broom.* Then follows with the second \npicture the sign xochitl, 'Flower,' with the third the sign ofomdtii, *Ape.' Thus the initial sign \ncipcLctliy * Crocodile,' does not appear till we meet the fourth picture ; after which follow the signs \nocelotl, * Jaguar,' and tochtli, ' Rabbit,' with the fifth and sixth pictures. In my opinion this rever- \nsion of the order means nothing more than that we are not to begin the series of the cardinal \npoints with the East, as on Sheets 23-25; but that the East is rather to be assumed where the sign \ncipoictli stands; that accordingly the six pictures of this series are intended to correspond with \nthe six quarters in the following sequence: South, below, above, East, North, West As we shall \npresently see, this assumption is confirmed by an examination of the pictures themselves. \n\nThe pictures of this series do not exhibit pairs of deities, as in Series ii., but single figures, \neach, however, seated in a temple which is diversely furnished and decorated. \n\nThe personage in the first picture, on the right side of Sheet 30, is to be determined as \nXochipiUi, the God of Flowers and Food Supplies, the lord of the South, in which character we \nhave already repeatedly met him. We see a temple which is decorated with flowers on the ridge \nof the roof, on the walls, and at the base, while the roof itself is thatched with a step-like \nmeandering design. \n\nWithin, on a chair fitted with a back (tepotzo-icpaUi), upholstered with a jaguar-skin, is seated \na god painted in light colours, and adorned with a jewelled fillet and the conventional bird's \nhead. He is arrayed in a variegated wrap and a similar parti-coloured robe (quemitl), and holds \n\n\n\n140 Th\u00ab Day Side of the Manuscript. \n\nin his hand a costly round feather-fan, shaped like a mirror. Before him we see, set upright, a \nbundle of firewood surmounted by a rubber ball and a bone dagger. The picture in Codex \nVaticanus B (Fig. 146), although in general less characteristic, still enables us to recognise this \npersonage in rich array, with the round feathor-fan in his hand, and floral decoration at least at \nthe base of the temple. It is these floral decorations more especially that in all cases vouch for \nthe correctness of the above determination. \n\nIn the second picture, on the left side of Sheet 30, is seen a figure whose body is painted a \nred colour, but who has an animal's head looking like that of a beast of prey, and distinguished \nby a white colour, pointed snout, small sharp teeth, and a black mark enclosing the eye and \ntapering to a point towards the snout. The picture in Vatican B (Fig. 147) also shows the same \ncharacters \u2014 small pointed teeth, pointed snout, white colour, and eye enclosed by a black mark \n\n\n\nRg. 146. Fig. 147. \n\nCodex Vaticanus B 9 ( =Kingaborough ST). Codex Yatictuiiui B 9 ( =Eiug3borough S7). \n\nwhich ends ofi' in a point towards the snout. We shall once f^ain come upon this flgure in a \nsubsequent series in our manuscript. \n\nIt is naturally ditflcult, and only in rare cases possible, to determine an animal zoo\\ogicBl\\j \nfrom such pictures in the manuscripts; nor will I attempt to do so. On the other hand, I must \ndraw attention to the fact that an animal apparently distinguished by exactly similar marks is \nalso flgured in the Maya manuscript of Dresden, and indeed in a place which belongs to one of \nthe most remarkable and interesting sections of this document. These are the Sheets 25-28, which \nstand at the b^inning of the reverse side of the manuscript, where are represented the deities \nindicative of the four years, i.e. the deities of the four quarters, and the names of the four years, \nor else their initial days, together with the last days preceding them and belonging to the \nforgoing years. Each of these sheets is divided into three sections. In the middle are seen, \nseated under a canopy, the four deities of the four years, or else of the four quarters. Before \nthem are oflerings, and above them the hieroglyphs which are their deteiminant& \n\nIn the lower section, on a hieroglyph which has the meanii^ of tun, ' stone,' is raised a stake \nwhich is hung with a shoulder-wrap and with papers stamped with caoutchouc in the style called \ntetetiitl by the Mexicans, and below its crown of folit^e is entwined by a snake. To this stake \nan oflering consisting of a bird (fowl or quail) is presented by a deity, whose characteristic it is \nalways to stand in direct contrast to the deity of the year. \n\n\n\nAnother List of Guardians of the Six Quarters. 141 \n\nLastly, the upper section is occupied by the groups of figures and hieroglyphs which are \nhere reproduced at Figs. 148a-d. Right above stand a few rows of hieroglyphs, and in fact four \nsuch rows occurred originally on all the sheets. But amongst them is seen a figure which shows \nthe same kind of carnivorous animal's head \u2014 with the pointed snout, the small sharp teeth, and \nthe black band tapering from the eyes to a point towards the snout \u2014 that I have above described \nwith the figure on our Fej^rvary sheet. These animal-headed figures of the Dresden document \nwear a kind of hat which recalls the headdress of several Tlaloc figures in Codex Vaticanus B, \nand is to be seen in precisely the same style on Sheets 61, 62 of the Dresden document with \nthe animal figures (Rabbit and Wild Boar?), which are there pictured alternately with figures \nof the Rain God Choc above the snakes represented on these sheets. \n\nAs shown by some of the figures (1486, c), these animal-headed figures are himg at the \ngirdle with rattling snail-shells. On ietll four sheets they are shown as striding wandering forms, \nholding in their hand a staff* \u2014 which is doubtless a rattle-stick, a chicauaztli \u2014 and a fan, and some \nof them (Figs. 148c, d) also an incense-pouch. And all of them carry in a support on their back \nthe deity of the year, or else his eflSgy or personator. On the first sheet it is the Rain God Choc, \npersonator of the water deity Ah bolon tz'acab; on the second sheet the Jaguar Balam, repre- \nsentative of the Sun God' Kinch ahau, who is the god of the second years, of the years of the \nNorth; on the third sheet the god with the kan sign, the Maize God, who represents the old \ngod Itzamnd, lord of food supplies, ruler of the third years, of the years of the West; on the \nfourth sheet the Death God, who is the representative of Uac mitun ahau, lord of the six hells, \nking of the underworld, and ruler of the fourth years and of the South, Hence these animal- \nheaded beings of the Dresden manuscript are the hearers of the years, the u cuch haxih, as runs \nthe Maya expression, which is, however, used most especially for the day-signs with which the \nyears begin. As such they are also figured in the text hieroglyphically above the years. For the \nhieroglyphs, which I reproduce at Fig. I486, I should read oflF as u cuch haab, and the element \nat Fig. 148/ as haab, * year.' But what species of animal was that to which such a role was assigned \nis a point on which I have hitherto nowhere obtained any information. \n\nNow the animal-headed being, figured on Sheet 30 in our manuscript, the Fej^rvAry Codex, \nhas manifestly a more mysterious meaning. We see shown with it the croasvxiy, which also with \nthe Mexicans denoted the place where the .magicians and witches plied their arts. In the \npicture-writings we see the crossway depicted almost exclusively with Tezcatlipoca, the great \nwizard, with Tlofolteotl, the Earth Goddess, and her > attendants the Ciuapipiltin, the souls of \nwomen dying in childbed, and with the Death God. We must therefore assume that the \nanimal-headed god, who is here brought into relation with the crossway, also belongs to the \nsame category of spirits, that he too represents a sorcerer, an Earth god, or the like. And thus \nis confirmed the assumption made at the outset, that this second picture of the series symbolises \nfor us the downward direction, the lower region, the Realm of Darkness. \n\nIn other respects this animal-headed being is pictured in a rich variegated garb, altogether \nsimilar to that of Xochipilli on the preceding sheet But this animal-headed god does not, like \nXochipMi, hold in his hand a round fan fashioned like a mirror, but only a bunch of feathers or \nmalinaUi grass, exactly like that which we shall find in the hand of the Death God of the fifth \npicture. \n\n\n\nThe Day Side of the Manuscript. \n\n\n\n\n\n\n\nmm \n\n\n\nig--- \u00bbr' -\u25a0'-\u25a0\u25a0 \u25a0=5ft;1!!s,-ar - ;\u25a0 \n\n\n\n\"^ \n\n\n\ni- \n\n\n\nFig. i48a. Maya MajiDscript, Dresden, i&a. \n\n\n\nFig. 1486. Maya Manuscript, Dresden, S6a. \n\n\n\nFig. 146c. Mays Manuscript, Dresden, 27a. \n\nFig. I48e. Hieroglyph w cuch haab. \n\n\n\nFig. 148(f. Maya Manuacript, Dresden, 26a. \n\n@> fiia \u00a3S ^s* \n\nFig. 148/. Hieroglyph haah ' Year \n\n\n\nAnother List of Guardians of the Six Quarters. 143 \n\nIn our manuscript the temple in which this figure is seated is decorated on the ridge of the \nroof with stone disks, and between them with a kind of white clouds, exactly like what we shall \nsee on the ridge of the North temple in the series of the gods of the four quarters to be next \ndescribed. They are doubtless intended to represent clouds of smoke or enveloping fog. Of such \nclouds is formed the tree in Codex Laud 12 (Kingsborough notation), beneath which is seated the \nTezcatlipoca-itzllacoliukqui, the god with the bandage over his eyes. In the corresponding picture \nof Vatican B (Fig. 147) the roof of the temple is as if spUt by a wedge, and a couple of lambent \nflames curl up at the line from which the roof springs. \n\nThe third picture, m our manuscript on the right side of Sheet 31, in Vatican B on the \nleft side of Sheet 10, shows us a temple which is decorated on the ridge with stone disks and \nbattlements, and in it a god who has a red bodily and facial paintmg, with a head and neck \nadornment like those of the personages in the two preceding pictures. In one hand he holds a \n\n\n\nFig. H9. Fig. 160. \n\nCodei Vaticanus B 10 (= Kingsborough 68). Codex Vaticanus B 10 <= Kingsborough 58). \n\nround feather-fan shaped like a mirror, exactly like that of the god XockvpiUi in the first picture, \nin the other a bone da^er (omitl) and an agave-leaf spike (uitztli), and wears a collar (cozcatl) \nstudded with bells. Before him stands upright a bundle of firewood, and on it bone da^er and \nrubber ball, f^ain exactly as we met them before the XochipiUi of the first sheet \n\nThe pinnacles on the roof denote the sky, and the god painted red is doubtless confidently \nto be identified with Tonaliuh, the Sun God. The corresponding figure in Vatican B (Fig. 149) \nshows further, as distinctive face-painting, a red circular spot on his cheek, such as we find \nalso given with the pictures of the Sua God in Codex Bo^a. I therefore consider myself \nwarranted in venturing to regard this third picture as a symbol of the vpper r^on, of the \nupward direction. \n\nThe fourth picture, in our manuscript on the left side of Sheet 31, in Vatican B on the right \nside of Sheet 10, again introduces a new personality. It is a figure which has inserted a sort of \nsnake's throat into the human face, the throat having the conventional form which is given to it in \nTlaloc pictures of our manuscript (cf. for instance. Sheet 4 left above, and 25 right above) and of \nVatican B (cf. Fig. 36 above, p. 46). It forms in a measure the further prolongation of the band \n\n\n\n144 \"The Day Side of the M&nuacript. \n\nlying above the lip and involuted at the ends. In the Vatican B picture (Fig. 150) the inserted \nthroat has a more realistic foira, although here also the tip of the snout is distinctly involuted \ninwardly. \n\nIn the face of this figure we are struck by a space bordering the eye at r^ht angles, such as is \nalso shown by the true MacuUxochitl and his associates (cf. Fig. Ill above, p. 114). The rest of \nthe face is red in Vatican B, while in our manuscript the colour seems to have been left out \nHead, ear, and neck adornments are like those of the other figures. But instead of a robe, the \nfigure is wrapped in a coverlet made entirely of quetzal feathers, the dark-green colour of which is \nenhanced by a gold disk attachment. The roof of the temple is also thatched with quetzal \nfeathers, with gold disk attachment, and gold disks seem also to adorn the ridge of the roof. \nAnd at the posterior end of the temple is seen a specially detached part, which is fashioned like \na broad quetzal-feather embellishment, and likewise bears a gold disk on the quetzal feathers. \nHere the two side-posts of the temple door are depicted, the anterior being hui^ with an oma- \n\n\n\nFig. I5la. Naui trntaU and e&Mom\u00ab eovaO. Fig. Ifil6. ifa,v.i cowUl and ehittntaui eteatl. \n\nVienna Manuscript 6. Vienna Manuscript 33. \n\nmeut, besides a half-sun. I am unable with certainty to explain the special symbol which in \nour manuscript is further pictured at the foot of the temple steps. \n\nThe picture is accompanied by the day-sign cipactli. And I believe that the god here figured \nis thereby intended to be indicated as the god of the initial quarter, as the god of the East. \nThe rich quetzal-feather adornment displayed by this god himself and by bis abode has \nundoubtedly reference to the fact that the sign eipactli and the cardinal point of the East were \nregarded as ensuring fertility and prosperity, abundant food supplies and opulence. The idea, \nhowever, is not exchided that, besides this notion, another may also have played a part, that, \nnamely, the god here pictured had his home in the land of quetzal feathers, in the Tierra Caliente. \n\nA figure of this description is elsewhere unknown in the Codex Borgia group of manuscripts. \nOn the other hand, it recalls in a striking way certain types of the pictorial manuscript in the \nVienna Imperial and Royal Court Library, to which I think a Zapotec origin may be ascribed. \nAmongst the figures in this document we meet with one which is named by the date Nau,i \nccntatl, 'i Snake,' and whose mouth is closed by a knot, behind which a snake comes out. This \ngod usually appears with the god Ckicome cmtatl, 'TlSnake,' who forms his counterpart, and also \nhas his mouth closed by a knot, but instead of a snake before his mouth, 'wears a snake's throat \n\n\n\nAnother List of Gaarduuie of the Six Quarters. 145 \n\nas a helmet-mask (Fig. 151a). On Sheet 30 of the Vienna manuscript we see this god jVaut \ncouatl, but also jointly with the Wind God QiMtzalcouatl, who is named by the date Gkicwaaui \neecatl, ' 9 Wind.' And here to these two gods seem to correspond as their symbols, or, so to say, \n\n\n\nFig. 163a. Chicome din and ckicwne ucatl. \nVienns MaDUSCript S4. \n\n\n\nFig. 153. God of the East, Fig. Ibdb. Chicorne olin. \n\nCodex Borgia 25 ( = Kingsborougb 14). Vienna Manuscript 33. \n\n\n\nFig. 154. Ckieomt olin and maOacUi omOTue cozeaquavhtli. Tienoa Manuscript 4. \n\ntheir totemic animals, on the one hand a dragon bearing the sun, on the other the feather snake \n(F^. 1516). One might at first think of this god Naui couatl in explanation of the deity figured \nin the fourth picture of our series. Codex Fej^rvfLry, Sheet 31 left below. For this deity also has a \nsnake's throat inserted in the human face, and, moreover, the god Naui couatl is also unmistakably \n\n\n\n146 The Day Side of the Manuscript. \n\npresented in Codex Boi^ia (Fig. 152), Sheet 25 ( = Eingsborough 14), and indeed also as initial \nmember of the series, corresponding to the sign cipactU and the East. \n\nThere is, however, still a second figure, which outwardly answers still better to the figures of the \nfourth picture of our series. This is the god Chicome olin, ' 1 Rollii^ Motion,' who as a rule is \nassociated with the god Ckicome eecatl, ' 7 Wind,' wearing a double eagle's head, a quavJixdoU \n(Fig. 163a), and, as we see, has an animal's throat inserted in the human face, exactly like the figure \nof the fourth picture in our series. This throat has no doubt a jaguar-skin design with this god of the \nVienna document, while the god Chicome olin combines with this jaguar's throat inserted in his face \na jaguar's head as helmet-mask. Nevertheless, we may perhaps have still to take this god into \naccount for an explanation of the fourth picture in our series. For on Sheet 5 of the Vienna \nmanuscript we see him figured (Fig. 154) as representative of the day Ce cipactli, ' 1 Crocodile,' and \nof the year Ce acatl, ' 1 Reed/ hence of the initial sign of the TonaXamaU, and of the years of the \nEast; and he is on a mountain which, as with the temple of our Fej^rv&ry sheet, has as distinctive \n\n\n\nFig. ICiG. Chieomt mafoU. Fig. 156. ChictMaui oltn. \n\nVienna Manuscript 4. Vieona Mantucript 4. \n\nmark a quetzalqwemitl, a large cover consisting of rows of quetzal feathers placed side by side, with \nthe s^ ctudckiwitl, ' Jewel,' on a blue field. \n\nIn other respects the two pairs of gods, Naui couatl, Chicome couatl (Fig. 150a), and Ckicome \ndin, Ckicome eecatl (F^. 153), seem to be related to the god Ce cipactli,'! Crocodile,' reproduced \nabove at p. 100 (Figs. 92, 93), and to a third pair of gods following the god Ckicome olin on Sheet 5 \nof the Vienna manuscript One of this pair (Fig. 155) wears a deer's head and a jaguar as helmet- \nmask, and is designated as Ckicome rna^tl, ' 7 Deer,' while the other (Fig. 166) is dressed as an eagle \nand named Chicunnawi olin, ' 9 Rolling Motion.' That is to say, on Sheet 26 of the Vienna document \nall these seven present themselves clothed as Rain Qoda (Fig. 157) jointly with Chicome quiauitl, ' 7 \nRain,' this being thename which in the first half of the Vienna manuscript is borne by the Earth Qod, \nXipe Totec, ' Our Lord, the Flayed ' ; and they all appear to have a maize ear swinging in their hands. \nThese eight gods naturally group themselves in pairs, in which arrangement Ckicome quiauitl, that is, \nXipe Totec, would form the fourth pair with Ce cipactli. . \n\nTo the series of these deities belongs unquestionably the remarkable figure in the fourth picture \nof the group with which we are here occupied. It is pictured on the left side of the lower half of \n\n\n\nAnother List of GuardianB of the Six Quarters. 147 \n\nSheet 31 of our maauscript, and we may for the present leave open the question whether we are to \nT^ard it as more nearly related to the Naui couatl or the Chicome olin of the Vienna manuscripL \nIt is also no less certain that this deity is to be compared both with the figure in our fourth picture \nand with the two above-mentioned forms in the Yienna document, whose peculiar features, wil^ the \nhuge overhangii^ feather adornment, we find modelled on the front side of numerous sepulchral \nvases from the Zapotec country. These vases, which are amongst the most characteristic remains of \nthe Mexican lands, were some years ago specially described by me in a treatise,^ where at the same \ntime I already pointed to the above-mentioned figures in the Yienna document, which seem to afford \nan explanation of these remarkable sepulchral objects. As, from the relationship of these figures \nin the Yienna document with well-known and widespread types of Zapotec antiquities, we may \nrightly infer that the pictorial Codex of the Vienna Court Library originated in the Zapotec country. \n\n\n\nFig. 157. The Eight B\u00abn Gods. Vienna Mannsciipt 26. \n\nin the same way the occurrence, although rare, of the same figures in the Codex Borgia group \nof manuscripts supports the view advanced by me at the end of my book on the wall-paintings \nof Mitla, that the Codex Borgia and related manuscripts must also have had their origin not far from \nthe region inhabited by the Zapotecs. \n\nThe fifth picture, in our manuscript on the right side of Sheet 32, in Vatican B on the left \nside of Sheet 11, must now correspond to the North, i.e. the m.ictla'mpa, the region of the realm \nof the dead. Hence in both manuscripts we see in this place the Death God, Mictlantecutli, in \na temple whose foundation is formed of skulls, and the side-posts of a skeleton's vertebral column. \nThe building is studded with stone knives and eyes, the ridge of the roof likewise formed of a \nvertebral column, from which eyes hang down over the steep roof, while for battlements a row of \nskulls in our manuscript, a row of eyes in Vatican B, stand out above the ridge of the roof. \n\n' ' Die Bogenannten uLralen GeHaM der Zapoteken.' FeroOeiitlichuiigeri aus dem Eonigl. MuBeam fiir Volkerkusde, vol. i. \n{Berlin, 1800), pp. 182-188. \n\n\n\n148 The Day Side of the H&niucript. \n\nThe Death God himself wears, as usual, a skull on his head and a ganneot decorated with \ndeath emblems \u2014 eyes and cross-bones. In his ear as a plug he has stuck a bunch of malinalli grass, \nwhile in one hand he holds a bone digger and an agave-leaf spike, in the other a fan. The latter \nresembles that of the animal-headed god of the second picture. We must suppose its green plumes \nto be formed of maXinaXli grass, beside which are further inserted a couple of stone knives. The \ncorresponding figure of Vatican B holds in one hand a stone knife, in the other a torn-out heart. \n\nThe last member of the series is formed by the picture figured in our manuscript on the left side \n\nof Sheet 32, in Vatican B on the right of Sheet 11. The sheet in our manuscript shows us the naked \n\nfigure of Tla^teotl, Goddess of Dirt, the Huaxtecan Earth Goddess, representative of women and \n\nwantonness \u2014 a thoroughly appropriate symbol of the civxttlampa quarter, the region of the women, \n\nthat is, the West She is squatted on a temple pyramid, the base of which is ornamented with two \n\nrectangles in red and black colours, the painting of the pulque \n\ngods; and instead of a cella, the pyramid supports on its \n\nupper platform a framework of stakes, the side-posts of which \n\nare entwined by two dragons. We know, in fact, from the \n\ndescriptions of the Ochpaniztli feast given in . the Sahi^n \n\nmanuscript, and from the illustrations accompanying the \n\ndescriptions (Fig, 159), that the temple of this Huaitec \n\ngoddess, the TocitiUan, was a scaffolding of poles. \n\nThe Vatican B picture {Fig. 158) shows us a pyramid \n\nsomewhat differently formed and adorned, but surmounted \n\nFig. 158. Codex Vatic&nus B 11 V ^^^ same scaffolding. Here, however, the side-posts are \n\n( = Kingaborough 59). made of bones whose lower ends are immersed in dishes of \n\nblood, which in their turn rest on the ends of a large stone \n\nknife. Here abo the two dragons coil round the cross-beam, and from the top of the upright \n\nposts comes fire and smoke. In the Vatican B picture we miss the figure of Tla^olfeotl. Instead of \n\nit we sea a naked man plungii^ head over heels into the open mouth of the stone knife, which lies on \n\nthe platform of the pyramid. This is naturally a symbol of the sun sinking into the earth, and \n\ndenotes the West in on equally realistic, and even still more distinct way. \n\nThus, in this series, the sequence of the cardinal points, as I have already supposed that they \nshould be taken in accordance with the accompanying day-signs, also finds expression in the figures \nwhich form the subject proper of this representation. It is difBcult to say what could have induced \nthe old designers of these books, if not actually to reverse the order in this manner, still to assume \nanother starting-point for numbering the quarters of the heavens. An absolutely analogous dis- \ncrepancy occurs on Sheets 49-52 ( = Kingsborough 66-63). Here the signs begin on the lower half of \nthe sheets with cifoctli, and the sequence of the cardinal points is East, North, West, South, Centre. \nOn the upper half of the sheets, on the contrary, the signs begin, as in the just-described series of our \nmanuscript, with -malvnaUi, and the sequence of the quarters is West, South, East, North, Centre. \nIn this instance one might surmise that the reason of this ditferent arrangement is to show on \nthe same sheet the Death God as lord of the South (lower half of the sheet) and as lord of the North \n(upper half of the sheet). In our manuscript the Just-described series is no doubt also followed \n\n\n\nAnother List of Guardians of the Six Quarters. 149 \n\nby\" a series which, as we shall see, corresponds to the lower half of Sheets 49-52 of Codex Boi^ia. \nBut such an explanation could scarcely be attempted in this case, seeing that between this and \nthe preceding series there is a numerical difference, the one consisting of six, the other of four \npictures. \n\nNow we have still to discuss the \nquestion whether, as we assumed as pos- \nsible for the previously described series, \nthe day-signs shown with the six pictures \nmight not here also perhaps be intended \nto be taken as definite dates, and con- \nsequently also as the names of the deities \nfigured in the pictures. But here a doubt \nat once arises as to what numerals are to \nbe combined with the signs. In other \nwords, we have to ask whether the one \nhas to be placed beside the first day-sign, \ncipactli, or beside malinalli, the initial \nsign of the series. In the first case, to the \nsix pictures would correspond the dates: \u2014 \n13. malincUH, 8. xochitl, 6. ogorndtli, 1. \ncipactli, 1. ocelotl, 2. tochtii; in the other \nthe dates: \u2014 1. maliTialli, 9. xochitl, 1. \nofomAtli, 4. cipactli, 4. ocelotl, 5. tochtii. \n\nFinally, we have to ask whether in this \nvery series we should take into considera- \ntion, not so much the combination of dates \nwith certain gods customary amongst the \nMexicans, as those current amongst the \nZapotecs, or found in the Vienna manu- \nscript. Meanwhile, it appears that of the \nknown combinations of dates and gods \nscarcely one fits here. On the other^ hand, \nthe general character of the sign, at least \n\nin the !\u00ab throe pictures, appears to corre- ^.^ ,j, j,^^,,, ^\u201e\u201ei p^\u201e ^^^.^i^u, \n\nspond with the nature of the associated Sabaguo, us. BibL del Pslacio. \n\ndeity, since cipactli is the symbol of fer- \ntility and prosperity, and ocelotl, the Jaguar, of devouring darkness, while tochtii, ' Rabbit,' is the \nfamiliar emblem of the earth. On the day ce tochtii, ' 1 Rabbit,' the earth was created.* \n\n' Analet de (juauhlillan. \n\n\n\nThe Day Side of the Haouscript. \n\n\n\nV. The Six Heavenly Wanderers. \n\nSheets 30-32 ( = Kinosbobough 15-13). Upper Half. \nSheets 35-37 ( = KjNasBOBOUGH 10-8). Upper Half. \nSheets 38-40 ( = Kingsborough 7 - 5). Uppeb Half. \n\nThe series represented above that previously discussed on the upper half of Sheets 30-32 of \nour manuscript has this peculiarity, that it is repeated, not only in one of the related picture- \nwritings on Sheet 55 (= Kingsborough 60) of Codex Borgia, but also in our manuscript, the Codex \nFej^rv4ry itself, and indeed twice over, in the places specified, at the head of this section. In this \nconnection, however, the series depicted on Sheet 55 of Codex Borgia is the only direct parallel. \nOn the other hand, the series of our manuscript following on the upper halves of Sheets 35-37 \n\n\n\nFig. 160. Tonaliuh, the Sun God, Fig. 161. Tlaftdttotl, the Earth Goddess and the Moon. \n\nCodex Borgia 56 ( = Kingaborough 60). (Jodei Boi^a 55 ( = Kingsborough 60). \n\nand 38-40 are merely analogous representations, in which the exposition appears in parts considerably \nmodified. The unity of the fundamental thought, however, reveals itself not only in the fact that \nin all these three series the twenty day-signs are shown distributed in the same way beside the six \npictures, but it is also disclosed in the character of the figures and in divers details. \n\nAs r^ards the distribution of the day-signs, we find beside the first picture depicted the first \nday-sign cipacili, ' Crocodile,' and the following; beside the second picture the sign ccdli, 'House,' \nwith the two following. Only in the last two series of our manuscript the day-s^ calli has been \nattracted to the first picture. For this, as we shall see, there appears to be a special reason in the \nlast series. \n\nThen in all four series the day-sign miquizili, ' Death,' t<^ether with the following three, stands \nbeside the third picture; beside the fourth picture the sign itzcuintli, 'Dog,' with the three or \nfour following. In the first case (in the Codex Borgia series, and in the first series of our manuscript) \nthe signs given with the fifth picture begin \u25a0vi\\i\\i oveh^tl, 'Jaguar'; in the second case (in the last \ntwo series of our manuscript) with gi(\u00abw/((ii, 'Eagle.' With the last, the sixth picture, stand the two \nday-signs quiaiiitl,' Rmu' and the last sign following it. Only in the first series of our manuscript \n\n\n\nThe Six Heavenly Wanderers. 151 \n\nthe preceding sign fecjMifl, ' Flmt' vhich in the other series still stands with the fifth picture, has \nbeen attracted to the sixth picture. \n\nThe first two pictures seem to represent Sun and Moon. In Codex Boigia we recognise in the \nfirst picture (Fig. 160) the Sun God, TonativJi, in his characteristic equipment, and with the image \nof the aun as his collar. He stands before a temple, at the threshold of which is seen a vessel with \njewels, and he is presenting a bnmt-offerii^ \u2014 bundle of firewood and rubber ball \u2014 exactly as we \nfound this represented with the pictures of the nine lords (c\u00a3 above, p. 32, Fig. 16). \n\nOn the other hand, in the second picture of Codex Boi^ia (Fig. 161), we see the Huaxtec \ngoddess, Jlofolteotl, in the same attire in which she appears in Codex Borgia 12, as representative \n\n\n\nFig. 162. Sun, Moon, and Morning Star. Codex Borgia 71 (=KiiiKaborough 43). \n\nof the fourteenth day-sign, ocelotl, 'Jaguar.' Before her, above a dragon, whose back is arched, while \nblood gushes from his torn body, stands the image of the Moon, exactly as it is represented on Sheet \n71 ( = King8borough 43) of Codex Borgia, . beside the Sun God, and beside Ce acatl, '1 Reed,' the \nhien^lyph of the Momir^ Star (Fig. 162). From a dark field studded with eyes, the symbol of \nNight, rises the Huaxtec, crescent-shaped, nasal plate, yacam-etztU, of the pulque gods and of Tla^oUeoU. \nBut it is made of white bones or the bones of the dead, and inside, on a field painted with the \nblue lines of water, is seen a white rabbit, which for the ancient Mexicans symbolised our ' Man \nin the Moon,' as the ^a^a, hare, did for the ancient Hindus of Sanskrit speech. According to the \nl^end,^ the moon originally shone as bright as the sun ; but the god flung a rabbit in his face \nwhereby his features were dimmed. \n\n' Sabagnn vii. chap. ii. \u2022 \n\n\n\n132 The Dmy Side of the Manuscript. \n\nThese two pictures, which in Ccnlex Boigia are perfectly clear aad intelligible, appear to some \nextent obscured in the representations of our manuscript. In the first picture of the first series of \nour manuscript, on the right side of Sheet 30, we certainly see the temple, but instead of a Tessel \nis shown a chest with jewels, and nothing else is depicted except a quetzal bird flying down on \nthe lid. We also see the bundle of fuel and the rubber ball, which, howerer, are not here directly \npresented by the god ^or is he the Sun God himself, but a figure like the Moon God pictured \nin the middle of the upper half of Sheet 24 of our manuscript, being like him depicted with blue \nbody, half blue half red face colour, and large beard enframing the chin. \n\nBut in the first picture of the second series of our manuscript, on the right side of Sheet 35, \ninstead of the last-described god, and instead of the Sun God of the first picture of Codex Borgia, \nwe see the Wind Grod, Qivetzalcomdl, likewise figured with blue body, half blue half red face colour, \nand large beard enframing the chin, but at the same time with the trunk and beak-like prolongations \nof nose and mouth which are characteristic of the Wind God. And the rery comparison with this \nfirst picture of the second series shows that the god of the first picture of the first series in our \nmanuscript is also intended to reproduce the Wind Grod, Quetzalcoivatl, but with human features. \nIn the manuscripts there is a somewhat regular interchange of these two notions of the god with \nmouth like a bird's beak and the god with human countenance. And in the pictorial document \nof the Florentine Biblioteca Xazionale we see these two conceptions of the Wind God and Priest \nGod, Quetzalcouatl, displayed before the observer on two consecutiye sheets, obviously for the purpose \nof thereby impressing upon him this fact of the double nature of this god. Hence the god \nQuetzalcowatl here personates the Sun Grod. Like the Sun God of Codex Borgia, he presents (on \nSheet 35 of our manuscript) a bumt-ofiering, which, howerer, here consists only of a rubber ball ; and \nin his other hand he holds a fan. The god is thereby brought into line with the gods of the last \nfour pictures of this group, who are portrayed with the fan in their hand, as uxinderers. \n\nThe second picture of the first series of our manuscript, on the left side of Sheet 30, shows us \na woman, who is dressed only in the red enagua, leaving the upper part of the body and the breasts \nuncovered. The white yellow-striped body, and the red painting of the lower half of the face \u2014 ^a \ncoloration exactly like the painting of the goddess pictured on the left side of the lower half of \nSheet 32 \u2014 enables us to recognise in her the Huaxtec Earth Goddess, Tlacolteotl, although here are \nlacking the other articles of attire which are elsewhere seen with the goddess. The left leg and the \nleft foot are replaced by the body and the head of a dragon. In a bundle on her back she earries \nshield and hand-flag, and is consequently depicted, like the goddess of the Codex Borgia (Fig. Ib'l), as \na female warrior, but as ivandering, as on the march. \n\nInstead of the Moon (jod of Codex Borgia, here on the upper border of the sheet is seen a Aa<y- \n8un. This, when we once know what is here intended to be done, is a perfectly intelligible symboi* \nIt is the luminous orb, which shines with only half its splendour. And I am now even disposed to \ntake the view that the symbol, half made up with the image of the night and half with the solar \ndisk, such as, for instance, is shown in Codex Borgia with the pulque gods, may not denote the parting \nof day and night, as I have always supposed, but is a direct emblem of the moon. Under this \nhalf-sun we see on Sheet 30 of our manuscript a stone knife broken in two pieces, and a bone dagger \nalso broken in two. Further, in a notched vessel which is set in a stand, are seen a rubber ball, a \ngreen bunch, doubtless meant for malinalli grass or a besom, and a dragon. \n\n\n\nThe Six Heaveiil}' Wanderers. 153 \n\nThe second picture of the second series, on the left side of Sheet 35 of our manuscript, again \nintroduces a voman, who, however, being clothed in a red white-striped enagua and a red queck- \nqaemiU, has nothing particular to allow of a couiparison with the Tlacolteotl of the two previously \ndescribed series (of Codex Borgia and of Sheet 30 of our manuscript). But she stands on a road, \non the upturned branch of which are seen a coiled-up snake, and, further on, a black disk with a \nburnt-offering \u2014 a bundle of firewood and a rubber ball. We are thus reminded that Tlafolteofl is the \nconductress of the otlauuiKic Cimtteied of the 'goddesses who ply their arts by the crossways.' \nHence we shall still be able to establish a parallel between this apparently quite discrepant repre- \n\n\n\nV\\p 163. Xaui dill. Vienna Manuscript 20. \n\nsentation and that of the two previously described series, although the moon has here to be \naltogether assumed. \n\nStill more discrepant is the representation in the first two pictures of the third series, on \nSheet 38 of our manuscript. Here the second picture has evidently been attracted to the first, just \nas the day-sign ciiUi \u2014 which in Codex Borgia and in th'j first series of our manuscript stands with \nthe second picture \u2014 has here been attached to the day-signs of the first picture. On the left side \nof the first picture is seen a woman, who is squatting on a seat, and, lite the Ha^'olteotl of the second \npicture of the second series (Sheet 35 of our manuscript), is dressed in a red enagua and red \nqiiechqueiuitl. below which the naked breasts protrude. She seems to be putting out her tongue, \nwhich b turned upwards, ending in a broad black object painted like obsidian. Above the goddess \nwe see a green bunch, which doubtless represents the broom of the Huaxiec Earth Goddess, and \nabove it the starry' sky. \n\n\n\n154 The Day Side of the Manuscript. \n\n\u2022 \n\nFacing this goddess, in whom we are able, though with some effort, again to recognise the \npeculiarities of the representation in the second Codex Borgia picture, we see a priest seated on a \nstool and presenting an effigy. In accordance with what I have fully explained in the treatment of \nthe upper halves of Sheets 23-29 of our manuscript, we may take this priest as a sacrificing priest, \nand the scene here pictured as a symbol of human sacrifice. But if this be so, we shall be able to \nequate this priest with the Quetzalcovxitl of the first picture of the two other series in our manuscript, \nsince Quetzalcouatl is indeed the priest in a pre-eminent sense. We shall accordingly be able to \ntake this priest of Sheet 38 of our manuscript, like the Quetzalcouatl of the two other series, as the \nrepresentative of the Sun God of Sheet 56 of Codex Borgia. That such a connection is conceivable \nappears to be further made evident in a special manner on our Codex Fej^rvdry sheet, in the second \npicture on the left side of the upper half of that sheet, since this same priest is here seen sending oft \na large rubber ball with his knee. There can, indeed, be scarcely a doubt that the game with the \nrubber ball was brought by the Mexicans into relation with the movement of the solar orb over the \nvault of heaven. In the Vienna manuscript the remarkably equipped god, who is the representative \nof the sign nani olin, ' 4 Rolling Motion,' assigned to the sun, is seen standing on two flaming balls \nwith a ball-court in front (Fig. 163). \n\nIn one hand the priest holds a green bunch, such as is carried by the fasting Quetzalcouatl \nbefore the Chantico of Codex Telleriano Remensis. In his other hand he has a bone dagger, and \nsomething that we shall also again meet in the same way beside a green bunch and a stone dagger \nwith the fifth god of this series, on Sheet 40 of our manuscript, an object which to me looks like the \nmaterial embodiment of the itztic^ * sharp, pointed, cold.' An exactly similar object is seen in the \npicture of Codex Cortes, which I have above reproduced at p. 28, Fig. 16, with the gods of the East. \nHere it is sprouting up from the sign kan between two black objects which are inserted in an upright \nposition, and which I should be inclined to take for artistically worked, obsidian, sacrificial knives \nsupplied with a heft, in fact, like one of this form which may be seen in the old Uhde collection now \nin the Berlin Royal Museum for ethnology. \n\nSun and Moon are followed, on Sheet 55 of Codex Borgia and in the corresponding series of our \nmanuscript, by four pictures which represent the wandering gods. As such they are distinguished \nabove all by the fan,8, ecaceuaztli, which they hold in their hand, and which, with the figures in \nCodex Borgia, have a wedge-shaped form with three flaps, and \u2014 excepting that of the first figure \u2014 \nare distinctly seen to be plaited with strips of palm leaves. With the figures in our manuscript they \nare made quite round or of semi-oval shape, are provided with long handles, and variegated, hence \nare presumably to be supposed made of feathers. Moreover, each of these gods holds in his hand a \ntravettiv^'StBff of one form, only diversely decorated according to the character of each deity. \nAnd on their backs they carry their travelling-packSy which, as seen in the Codex Borgia figures, \nare done up with mats platted with strips of palm leaves, and tied with cords. \n\nThe picture of the first of these gods in Codex Borgia, on the left side of the middle row of \nSheet 55 (Fig. 164), reminds one of Quetzalcouatl, He wears the half blue, half red, wedge-shaped \nHuaxtec cap {copilli) of this god, has armlets of snail-shells, and, like him, has inserted in his fillet a \nbone dagger, the emblem of penance and blood-letting. But he is painted a different colour from \nthat with which Quetzalcouatl is generally reproduced in this manuscript. That is to say, he is \n\n\n\nThe Six Heavenly Wanderers. 155 \n\npainted blue, with the anterior half of his face blue, the posterior red. He also lacks the lai^e chin- \nenfraniing beard of the Wind God, nor does he wear the cue^duitoncatl, the fan-shaped nape \nadornment worn by this god in his characteristic array. \n\nBut in all this he resembles a god who is pictured on Sheet 22 { = Kingsborough 17) of Codex \nBorgia, at the head of a remarkable series of twenty deities who are missing in the other manuscripts \nof this group, and is kneeling in a worshippii^ attitude on the jaws of a cipacili (Fig. 165). This \nfigure recalls Quetzakouatl even more than that here shown at Fig. 164, since he also wears the \neca-ilacatz-cozcatl, the breast ornament of the Wind God, made of a sliced snail's shell, and, moreover, \nimitates the Wind God iii the rouuded-otf ends of his fillet and loin-cloth. \n\nBut in the above-mentioned style of painting \u2014 in his wedge-shaped cap, and the bone dagger \nstuck in his fillet \u2014 this first of the four wandering gods of Codex Borgia (Fig. 164) also resembles \nthe god pictured on Sheet 12 of our manuscript. And here the associated dates, Chicome eecatl. \n\n\n\nFig. 164. Xdoa. Fig. 66. Xololl. \n\nCodes Borgia 55 ( = Kingaborough 60). Codex Botgia 22 ( = Kingsborough 17). \n\n' 7 Wind,' and Chicuiuud coimtl, ' 7 Snake,' with the other, Ce olin, ' 1 Rolling Motion,' which stands by \nthe adjacent figure, have enabled us to infer that to this god belongs the name Xolotl, that he is the \nGrod of Ball-playing, of Twins and Monstrosities, whom we had already previously met in Codex \nBologna with this same painting, and named by the date Ce olin. And I have there pointed out that, \nin fact, this god Xolotl is everywhere distinguished by the insignia of (^aeizalcouatl's attire, and in a \nsense represents the twin-brother of this god. \n\nThis first of the four wandering gods of Codex Borgia (Fig. 164) holds in his hand a fan which \nhas the same wedgelike three-fiapped form as with the others, but is obviously thought of as prepared \nfrom blue cotinga feathers (xiuhtoto-ecaceiutztli), and has a bird's head for its handle. The travelling- \nstaff which the god holds in his other hand is likewise painted the colour of the turquoise (xiuitl) ; it \nis hung with a jewelled (chalckiuitl) ornament, and ends in a flower. As his travelling-pack this god \ncarries a whole flowering tree on his back. \n\nNow the distinctive marks of this Codex Borgia god are again met with in the first of the \n\n\n\n156 The Day Side of the Manuscript. \n\n\u25a0our wandering gods of the first series in our manuscript\u2014 on the right side of Sheet 31. Here we \niee the same blue body and the same half blue, half red, facial painting. In this style of painting \nhis god no doubt resembles the Quetzalcouatl of the first picture (on the right side of Sheet 30), who \nrepresents the Sun God, but is distinguished from him by the absence of a beard. We further see \nhe bejewelled {chalchiuitl) travelling-staff, which is here rounded oft' and seems to end in a snake's \nhead, and also the fan in his hand. We also see the flowering tree carried on his back, and made \n\u25a0ast by means of a cord attached to the frontal bearing-strap (mecajmUi). He lacks only the half \nblue, half red Huaxtecan wedge-shaped cap and the bone d^^er, which the god of Codex Boi^ia has \ninserted in his fillet. \n\nQuite a diflPerent aspect is presented by the first of the four wandering gods in the second series \nof our manuscript, on the right side of Sheet 36. No doubt the painting is the same ; and he also \nholds in his hands a travelling-stick furnished with a jewelled head (which, however, here takes the \nform of a chicaiMiztli, a rattle-stick), and a blue feather fan. \nAnd the bundle that he carries on his back is by the flower \nadded as a determinant brought into connection with the flower- \ning tree carried on their backs by the two previously described \nfigures. But here the face is disfigured by a strangely fashioned \nnose, while the region of the mouth is painted white, and the \nchin enframed by a long beard. \n\nBut this very discrepant presentation of the second series \nof our manuscript proves the correctness of my above-given \ndetermination. Xolotl was the God of the Game of Ball, and \nas this can never be played by more than two sides, or at \nFi}r. 166. Xoloil, God of Monstrosities. t^e ^^ry least by two persons, he was also the God of Twins, \nRuler of the Day-siRn ^nd therefore appears with the attributes of Quetzalcouatl, since \n\nOlin, 'Rollini; Motion.\" , , , , . \n\nCodex Borpa 10 (^Kingsborongh 29). QuetzalcoauU contams m his name the word twm (ceniatl). But \nas God of Twins, Xolotl has further become God of Monstro- \nsities. For a twin-birth was regarded by the ancient Mexicans as something unnatural, ae an \nabortion. Hence in the picture-writings the god is represented as a deformity, with crippled \nlimbs. Thus, for instance, on Sheet 10 of Codex Boi^ia (Fig. 166), where this god is introduced \nas ruler of the seventeenth day-sign. That the person figured on the right side of Sheet 36 of \nour manuscript is also intended to indicate the god Xolotl as the God of Monstrosities by his \nmisshaped nose, finds further support in the fact that here the region of the mouth is at the \nsame time depicted in a white colour, deviating from the painting of the other figures. For the \nGod of Monstrosities, on Sheet 10 of Codex Borgia (Fig. 166). has about his mouth the design of \na human hand, also executed in a white colour, because he is pictured with the facial painting of \nMacuil xockifl. \n\nThe picture is again differently modified, which in the third series of our manuscript, on the \nr^ht side of Sheet 39, occupies the place of the first of the four wandering gods. Here we see \nseated in a back-chair, covered with a j^uar-skin, a figure who is certainly painted in the same \nway, with blue body and half red half blue face. But no traveller's staff decked with jewels, no \nfan, no flowering tree, is to be seen. Nothing is shown save a jewelled (vhnlckiititl) chain. A \n\n\n\nThe Six Heavenly Wanderers. 157 \n\nquetzal bird is perched on the brim of ii diah apparently coutaiaing s bundle of fuel, and on the \nupper bordw of the sheet is seen the starry sky. \n\nThe second and the third of the four wandering gods seem to be related personages. On \nSheet 55 of Codex Borgia, where the second (Fig. 167) has his place on the right side of the \nmiddle row, the third (Fig. 168) on the right side of the upper row, the first is painted a red, \nthe other a yellow body and face colour. Both have thrown over head and nape a dark cover- \ning to which downy feather balls are sewed, such as are often seen worn by TezcutHpoca (of Fig. \n39 above, p. 53), and the Stone Knife God on Sheet 2 of our manuscript. Both wear a rod in \nthe nose, and as breast adornment a square jewelled (cludckiuiH) plate, from which two jewelled \nthongs hang down. Lastly, both have a load resting on their back, and wrapped in mats of \npalm-leaf plaiting fastened to a broad bearing-strap platted with strips of palm leaves, and drawn \nacross their forehead. But above this load the second of the four wandering gods (Fig. 167) \n\n\n\nFit!- lf(7. The Wanderer of the North. Fig. 168. The Wanderer of the South. \n\nUodei Borgia 55 ( - Kingaboroiigh 60). Codei Borgia 66 ( = Kinj(sborouKh 60). \n\nshows a jaguar's skin, and on it the implements of war \u2014 shield, bundle of spears, and a sharp \nspiked staff, which is painted in the manner of the cipactli, and is perhaps meant to represent the \nsword of a swordfiah. With the third, on the contrary (Fig. 168), the travelling-pack is covered \non its upper half with a cloth painted the colours of a jewel {chah-hiintl), and on it perched a \nquetzal bird. In one hand the first of the two gods (Fig. 167) holds the just- mentioned sharp \nspiked staff, which is painted like a ciimctli, and perhaps represents a swordfish's sword ; in the \nother hand he holds a fan painted a greon colour, and with a bird's head for a handle. The \nother god (Fig. 168) holds a staff painted the colour of a turquoise and ending in a flower, and an \nordinary yellow fan plaited with palm-leaves. I cannot say positively who these two gods may ba \nOnly so much seems certain, that they belong to the TezcutHpoca, or perhaps the Xochijntli and \nMacuilxockitl, connection. \n\nIn our manuscript the first of these two gods in the first series (on the left side of Sheet 31) \nis also pictured with red body and face painting, but the other (on the right side of Sheet 32) \nwith black body, and half black half yellow face-painting. A further peculiarity of the latter is \nthat, as with the Tla^olteotl of the same series, his right l^ and right foot are replaced by the \n\n\n\n158 The Day Side of the Manuscript. \n\nbody and head of a snake, which is painted the same colours, that is, black on the body, yellow on \nthe head. Both gods hold staff and fan in their hand, the staff having with both the form of a \nrattle-stick {chicaimztli), and ending in a flower. The fan is with both quite round, and painted \nred. Lastly, both carry on their back a corded bundle, on which is perched a quetzal bird. This \nis a deviation, compared with the corresponding pictures in Codex Borgia. \n\nIn the second series the first of these two gods (on the left side of Sheet 36) is contrariwise \npainted a yellow, the other (on the right side of Sheet 37) a red colour. But the first is more \nclosely connected with the corresponding figure of Codex Borgia (Fig. 167), inasmuch as his load \nis distinctly covered with an animal's skin, and stuck on top with weapons (spears). The other, \nlike the corresponding figure of Codex Borgia (Fig. 168), has a quetzal bird on his pack. As a \ndistinguishing peculiarity, here with the first of these two gods, at the foot of his travelling-stick, \nis shown a small black mammal, exactly like the one we find pictured on Sheet 2 of our manu- \nscript with the Stone Knife God, that is, with Tezcatlipoca, by the crossway. On the other hand, \nwith the second of these two gods, the red god of Sheet 38, we see hanging at his travelling- stick \na bird, with long pointed bill and green plumage. The long pointed bill, the green plumage, and \nthe circumstance that this bird is, as it were, fixed by its bill to the staff, places it beyond doubt \nthat this bird is meant to represent a humming-bird (uitzitzilin). For of the humming-bird it \nis related that he passes the dry season dead and lifeless hanging with its bill from a tree, and \ndoes not awake to new life till the rainy season.^ \n\nThese two animals, the small black mammal and the humming-bird, which stand here as \ndeterminants of these two gods, in my opinion confirm what I already above thought must be \ninferred from the pictures of Codex Borgia, that these two gods belong to the Tezcatlipoca con- \nnection. The small black mammal places the first of the two gods with Tezcatlipoca himself, \ni.e. the God of the North; while the humming-bird allies the second to Uitzilopochtliy who is the \nTezcatlipoca of the South, as I have above fully explained (pp. 131, 132). \n\nA second peculiarity, which, however, I cannot for the present interpret with certainty, is \nshown with the second of these two gods, the one on the right side of Sheet 37. This is the small \nobject which is seen at the upper left comer of the picture, and it is not diflBcult to see a human \near with wedge-shaped plug, and beside it a kind of cloud of smoke. It is not, perhaps, impos- \nsible that by this object it was intended to allude to the smoking mirror above the ear, as we \nsee it pictured in the Mexican manuscripts proper with the figures of Tezcatlipoca and also of \nUitzilopochtli. \n\nLastly, in the third series, on the left side of Sheet 39 and on the right of Sheet 40, both \nthe gods are portrayed with a yellow colour, but the second, like Xolotl, with red anterior and \nblue posterior half of his face. Both are shown on a road which trends round upwards. But \nwith the first of these two gods the road branches off, and is therefore pictured as a crossway. \nAlong it a rubber ball is rolling. The first of the two gods holds a thorny spike, and thus recalls \nthe first of the two gods of Codex Borgia (Fig. 167). The second has a travelling-staff, on the \nhead of which are shown the design and the colour of the green jewel (chalchiuitl). The first \ncarries no pack ; but a pack is separately depicted above him. The second, like the corresponding \n\n^ Sahagun, lib. ii. chap. ii. \u00a7 2. \n\n\n\nThe Six Hpflvenly Wanderers. 159 \n\ntigures of the other series, bears his own burden trith a quetzal bird on top. Beside the first the \nhumming-bird {uitzitzilin) is here shown as a determinant ; with the second a green bunch, which \nis perhaps meant to represent the acxoyatl, i.e. the green branch with which the altars, especially \nthose of Tezcatlipoca, were wreathed. Beside it are bone da^er and the peculiar object which we \nhave already met, jointly with the bone dagger, in the hand of the figure on the left side of the \nupper half of Sheet 38, and which I there interpreted as the symbol of the itztic, the Sharp, the \nCold. Hence in this third series the symbols with the two gods seem to be given in exactly the \nreverse order. All the same, they suggest the same conceptions as those which we diecovered in \nthe second series. \n\nThe last of the four wandering gods is again a specially characterised and a discrepant \npersonality. In Codex Borgia, where these last figures are pictured on the left side of the upper \nrow of Sheet 56 (Fig, 169), we see an old god, with a long white beard hanging down in shocks \n\n\n\nFig. 169. Idac Mi^xouad. Fig. 170. lOae MiceoucUl. \n\nCodex Borgia 5S ( = Kiugaboroiigh 60). Codex Borgm 24 (=Kingsborough 16). \n\nand the rare ring-shaped attachment below the upper lip, which is shown in this manuscript with \nToTiacatecutli, with the Moon God and with other old gods, and doubtless had its origin in the \ncontracted comer of the toothless mouth of old people, as it is realistically pictured in other \nmanuscripts. \n\nIn these two distinctive marks, as well as in the whole expect and a few further details, this \nfigure \u00a3^rees with another which stands by the sign tecpatl, 'Flint' (Fig. 170), in the eighteenth \nplace amoi^ the above-mentioned series of twenty gods peculiar to Codex Borgia. But here we \nsee that the long white beard hanging in shocks, like the similarly disposed white hair of the \nhead, is thought of as white featlters, i.e. as heron feathers. And thereby this god reveals himself \nas the direct counterpart of the old woman at the millstone (Fig. 1716), Ilamatecutli, or Rancuey^, \nwho is depicted on Sheet 9 ( = Eingsborough 30) of Codex Borgia with the goddess XochiqueHal, \nlady of the twentieth day-count. We shall accordingly designate this god himself as the consort \nof Ilamatecutli or Ilnncueyi, ie. as the primeval father, the god Iztac Mixiouutl, ' the white \nCloud-snake,' or Ueueteotl, the ' Old God,' or Ciflallatonac, the ' Ruler of the Stars,' and shall \nhave to recognise him as identical with the old god figured on Sheet. 6 of our manuscript. \n\n\n\nIBO The Day Side of the Manuscript. \n\nIn the pi^sent place, on Sheet 55 of Codex Borgia (Fig. 169), this god, like the Dance Giod \n(Fig. 128 above, p. 125), is pictured with the rattling oyoualU pendant sliced from a mussel- \nshell as breast ornament, with corresponding ear-pendants and armlets of snail-shells, and his \nface looks out of the yawning throat of a deer (ma^afl). That the name oyouaUi, which in the \nSahagiin manuscript is mentioned as a rattling pendant of the Cenfzon uilznaua, applies to this \nbreast ornament, is shown by Sheet 8 of the manuscript in the Florentine Biblioteca Nazionale \n(Fig. 172), where this ornament is exhibited as a specimen of a shoulder-cape, 'mnnta de oyoyl \ncon su cordel.' \n\nOn Sheet 24 of Codex Borgia the old god is represented as a priest, with the bone dagger in \nhis hair and the tobacco-calabash on his back, just like the old god ome itzcuintli, ' 2 Dog,' of \nthe Vienna manuscript (Fig. 173). And he holds a statf, the curved upper end of which termi- \nnates in a bird's head set with white feathers, on which account we may designate it as aztatopilli. \n\n\n\n3 . \"^Iir ^r\"i^ cm. \n\n\n\nFig. 171a. Idae Mixeouatl and llancueyi. Fig. 171b. Ilamatetvtli at the Millstone. \n\nCodex Bo:^ 60 ( = Kingsboroiigh 65). Codex Borgia 9 ( = Kingsboroiigh 30). \n\nthe ' Heron staft'.' In our place. Sheet 55 of Codei Borgia (Fig. 169), the staff takes the form ot \na red dragon. In his other hand the god holds jointly with the fan made of plaited palm \nleaves the jaguar-skin tobacco-pouch (ocelo-yaiastli), which, like the tobacco-calabash (ye-tecomatl), \nis the badge of the priests, and which we saw ligured above at p. 123, Fig. 124\u00ab, with Tlaloc, \nruler of the seventh week of the Tonalamatl. \n\nThe two pictures of the god ome itzcuintli of the Vienna manuscript, which I give below \nat Fig. 173, show that in fact this ocelo-yataztli is the homologue of the tobacco-calabash carried \nby the god (Fig. 170) on his back. \n\nIn our manuscript a deer-beaded god occupies the sixth place, as fourth of the four wandering \ngods, in the first series (on the left side of Sheet 32), Taken alone this personage would be \ndifficult to recc^ise, were not the connecting link with the white-haired, white-bearded Iztac \nMixcovAxtl supplied by the deer-head mask of the corresponding figure of Codex Boi^ia (Fig. 169). \nThis connection once perceived, the meaning of the other symbols will follow with surprising \nrapidity, being in a measure self-evident. For a staff the god holds in his hand a long-necked, \n\n\n\nThe Six Heavenly Wanderers. 161 \n\nloDg-billed, white bird, which of course is a heron, while the staff is an aztatopiUi, hence is really \nthe same staff that we saw in the hand of the Iztac Mixcouatl of Sheet 24 of Codex Boi^a \n(Fig. 170), the staff which we also explained as the one held by the god of Sheet 6 of our \nmanuscript. And before the god stands a dish containing an eye, and a feather omanient which \nexactly reproduces in form and colour the warriors' dancing headdress known by the name of \naztaxelli, 'forked heron-feather ornament,' hence must be made of heron-feathers. Here therefore \nwe have again the same feathers that are characteristic of the old primeval god, and which we \nfound depicted in abundance with the old god of Sheet 6 of our manuscript. Below are further \nto be seen bone dagger and stone knives, the implements of the priests, but each broken in two \npiecea This, as I have fiilly explained in my elucidation of the Tonalamatl of the Aubin \ncollection,' is an indication of the Useless, the Unserviceable, the Old, Abandoned, Given Up, \n\n\n\nPig. 172. \nmattta de oyogl (rend oyoualli). \n(Manuscript of the Florentine Biblioteca Fig. 173o. ome Hxeuintli. Fig. 1736. omt ittcuitilli. \n\nNazionale). Vienna Manuscript 10. Vienna Manuscript 21. \n\nLost. Thereby the god is characterised as the old priest, the prieet of the olden time, of the \nprimeval time. \n\nWhat is alone unintelligible to me is the human hand which the god on the left side of \nSheet 32 holds in his hand, unless this may perhaps be taken as the mark of the TMigician. For \npeople were bewitched with the hand of a corpse, and especially with the forearm of a woman \ndying in childbed, as we know from Sah^i;un's fourth book. Lastly, I further draw attention \nto the fact that this god shows the two colours red and blue, i.e. the colours of Xolotl, both on \nhis fillet and his loin-cloth. \n\nAccording to the legend related by Father Motolinia? Iztac Mixcouatl dwelt with his wife \nIlcmcv^yi in Ckicomoztoc, ' in the land of the Seven Caves,' the primeval home of the tribes ; and \nit was there that from them sprang the forefathers of the nations : \u2014 Xelhua, ancestor of the \npeoples of Tebuacan, Cozcatlan, and Teotitlan del Camino; Tenoch, tribal father of the Mexicans; \nUlmecatl, Xicalancatl, ancestors of the tribes inhabiting the Atlantic coastlands ; Mixtecatl, father \n\n\n\n1 Pp. 105, 106, and 121. \n\n' HiBloria de lot Indioa de la Nneva Etpafia. Bpiatola prooemial. {Joaquin Garcia Icaibalcela, Caleccion de Docu- \nmentoi para la HiBtoria de M^ico, toI. i., 1S08, pp. 7, 10.) \n\n\n\n162 The Day Side of the Manuscript. \n\nof the Mixtecs; and Olomitl, ancestor of the widespread Otomi people. But by a second wife, \nChvmamatl, Iztac Mixcouatl begot the god QtietzalcouatL \n\nNow, if here on Sheet 32 of our manuscript, and at the corresponding place of Oodex Boi^a, \nthis old god appears with a deer's head, I will first of all remind the reader that in the Tlaxcaltec \nl^end reproduced in the Historia de loa Mexicanoa por sua pintwtus,' mention is also made of a \ntwo-headed deer who fell from heaven, and is honoured as a god by the people of Cuitlauac, and \nthat it was with him on his back, i.e. clothed in his device, that the god Camaxtli or Mixcouatl \nsubdued the surrounding tribes. I would further recall the fact that on the west side of the court \nof the Mitla palace i., which is dedicated to the god Mixcouatl, and where we see this god figured in \na series of effigies of constantly varying form (Fig. 174o),* this two-headed deer fallen or falling from \n\n\n\n% \n\n\n\n\nFig. 1740. Mvtcowail. \nWalt-puntiugs on the West Side of the Court of the Palace i. at Mitla. \n\nheaven is shown between the pictures of Mixcouatl, and indeed clothed in an enagua,. hence dis- \ntinguished as a goddess (Fig. 174Ii). But, above all, I would call attention to the fact that, in the \nMiztec saga, as it is related by the Indians of CuOapa, the primeval divine pair who created the \nWorld and Man, and were also the parents of the Wind God, were thought of as having the form of \ndeer. The si^a runs as follows : \u2014 \n\n' In the year and the day of darkness and gloom when there were yet no days and years, the \nworld was a chaos sunk in darkness, the earth being covered with water, on the surface of which \nfloated slime and turbid foam. One day appeared the Deer God, called also Puma-snake, and the \nbeautiful Deer-goddeas or Jaguar-snake. They had human form, and with their great wisdom \n\n' Joaquin Garcia loazbalceta, Nueva Coleccion da Docnmentos para la Historia de Mexico, vol. iii. (Mexico, 1891), p. 237. \n* Seier, Wandmalereien von Mitla. Berlin, 189S. Plate ifi. \n\n\n\nThe Six Hesveoly Wanderers. 163 \n\n(mf^ic art) tbey raised a great rock above the water, and built magnificent palaces on it for their \ndwelling. On the highest point they placed a copper axe, the sharp aide wpwards, and on this the \nsky rests. These buildings were situated in the Mixteoa alta district, in the vicinity of the village \nof jlpoo^, and the rock was called the \"place where the sky is \"(\" on which the sky rests\"). For \nmany ^es the gods lived in peace and happiness. Then it happened that they had two sons, of \nbeautiful face, clever and skilled in all arts. After the day of their birth they were called \"Wind of \nthe Nine Snakes \" and \" Wind of the Nine Caves.\" Both were brought up as royal children, and \nknew how to change themselves into eagles and snakes, to make themselves invisible, and to go \nthrough solid bodies. As these gods continued to live in peace, they decided to bring gifts and \nsacrifices to their parents. For this purpose they took a clay incense-vessel, put flowing coals in it, \nand burnt a certiun quantity of tobacco-powder. That was the first offering (that was brought in the \nworld). Thereafter they laid out a garden with plants, trees, and Iruits and sweet-smelling herbs. \nBeside it they prepared a level place, with all things necessary for the sacrifice. The pious brothers \n\n\n\nFig. 174t>. The Two-headed Deer. \nWaU-paiDtings on the Weat Side of the Court of the Palace i, at Mitla. \n\nlived contented on that plot of ground, cultivated it, burnt tobacco, and with prayers, vows, and \npromises implored their elders to let the light shine, to let the water fiow off on one side and make the \nearth free, as they had no more than that little garden for their support And, to add force to their \nprayers, they pierced their ears and tongues with stone knives, sprinkling the blood on the trees with \na bunch of willow twigs. The deer-gods had still more sons and daughters, but there came a flood \nin which many of them perished. When the catastrophe was over, the god whom they call \"Creator \nof all things \" made heaven and the earth, and renewed the human race.' ^ \n\nSo the legend, to which I will merely add that the name Puma-snake, which is here, given for \nthe male god, is perhaps only a translation of Iztac Mixcouatl, and in any case has the same meaning. \nFor in the Zapotec, and doubtless also in the Mixtec language, the puma is the white animal : piau, \npeyaa, the ' puma,' being derived from nayaa, ' white.' I note further that this saga speaks of the \ncreation of a primeval generation which was still older, before that of the later, the present race of \nmen. And lastly, I would draw attention to the fiact that here the Wind God appears as a pair of \n\nI Fr. Gregorio Garein, Origen de lot Indim, book v. chkp. iv. \n\n\n\n164 The Day Side of the Manuscript. \n\ntwima and TnagidaTis, But that it is precisely amongst the Mixtecs in the immediate neighbourhood \nof the city of Oaxaca that we meet with this saga of the primeval god and the Creator, of Iztac \nMixcouatl in deer form, is a further indication that the home of the Codex Borgia group of manu- \nscripts is to be sought not very far from the Zapotec and Mixtec land. \n\nQuite a different picture presents itself in the sixth place of the second series of our manuscript, \non the left side of Sheet 37. Here we see neither the Old God, with heron-feather hair and heron- \nfeather beard, nor the deer-headed god, but straightway the God Xolotl, the God of Monstrosities, as \nwe have already come upon him in the third place of the same series, as first of the four wandering \ngods (Sheet 36, right side). Only here he stands on a croaaway. This, as we see, is a very remark- \nable variant Still, I think, it may be explained. The crossway we have always met with the Death \nGod and Tezcatlipoca, the Stone Knife G^d, that is, with the gods of the North, I might conjecture \nthat the Xolotl by the crossway is simply meant for the Xololl of the North, that is, the god dwelling \nin the North, in the primeval home of the tribes, the god of Chicomoztoc, and that consequently this \npicture appears here as the homologue of Iztac Mixcov/itL \n\nThat, lastly, some such explanatioumust here be assumed is further shown by the picture which \nin the third series of our manuscript, on the left side of Sheet 40, takes the place of the fourth of the \nfour wandering gods. For here we see the realm of tfte dead itself, the North, represented by the \nimage of the earth-toad, who receives in his open jaws a packed corpse, while a side- way leads up to \na dish in which are seen a bundle of fuel and a rubber ball, the symbols of combustion. The face- \nmask of the body shows the painting of the red Tezcatlipoca. But despite its entirely different \narrangement, this picture is still brought into relation with the deer-headed god who stands in the \nsixth place of the first series, on the left side of Sheet 32, for here also we see figured the bone dagger \nbroken in two, the symbol of the prieata of the olden time. \n\nNow that the subjects of the four homologous series have thus been determined, and their \nparallelism will no longer be called in question after what I have above advanced, it still remains to \nget a clear notion of the meaning of this last series. Since the two first members of the series, as we \nhave seen, are the sun and moon, it may be almost assumed that the other four will have reference to \nthe stars. And this assumption acquires a measure of certainty from the circumstance that these last \nfour figures are represented as wandering about, as on their travels. For the stars are indeed the \nceaseless wanderers. As an inheritance of those ancient times, when the Chaldaean priests laid the \nfirst foundations of our astronomic lore on the plains of Babylon, we Europeans have retained the \nhabit of connecting the five planets with the two great luminaries in the very order which they still \npreserve in the names of our week-days. For the ancient Americans the general movement of the \nfirmament, the form of certain constellations, the path they describe in the sky, had perhaps partly a \nlarger measure of interest. \n\n. The first of the four wandering stars, Xolotl, the God of Twins, who is endowed with the \nattributes of Quetzalcouatl, should doubtless be regarded as the Morning and the Evening Star, and \nas the expression of the observed fact that this very Morning and Evening Star is one and the same \nstar. But the following two who, as we have seen, are related to each other, and appear to be con- \nnected with the Tezcatlipoca of the North and the Tezcatlipoca of the South, I am inclined to explain \nas the Centzon Mimixcotui, the host of the stars of the northern sky, and the Centzon Uitznaua, the \n\n\n\nThe Six Heaveolj Waoderers. \n\n\n\n165 \n\n\n\nhost of the stars of the southern sky, eTen though in that case the JifiTnixcoua may not be pictured \nin their characteristic facial colour. But. the last of the four vandering gods, the old primeval god, is \ngenerally identified with CitlaUatonuc, the male side of the pair CitlaUaUmac, CitlaUicue, i.e. the \nMilky Way \u2014 un Dio che si diceva Citlaltatonac, che k quell' segno che si vede in Cielo detta strada \ndi Santo Jacobo b Via Lattea \u2014 says the interpreter of Codex Vaticanus A, where he relates the birth \nof Qttetzalcouatl. If, therefore, my previous explanations be correct, the four wandering stars of this \nseries will indicate the stars of the East and West, the stars of the North and South, and the Milky \nWay, the Zenith. \n\n\n\nSiE \n\n\n\nSSMI^ \n\n\n\nFig. 1766. Hiert^lyph Kin. \nPalenque Stacco Belief. (MaudslA; iv. 43, 76.) \n\n\n\nFig. 17&a. Hierogljpfa Kin. \nPalenque Stucco Relief. (Maudslaj iv. 11 ; it. 76; it. 10.) \n\n\n\n\nFig. 175c. Hieroglyph Kin. From the Celeatial Shields. \n\nDresden HADUSCript 68a, 55a, 37a, 680, 52b, 40{<. Codes Perez 3, 22. Codez Tro 10. \n\nCodex Cortes 10c, 7, 12&. \n\nBut if, as I have just set forth, sun, moon, and stars constitute the contents of this remarkable \nseries comprising six members, the further question arises whether we should not consider from the \nsame point of view the famous signs on the so-called celestial shields of the Maya manuscripts and \nthe Maya monuments, which Forstemann has endeavoured to identify with the seven planets. The \nsign of the sun unquestionably occurs on these shields, and indeed in two variant forms. One, \nknown only on the monuments (Fig. 175a). shows the face of the Sun God with the large peculiarly \nshaped eye, the protruding fang, and the filed incisors, just as I had determined it in my paper \n' Alterthumer aus Guatemala.' ^ The other variant is to be found in a slightly modified form both \n\n' Verciffentlichuiigen sua dem KUnigL Muaenm f. TOlkerkunda, iv. <B\u00abrlin, lS9fi), pp. 37, 30. \n\n\n\n186 \n\n\n\nThe Day Side of the Manuscript. \n\n\n\non the monuments and in the manuscripts. It replaces the face of the Sun God by the picture of the \ndisk, which shoots its rays in four directions. This is the well-known symbol which is found on the \nforehead of the Sun Gk)d in the manuscripts and in his hieroglyphs. The form on the monuments is \nshown at Fig. 175&, that of the manuscripts at Fig. 175c. \n\nA second sign of the celestial shields occurs on the monuments in the form at Fig. 176a, in the \nmanuscripts in the form at Fig. 1766. Both forms, although apparently differing greatly from each \nother, may still be easily reduced to the same sign, indicating the hollow bleeding socket of an eye \ngouged or torn out. In the manuscripts this sign is used as the number twenty by means of \ndetermining ciphers. It may be seen as the counterpart to the sign kin, ' sun,' on certain half dark \nhalf light fields, which in the manuscripts are pictured hanging down from the shields (Fig. 177). \n\n\n\n\n\nFig. 1 76a. Palenque Stucco Relief. \n(Maudslay iv. 43, 11.) \n\n\n\nm.^ m m \n\n\n\n\n\ndnn \n\n\n\n\nT^ \n\n\n\nFig. 177. Celestial Shield \n\nand the descending Evening Star. \n\nDresden Manuscript 58. \n\n\n\nFig. 1766. \n\nDresden Manuscript 566, 406, 44 (1), 55a. \n\nCodex Tro 25, 10. Codex Cortes 37. \n\n\n\nForstemann and Schellhaa have consequently explained this sign as the hieroglyph of the moon, or \nelse of the month. I have never been able to feel satisfied with this theory; for I cannot get \naway from the fact that 20 (in Maya uinaly derived from uinic, ' man ') has nothing whatever to \ndo with the moon (in Maya u), either etymologically or in substance.^ In this illustration I can \naccount for the number twenty only as an expression for ' completeness,' the sign at Fig. 176 as the \ncomplete host of the stars, the starry sky, the night, perhaps especially the Milky Way. \n\nA confirmation of this view I find in the fact that this same sign at Fig. 176 is closely \nassociated with the old god of the manuscripts (Fig. 178). For in the chief hieroglyph of this god \nhis face is depicted sometimes with his proper eye, sometimes with the hollow bleeding socket \nof the sign at Fig. 176. Now this god is by Schellhas persistently explained as the Moon God. \nBut here he is undoubtedly wrong. The moon played only a very subordinate part amongst the \n\n\n\n^ Brinton in his work ' A Primer of May* Hieroglyphs ' has accepted this theory. But in support of it he is only able to \nadduce a wrong and senseless derivation of the word uinal from u, * Month.' \n\n\n\nThe Six Heavenly Waoderers. \n\n\n\n167 \n\n\n\nancient Mexicans and Central Americans, whereas this old god appears on almost every page of \nthe manuscripts, and is unequivocally conceived as the Lord of Life, whose counterpart and mimic \nis the Death God. This can in no way be reconciled with what the ancient Mexicans and Central \nAmericans relate of the moon. But all are familiar with the stories about the Old God, the \nLord of Life, the Frocreator and Giver of food supplies, who dweUs in the uppermost heaven, and \nis identified with the Milky Way. And the starry sky, the night, the sign aMal encircled by dots. \n\n\n\n\n\n\nig. 1T9. Ah Kia chit Coba. \nRuler of Che Katun 13. akati. \nChilam Balam de Mani (va.). \n\n\n\nFig. 178. Ibamitd. \nDresden Manuscript 9a, 9b, be, 146, lie, Ibb. \n\n\n\nis in point of fact worn by this old god on- his brow at Fig. 178. From it hangs a string of jewels \nending in a flower. This also we are familiar with A^m the Mexican picture-writings, as a symbol \nof the precious fluid which drops down from heaven. Hence the name of this god is Itzamnd, \nthe ' House of the Droppings,' the ' Mother of the Droppings,' as I have already pointed out in one \nof my first essays.' The empty bleeding socket is the symbol of this god, because this old god \nwaa the old prUst, and the gouging of the eye is the symbol of sacrifice, the sacrifice of one's own \n\n' ' Uebar die Nkmen der in der Dreadeaer Hudichrif t abgabildelen Maya Glitter. ' Verhandl. der Berliner Anthropolog. \nGesellBchaft 19th March 1S8T (Zeitachrift f. Ethnologie, xix. p. 224-231). \n\n\n\n168 \n\n\n\nThe Day Side of the Manuscript. \n\n\n\nblood, as I have above fully set forth at pp. 90-93. Moreover, there was decidedly an association \nof ideas between the blood, which it was the pious practice to draw from oneself and the fluid \ndropping from above, which was prayed for from heaven. Nay, more, the fact of this connection \nbetween the gouging of the eye and the god Itzamnd is shown in the most striking manner by certain \npictures, which in the books of the Chilam Balam accompany the text The book of the Chilam \nBalam of Mani gives as an illustration of the Katun 13 aftau and of its ruler Kin chil Coba the \npicture at Fig. 179, which shows a face with an arrow in its eye and with bleeding sockets. But in \nthe text we there read : \u2014 Kin chil Coba v he*tz katxm ti oxlahun ahau Ytzam na Ytzam tzab u \nuich, 'Kin chil Coba places the stone (begins the period) in 13. ahau. Itzara na, Itzam tzab, is \n\n\n\n\nFig. 180. \n\nHieroglyph caban \n\n(Altar-piece of the \n\n\u00ab Temple of the Sun ' \n\nat Palenque). \n\n\n\n\nFig. 181a. \nHieroglyph of the Planet \n\nVenus. \n\nStucco Relief at Palenque. \n\n(Maudslay iv. 56.) \n\n\n\nP*3 \n\n\n\nE73 \n\n\n\n1\u2014 c \n\n\n\n\nDresden Manuscript 566, 406, 586, 74. \n\n\n\n\n^ \n\n\n\nCJ \n\n\n\nCodex Perez 21, 23, 22, 24. \n\n\n\n\nFig. 1816. \n\nHieroglyph of the Planet Venus. \n\nAltar-piece of the Cross Temple No. 1., Palenque. \n\n\n\n\n\n\n\n\n\n\nH^IB \n\n\n\n\n\n\n\n\nCodex Tro 21, 21, 20, 33. \n\n\n\n\nCodex Cortes 33, 156. \n\nFig. 181c. Hieroglyph of Venus on Celestial Shields. \n\n\n\nhis symbol.* After all this I think I may confidently assume that the sign at Fig. 176 denotes \nthe starry sky or the Milky Way, and that it is shown on the celestial shields of the Maya documents \nin the same way as we have seen the old god, Izta^ Mixcov/itl, introduced in the just-described series \nof our manuscript and of Codex Borgia amongst the six celestial wanderers. \n\nIt may be taken for granted that we should expect to meet the sign of the moon also on the \ncelestial shields. I feel inclined to regard as such the sign caban (Fig. 180), which we find on the \naltar-piece of the so-called temple of the Sun at Palenque, where it is shown on the band which \nthere bears the figures, four times repeated, regularly alternating with the same number of faces of \nthe Sun God, of the hieroglyph kin. For this sign caban, as I have already repeatedly shown in \nearlier treatises,^ contains the essential characteristics of the female head in the Maya documents. \nIn the Mexican picture-writings also we see the moon brought into relation with a female deity \u2014 \nTla^olteotl. \n\n\n\n1 Zeitschrift fiir Ethnologie, xxiii. (1891), p. 129. \n\n\n\nThe Six Heavenly Wanderers. \n\n\n\n169 \n\n\n\nThe sign of the Morning Star is, of course, of frequent occurrence on the celestial shields. On \nthe monuments (Figs. 181a, b) it is shown by a clearly executed hieroglyph, in the manuscripts as a \nsimple quincunx (Fig. 181c), or else in variants which closely resemble the known hieroglyphic forms. \nThe simple quincunx itself also appears occasionally on the monuments. \n\nOf the other signs the one reproduced at Fig. 182 is noteworthy, because it exhibits the chief \nelement of the hieroglyph of the North. Thus, as amongst the six celestial wanderers of the Codex \n\n\n\n\n\nk^^r \n\n\n\n\n\n\n\n\n\n\n\n\n^ \n\n\n\n\n\nFig. 182. Stellar Image of the Northern Sky? \nCodex Tro 23, 22, 20. \n\n\n\n\nFig. 183a. Hieroglyph akbaL \nAltar-piece of the Cross Temple I. \nPalenque. \n\n\n\n\nm \n\n\n\nmo \n\nrl \n\n\n\nffi,. fM \n\n\n\n\n\n\n\n\n\nlOJimii in^ \n\n\n\nS3\u00ae \n\n\n\nw \n\n\n\niikwvii rrcCT \n\n\n\n\nFig. 1836. Hieroglyph akbal. On Celestial Shields. Dresden Manuscript 676, 396, 536, 45, 47, 74, 68a. \n\nCodex Perez 24, 23. Codex Tro 23. Codex Cortes 2, 2, 126. \n\n\n\n\n1 \n\n\n\nFig. 184a. \nHieroglyph akbal f \n\nPalenque. \n(Maudslay iv. 11.) \n\n\n\n\n\n\nFig. 1846. \nHieroglyph akhaX t Stucco Relief at Palenque. \n(Maudslay iv. 10, 11, 43.) \n\n\n\nBorgia group of manuscripts, so too on the celestial shields of the Mayas prominence seems to \nbe given to the host of the northern and to the host of the southern stars. \n\nNext to this sign that of akhal, 'Night,' the third day-sign, is of most frequent occurrence on \nthe celestial shields. We see it on the monuments (Fig. 183a), and in the manuscripts (Fig. 1836) in \nthe familiar form, and it seems that with it should be identified the sign at Fig. 184a, occurring \non the stucco reliefs of Palenque. But on the same reliefs is not rarely met yet another peculiar \nfull-faced figure (Fig. 1846), which perhaps represents another form of the same sign. \n\nPresumably the sign at Fig. 185a simply denotes the sky. It occurs in combination with the \n\nY \n\n\n\n170 \n\n\n\nThe Day Side of the Manuscript. \n\n\n\nnumber 13 as the chief hieroglyph of the cloud-bird, the Tnoan. The form at Fig. 1856, which is \ntaken from the monuments, has perhaps the same meaning. \n\nA cross of frequent occurrence lying flat is probably merely a filling in. \n\nA special form on the monuments is the shield at Fig. 187. To the monuments and to the \nmanuscripts belongs the snake with its snout-end bent upwards and backwards, the xiuhccmatl of \nthe Mexicans (Figs. 188a, 6). \n\n\n\n\n\n\n\n\n\n\n\n\n\n' \n\n\n^h^^^'^^t^ \n\n\n\n\n\n\n\n\n^^^ .^ \n\n\n\n\n\n\n\n\n7\"^ \n\n\n\u25a0B \n\n\n\n\n\u2022 \n\n\nuji  \n\n\n.1 \n\n\n\u20141 LLU pJ \n\n\n\n\n^ \n\n\n\nFig. 186a. Dresden Manuscript 67a, 66a, 37a, 74. Codex Perez 24, 21. \n\n\n\no:oe \n\n\n\n\n\nFig. 1856. Stucco Relief, Palenque. (Maudslay iv. 10, 55.) \n\n\n\n\n\nFig. 186a. Chi(^ten Uza. Nunnery and Stucco Relief, Palenque. \n\n\n\n\nT^ 11]^ \n\n\n\n\n\n\n\n\nFig. 186&. Dresden Manuscript 68a, 46, 50. Codex Perez 23. Codex Tro 23, 22. \n\nCodex Cortes 156. \n\n\n\nOne of the most remarkable occurrences of such celestial shields is the stele of Mench^ \nTinamit or Yaxchilan (Fig. 189), which was discovered in 1897 by Theobert Maler, and distin- \nguished by him with the number 4. Here, above a frame which is covered with the previously \ndescribed signs, the old god himself is seen seated, with a death's head as helmet-mask, between \na dragon on one side and the sign of the starry sky (cf. Fig. 176a) on the other. Both in the \ncavity formed by the body of the snake and in the opening of the sign of the starry sky is seated \nanother figure, each holding in its arms a two-headed snake whose body is covered with the signs \n\n\n\nThe Deities of the Four Cardinal Points. \n\n\n\n171 \n\n\n\nof the celestial shields. Lastly, below the celestial frame, on the posterior side of two faces looking \ndownwards, the hieroglyph of Venus is to be seen, twice boldly and finely sculptured. On the \ncelestial frame itself we distinguish the signs kin and akbal, but also other forms which are not \nmet elsewhere : one which recalls the sign imix ; another in which we recognise the notched lines \nof the sign e'tzndb, but combined with four dots; and a third, that reminds one of been. \n\nThe old theory, to which I gave expression in my commentary on the Tonoda/maU of the \nAubin collection, that the signs of the 20 days were properly and originally 20 stars, seems to be \nupset by this discovery. And it is in fact this theory that I should have advanced to explain \nhow, in the series of the six celestial wanderers of the Codex Borgia group of manuscripts, whom \nI have discussed in the present section, the figures of the six deities are accompanied by the \n\n\n\n\nkkfiMi \n\n\n\nFig. 187. Stucco Relief, Palenque. (Maudslay iv. 10 ; iv. 11 ; iv. 43 ; iv. 10 ; iv. 43.) \n\n\n\n\n\n\n1 T^am \n\n\n\n\nFig. 188a. XiuheowUl. \nStucco Relief, Palenque. (Maudslay iv. 9 ; iv. 43 ; iv. 11 ; iv. 11.) \n\n\n\nFig. 1886. \n\nXivhcouatl ? \n\nDresden \n\nManuscript 52. \n\n\n\ntwenty day-signs in an apparently irregular and arbitrary manner. Beside the sun and the moon \nand the stars assigned to the five quarters, the signs of those stars have been entered which \nrepresent the oldest, the best known series of the same. Such at least is my explanation. \n\n\n\nVI. The Deities of the Four Cardinal Points. \n\nSheets 33, 34 ( = Kingsborough 12, 11). Lower Half. \n\nThe four pictures which belong to this series are accompanied by the columns of day-signs : \u2014 \n\n1. cipactlif acatl, couatl, olin, atL \n\n2. ocdotl, miquiztli, tecpatl, itzcuinth, eecatl, \n\n3. mostly quiauitl, ofomatli, caUi, qvLauhtli, \n\n4. xochitly Tnalinalli, cuetzpalin, cozcdquauhtli, tochtli. \n\nThese are the initials of the four quarters of the TonalaTnatl disposed in columns of five members, \nas we found them depicted in exactly the same way at the four comers of Sheet 1 of our manu- \nscript (cf. above, p. 21), and of course they correspond in the above sequence to the cardinal \npoints Edsty North, West, South, But the same four columns of day-counts are further also found \n\n\n\n172 The Da^ Sid\u00ab of the HaDuscript. \n\naccompanying corresponding pictures on Sheets 12 and 13 of Codex Bologna, which, in point of \nfact, present an exact parallel with the lower halves of Sheets 33 and 34 of our manuscript. And \na second parallel is formed by the representations which occupy the middle of the large Sheets \n49-52 ( = Kingsborough 66-63) of Codex Borgia that are accompanied by the same four columns \nof day-counts, and are shown above the large ornamental trees supporting a bird on their summit, \n\n\n\nFig. 189. Menchi rmamit. Stele 4. (Theobert Maler 1897.) \n\nthat is to say, the pictures of the four ciirdinal points discussed by me in the first section of the \nother (A) side of this manuscript, and reproduced at Figs. 1, 3, 5, 7 on pages 9, 10, 11, 13. \n\nIn all four pictures of this series is seen a temple which is arranged in divers ways accord- \ning'to the several cardinal points, and displays in the interior a symbol or a figure corresponding \nto eac^ quarter. Before this temple stands a deity who, of course, varies with the cardinal points. \nIn the series of Codex Boigia these gods are presenting blood and a heart, which are in a way \n\n\n\n\\ \n\n\n\nThe Deities of the Four Cardinal Points. \n\n\n\n173 \n\n\n\nthrust forward with the throwing-stick. In Codex Bologna the four gods present a smokuig \noffering in the incense-burner ; and in our manuscript the familiar bundle of tirewood with rubber \nball on top. It is noteworthy that in Codex Borgia all the four god3 bringing offerings are \npictured with the round eye, which is elsewhere shown only with the God of Death and with tbo \ngods bringing the dead. \n\nThe first picture of Codex Borgia (Fig. 190) shows us a temple, with high-pitched straw roof, \nwhich is decorated along the lower edge of the roof with a row of flowers, and at the door-posts \nwith the images of hearts, while at the threshold is seen the picture of the Sun. Before the \ntemple stands Tonatiuh, the Sun God, presenting offerings. \n\nIn Codex Bologna (Fig. 191) we see a temple crowned with pinnacles, with a flowering tree \ngrowing up from the roof. Within the temple stands the coxcoxtli bird provided with the comb- \n\n\n\nFig. 190. Tonalhih, the Hua God, \n\nLord of the East. \n\nCodex Borgia 49 ( ^Kingsboroiigh 66] \n\n\n\n\nFig. 191. \n\nTonativh, the Sm God, Lord of the Eaat. \n\nOodex Bolognft 12. \n\n\n\nshaped feather crest, and decked with a turquoise band ending in a flower, and a second thong \npainted the colours of the chxilehimtl and ending in a belL Before the temple is shown a vase \nwith a flower. The gift-bringing Sun God is clearly distinguished as such by the image of the \nsun which he wears at his nape. From this incense-dish jewelled bands project again, ending \nin bells. \n\nThe picture in our manuscript, on the right side of Sheet 33, shows us a temple decorated \non the roof-ridge with flowers, on the surface of the straw roof with chalckiv.Hl disks. Within is \nseated the figure of a god with a bunch of long quetzal feathers on his head, a god who may \nrepresent the solar deity, but possibly also the god Ce xochitl or XwkipiUi. Before him is a \nbundle of fuel, with rubber ball and bone dagger. The god bringing offerings is painted a light- \nyellow colour, and richly decked with jewels. His face looks out from the open mouth of a \nquetzal bird. He also must either be the Sun God, or perhaps the god Ce xochitl or Xockipilli. \nBut above him is shown a light-coloured solar disk flooded round with blood. \n\nIn the second picture, which must correspond with the powers of the North, Codex Borgiii \n\n\n\nm The D&j Side of the MasuBcript. \n\ndisplays (Fig. 192) a temple, which is embellished on the ridge with sacrificial stone knives set \nin a hoft. At the threshold stands the figure of the moon, as we saw it above pictured at \np. 150, Fig. 161. Only here the white rabbit is replaced by a stone knife. And the dark \ndisk, which bears the bony nasal crescent {yacametztli) enclosing the stone knife, stands out \nfrom a great stream of water which bears white mussel-shells, but is set along the margin, \ninstead of snail-shells, with the yellow cuitlatl-like objects, such as are shown on the water of \nthe teoatl-lUichinolli symbol, with the Fire and War God of Sheet 69 ( = Kingsborough 46) of \nCodex Borgia. \n\nThe gift-bringing god displays a remarkable minghng of badges and symbols. He carries on \nhis head the itztlaeoliuhqui, the curved obsidian knife of the God of Stone, of Punishment, of Cold, \na form of the god Tezcatlipoca. His face is painted on its posterior half with the colours of the \ngod Muciulxochitl, and with his white band about the mouth. \n\n\n\nFig. 192, TacadipocaritzUtiedivhqui, \n\nGod of the North, Rg. ift3. Tacaaipoca-italatxilivhqai, God of the North. \n\nCodex Borgia 50 (=Kiiig8borough 65). Codex Bologna 12. \n\nThe other half of the face is yellow, and from the nasal septum hangs the nose ornament \n{teocuitlayaca-Tfietztli) of Tki^olteotl and the pulque gods. It is the North as the realm of dark- \nness, of the Earth Goddess, of the sharp stone, of cold, that this mixture of symbols is intended \nto represent. \n\nThe second picture of Codex Bologna (Fig. 193) shows ub a temple with turrets and \nhigh-pitched roof. Within is an owl. from which projects upwards a band painted the colours of \nnight, and studded with eyes, i.e. with stars. On this band stand out a large ball with eight \nradial spikes, and further down a mask painted a yellow colour, and furnished with eyes and open \nmouth, but drawn without nose. The mask is perhaps the mex-xayacatl, which was made from \nthe skin of the victim's thigh, and played a part at the Ochpaniztli, the feast of the goddess \nTUu;olteotl. On Sheet 57 ( = Kingsborough 58) of Codex Borgia just such a spiked ball as is \nhere depicted is held in her hand by the goddess Tla^Ueotl, the Earth Goddess, who is also \nusually brought into association with the moon (cf infra. Fig. 220). Here this spiked ball is \nobviously thought of as the weapon of Tla^lteotl, and perhaps denotes the balls m*de of tilland- \n\n\n\nThe Deities of the Four Cardinal Points. 175 \n\nsiae, rushes, and cactus branches, with which the followers of the Earth Goddess fought at the \nOchpaniztli feast. Before the temple stands a vessel out of which burst wreaths of flame. \n\nThe gift-bringing god shows a mingling of symbols similar to that of the Codex Borgia god. \nHe is here clearly distinguished as Tezcatlipoca by the black colour of his body, and by the \nalternating black and brown (i.e. yellow) cross-bands on his face. But he has the bandaged eyes \nand the hat (ihtkicoliuhqui) of the God of Stone, of Punishment, and of Cold. On his nose he \nwears the yacamehtti of the Earth Goddess, and about his mouth has the jaguar-skin mark, such \nas is shown by the TepeyoUotl of Codex Boi^ia, and by many images of Xipe. He is piercing \nhis right ear with a long stone di^er, and from his incense-pan ascends a dark smoke. And he \nstands on a dark field in which is visible a row of stones beset with spikes. \n\nIn our manuscript, in the second section (on the left side of Sheet 33), is seen a temple \nwhich on the ridge is wreathed with cloud-like forms of white smoke, as with the temple on the \nleft side of the lower half of Sheet 30 in our manuscript, where is seated the magician, the animal- \n\n\n\nPig. 194. dnleotl, the MaUe God, Lord of the Weat. Fig. 195. CirUmtl, the M&ize God, Lord of the West. \n\nCodex Borgia SI ( = Eingsborough S4). Codex Bologna 13. \n\nheaded god who there symbolised the earthward direction or the lower region. And in harmony \ntherewith we see seated in the second temple of the second picture of our series the same animal- \nheaded god symbolising the earthward direction, covered with his motley wrap, and, like the figure \nof Sheet 30, holding a green bunch in his hand. \n\nThe gift-bearing god is distinguished as Tezcatlipoca by the yellow painted cross-bands of his \nface {ixtlan tlatkian) altematii^ with the colour of his body, by the forked heron-feather adornment \n{aztaxelli) of the war-dance attire, and by the rended foot which is replaced by a half-mirror from \nwhich flames shoot up. But he has his eyes blindfolded like Itzttacoliuliqui. And he is distin- \nguished as the God of Cold by the blue colour of his body and by the black-dotted white disks \nattached to the members, such as we have already met with one of the two gods on the right \nside of the lower half of Sheet 25 of our manuscript, and which in any case symbolise the retl, cold. \n\nOn the third picture in Codex Borgia (Fig, 194) is seen a temple similar to the one depicted \nbefore the Sun God of the first picture (Fig. 190). Only here the door-post is decorated, not with \nimi^s of hearts, but with a vessel tied with a white how (a maize dish or sacrificial vase). \n\n\n\n178 The Day Side of the Hanuscript. \n\nInside the t\u00abmple is seen a yellow bowl with sojtlloped brim, on which as a sort of openii^ \nlies the hierc^lyph cfutlckiuitl, 'green jewel,' and from this two jewelled thongs coil upwards. This \nis the tobacco-calabash {ye-teevmatl) of the priests and of Tonacatecutli, such as is carried by the \npriests doing penance (Fig. 74 supni, p. 91), which we met with the old god of Codex Boi^ia \n(Figs. 170\u00ab. 171\u00ab eupra, pp. 159, 160) and of the Vienna manuscript (Fig. 173a supru, p. 161), \nand which the Fire God also often shows on his back (Fig. 196). This tobacco-calabash, like the \ntobacco-pouch made of jf^uar-skin (oceloyataztli) which we found with Tluloc, and with XochipiUl, \nXfK'hiquetzal, the gods of the East (cf Fig. 124h supra, p. 123), is the emblem of abundant food \nsupplies. Before this temple, as votive-bearer, stands a god who, like the homologous figure of \nCodex Bologna presently to be described, must be the Maize God. But here he is not pictured \nwith the black, angular, longitudinal lines on his face (cf. Fig. 20 av.pra, p. 35), as elsewhere in \n\nthe manuscripts of this group, but with two narrow \nred cross-bands at the level of the eye, and with a \nred design about his mouth which branches off \nbehind into three rays and melts away in drops. \nMoreover, on the cheek is shown painted in diiFerent \ncolours, red and white, the little rectangular field, \nwhich in Codex Borgia is characteristic of Tonacate- \neutli's and XochipiUi's face-painting, and is also seen \non the clay figure from Teotitlan del Camino repre- \nsenting the god Xochipilli} From the nasal septum \nhangs a broad plate, which finishes off downwards \nin various roundish terminals. The face of the god \nFig. 196. XiiihiMuUi, the Fire God. looks out from the Open throat of a bird which is. \n\nEmblem of the Eighteenth Annual Feast. gf course, difficult to determine zoologically, but from \n\nCodex Telleriano Bemensis, f. 6 verso (=^ Kings- . , . > . . > \u2022 >  \n\nboroueb 1. 12). ''^ general aspect may be classed either with the \n\ngallinacete or with the pigeon family. Taken alto- \ngether, it seems as if it was rather Tonacatecutli-XochipUU than the Maize God proper who was \nintended to be symbolised by this picture, and here exhibited as representative of the West. \n\nIn the corresponding picture of Codex Bologna (Fig. 195) the temple is adorned at the base of \nthe high roof with a row of flowers, like the East and the West temples of Codex Boigisk In the \ntemple stands the same coxcoxUi bird, with the jewelled string ending in a flower, as in the East \ntemple of Codex Bologna. In a dish before the temple is seen a jewel, above which rises a flower. \nThe god bringing offerings is here clearly distinguished as the Maize God by the maize ears and \nthe mate inflorescence of the maize which he carries on his back wrapped in a parti-coloured cover- \ning. But he shows the same discrepant face-painting, and the same peculiar nasal plate, as the \ngod of Codex Boi^ia. From his incense-pan rise jewelled bands ending in a bell, as with the Sun \nGod of the first picture. \n\nThe third picture of our manuscript, on the right side of Sheet 34, shows a temple decorated on \n\n' Seler, Wftndmalereien von Mitla. Plkte xiii. \n\n\n\nThe Deities of the Four Cardinal Points. 177 \n\nthe roof-ridge with turrets and jewelled disks, like that of the Sun God on Che right side of the \nlower half of Sheet 31 of our manuscript, which symbolised the upward direction. In the temple is \nseated a god; who shows the yellow focial painting, and otherwise resembles the god in the temple \nof the first picture of our manuscript, but is covered with a white wrap. Before him is a chal- \nckiuitl dish containing four two-coloured, pointed, egg-shaped grains, which are doubtless meant to \nrepresent maize ears. The god bringing offerings is painted a tight-yellow body and iace colour, \nand here again one might doubt whether the Sun God, XockipilU, or the Maize God is intended, \nwere not the last-mentioned indicated by the bunch of fruit which rises out of the feather head- \ndress and reproduces with tolerable accuracy that of CinteoH, fourth of the nine lords, on Sheet 3 of \noiu* manuscript. \n\nThe fourth and last picture, which answers to the South, shows in all three manuscripts the \nDeath God before a temple set out in a style appropriate to the character of this god. In Codex \n\n\n\nFig. 197. \nSlietlanlecTttH, the Deatl) God, Lord of the South. \n\nCodex Borgia &2 ( = Kingsborougb 63). Codex Bologoa 13. \n\nBorgia (Fig. 197) it is built of bones and blood, and at the base of the roof, which is also formed \nof bones and blood, it has a cornice of eyea In Codex Bologna (Fig. 198) the cornice is made \nwith a row of skulls. The roof consists of a skeleton chest enveloped in blood, and at the \nbase of the temple is a kind of stellar or radial eye (cf. Fig. 5b above, p. 11) fashioned of blood \nand hearts. In the fourth picture of our manuscript, on the left side of Sheet 34, we also notice \nthat the foundation is intended to be built of vertebral columns and skeleton chest, while the \ndoor-post is ornamented with eyes. The roof-ridge also is a backbone from which eyes hang down \nover the surface of the roof, stone knives and human hands surmounting the ridge. \n\nIn the Codex Boi^a temple we see an owl standit^, and the Death God presents, not blood \nand hearts, like the figures on the other sheets, but a whole human body, the head of which the \nartist apparently means to represent as torn off by the owl. Anyhow, a stream of blood flows \nfrom the stump-neck into the mouth of the bird. In Codex Bologna also an owl is seen in the \ntemple, before which stands a vessel, out of which fiames blaze upwards, as out of the vessel of \n\n\n\n178 The Day Side of the Manuscript. \n\nthe second picture. The Death God is painted black, and on his back carries four black flags \u2014 \nthe familiar decoration of the dead. Like the god of the second picture he is piercing his ear \nwith a long bone dagger. The copal on his incense-pan has the form of a mannikin tied up and \npainted a bone colour, and from the pan dark smoke ascends. \n\nIn our manuscript in the temple of the fourth picture is seen a small im^e of the Death \nGod. Here also the gift-bringing Death God, who, as in other pictures of the manuscript, has a \nskull for his head, and ireaTs green TnalinaZli grass as an ear-plug, and a little skirt or girdle \npendant also of maliwdli grass, has further a feather adornment on his nape, the base of which \nis again formed by a skull. \n\nThus in this series the four cardinal points are figured by deities in a somewhat different way \nirom what we generally meet them elsewhere, the quarter of the South being here assigned to \n\n\n\n\nFig. 199a-rf. The Years ; wmi ealti. na\u00abt toehtli, natii aeaU, naui Ucpafl. Codex Boipa 49-62 \n( = King8borough 66-63). \n\nthe^ Death God, to whom as a rule the North is attributed in other places. This uiust naturally \nhave some special reason. We have before all to ask ourselves what was the real motive for thus \ncarrying out the associations of the cardinal points and the gods with constantly new variations. \nIn some places the reason might be sought in the very fact that it was special time periods that \nrequired to be symbolised. Here apparently the picture-writer had to deal with the simple TonalaTnatl, \nwhich is determined by the columns of the initial day-signs of the four quarters, as. for instance, \non Sheet 1 of our manuscript It ought to be inferred that in the case of this series some special \ncircumstance is concerned. This, however, is not to be discovered from the presentation in our \nmanuscript, and still less from that of Codex Bologna, though possibly from the sheets of Codex \nBorgia. On these we find the four trees which have been dealt with in the first section of the \nnight Bide of the manuscript. We shall have still to discuss a second series of representations \nwhich occurs on these sheets, and likewise runs on all-fours with one in our manuscript. Now \non these same four sheets we also see four years indicated above a chair on which lies the head- \ndress of a deity, who is presumably to be brought into relation with them. At Fig. 199 I repro- \n\n\n\nThe Deities of the Four Cardinal Points. 179 \n\nduce these four years, as they are inscribed on Sheets 49-52, together with the chairs pictured \nbelow thein. As we see, they are the years : \u2014 \n\nm \n\n1. naui caUi, * four House,* \n\n2. Tiaui tochtli, * four Rabbit,' \n\n3. naui acatly ' four Reed/ \n\n4. naui tecpatl, * four Flint Knife,' \n\nwhich would accordingly answer to the East, North, West, South (to the columns of day-signs \nce cipactli, ce ocelotl, ce vuigatl, ce xochitl). As the years have a cycle of 52, on the expiration of \nwhich the names, the signs, and the numbers are repeated in the same order, one might at first \ninfer that to the cardinal points East, North, West, South, or to the columns of day-counts ce \nci'pactli, ce ocelotl, ce magaU, ce Q(X)chitl, all the more should correspond the initial years of the \n\nfour quarters of this 52-years cycle, i.e. the years ce acatly *1 Reed,' ce tecpatl, '1 Flint,' ce calli, \n\n\u2022 \n\n*1 House,' C6 tochtli/1 Rabbit.' And in point of fact we do see on Sheet 27 ( = Kingsborough 12) \nof Codex Borgia the corresponding initials of the quarters of the simply arranged Tonalamatl, \ni.e. the days ce cipactli, ce miquiztli, ce ofomatli, ce cozcaquauhtli, and the initials of the four \nquarters of the 52-years cycle ce acatl, ce tecpatl, ce colli, ce tochtU, all co-ordinated to the four \ncardinal points East, North, West, South. \n\nNow the year Tiaui calli is exactly 42 years removed from the year ce acaU, which, strictly \nspeaking, should denote the quarter of the East. And this is a period that we have already \ncome upon in the third section of this (B) side of the manuscript (cf, supra, p. 135), the period \nat the end of which 10 days have to be intercalated, in order to harmonise the Mexican year, \nwhich is i of a day too short, with the real length of the year. And when these 10 days are \nintercalated, we get from the day naui calli to the day ce acatl, i.e. to the very day which, being \ntaken as the initial day of a year, would answer to the quarter of the East. \n\nExactly in the same way, by inserting 10 days after the day naui tochtliy we get to the day \nce tecpatl, which, being taken as the initial day of a year, would correspond with the quarter of \nthe North. By inserting 10 days after the day naui acatl we reach the day ce colli, which, as \ninitial of the year, corresponds to the West And by inserting 10 days after the day naui tecpatl \nwe reach the day ce tochtli which, as initial of the year, indicates the South. \n\nThus it is that, by the occurrence of the four years naui colli, naui tochtli, naui acatl, \nnaui tecpatl on the four Codex Borgia sheets corresponding to the cardinal points East, North, \nWest, South, the very point is established which to me seemed already indicated by the 59-days \nperiod given in the lower half of Sheets 26-29 of our manuscript. That is to say, the ancient \nMexicans, or at least the priests who composed the manuscripts of the Codex Borgia group, on \nthe expiration of 42 years intercalated 10 days, in order to effect a correction of the year's length. \nAnd it is a reminiscence of this necessary correction, the meaus of eftecting which was assuredly \nhanded on by oral instruction, that is perpetuated in the four pictures which fill the lower halves \nof Sheets 33, 34 of our manuscript, and in the parallel places of Codex Bologna and of Codex \nBorgia. We accordingly understand that in Codex Bologna these pictures of the gods of the four \ncardinal points (Sheets 12, 13) were attached to the representation of the Torwlamatl (Sheets 1-8), \nand to that of the 5x13 Venus periods (Sheets 9-11), as their only essential element. These \nvery pictures indicated to those instructed in priestly lore the third essential point of chronology \n\n\n\n180 The Day Side of the Manuscript. \n\n\u2014 the rectification of the length of the year. And it was only the happy accident that the \nsomewhat more thoroughly gTounded author of the Codex Borgia manuscript had occasion to \nintroduce the specified four years beside these four pictures that henceforth enables us also to \nrecognise in these pictures what must have been of itself clear enough to the old pupils of the \npriests through oral instruction. \n\n\n\nVII. A Second Series of Gods of the Four Quarters. \n\nSheets 33, 34 ( = Kingsborough 11, 12). Upper Half. \n\nOn the four lai^e pictures dealt with in the preceding section, i.e. the lower halves of \n\nSheets 49-52 ( = Kingsborough 66-63) of Codex Borgia, in the lower left comer is seen the figure of a \n\nsitting god (Fig. 200), who shows the facial painting of Macuil xochitl \u2014 the yellow field about the eye, \n\nand the white hand about the mouth. With this face-painting he combines \n\na headdress consisting of two large white crosses and a shield extending \n\nfrom brow to nape, all in exactly the same style as we have already met \n\nwith the God of Monstrosities, Xolotl, on Sheet 10 of Codex Borgia (see \n\nabove, Fig. 166, p. 126), who has his face also painted as MacuU xochitl. \n\nOn the four sheets the god is pictured in precisely the same way, only \n\nwith difTerent colours \u2014 bhirk, blue, yellow, green, answering to the East, \n\nFig. 200. MawU olin. North, West, Smith. And beside the four figures are seen the four dates : \n\n( = EiDssboniugh 65). Tnacuilli olin, ' 5 Rollir^ Motion,' maetnUi eecatl, ' 5 Wind,' macuiUi ma^tl, \n\n' 5 Deer,' meicuiUi nmlinalli, ' 5 Broom.' These are separated from each \n\nother by exactly 65 days, hence are distributed with absolute uniformity over the Tonalattmtl, \n\nbut in such a way that they represent the first days provided with the cipher five, which follow \n\nthe days ce acatl, ce tecpatl, ce caUi, ce tochtli, i.e. the initial days of the years which are the \n\ninitials of the four quarters of the 52-years cycle and the symbols of the cardinal points East, \n\nNorth, West, Smith. \n\nWith this series of four figures one is at first tempted to bring into relation the four pictures \nwhich are shown on the upper halves of Sheets 33, 34 of our manuscript For these are \nthe same day-counts \u2014 olin, ' Rolling Motion,' eecatl, ' Wind,' ma^atl, ' Deer,' 'malinaXli, ' Broom ' \u2014 \nwhich accompany the figures in these four pictures, only they are not provided with ciphers. \n(The first sign, olin, in the first picture on the right side of Sheet 33, is seen in the water, as if \nit were in a sense the seat of the water god who is there depicted.) And the intervals between \nthese signs, i.e. the number of signs which in the series of the twenty day-signs lie between the \nsigns olin, eecatl, mn^atl, \u25a0malinalli, are indicated by the four dots or little coloured circles which \nare seen on the left or upper side of the four pictures. \n\nIt will, however, be more correct to combine the signs in question with the cipher one. Then \n\n\n\nA Second Series of Gods of the Four Quarters. 181 \n\nthe initial of the series will no doubt be separated by 3 x 52 or 166 days from ce ci2)actii, the initial \nof the TonalamatL But perhaps this part of our manuscript has been taken from the priestly annals \nof a district where the years were named with the signs olin, eecatl, mafatl, malinalli That such \nwas the case in certain districts is proved by the Codex Porfirio Diaz, which was published in the \nyear 1892 by the Junta Colombina, and presumably comes from the Cuicatec land and people. In \nthis territory, beside the signs combined of a ray and a ring, say a trapeze, with which the year names \nare expressed in the Zapotec and Mixtec manuscripts, dates are in fact shown which are composed \nof these very signs \u2014 oliny eecatl, mofatl, rrialinallL Could we make the same surmise also for the \nupper halves of our Sheets 33, 34, then ce olin, ce eecatl, ce rruifatly ce malinalli would denote the \ninitials of the four quarters of the 52-years cycle, and we should then have at once to conjecture, \nthat in this sequence of series they were regarded as answering to East, North, West, Sotdh, like the \nsigns ce acatl, ce tecpatl, ce caUi, ce toclitli with the Mexicans, and generally in the Codex Borgia group \nof manuscripts. \n\nI do not think, however, that this last assumption is here applicable. It would rather seem to \nresult from the subjects of the four pictures, as they follow consecutively on the upper halves of \nSheets 33, 34 of our manuscript, that the cardinal points are not meant to be taken in the order from \nEast to North, West, and South, but that the West should begin, and be followed by South, East, North, \nAnd in point of fact, the day ce olin belongs to the third Tonalamatl quarter, which begins with \nce ofomdtli, * 1 Ape,' and corresponds to the West This would accordingly seem to be the same \ncase as that of Sheets 49-52 of Codex Borgia ; that is to say, on the upper halves of the sheets the \norder began with a different quarter from that of the lower halves, and this difference in the starting- \npoint was indicated by placing at the beginning of the series, not the initial sign of the Timalamatl, \nbut one belonging to the second half of the TonalamatL \n\nIn all four pictures the subject under consideration is the maize plant, which is figured as a \nhuman being, out of whose head grows the plant, i.e. foliage, ears, and bloom. In the first picture, \non the right side of Sheet 33, the plant is rooted in water, and is presented as an offering by the water \ngoddess Chalchiuhtlicue, who is portrayed in exactly the same way as we found her figured on \nSheet 3 of our manuscript, as sixth of the nine lords. Above her rises a cloud-tree with an \noutstretched arm, which pours water on the burnt-offering of firewood and rubber ball standing before \nthe maize plant on the common ground, itself consisting of water. In these combined traits clear \nexpression is given to the quarter of superabundant water, hence to that of the West, that is, if we \nassume as valid the same symbolism which is presented on Sheet 27 ( = Kingsborough 12) of Codex \nBorgia. \n\nIn the second picture, on the left side of Sheet 33, the maize plant is rooted in a soil which \nconsists of alternate green and black strata, and may presumably be regarded as partly overlying \nvegetable humus, or as soil only partly fertile. The upper border of the picture is formed by a sky, \nonly one-half of which is clouded, while the bright half shoots down eyes, that is, light. The \npersonification of the maize plant is pictured white, and with a dead eye, hence is doubtless intended \nto be indicated as withered away, dead. The deity who presents the plant is adorned with a rope of \npearls, and a pearl rosette on breast and hair-bands, such as are worn by the Zapotec women. Perhaps \nit is intended for Xochipilli, God of the South. On the burnt-offering of a bundle of fuel and rubber \nball leans a long green implement, which is decorated with jewels, and perhaps represents a coa \n\n\n\n182 The Day Side of the Manuscript. \n\n{uictli), that is, the spade used for tilling the ground. Here it is broken in two pieces. To me the \nSimth, the region of drought, seems to be indicated by this scene. \n\nIn the third picture, on the right side of Sheet 34, the maize plant, which here differs from the \nother pictures in being depicted as a woman in rich attire, is rooted in a uniformly green, loose, \ngranular soil. The god presenting the maize plant is Tlaloc, the Rain God. On the burnt-offering \nstands a coa, which here is not broken, but tied with a white and red apron. The East, the region of \nfertility, is herewith displayed before the observer. \n\nThe fourth picture, on the left side of Sheet 34, again shows a soil similar to that of the second \npicture, but consisting of alternate green and yellow bands. The maize plant, which is not at all \nrooted in this soil, is personified by a red figure, and the god who presents the plant is also painted \nred, and holds a bundle of spears in his hand. Evidently a Sun, Fire, or War Gk)d is intended \nto be represented. The maize plant is beset on all sides by various animals. Above is seen a \nblack-feathered bird with a long bill, before which are shown a number of little tongues, obviously \ndenoting speech or cries. It may perhaps be the garrulous tzanatl, of the thrush family, or else the \nChacJialaea. Further down is seen an arara (alo), and below it a yellow-green parrot (cocho). We \nknow that in the Tierra Caliente the parrots are dangerous enemies of the maize fields. But beneath, \non the ground, comes a black quadruped, a raccoon {mapachtli) or a rat {quimichin), and behind it \nyet another black bird. The North, the region of war, where the corn is exposed to attacks on all \nsides, seems to be indicated by these details. \n\nIn general, this characterisation of the several cardinal points answers quite well to what is placed \nbefore us on Sheet 27 ( = Kingsborough 12) of Codex Borgia, on which I had already occasion to speak \nin the first section of the night side of our manuscript {av/pra, p. 7). Only there the North, i.e. the \ntecpatl years, is mainly characterised as representing drought and aridity. Depredations by animals \nin the maize fields are depicted both in the North and in the South. In the North we have locusts \nor other winged insects, in the South rabbits or any other such quadrupeds. Hence, as to this \nSheet 27 of Codex Borgia, so also to the series pictured on the upper halves of Sheets 33, 34 of our \nmanuscript, must be attributed the meaning that it is intended to illustrate the prospects, the \nforecasts of the years which vary with the four cardinal points. And the fact that here the years are \nnamed, not with the signs a<!atly tecpatl, caUi, tochtli, but with mafatl, malinalli, olin, eecatl, as in \nCodex Porfirio Diaz from the state of Oaxaca, is perhaps a further proof that our manuscript, and in \nfact the whole of the Codex Borgia group, must have originated in a region which was in close contact \nwith the old centres of the territory now forming the western division of the state of Oaxaca. \n\n\n\nVIII. The Six Heavens. \n\nSheets 35-37 ( = Kingsborough 10-8). Lower Half. \n\nIn this section we have again a series of gods of the six quarters. But this series differs from \nthose depicted on the lower halves of Sheets 23-25 and 30-32 of our manuscript in one respect. With \nthose series it was 40 or else 80 days that were indicated by the six figures, or groups of \n\n\n\nThe Six Heavens. 183 \n\nfigures, whereas here the 52 columns of the Tmialamatl disposed in columns of five members are \ngiven with the six pictures by means of six columns, which are shown by their respective signs, \nand by little coloured circles or dots which denote the number of the columns which intervene but \nare not written down in sighs. Here, therefore, it is the Tcmalanuitl that appears distributed \ntowards the six quarters. The distribution itself could not of course be carried out evenly, since \n\nthe number six does not go evenly into 260, while five does ( =52]. 52 decomposes into \n\n6x8 + 4. Hence the initial column was first of all followed by four columns, each of which is \nalways separated from the preceding by eight signs. If, therefore, we assign the cipher 1 to the \nfirst column, the first five columns will be as under: \u2014 \n\n1. dpactli, acatl, couatl, olin, atL \n9. atl, cipactli, acatl, couatly olin, \n\n4. olin, atly cipactli, acatl, couatl. \n12. couatly olin, all, cipactli , acatl. \n\n7. acatl, couatl, olin, atl, cipa/itlL \n\nBut then the last column has not been similarly removed eight counts from the foregoing, so as \nto let the whole excess of four days fall on the interval between the last and the first sign. But the \nstill remaining interval of 20 signs was divided into 11 and 9, and the column \n\n5. cuetzpalin, cozcaquauhtli, tochtli, xochitl, TnaliTudli \n\nplaced with the last sixth picture as sixth column. This was presumably done because otherwise the \nsixth* column would again have had the same signs in the same order as the first. This it was \ndesired to avoid, as likely to lead to misunderstanding, since, no ciphers being placed with the columns \nof day-counts, these have rather to be supplied by the reader. \n\nIn other respects the sequence of the cardinal points seems to be the same as on the lower halves \nof Sheets 23-28 of our manuscript, Le, East, North, West, South, Above, Below. And here also pairs \nof gods are exhibited in the six sections. It would at times be somewhat difficult to ascertain \nthe personalities of these gods, had we to rely exclusively on our manuscript. Fortunately, \nhowever, for this series too we have a parallel in the much more accurately and more fully \nexecuted Codex Borgia on Sheet 57, which corresponds to the 58th of the Kingsborough notation. \nOn this sheet we shall in all cases have mainly to depend. \n\nThe first picture of Codex Borgia stands on the right side of the first row of Sheet 57. Here we \nsee the old god (Fig. 201) with flame-coloured hair, who in the Tonalamatl and the twenty-days series \ndenotes the first sign, cipactli, 'Crocodile,' and is there interpreted as Tonacatecutli, lord of food \nsupplies, lord of creation, of procreation. The woman facing him must consequently be Tonacaciuatl, \nlady of food supplies. Here the beard of the god consists not, as with the Tonacatecutli of Sheet 9 \nof Codex Borgia, of white heron- feathers, but of black eagle's feathers. From the feather adornment, \nwhich he wears on his head, project between two eagle's feathers the two hairy bands which elsewhere \nform the distinctive mark of the Sun God. But the most noteworthy speciality is that both deities \nbear a figure on their back, which may in a sense be a device or else a load brought as an offering \n\u2014 in one case an ape, in the other an image of Qn^zalcouatl dressed as a woman. To me it seems \nthat thereby it is intended to characterise the two deities as the begetters of Quetzalcouatl, the Wind \nGod, possibly also as in their nature like the Wind God. \n\n\n\n184 The Dar Side of the Manuscript \n\nThe first picture of our manuscript, on the right side of Sheet 35, shows the same two personages, \nbut rejuvenated. Instead of Tcmacatecutli, the old lord of life supplies, we have XochipUH, the \nyoung God of Flowers; instead oi Tonacaciuatl the youthful goddess Xockiquetsal, who indeed is \nby the interpreters equated with the goddess Tonacaciuatl. The female figure is distinguished as \nXochlqwtzal, not only by the step-shaped, blue, nasal plate and the floral wreath in her hair, but \nabove all by the large back-mirror ((\u25a0\u25a0iii.thlezcatl), painted the colours of the jewel; but in any case \ndoubtless representing a carapace shield, and to be thought of as attached behind the bow or girdle \nby which the enagua is fastened round her waist. For we saw just such another lai^e carapace-like \nshield {ciiitUitezfiitl) in our manuscript and in Codex Vaticanus B with the goddess Xockiquetzal, \nwho is the fifth in the fourth series of the five times five guardians of the Venus periods (cf. \nthe picture on the left side of the upper half of Sheet 29 of our manuscript, and Fig. 122 \n\n\n\nRk- 201. TonacaUcutli TonacaHvjill, Lords of Food Supplies. \nCodex Boi^B 57 (^Kingsborough 58). \n\naupra, p. 120). Similarly, the male god of our picture has quite the aspect of the god XochipiUi \nas he is elsewhere figured in our manuscript, \u2014 for instance, on the right side of the lower half \nof Sheet 24. \n\nThe Xochiquflzal of our picture holds a chak-kiuitl, a green jewel, in her hand. Thereby she is \nin any case meant to be distinguished as the mother of Quetzalcouail. For, as we know, Quetz<dcouatl \nwas supposed to have been conceived by his mother when she swallowed a green jewel, a cluilckiuiU} \nAt the same time one would scarcely have lighted upon this association of the chalckiuitl in the hand \nof the Xockiquetzal of our manuscript, but for the homologous figure of Codex Borgia, which tells us \nthat in fact the goddess is here intended to be represented as the bringer, the bearer of Qiietzalcouatl. \nAs the name of Qu>etzalcoiuitl'& mother, mention is generally made of the word Chimalman, 'the \nshield couchant,' or ' lying on a shield.' This I have always understood as a characterisation of the \nearth, of the level expanse. Pictures such as that occurring in this place of our manuscript to me \nstrongly suggest the idea that the pecuhar article of this goddess's attire, the large carapace-shield- \nlike euitUitezcatl, and the name Chimalman stand perhaps in some relation to each other. \n\n\n\n' Headj\u00abtn. Hiitoriu eccleaiaslicft Indiana, book ii. chap. \\ \n\n\n\nThe Sii Heavens. 185 \n\nBetween the two deities, in Codex Borgia (Fig. 201) is seen a casket of jewels similar to that \nworn on his breast by the Tonacatecutli, lord of the first thirteen-series of the Tonalayjuttl on \nSheet 61 (=Kingsborough 54) of Codex Borgia. Out of it hang s rope of pearls and a jewelled \nstring, and on it stands a vessel which is painted the colours of a jewel, and from the sides of which \nagAin. overflow chains of pearls and jewelled strings, while out of its mouth are looking a naked \nmannikin and a flowering tree. By these symbols the two deities seem to be clearly distinguished \n3\u00a3 the lords of prosperity, of opulence, as the authors of life, of vegetable, as well as of animal or \nhuman life. \n\nBesides these symbols, at Fig. 201 on the left side, beside ToTiacaciuatl, is further seen a \ndish painted the colours of the jewel, and containing a chalckiuitl, gold ornaments and quetzal \nfeathers. \n\nBelow the dish stands a vessel, from which a brown drink, evidently cacao, foams out. Thus \na^ain nothii^ but costly things, such as this goddess is characterised as the mistress of. On the \n\n\n\nFig. 202. PhUeatl and TlofdUotl, the Pulque Gods. \nCoden Borgia 87 ( = Kingaboroiigh 58>. \n\nright side, beside Timacatecutli, we see on the contrary agave-leaf spikes {uitztli) and bone da^er \n(omitl), the implements of mortiflcation, the badges of the priestly office. Lastly, on the upper \nborder of the picture is further shown a half-sun. \n\nIn our manuscript we miss the jewel-box and the vessel and the flowerii^ tree, from which the \nnaked mannikin is looking out. On the other hand, the symbols on the left, the dish with the \nchalckiuitl and quetzal feathers, and the cacao vessel, are all given. Beside the male deity on the \nright, instead of the bone dagger and the agave-leaf spike, is seen a vessel with the claws of a beast of \nprey. This denotes, like the jaguar's foot which the old god of Fig. 169 {supra, p. 159) holds in his \nhand, the oceloyatazili, the priests' tobacco-pouch made of the skin of a j^uar's foot. And this, as \nI have already had occasion above to lay stress upon, is an emblem of abundant food supplies, like \nthe yetecormitl, the priests' tobacco-calabash which we see employed on Sheet 51 ( = Kingsborough 64) \nof Codex Borgia as a determinant of the Maize God's temple (cf. Fig. 194, siqyra, p. 175). We have \nalso come upon the same dish with the red foot of a beast of prey in the right section of the lower \nhalf of Sheet 33 of our manuscript with the dog-headed god Xdotl, who there doubtless represents \n\n\n\n186 The Day Side of the Manuscript. \n\nXochipilli or TonacatecufH, and stands opposite the goddess Xochiqiietzal as representative of the \nEast. \n\nThe second picture of Codex Borgia, on the left side of the lowest on Sheet 57 (Fig. 202), shows us \nthe Pulque God, and facing him Tlofolteotl as Pulque Goddess. Both wear the crescent-shaped Huaxtec \nnasal ornament (yacoTnetztli), which is special to these two deities. They also show on their breast \nthe remarkable comma-shaped curved ornament which perhaps is piece of a large spiral snail's \nshell, and is also met only with these two gods \u2014 the Pulque God, ruler of the twelfth day-sign in \nCodex Borgia 13 (=Ki]:^3borough 26), and with Tlagolteotl, ruler of the fourteenth day-s^ in Codex \nBorgia 12 ( = Kingsborough 27). Both have the half black half light face of the pulque gods; but \nwith this trait TlafolUotl further combines the black caoutchouc painting about the mouth which is \npeculiar to this goddess. The goddess wears the copilli, the wedge-shaped Huaxtec hat. On this \n\n\n\nFig. 20^1. Stone Head of CoyoLcaukqui, Vthilopoehtl^a Hostile Sister. \n(From the Great Temple in Mexico.) \n\nand on her enagua is painted the yellow half-moon, the image of the ycKametatli, the badge of the \npulque gods. With this the male god combines the cue^uitoncatl, Qu^tzalcouatt'B fan-like \nHuaxtec nape adornment Both gods, the male as well as the female deity, wear the ickcaxockitl, \nthe fillet of unspun cotton distinctive of Tla^olteotl, and as ear-plug likewise a band of unspun \ncotton. \n\nIn his hand the male god holds a stone hatchet {HziopUli), symbol and weapon of the pulque \ngods. In its form, thickening upwards like a club, this weapon recalls the stone hatchets which \nare still used by the present wild Indians about the headwaters of the Xingii in Brazil The \nblade of the hatchet is painted a blue colour, which is doubtless intended to indicate nephrite \nor some other valuable kind of stone employed for this purpose, as well as to show the polish \nof this material. In her upraised right hand the goddess holds a ball studded with spikes, \napparently a weapon which she uses for throwing. Presumably those balls are intended which \n\n\n\nThe Six Heavens. 187 \n\nare made of tillandsias, rushes, cactus branches, and yellow tagetes flowers, and with which the \nfollowers of the Earth Goddess fight with each other at the Ochpaniztli, the Broom Feast, the \nFeast of Tldfolteotl : \u2014 pachtli yea tlaoloUaliUi, UaooloUaliUi, yuan toltapayolli, yuan nopaUi, yuan \ncempvaUcochitl \u2014 ^'with tillandsias rolled into balls and with rush-balls and with nopal (branches \nof the fig-cactus) and with tagetes blossom/ ^ This sham fight itself was called gonecali. \n\nIn the second picture of our manuscript, on the left side of Sheet 35, the same personages \nare unmistakably represented. The male god has the two-coloured painting of the pulque gods, \nthe goddess that of Tlagolteotl, as is seen, for instance, in the typical Tlagolteotl figure in the left \nsection of the lower half of Sheet 32, and in that of the left section of the upper half of Sheet 30 \nof our manuscript. Both deities, the male as well as the female, wear the crescent-shaped Huaxtec \nnasal ornament, and the copilli painted in two colours, blue and red, i.e, the wedge-shaped \nHuaxtec cap. A disk-shaped snail's shell forms the neck and breast adornment, and from the \near-disk hangs a peculiar pendant, consisting of a trapeze figure and a ray, such as is shown by \nthe large stone head of the Coyolxauhqui goddess (Fig. 203) from the great temple in Mexico. \nThe ends of the male god's loin-cloth have the rounded form which is seen with the loin-cloth of \nthe Quetzalcov/itl figures. \n\nIn the Codex Borgia picture (Fig. 202) the character of the two deities is illustrated by the \nlarge vessel which stands between the two figures, which is painted with the image of a skull, \nor else is intended to show a skull concealed inside. On the mouth of the vessel is seen a \nbundle of firewood, and above it two entangled dragons coiled together in the form of a ring \u2014 \na thoroughly intelligible symbol of the death-bringing fiery nature of the drink. Above, on the \nupper border of the picture, is further to be seen the symbol combined of a half-sun and the \nhieroglyph of the night, which is usually given with the pulque gods in this and other manu- \nscripts, and perhaps denotes the parting of day and night, or perhaps indicates the moon itself. \nLastly, to the right and left, on the upraised hands of both gods, and as if presented by them, are \nfurther shown a dish with a jaguar and a dish with three stone knives, from which flames are \nbursting, which naturally again exhibits the nature of the drink in a perfectly intelligible way. \n\nIn our manuscript the number of the symbols is again reduced. The dish with the jaguar \nis shown, and before it a sacrificial flag, while further down stands a dish with four objects painted \nalternately blue and red, which might represent stone knives, but also maize ears. \n\nThe third picture of Codex Borgia, on the left side of the middle row of Sheet 57 (Fig. 204), \nshows us the two maize gods. The male god on the left is painted exactly like the Cinteotl, \nfourth of the nine lords, on Sheet 14 ( = Kingsborough 25) of Codex Borgia (Fig. 20 supra, p. 35), \nbut also with the little rectangle on his cheek which we have repeatedly met as the facial \npainting of XochipiUi, of Tonacatecutli, and also of the Maize God. On his nape he wears a \nmaize plant consisting of ears and male inflorescence, and his face looks out of the open throat \nof a quetzal, or perhaps a coxcoxtli, bird. \n\nThe goddess facing him is more like the maize god of Sheet 51 ( = Kingsborough 64) of \n\n\n\n^ ' La pelea consistaba que se apredreaban con pellas hechas de aquellas hilachas 6 heno que nacen en los drbolet, \ny oon pellas hechas con hojas de eapadafia y con hojas de tunas y con flores amarillas.' (Sahagun ii. chap. xxx. , \nMS. Biblioteca del Palacio. ) \n\n\n\n188 The Day Side of the Manuscript \n\nCodex Borgia, who is reproduced at Fig. 194 above, p. 175. With him the figure here repre- \nsented agrees in the form of the nasal plate ornament, which here shows only a further notched- \nlike projecting middle part The i^eement also extends to the face, which looks out of the bill \nof a bird apparently of the galHoacean family. She also shows on her cheek the little above- \nmentioned rectangle, which is likewise seen twice pictured on her enagua. The feather adorn- \nment worn by the goddess at the occiput resembles in all particulars that of the TonacatecnUli of \nthe first picture of this series (cf. Fig. 201). \n\nOn their head the two gods have inserted an agave-leaf spike {uitztli), from which hang \ndown a flower and a jewelled band, and in their hand they hold a pouch for incense (copakci- \nquipUli). Both gods are distinguished as priests by this copal-pouch and by the agave-leaf spike \nwith the flower and the jewelled band, which are symbols of mortification. But it would further \nappear that the copal-pouch, like the tobacco-calabash, which we above met on Sheet 51 of \nCodex Boi^ia (cf. Fig. 194 supra, p. 175) as determinant of the maize deity's temple, and like \n\n\n\nFig. 204. The Male and Female Maize Deities. \nCodex Borgia 67 ( =Kiiigaborough 08). \n\nthe homologue of the latter, the tobacco-pouch made of the skin of a jaguar's foot, was an emblem \nof abundant food supplies, of tonacayo, of maize. With their other hand the two gods each \ngrasp a flowering maize plant, growing up from a vessel which is painted the colours of the \ngreen jewel, the chalchiuitl, and at the bottom of which are seen the four varieties of maize \u2014 the \nyellow, blue, red, and white. At the sides of this symbol, which forms the centre of the picture, \nare two other dishes, and on the upper border is i^ain shown a half-sun as in the first section \nof this series. \n\nThe third picture of our manuscript, on right side of Sheet 36, enables us clearly to recognise \nthe Miaize God, at least in the figure to the right, the male deity ; for although he lacks the \ncharacteristic facial painting, he still wears on his head exactly the same flowering maize plant \nas does the Cinteofl, fourth of the nine lords, shown on Sheet 3 of our manuscript The goddess \nfacing him is painted and equipped in every respect like him, except that the flowering maize \nplant on the head is missing. But there can be no doubt that she is meant to be taken for his \nfemale counterpart, the Maize Goddess. \n\nOf the symbols that are here pictured in our manuscript, the dish with the breast adorn- \n\n\n\nThe Sis Heavens. 189 \n\nment, the green jewel and the quetzal-feather ornament, may, to a certain extent, have a relation \nto the central piece of the Codex Borgia picture, as according to their sense implying the same \nthing. For the rest, we have also met such dishes in our manuscript, in the first section of this \nseries, with the gods of food supplies and of procreation. The red foot of a carnivorous beast \non the dish I explain as the priests' tobacco-pouch made of the skin of a jaguar's foot. It would, \nin my opinion, be the homologue of the copal-pouch which is held in their hand by the two \nfigures of the Codex Borgia picture, while the agave-leaf spike and the bone digger which are \nseen lower down answer to the agave-leaf spike which the two maize gods of the Codex Borgia \npicture wear on their head. A special symbol in our manuscript is the eye surrounded by dots \nwhich is shown above the female deity to the left. I would surmise, but this of course is only \nan idea, that this emblem denotes the scattering of grains of maize, for instance, on the surface \nof the water, for the purpose of forecasting the future. \n\nIn the fourth picture of Codex Boi^ia, on the right side of the middle row of Sheet 57 \n\n\n\nFig. 205. Tlaloe tind Chaichiuhtlictu, the Rain and Water Deities. \nCodex Borgia S7 ( = Kingaborough SS). \n\n(Fig. 205), we observe the familiar forms of Tlaloe, the Rain God, and of CkalchivJitli^ue, the \nWater Goddess. Face and equipment are like those of the pictures which I above reproduced \nof these two gods, as the ninth and the sixth of the nine lords of Codex Borgia (cf. Figs. 35 \nand 22 supra, pp. 46 and 37). Only here the face of the Rain God, as also that of the Water \nGoddess, looks out of the open jaws of a snake. \n\nIn the middle, between these two deities, stands a vessel, which ^ain is painted the colours \nof the green jewel, the chaichiuitl, hut, unlike that of the previous picture, it has the form, \nnot of a dish, but of a pitcher furnished with two handles. On the surface we see depicted \nthe step-meander of the xicalcoliuhqui design.' In the pitcher, which the two gods hold by \ntwo entwined strings, a chain of beads and a jewelled cord, are ^ain seen the four kinds of \nmaize \u2014 the yellow, blue, red, and green ears \u2014 and behind them a naked mannikin in the same \naspinng attitude as in the related symbol, which forms the central object of the first picture \nof this series in Codex Borgia (cf. Fig. 201). We may venture to assume that herewith is meant \n\n' Cf. Ijeler, iiber altmexikaiiiecbeD Federschmuck uod miliUriscbe Rangabzeichen. Verhandlangen der Berliner Anthro- \npologiechen Geaell8cb\u00bbft, 17th January 1!<91 (Zeitachrift fiir Etbnologie, xxiii. p. 137). \n\n\n\n190 The Day Side of the Manuscript. \n\nto be indicated upward striving, growth, the izcalll, hence the growth of the maize fruit. Above \nis further seen a dish with 'flowers at the sides, and on the upper border of the picture a half- \nsun with jewelled bands hanging out between its rays. This can be understood only in the \nsense that here the half-sun stands for the sky generally, in which case the diahhixLitl dropping \nfrom above will naturally mean rain. Lastly, before the Chxdchiv^dlicue deity is further to be \nseen a little jug of eacao, as before the Toiuicaciuatl of the Codex Boi^a picture. \n\nThe fourth picture of our manuscript, on the left side of Sheet 36, shows on the right hand \nthe Rain God, Tlaloc, in his characteristic form. But the goddess &cing him, unlike the Ohal- \nckinhilicue of this manuscript and of the other Codex Borgia group of manuscripts, is not figured \nwith a snake as helmet-mask, but her face looks out from the open throat of a quetzal bird. \nHence we have more probably to designate this goddess as Xockiqu^tzal. \n\nOf symbols here are to be seen only a dish with a quetzal bird and a little jug, from which \nflows a liquid which is studded with eyes, and consequently is no doubt meant to be dark, a \n\n\n\nFig. 206. XoehipUH and Xochijuttzal. Codex Boigia 57 ( = Kingabnrough 68). \n\ntlilatl, while the circle and pointed object above it may perhaps be intended for the end of \na chicauaztli, a rattle-stick, such as is carried by the earth, maize, and water deities. \n\nThe fifth picture of Codex Boi^a, on the right side of the uppermost row of Sheet 67 \n(Fig. 206), shows us to the right the picture of the god Xi>chipiUi, designed and painted exactly \nas we have met him as fifth god of the first series of the four times five guardians of the \nVenus periods on Sheet 16 ( = Kingsborough 23) of Codex Boi^ia (Fig. 103 mpra, p. 110). Only \nhere body and limbs are painted not red but yellow. The goddess opposite him agrees exactly \nin design and coloration with the goddess Xochiqtietzal, lady of the nineteenth week, on Sheet \n62 ( = Kingsborough 53) of Codex Boigia, reproduced by me above at Fig. 54, p. 65, Here the \nsole peculiarity is the body of the red snake which hangs down from under the right arm, and \nis perhaps thought of as being part of the same snake whose throat forms the helmet-mask of \nthe goddess. \n\nIn all the- other sections of this series the pairs face each other, whereas here these two \n\n\n\nThe Six Heavens. 191 \n\ngods are pictured back to back, and this must naturally have some special reason. If we assume, \nas I think we must, that this fifth picture denotes the fifth quarter, it would seem that the \nmale member of this pair, Xochipilli, is intended to symbolise the upward direction, the sky \nor the upper region, and the female, the goddess Xochiquetzcd, the downward direction, the earth \nor the lower region, and that in order to give expression to these opposite directions the two \ndeities have been set back to back. \n\nThe male god, XochipiUiy is sprinkling water on the earth from a jug, for it is the sky from \nwhich the fluid falls in drops on the ground. The goddess XochiquetzaZ appears to be pouring \nout of a dish something that is not shown. From the corresponding representation in our manu- \nscript, which I shall have presently to describe, it must apparently be inferred that the matter \nin hand is the scattering of mlize corns. It is, however, possible that this dish is only intended \nto represent something 'with the mouth downwards,' hence the reversed direction. \n\nIn the middle of the picture, between the two averted figures, stands a dish with flowers \nat the edges, similar to that which we saw in the preceding picture with the Rain God and \nthe Water Goddess. On it a bird, which may be either a quetzaltototl or else a cooccoxUi, descends \nfrom above to drink from the vessel. If, on the one hand, the whole scene thus placed before \nour eyes is again intended clearly to symbolise opposed directions, on the other hand I cannot \nhelp seeing in it a reminiscence of what I always thought of in connection with the god Xochi- \npiUi, who, as we know, is really figured in bird form. I refer to P. Lizana's story about the \ngod of Itzmal, Kinich-KakTod, who descended about the hour of noon to consume the offering \non the altar \u2014 *como baxava volando la vacaTnaya, con sua plumas de varias colorea' \n\nIn our manuscript, in the right section of the lower half of Sheet 37, the two seated gods are \nseen leaning directly back to back, separated only by a black wall built up in two storeys and tied \nround with a white fabric. Here the male god, XochipiUi, is painted entirely a red colour, while \nthe white butterfly, which should be pictured on his mouth, is degraded to a conventional ragged \ndesign. The goddess is distinguished as Xochiquetzal by the floral wreath in her hair. In her \nhand she holds a jaguar's tail, which perhaps is the homologue of the snake's body seen in Codex \nBorgia under the arm of the goddess. \n\nThe jug, from which water pours down, is likewise shown with the XochipiUi of our manuscript. \nBut below it, also lying upset, is the dish with the foot of the wild beast, which we have above \nalready met in several places,^ and which I have explained as a symbol of abundant food supplies. \nBeside the goddess Xochiquetzal, as in the Codex Borgia picture, is likewise seen a dish over- \nturned, but from which here grains of maize seem to be falling. This may be intended to \ndistinguish the goddess as the bounteous maize-giver, or rather \u2014 as seems to me more probable \u2014 \nto exhibit her as the caster of lots, the soothsayer, the magician. \n\nFinally, the last picture, the sixth in Codex Borgia, on the left side of the topmost row on \nSheet 57 (Fig. 207), pictures the lords of the lower region, of the underworld, the death gods, \nMictlantecutli and Mictecaciuatl, They are equipped in the usual fearsome vi&y\u2014Mictlantecutli \npainted a bone colour, with skeletal thorax and a skull on his head, Mictecdciuatl with the yellow \n\n\n\n1 Our manuscript (Codex Fej^rvdry), Sheet 23 below to the right, Sheet 35 below to the right. Cf. supra, pp. 123 and 185 \n\n\n\n192 The Day Side of the ManuscripL \n\ncolour of women and the dead, and anyhow with fleshlesB jaws and exposed rows of teeth. Both \nalso have the dark wig studded with eyes which denotes night, the occipital shield, and the flag \noverhanging in front {pantoyaualli), the decoration of dead bodies. Moreover, the male god wears \na hand as ear-plug, and blood and hearts as a breast adornment. The ground also, on which their \nchairs stand, is not simply yellow, as in the other sections, but consists of alternate fields of \nmalinalli grass and fragments of skulls, in the style of the distinctive hieroglyph of arable \nland. Both gods present each other with a naked human figure painted red, which is a \nsymbol of human sacrifice, as I have already set forth in the first section of this side of the \nmanuscript. \n\nIn the middle, between the two, stands a kind of vessel, or else a table, which in imitation \nof the ckalckiuiU painting is painted an eye-studded black (instead of green), with red bands in \nthe middle and yellow border (instead of the white fringed edge). On this table, on the left side. \n\n\n\nFig. 207. MicUanleciUli and Mictecacivatl, the Lorda of the ReEtlm of the Dead. \nCodex Borgia 67 ( - Kiogsborough 56). \n\nSi. \n\nstands a dish filled with blood and reeking hearts, and the goddess seems to be pouring down fire \non it from a vial. On the right projects the body and tail of a dragon, which is seized by the \ngod. But in the centre is seen a skull swallowing a man, who is falling head foremost into its \nthroat. On the upper border of the sheet is further pictured the image of the moon instead of \nthe sun, as in all the other sections, and this moon forms a nasal crescent made of white bone \nand is enveloped in night, the surftice being filled in with a painting in the colours of water, but \non which no rabbit or any other kind of symbol is here to be seen. \n\nIn our manuscript, on the left side of Sheet 37, both gods are characterised as death gods, with \na skull for their head, a bunch of green malinalli grass in their ear, and the red and white occipital \nshield. Here the male god is entirely enveloped in garments, which, however, are black and \ndecorated with eyes and dead men's cross-bones. His seat is made of ribs and a piece of skull, and \nlike the god of Codex Boi^a he holds a dragon in both hands. Instead of the structure which occu- \npies the middle in the Codex Borgia picture, here are seen the yawning jaws of earth, and sinking into \nits throat a man painted red but dead, as shown by his closed eyes. In the upper half of the section \n\n\n\nThe Six Earthly Regions. 193 \n\nis further pictured a dish with a stone sacrificial knife, which should doubtless be compared with the \ndish of blood and hearts in Codex Borgia. \n\nAnd thus we have shown that, both in their general contents and in numerous details, the six \npictures of this series of our manuscript correspond altogether with those of Sheet 57 of Codex Borgia. \nBut the latter have a special feature, which finds no place at all in our manuscript. That is the \nimage of the Sun, or say of the gloaming and the moon, which is seen on the upper border of the \npictures in all the sections of the Codex Borgia sheet. I believe that this peculiarity, which is lacking \nin our manuscript, may again afford a standpoint for the general interpretation of this series. We \nsaw in the fourth section that with the two water deities, Tlaloc and Chalchiuhtlicue, was pictured \nthe half-image of the sun with the chalchiuitl, or green jewels, hanging out between the rays. The \njewels we had to explain as the precious fluid, the rain. Here accordingly the half-sun must indicate, \nnot the sun, but simply the sky. The same remark seems to me applicable also to the other \nsections. Consequently I take the whole series collectively as the six heavens, as I have indicated \nin the heading of this section. \n\nAnd in this connection the sequence of the cardinal points seems to me to be the normal \u2014 \nEast, North, West, South, Above, Below. The East heaven would accordingly be represented by the \ntwo gods of procreation, the lords of food supplies, Toriacatecutli, \u2022 Toriacaciuatl, and characterised \nas the place of abundant sustenance and of creation. The North heaven is distinguished as the \nregion of the gloaming, hence as dark, and is consequently represented by the Earth Goddess and \nthe Pulque gods. The West heaven is that of the maize gods, the South heaven that of the rain \ngods, Tlaloc here standing for the South, just as he also does, for instance, on Sheet 25 (= Kings- \nborough 14) of Codex Borgia, to which corresponds Sheet 70 ( = Kingsborough 27) of Vatican B. \nThe Upper heaven is represented by XochipiUi, the Lower, i,e, the interior of the Earth, by the two \ndeath gods. \n\nIn this association of the cardinal points and gods the series deviates in a surprising manner from \nthe well-known sheet with the Tlaloc figures of the four years, and from several other series of the \ngroup of manuscripts. But herein it resembles Sheets 49-52 of Codex Borgia, to which correspond \nthe lower halves of Sheets 33, 34 of our manuscript, which immediately precede the present series. \nThereby only one shifting had to be made, that is to say, the end of the series, instead of being \nformed by the one quarter of the South, is here formed by three quarters \u2014 South, Above, Below. But \nit may presumably be assumed that the series dealt with in the present section belongs to the \nsame school as that which designed the four pictures which were intended to symbolise the \nrectification of the length of the year. \n\n\n\nIX. The Six Earthly Regions. \n\nSheets 38-43 ( = Kingsborough 7-2). Lower Half. \n\nThis series, consisting of six sections, is manifestly intended to be a counterpart to the preceding. \n\nHere again we find each of the sections accompanied by a column of day-counts, which, taken jointly \n\nwith the intermediate members indicated by dots or little circles, make up a complete Tonalamatl. \n\n2b \n\n\n\nr \n\n\n\n194 ^e I)&7 Side of the Manuscript. \n\n\u2022 \n\nBut here the arrangement is somewhat different. The first and last columns of day-signs agree \nwith the first and last of the foregoing series, as does also the second ; but the three following are \ndifferently chosen, and in such a way that it is no longer always the same signs, only differently \ngrouped, that form the members of all the five first columns, as was the case with the foregoing \nseries. On the contrary, other signs present themselves in the fourth and fifth columns. At the \nsame time, however, these two columns are chosen analogously with the second and third, since, like \nthe second and the third, they are separated from each other by intervals of four signs. The columns \naccompanying the six sections are as under : \u2014 \n\n(1) cipcLctli, acatl, coatl, olin, ail, \n\n(9) atly cij^actli, acatly coatly olin, \n(13) cLcatlj coatl, olin, atl, cipactli. \n(10) caUi, qnauhtli, raagatl, quiawitl, ogomdtli, \n\n(1) Tnofatl, quiaivitl, Ofomdtli, calli, qtiavJitli, \n\n(5) cozcaqvxiuhtli, cuetzpalin, tochtli, xochitl, malinalli. \nIn this last column there is an error, the first and second signs being interchanged. Hence, when \ncorrectly arranged, this column is rather to be read \n\n(5) cuetzpalin, cozcdquauhtliy tochtli, xochitl, raalinalli. \nIn all the sections of this series is figured the same animal-headed demon whom we have already \nmet in the left section of the lower half of Sheet 30, and again in the left section of the lower half of \nSheet 33 of our manuscript, and who, as I have above fully explained at pp. 140-143, agrees with the \nbearers of the four years on Sheets 25-28 of the Dresden Maya document. On Sheet 30 of our \nmanuscript this demon denoted the downward direction, and on Sheet 33 he was the idol of the North \ntemple, which in that part of our manuscript occupies the place where in the other manuscripts we \nmet, sometimes the picture of the moon with a stone knife on its surface (cf Fig. 192 supra, p. 174), \nsometimes the night bird, the owl, and before it darkness ascending with emblems of the Earth \nGoddess (cf. Fig. 193 supra, p. 174). Hence there can scarcely be any doubt that in our manuscript \nthis demon indicates the region of the Earth, or the dark interior of the Earth. And we thus perceive \nthat the present series reveals itself as the counterpart of the preceding. For, owing to the peculiari- \nties presented by the homologous series of Codex Borgia, we had to interpret the preceding series \nas the ' six heavens.* Hence I have also at once introduced this series as the * six earthly regions ' at \nthe head of the present section. \n\nNo parallel to this series is known from any other manuscripts. But it may be taken for \ngranted that the six pictures are intended in some way to correspond to the six quarters. I will \nnot venture, however, precisely to indicate the actual sequence here to be followed. Still, one \nmay doubtless conjecture that the usual order is intended, i.e. East, North, West, South, Above, \nBelow. \n\nHere the demon appears in most of the pictures with a red wig, the straps of which project \nabove the forehead, where they are fastened by a sort of clasp (or buckle). Only in the first section \n(answering to the East) the wig is repltwed by a white dotted band, i.e. painted the colour of white \nchalk {tifatl). And also on most of the sheets (the first, fourth, fifth, sixth, perhaps also the third) \nthis demon has, strange to say, a sort of wing, or wing-like pendant, attached to shoulders and \nupper arm. As breast ornament he everywhere wears the eye of the god Tezcatlipoca, \n\n\n\nThe Four Forms of the Deity of the Planet Venus. 195 \n\ni.e. the ring {anauatl\\ which is enveloped above with red band& On the first sheet (East) \nthe demon is white, on the second (North) yellow, on the third (West) half white half red, on \nthe fourth (South) all red, on the fifth (Above) again yellow, on the sixth (Below) half yellow \nhalf red. \n\nOn the first sheet (38), the East, the demon is pictured with a tomahawk in his hand, as a \nwarrior who has captured a prisoner. The captive, bleeding from a wound in the breast, is \nhanding his throwing-stick to the victor, exactly as in the famous group of figures on the Ti^oc \nstone, while his other arm, holding a bundle of spears and shield, is stretched backwards. \n\nOn the second sheet (39), that of the North, the demon is depicted in combat with another \nfigure. As a weapon here he seems to wield a club, which somewhat recalls the disks by which \nthe Tezcatlipoca of the North is distinguished as God of Cold on Sheets 25 and 33 of our \nmanuscript. Ixtlilton holds a similar club in his hand on Sheet 24 of our manuscript. \n\nOn the third sheet (40), that of the West, the region where the sun is eaten, the demon \nis swallowing a man, while a shield and a spear with broken head lie on the groimd. On the \nfourth sheet (41), that of the South, the demon alone is figured, with throwing-stick and bundle \nof spears in his hand, but with severed head, and from the wounded neck a snake emerges, as in \nthe colossal picture of CouaUicue, the so-called Teoyaorriiqui, in Mexico. \n\nOn the fifth picture (42), that of the Upper region, the demon is thrusting a chain of beads, \nwith a bone inserted as a connecting-link, into the open mouth of a human head which lies in \na dish, and is painted yellow, the colour of women. Beside it lies a sort of hatchet, the heft \nof which looks as if formed of smoke or fire, and above is seen a rubber ball transformed to a \nface. Lastly, in the sixth and last picture (43), that of the Lower region, the demon is figured \non a crossway, while a road studded with eyes leads from him upwards. Beside him is shown a \nflower in a dish. \n\n\n\nX. The Four Forms of the Deity of the Planet Venus. \n\nSheets 41, 42 ( = Kinosborough 4, 3). Upper Half. \n\nThe four members of this series are assigned to the four cardinal' points, or made sjmabols \nof the four quarters by the columns of day-counts which are entered below them, and are the \ninitial columns of the four quarters of the TcmaLawxitl disposed in columns of five members. These \ncolumns of day-counts are as under : \u2014 \n\n(1) cipactli, dcatlf couatly olin, atl, \n\n(1) ocelotl, miquiztli, tecpatl, itzcuintli, eecatl, \n\n(1) Tnofatl, qiiiauitl, ofOTnatli, colli, qv/mhtli, \n\n(1) xochitl, malinalli, (metzpalin, cozcaquauktli, tochtli. \nThe present series again has its parallels both in Vatican B and in Codex Borgia \u2014 in Vatican B \non Sheets 24-27 ( = Kingsborough 72-75) \u2014 which are there directly connected with the pictures \n\n\n\n106 The Day Side of the Manuscript. \n\nof the nine lords, while they are themselves followed by the gods of the twenty day-signs. In \nCodex Borgia the parallels occur in the upper right comers of the lower halves of Sheets 49-52 \n( = Eingsborou^h 66-63), the same sheets that contain as their central piece the temples with \nthe gift-bearing deities, respecting which we have seen that they served to symbolise the correc- \ntions of the year's length effected eveiy 42 years. \n\nThe series is interesting, because here in the very first place, in the section of the East, a \ndemon presents himself, who occurs nowhere else in Mexican picture-writings, but appears to \nhave played a great part in certain districts of the Maya domain, and perhaps also amongst some \nother aboriginal tribes. This is the Bat God, who in our manuscript is distinctly indicated as & \n' man-bat ' by his hairy extremities, the wing-membrane outstretched between the arms, the \nthumb and great-toe nails on arms and legs, and the animal head with the small sharp teeth \nand erect, skinny, nasal lobe. The dark hair of the head studded with eyes, the occipital shield \n\n\n\nFig. 209. Bat God. \n\nCodex Borgia 46 \n\n(=\u00b1Eiiigsborough 66). \n\n\n\nFig. 208. Bat God. Oodex VaticacuB B 24 ( = Kingsborough 72). \n\n{cuexcocMeckimalli) and the flag above it are death symbols, emblems of the Death God. In \none hand the god holds the severed head of a man, and seems at the same time to be grasping \na dragon, whose body develops lower down a kind of vessel, in which the god is standing. In \nhis other hand he holds a rended heart. \n\nIn the corresponding figure. Sheet 24 of Vatican B (Fig. 208), the bat distinctly appears as \na disguise, as shown by the human hand which is seen protruding at the arms under the animal \nclaws. In other respects the animal is sufficiently distinguished by the expanded leathery \nmembrane, which is painted black with skulls and set round the edge with claws, by the claws \nshown above the feet, and by the animal head with its small sharp teeth. But here we miss the \ncharacteristic, skinny, leaf-like, nasal process, instead of which a stone knife is seen at the tip \nof the nose, and this also is a death symbol As a headdress the god of Fig. 208 wears, not \nthe emblem of the Death God, but the usual jewelled fillet with the conventional bird's head on \nhis forehead, and above it the half black, half red, wedge-shaped hat {copiUi) of the Wind God, \nQuetzalcoiiatl, the fan-shaped nape adornment cue^luitoncatl of the same god, consisting of black \n\n\n\nThe Four Forms of the Deity of the Planet Venus. 197 \n\nand a few inserted red feathers, and, stuck in his hair, the bone dagger (omitl) and agave-leaf \nspike (uitztli), the symbols of mortification, with the attached picture of a flower denoting the \nblood of the penitents. In short, here in Vatican B the Bat God is equipped as Qwetzalccmatl, \nBut, like the Bat God of our manuscript, he holds in one hand the severed head of a human \nbeing, and together with it a stone knife attached to a heft; in the other a second human head. \nAbove, to the left, is further shown a rended human arm. \n\nObviously this Bat God is thought of as the c'aTna zotz, the ' head-rending Bat ' of the Popol \nVuh, who plays a part at the destruction of the world, or rather at the destruction of the first \nhuman race, the people carved out of wood (poy aham che) : \u2014 ^ \n\nquehecut qui camizaxic \u2014 in the following way were they slain, \nxe butic \u2014 they were submerged, \n\naype nima k'ol chila chi cah \u2014 a great copal (thick darkness) came from heaven, \noccot c*otv\u20acich^ u bi xc^otin uloc u hak qui vach \u2014 the eagle dug out their eye- \nholes, \nxpe c'amazotz^ xcwpin via qui holom \u2014 the (head) render, the Bat, tore off their head, \nxpe cotzhalara xtio qui tiohil \u2014 the (Cotzbalam) (a species of jaguar) ate their flesh, \nxpe tucwwhalaTn xtukuvic ocquichouic qui bakil qu-ibochil \u2014 the Tucru/mhalum (a \nspecies of jaguar) crunched their bones, their sinews. \nIn this instance the least characteristic, i^, the most conventionalised, is the figure in Codex \nBorgia (Fig. 209). The animal claws and head are distinct enough, and a heft-like curved \nelongation at the nose indicates the skinny nasal lobe. But the picture shows no extended \nwing-membrane, which is merely suggested by a couple of pendants to the arms with scalloped \nedges and looking almost like butterflies, but otherwise painted the colours of the wing-membrane \nof the god of Vatican B, and further, a similar black-like attachment, hanging down from the \ngirdle behind. Like the figure in Vatican B, the Bat God of Codex Borgia is also equipped \nwith the jewelled fillet, the wedge-shaped hat (copiUi), and the fan-shaped nape ornament \n((mefaluitoncatl) of the god Quetzcdcouatl. Unlike the figures of the other two manuscripts, he \nholds no severed human head in his hand, but wears one as a breast adornment. The raised \nright hand holds the throwing-stick (atlatl) in the act of throwing. With his left he is tearing \nthe heart out of the breast of a Death God, who stands before him in a red yellow-spotted coat \nof paint. \n\nThis conventional Bat God, in Codex Borgia on Sheet 49, stands beside the Sun God \nsacrificing with the sun before the temple. Hence he must denote the East. Naturally the \nBat, who denotes the East, can be nothing but the gloaming that begets the light, or the \nmorning. And if we consider that in two of the manuscripts it appears equipped in the attri- \nbutes of Quetzalcimatl, and in Codex Borgia is pictured with the throwing-stick, hence as the \n' Shooting God/ we shall be driven to the assumption that the Bat is merely a disguise of the \ngod of the gloaming, the lord of the house of the dawn, the Tlauizcaljxintecutli, the deity of \nthe Morning Star. And here I will again refer to a passage in the traditions of the Guatemaltec \n\n\n\n^ Popol Vuh I. chap. iii. \n' Amended for xecotcovach. \n^ Amended for camcUotz* \n\n\n\n198 The Dajr Side of the Mauuecript. \n\ntribes, strongly influenced though they no doubt may be by the Mexicans. It occurs in the fifth \nparagraph of the Cakchiquel Annals, where we read : \u2014 \n\nquere c'a ru. banic vinak rij \u2014 and thus was man created, \n\nqxiere navipe ru banic chay ahak ri \u2014 so also (the idol of the Cakchiquel tribe) \n\nthe Obsidian stone, \ntz'apal c'a ru eld ri TvUan xoh pe vi \u2014 and shut was the gate of Tullan whence \n\nwe came ; \nxa kun cki fo'tz tz'apihal ru chij ri TiUlan \u2014 a Bat was the closure of the gate \n\nof Tullan, \nxoh alax vi vX xoh c'ahokuc vi 'pe \u2014 where we were bom and b^otten, \nxya vijie ri k-ikan \u2014 where to us our loads were given, \nchi k'ektmi chl a'ka \u2014 in tbe time of darkness and the night.' \n\n\n\nFig. 211. Mixximatl. \n\nCod\u00abx Borgi\u00bb 60 \n( = Eiufpborough 99). \n\n\n\nFig. 210. Mixayaaa. Ctniex Tatiowius B 25 ( = Kingsborough 73). \n\nIn the second section, which answers to the North, is shown Mixcouatl, God of the Hunt, \nGod of the Hunting Tribes, of the Chichimecs, who is identiHed with the Tlazc^tec god Ca- \nvuuctli. In Codex Borgia (Fig. 211) he is figured with his characteristic marks, exactly as we \nhave met him on Sheet 25 ( = Kingsborough 14) of this manuscript (cf. Fig. 109 supra, p. 111). \nThus be has the white red-striped body and facial painting, and the deep-black, half mask-like \npainting about the eye, the two distinctive marks in which he agrees with one of the forms of \nTltiuiscdljjantecuUi, the Morning Star. But along with this he shows the downy-feather ptaster- \n\n' Briuton, we know, has published theie Aanali with a trBQiUtion. But hie traoalatioD is full of eirora and often \nabaolutely DaiDtelligible. Thus he renders the above paauge : \u2014 ' Thn* men were m&de, and thai the Obtidian Stone was \nniado, for the encloanre of TulUn ; thus we came to where tbe Zotzila were at the gates of Tullan ; arriving we were \nbora. Doming wo were produced, coming we gave the tribute in the darknest, in the night.' What we are to nnderstaod \nby 'arriving we were produced, coming we were bora,' I cannot imagioo. Brinton appeart to have had no netioD of tbe \nfusion of the predicate with verb* of motion, which answer* to the A;itec so-called conjugation of motion, and example! of \nwhich occur in almoet every sentence of tbe Cakchiquel Annals. \n\n\n\nThe Four Forms of the Deity of the Planet Venus. 199 \n\ning of the hair, and the white fork-shaped heron-feather adornment (aztaxeUi) of the warriors, bul \nalso in other respects (by the locks flaming up above the brow) recalling the Tlauizccdpantecutii \nwith whom he is essentially identical, as I have above set forth (cf. pp. 72 and 111). \n\nThe same characters are seen in the picture on Sheet 25 of Vatican B (Fig. 210). Only here \nthe god is figured, as the god of the wild tribes, naked, without loin-cloth, and with exposed \n\npenis. \n\nOur manuscript deviates from the other two in that it pictures the god, not white and red ^ \nstriped, but half red half blue. This deviation we met above in the upper half of Sheet 26 of \nour manuscript with the fifth god of the second series of the four times five guardians of the \nVenus periods. In other respects the god is figured, like that of Vatican B, as god of the wild \ntribes, with naked unveiled penis, and as god of the hunt, with a deer's foot in his ear. But, like \nthe figures of the other manuscripts, about his eye he shows the deep-black, half mask-like \npainting set round with little circles, mioacitlaLftuiticac^ moteneua^ tlayouaUi, ' the star face-painting \nwhich is called darkness,' i.e. the image of the nightly heaven, of the starry sky. And he likewise \nshares with the other manuscripts the lambent locks above his forehead. Altogether the devia- \ntion of this Codex Fej^rvdry figure from those of the other manuscripts is more striking than \nfundamental. For the half red half blue coloration is just as symbolic of the twilight as is the \nwhite (or white striped in red). \n\nIn all three manuscripts the god holds the throwing-stick in one hand, a spear or a bundle \nof spears in the other. For, more than the Morning Star himself, this god is the Shooting God, \nAnd he directs these weapons against a jaguar who, in the respective pictures of Codex Borgia and \nVatican B, stands on a man thrown prone on the ground. I have an idea that here this jaguar \ndoes not stand merely as the quarry, but that we have to remember the symbolic meaning of this \nanimal. As I have already once stated above, for the Mexicans the solar eclipse was a being \ndevoured by the jaguar, and the jaguar was consequently the emblem of devouring darkness. And \nI am of opinion that the god who overcomes darkness, the star that heralds the approach of the \nsun, is represented in these pictures also. \n\nIn the third section, which answers to the West, the three manuscripts again fully agree in their \ntreatment of the subject, but in Codex Borgia the subject-matter presents a different aspect from \nthat of the two other manuscripts. \n\nIn our manuscript, the Codex Fej^rvAry, on the right side of Sheet 42, on the surface of a \nsheet of water, is seen a god in a light-yellow colour, deckfed with the jewelled fillet with the con- \nventional bird's head on the frontal part. He somewhat resembles the Xochipilli of several sheets \nof this manuscript, and also, like the god Xochipilli in other parts of the manuscript, appears to be \ndistinguished as such, by a dish which he H presenting, and in which are seen a jewelled neck \nornament {chcdchiuhcozcapetlatl), a bangle on the upper arm (machoncotl), and a bunch of quetzal \nfeathers. But the right foot of the figure is torn off, and the foot itself is being carried off by a \nmonster, who is pictured with the black body of a fish and a heterocercal shArk-like tail, but with \nan upturned cipactli head without lower jaw. \n\nQuite analogous is the picture on Sheet 26 of Vatican B (Fig. 212). Here too is seen a figure \nwhich is painted a yellow colour, and completely agrees with our Fej6rvary figure, even in its neck \n\n\n\n200 The Day Side of the ManuBcript. \n\nand breast adornments, a blue chatckiukcozcapetlatl set with golden bells, with a large gold disk \n(teocuitla<:omaUi) attachment, besides two lappets of cloth below. Here also the foot has been \nbitten off by a monster with a black fish-ltke body, two-Iobed heterocercal tail, and cipactli head. \nOnly here the god holde, not a dish with ornaments, but in one hand app&rently a bunch of green \nfeathers, in the other a staff which is painted blue like a turquoise, and decked with flowers, and \nis perhaps meant for a rattle-stick (chicauaztli). Moreover, uplifted by the water, are further seen \nthe implements of sacrifice \u2014 the bone dagger (omitl), stone knife (tecpatl), agave-leaf spike (uitztli), \nand green bunch. And on the upper border of the sheet is shown a symbol combined of a half- \nsun and the image of night, such as was above met (cf. Fig. 202, p. 185) with the pulque gods, \nbut from which here blood would seem to be radiating. \n\n\n\n Fift. 2ia \n\nDeity of the BTening Star. \n\nCodex Borgia fil \n\n( = KingsboTough 64). \n\n\n\nFig. 212. Codex Vaticanus B 26 ( = Kingsborough 74). \n\nIn Codex Borgia (Fig. 213) is also seen a god with rended foot, and a water-vessel in which \na monster is pictured. But this monster is not fish-like, but resembles a reptile with abso- \nlutely the same form and the distinctive mark of the cipactli, the crocodile, just as this animal \nof the first day-s^ is usually figured and drawn in the manuscript. Nor has the god with the \nrended foot the XockipiUi-hkB appearance of the figures in the other two manuscripts, but is \nunmistakably the deity of the planet Venus, Here it is the Evening Star, with the white quin- \ncunx, the hieroglyph of the planet Yenus, on its dark face, the fillet with the two-pointed, e^- \nshaped omameata (doubtless slices of mussel-shell), and the locks flaming up above the brow, \nall well-known characters of this deity, as pointed out by me in its place ; ^ and, further, with \na feather adornment which hangs down from the nape, and at the ends of which are seen the \nblack, white-tipped feathers, which form the feathery crest of the typical picture of Tlawizcal- \n\n\n\n' 'Dia Vennaperiode Id den Bilderichriftan der Codex Borgi&-Grupp\u00ab.' VerhaDdlaogen der B\u00abrlii]er Anthropologiwben \n0\u00abMaiiohafL Meetingof July 16. 1S98. (Zeitschrift fiir Elhnologie, vol. zxi. pp. 36), 352, and 362, 364.) \n\n\n\nThe Four Forms of the Deity of the PUaet Venus. 201 \n\nand of the deity of the Evening Star. And he wields the throwing-stick and the \nspear, as becomes this star, of which we read: yniquac hiialne^iuh yn tlein ypan toJUiUi \nrecentUimaTitin ywpan miyotia quinmina qui-nHakuiiia, ' when he rises, according to the sign \non which he rises, he shoots divers kinds of people.'^ \n\nFrom these parallels it results that the JocAipiMi-like figures of the other two manuscripts are \nto be taken merely as personators or disguises of the Eveniiig Star, and consequently in this \nthird quarter also we have the deity of the planet Venus. Hitherto, however, I have searched \nin vain for the myth that might explain these pictures of the God of the Rended Foot. \n\nIn the fourth section, corresponding to the South, the pictures of Codex Borgia and Vatican \nB again agree in the closest manner. In all three manuscripts the subject of the picture is \nformed by a group consisting of an eagle and a feather-snake. In Codes Borgia (Fig. 215) we \nsee the e^le in the characteristic design of this manuscript, with the white and black plumage. \n\n\n\nFig. 215. Codex Boi^a 5i \n\n( = KinKaborongh63). \n\n\n\nFig. 214. Oodex Vsticanus B 27 { = Kingsborough 75). \n\n\n\nthe streaming head-feathers, and the bone knives, which are introduced at all prominent points \nand distinguish this bird as the great beast of prey. The feather-snake has exactly the same \nform as the feather-snake which is figured in the fourteenth section of the TonalamatI with \nthe god Xijte (cf. Fig. 24a 3iipra, p. 38), From the feather-snake's mouth we see emerging \na rabbit, which is seized by the ei^Ie, who appears at the same time to be tearing the feather- \nsnake with his talons. The eagle has caught the rabbit by the eye, so that it looks as if, \naccording to the habit of these birds of prey, he were at once preparing to pick out the eye \nof his victim. \n\nCompletely analogous is the picture in Vatican B, Here the eagle is designed in a some- \nwhat more heraldic and less lifelike form. The snake is coiled up, marked with black triangular \nspots, and has only a bunch of feathers, over the eye and at the tip of the tail, which is furnished \nwith rattles. Here also a rabbit comes out of the snake's throat, and is seized by the eagle \nwith his claws. \n\n' An&Iea de QuaDhtitlBD. \n\n\n\n202 The Day Side of the Manuscript. \n\nIn our manuscript, on the left side of Sheet 42, the eagle's wit^ and tail are painted in \nthe four colours, the head with its bristling feathers and the breast being alone in the typical \nblack and white coloration. In its design and feather equipment the snake recalls that of \nVatican B. But before it are shown two pairs of a blue and a red stick each, placed cross- \nwise, a symbol I cannot venture to explain. From the mouth of the feather-snake flows blood, \nand beside it is figured, not a rabbit, as in the pictures of the other two manuscripts, but a \nlizard or an iguana of a blue colour, designed and painted exactly like the animal which \nrepresents the fourth day-sign, cuefzpali'n, 'Lizard.' The eagle has seized this animal in his \nclaws, while he appears to be drinking the blood that flows from the mouth of the feather- \nsnake. \n\nThis difference between our manuscript and the other two, however difficult it may be to explain, \nstill shows that the essential element in the pictures of the other two manuscripts is the feather- \nsnake himself, and not the rabbit coming out of his mouth, as I was elsewhere inclined to assume. \nAnd in point of fact a similar difference is also presented in the feather-snake which is the associate \nof Xipe, lord of the fifteenth day-sign and of the fourteenth week. That is to say, with Xijte, lord \n\n\n\nFig. 216. The Feather-snake quetzalcovaa. Fig. 217. The Feather-snake quelzaltouaU. \n\nCodex Borgia 1 1 ( = Kingaboroiigh 28). ( 'odei Borgia 67 ( ^ Kingsborough 48). \n\nof the fifteenth day-sign, we see a rabbit rising out of the throat of this feather-snake (Fig. 216), \nwhile with X'ipe, ruler of the fifteenth week, the feather-snake seems to be swallowing a man who \ntumbles head-foremost into its throat (Fig. 217). \n\nI have ^ven much thought to this varying representation, but without arriving at any \nsatisfactory explanation. So much, however, to me seems certain, that the feather-snake denotes the \nwater, perhaps the sea itself, and is shown with Xi}}e at the specified places, because be is the \nAnaiiatl itecu., the Lord of the Coastland, and that we have to explain as the land surroimded by \nthe sea the rabbit in the feather-snake's throat, and presumably also the lizard in the feather-snake's \nthroat of our manuscript And if at Fig, 217 we see a man tumbling into the snake's throat, that \nmay perhaps denote the sinking of the sun into the sea, or, in general, the movable element into \nwhich all things are made to sink. Rabbit and lizard are both to be regarded as symbols of the \nearth. In Ce t<H-hHi, according to the Anales de Quauhtitlau, the earth was made, and Cc iochili is \nthe sign and the day of Xipe. whom we have seemingly without doubt to regard as God of the \nEarth. But on Sheet H of our manuscript we met Ge (mefzjxilin, ' 1 Lizard,' given as n name for \nXoch it) uetziil. \n\n\n\nThe Pour Forme of the Deity of the Planet Venus. 203 \n\nAs we hftve recognised the first three figures of this series as images or disguises of the deity of \nthe planet Venus, it may reasonably be surmised that this fourth group denoting the South, or its \nchief figure, the eagle, should also be regarded as merely a disguise of the same deity. I am \ncertainly not acquainted with any myth in which the Morning Star figures as the eagle. Still, \nconsidering the close relation existing between this god and the warriors \u2014 indeed, the god appears \nin the Tonalamatl as the symbol itself of the warriors' death, and that in combination with the \natt-tlackinoUi symbol, the imf^e of war \u2014 it would not he exactly surprising were we also somewhere \nto meet this god in the di^uise of an eagla And I believe such coses do occur. \n\nAmongst the complicated representations which occupy the last sheets of one and the first sheets \nof the other side of Codex Boigia, one of the most remarkable is Sheet 45 ( = Kingsborough 70). \nThis sheet positively teems with images of the Morning Star. Not only the two chief persom^s, \nbut nearly all the secondary figures wear the livery and the \nfacial painting of this deity. But on this same sheet, in the \nfour comers, four houses are depicted. On the roofs of three \nof them lies an eagle, while the roof-ridge of the fourth is \nmade of eagle's down. And on the left side of the chief and \ncentral group is also seen a large e^le, who again is merely \nthe disguise of a god apparently showing the face-painting of \nthe Morning Star or of Quetzalcouatl. He is descending from \nabove, and seems to be receivii^ the heart which, immersed \nin a stream of blood, comes from the open breaat of another \nti^re of the deity of the Morning Star, which lies in a \nlarge water - vessel towards the rear as if thrown back \n\nover a sacrificial plug {Fig. 218). These representations '^=KmgBboTOugh'70). \n\nalso seem so far to be connected with the pictures of our \n\nseries, that on the immediately preceding sheet Bat, Jagvxtr, Quetzal Bird, and Ba^le are figured \nin the four quarters of the heavens. \n\nWith this fourth picture of ours I find it more difficult to construct any relation to the \nquarter of the South. Hence I will confine myself to the remark that the same connection between \nei^;le and quetzal-feather snake, which is here presented in our fourth picture, is strictly speaking \nalready met in the series of the deities of the twenty day-signs which are introduced in some of \nthe first sheets of Codex Borgia. Thus, with the day-sign qiuivMli, 'Ei^le,' stands as his symbol \nthe red (TlatUiufiqui) Tezcatlipoca, who here personates the god Xipe, and above him (Fig. 216) \nthe picture of the feather-snake with a rabbit emerging from its throat. \n\n\n\n204 The Day Side of the Manuscript. \n\n\n\nXI. Once More the Five Quarters. \n\nSheet 43 ( = Kingsborough 2). Upper Half. \u2022 \n\nIn the last two representations of this side (B) of the manuscript, a return seems to be made to \nwhat formed the subject of the other, the A side. Or else the author has really begun with the \nB side, the day side, i.e. with Sheet 23, so that these last two representations would merely be the \nforerunners of what has to be exhibited on the other, the night side, the side A. The latter seems \nto me the more probable assumption. Hence I should, strictly speaking, have numbered this sheets \nof this manuscript diiferently, i.e, I should have made the B side the first and started with Sheet 23. \nThis, however, is of no consequence for the interpretation of the several groups figured on this \nsheet. And in any case, the numbering adopted by me has the advantage of being a simple reversal \nof the Kingsborough pagination. \n\nThe first of these concluding representations, that on the upper half of Sheet 43, again places \nbefore us the five quarters, or the five regions of the world. But in this case it takes the simple form \nof a cro88way, which shows the four cardinal points, East, North, West, South, together with a \ndovhle indicator, which, being applied crosswise to the cross of the crossway on the ground, is \ncertainly intended to denote the down and the up. With one hand the index finger is open, \nwhich presumably indicates the upward direction. The other hand sprawls out in a somewhat \nunnatural way, the fingers being joined together in twos, which seems meant to denote the \ndownward direction. In other respects both arms are furnished at the wrists with bracelets of \nwhite objects pointed at both ends, which are doubtless meant to be taken as snail-shells, like those \nwe *met with the above-described Iztax) Mioocouatl, the old god, who in fact, jointly with the old \ngoddess Ilarruitecvilly embodies in himself the region of the above and below. \n\nOn the crossway and at the two arms are shown three bundles of firewood, and from the central \none flames break out. Thereby a distinct relation is again indicated to the nine lords of the night, \nas the guardians of the five regions of the world. But here these guardians of the five regions \nthemselves are exhibited, not by figures, but by dates. And indeed the date ce couatl, ' 1 Snake,* \nseems to correspond to the Fire God, or the Middle, the Below- Above. To the powers of the East \npresumably the date ce cipactli, ' 1 Crocodile,' which stands at the upper left beam of the cross. To \nthe powers of the North the date ce eecatl, '1 Wind,* at the lower left beam. To the West ce \nmiquiztli, *1 Death,' at the lower right beam; and to the South XolotVs sign, the date ce olin, \n* 1 Rolling Motion,' on the right above. \n\nAs on the Sheet 5 following the nine lords, on the other side of our manuscript, so here also, \nbesides the figure and the dates, a number of ciphers is further given, which are written in the Maya \nstyle. And I also think that here, on Sheet 43, the same number is intended to be inscribed as on \nSheet 5, and that the same meaning is to be given to the one as to the other. In that case, however, \non our sheet we must assume a kind of elliptic method of writing. On Sheet 5 we found the \nnumbers (10 x 11) + (10 x 11) + (11 x 11) = 341, a number which also appears to be the chief \nnumber in the parallel representation of Codex Bolognsu And I there pointed out that this was \npresumably intended to indicate the number of days that Venus is visible only as the Evening Star \n\n\n\nTezcatlipoca, the Wizard. 205 \n\nor not at all, hence in a measure as the time when there is no Morning Sta/r, when the messenger of \nMorning, the herald of dawn, does not appear, when the Night is awaited. On our sheet we find \n(11 X 10) + (11 X 10) + 11, a number which of itself has no meaning, but becomes at once in- \ntelligible, and is to be calculated from the same standpoint as the number on Sheet 5, that is, on \nthe assumption that the eleven entered by itself on the right beside the twice (11 x 10) stands for \n(11 X 11). \n\nThat this number and this sheet are really to be thus interpreted seems to be also confirmed by \nthe next sheet (44), the last of our manuscript. \n\n\n\nXII. Tezcatlipoca, the Wizard. \n\nSheet 44 ( = Kingsborough 1). \n\nThis last sheet of the B side of our manuscript is, like the preceding, intelligible only on the \nassumption that it is intended to be, not the end of this B side and the absolute end of the manu- \nscript itself, but to serve as forerunner and indicator of the representations on the first \u2014 the A side \n\u2014 the night side of the manuscript. \n\nOn this A side of the manuscript \u2014 the first dealt with by me \u2014 the five quarters and their \nguardians, the nine lords of the night hours, were brought under view in the quarters themselves, \nand then once again in some special large pictures. And directly connected with these was a series \nof other remarkable representations, which, owing to the changed order followed by the figures \nthere pictured, partly also because of the character of the figures themselves, and, above all, because \nof the symbols accompanying the initial sheet, we had to regard as having relation to weird un- \nnatural things, to an esoteric occult lore, to magic practices or the like. \n\nAs an indication of what the reader is intended to find on the sheets of the other \u2014 the A \u2014 \nside of the manuscript, and at the same time as a proof that we have correctly interpreted their \ncontents, we see here on this concluding sheet of the B side the god who is the nocturnal^ the \nnightly wandering god and the magician in a pre-eminent sense, the god Tezcatlipoca; and we \nsee him surrounded by all the signs of the Tonalamatl, i.e. by the signs which were held to be above \nall else, nay alone decisive for the fitness of the things occurring on the consecutive days, for their \ngood and bad luck and the tendencies inherent in them \u2014 signs which in themselves represent the \ntonaUi, the fitness of the things taking place under their dates, and also form the chief instru- \nment in the hands not only of the seer, the soothsayer, the adviser of his people, but also \nof the magician. \n\nOn this sheet the god is pictured in the black bodily colour appropriate to him as the \nYayavJiqui Tezcatlipoca, and on his face the yellow cross-bands, the ixtlan Hatlaan, his characteristic \nfacial painting. Instead of hair, or else on his hair he wears the dark covering, studded with downy- \nfeather balls and trimmed with a white fringed hem. On this is seen the aztaxelli, the forke \n\n\n\n206 The Day Side of the Manuscript. \n\nornament made of whiio ogle's down and white heron-feathers, the warriors' dancing-headdress. \nBeside it, at the side of the head, is the smoking mirror, the badge of the god Tescafilpoca, which \nis never ahsent in the Mexican manuscripts proper. On this sheet of our manuscript are also \ndistinetly figured his other distinctive marks \u2014 the stump leg, and at its extremity the mirror, which \ntakes the place of the rended foot. As his only garb the god wears the loin-cloth and a wrap tied \nround his hips. The large back-mirror attached behind to this hip-cloth {cuitlaiezcatl) is, as usual, \npainted a blue (turquoise mosaic) colour, and is executed in open fretwork. On his breast he wears \nthe white ring made of mussel-shell {ttnauutl), with the large bow of red-coloured leather thoi^, \nan adornment which, with the smaller figures of our manuscript, is often replaced by the con- \nventional image of an eye. And the upper arms are decked with the rings extended like a shield \non one side {truidioncotl), as with the two dance gods, \nMacuil xochitl and Ixtlilton, whom we have met on the \nlower half of Sheet 24 of our manuscript. \n\nIn one hand the god holds shield, bundle of spears, \nand hand-flag, but in the other \u2014 the right \u2014 a rended \nhuman forearm, with the palm of its hand pressed against \nhiB mouth, as if it were a bone flute on which the god \nwas playing. And, in point of fact, the blood which \ntrickles from the exposed bone at the other (torn) end of \nthe arm takes partly the form of the familiar little tongue, \nwhich denotes breath, discourse, and tone. \n\nFig. 819. Such an equipment wo have hitherto nowhere met \n\nTte^vhaui Tezfotlivoca, the Bed Tatattipoca ... \u201e .  ,. n ^ \u00a3 j -i  \n\nM PeTwomi^i Xipc Touc. '>th any figure m our manuscnpL But we find it pic \n\nCodex BoTgis 11 ( = Eingaborough 28). tured In quite the same way with the red god TUttlavJi- \n\nqai TezcaUipoca (Fig. 219), who is figured on Sheet 11 \n( = Kingsborough 28) of Codex Borgia in the place of Xipe as the symbol of the fifteenth day-sign \nqvaukili, 'Ei^^le.' This human forearm, on which the god would seem to be blowing, is the surest \nindication that here it was intended to represent the God of Wizards, the Wizard Tezcatllpoca, \nfor, in point of fact, repeated mention is made of the employment of a human forearm as a magic \ninstrument in the reports on Mexican antiquities collected by Father Sahagun. It is not, however, \nan ordinary human arm that can be used for such a purpose, but the arm of a Tno-ciua-qitetz-qui, \nof a demon ' who appears in the form of a woman,' i.e. of a woman dying in childbed, the female \ncounterpart to the warriors falling in battle or slain on the sacrificial stone. \n\nIn chapter xxi. of the fourth book of his Historia General de hts Citma de Nxmva Ea/xiiia, \nFather Sahagun tells us that those bom under the sign Ce eecatl, ' 1 Wind,* are destined to become \nmagicians. Eeeafl, ' Wind,' is the second day-count, and the sign of QtietzalcmuitL But Ce eecatl, \n' 1 Wind,' is also the initial of the eighteenth week, or of the eighteenth thirteen-series of the \nTrntalnnatl, of the section whose mistress is Chantico or Quaxoloil. And to this week belongs the \nday Chicunaui itzcuintU, ' 9 Dog,' which passed for the chief sign of the rrKtgv^iana, because of the \nmeaning inherent in the number nine, and because ifzcuintli, ' Dog,' b the sign of the Death God, \nSahagun then relates more precisely that of those bom under the sign Ce eecntl those who were of \ndistinguished or princely descent would become Head Wizards, were-wolves, who had the power of \n\n\n\nTezcatlipoca, the Wizard. 207 \n\nassuming various forms ; but that those belonging to the lower classes would become temac2)alitotiqv\u00a3, \n'dancers with a human hand/ i.e. 'rogue-wizards.' Thus, in this connection also, the distinction \nof classes was maintained. We learn further that of the latter \u2014 the rogue-wizards \u2014 a band of \nfrom 15 to 20 was always kept together, and that they went dancing round to the house which \nthey wanted to rob. At their head were two of their associates, one of whom wore a badge of the \nsign Ce eecatl} or of the god Quetzdlcauatl, while the other wore the left forearm of a woman dying \nin her first childbed. It is for this very reason that these wizards were called termtcjxilitotique, \n'dancers with a human hand.' On reaching the house where they wanted to steal they knocked, \nwe are further told, at the threshold with this dead forearm, whereupon all the inmates would be \ncrippled, paralysed, or overcome by sleep. Then the rascals were able to plunder the house to their \nhearts' content, and, moreover, play all kinds of unseemly pranks with the residents, especially those \nof the female sex. It was only after the gang had gone off that the residents recovered their senses, \nto discover the mischief done and bewail their misfortune. \n\nIn another place, chapter xxix. of the sixth book, the same author relates that women dying in \nchildbed were buried at sunset in the court of the temple of the Ciuapipiltin, that is, the deified \nsouls of the women who had died in childbed ; but that the husband of the deceased and his friends \nhad to watch over and protect the body for four nights long, both on the way to the burial and at \nthe grave itself. For the warriors on the one hand, and the temacpcditotique rogues on the other, \nwere always trying to steal such bodies. The first, whenever they succeeded in stealing a body, \nwould cut off the hair and the middle finger of the left hand and attach them to their shield, \nbecause they were convinced that thereby they acquired courage in war, crippled the foe, \nwere secured from capture, while they themselves made many prisoners. But the others, the \ntemdcpalitotique, would take the whole left arm in order on their raids to use it in the way I have \nabove described. \n\nWomen dying in . childbirth are regarded as the female coimterparts of the warriors falling in \nbattle or immolated on the sacrificial stone. Hence they were called rfiocimiquetzqui, ' the warriors \nappearing in the form of a woman,' * who have assumed a woman's form,' in the Spanish text simply \ntranslated ' muger valiente.' Like the warriors, these women enter the heaven which the sun traverses \nin its course. But while the warriors dwell in the East heaven and accompany the sun from its rise \nto the zenith, the souls of the dead women dwell in the West heaven, receive the sun at noon, and \naccompany it till sunset. Hence the West is called ciuatlam2)a, the region of the women. And \nwhile the warriors, after serving their time, are dispersed as humming-birds over the sky, sipping from \nflower to flower, the dead women, who are now called Ciuateted, 'the Goddesses,' or Ciuapipiltin, \n'the Princesses,' come down from heaven by night in search of their spindles, their weaving \nimplements. And in the Tonalurtiatl there were five days, the initial days of the third quarter \nindicating the West in the Tonalainatl disposed in columns of five members, when these Ciuateteo \nwere specially potent, when they came down on the earth and did all manner of mischief. \nWhoever set eyes on them Avas crippled, and epilepsy was more especially attributed to their \ninfluence. \n\nIt was certainly from this line of thought that originated the use of the limbs of women dying \nin childbirth. They are the warriors who impart valour to those wearing a piece of their body, and \n\n^ Thus is to be amended the Ce coatl which is the reading of the text. \n\n\n\n20K The Day Side of the Manuscript. \n\nare thereby identified with them, and who by the terror of their glance paralyse the strength of the \nfoe. Such a talisman was also needed by those setting out on dangerous nightly expeditions, and on \nthis account such parts of dead bodies must have become much prized articles of traffic, and would \nassuredly have come into extensive use, so that, as shown by the picture of our Tezcatlipoca, they \nserved as the very attributes and badges of the sorcerer. \n\nNow this god of magic is on Sheet 44 of our Fej^rvdry surrounded by the 13 x 20 days of the \nTonalamatl, which are expressed by the initial signs of the twenty series of thirteen with twelve \ndots following them. But at the same time these signs are not introduced in the same order \nin which they stand at the initial of the thirteen-series, but in general simply as they follow each \nother in the series of the twenty days. But they are also partly disposed in such a way as to \ncorrespond to certain parts of the body or to certain articles of the costume. The thirteenth sign \n(icatl, ' Reed/ is brought into connection with the penis, which in fact represents a reed, and whose \naction has also doubtless ^been compared Avith the dart, or more realistically with the fire-drill, as a \nsymbol of which the arrow-shaft is used. \n\nAt the two thighs stand the signs ocelotl, ' Jaguar,' and qmtuhtli, * Eagle,' for Eagle and Jaguar \nare the strong animals : qvxiuhtli-ocelofly ' Eagle and Jaguar,' is a common symbolic expression for \nwar. But in the thighs lies the strength of the body. To the king belonged the thigh from the \nbody of the sacrificed foe, who was cooked with maize and eaten by the warrior who had made the \ncapture, and shared the meal with his adherents. From the skin of the victim's thigh was also \nprepared the mask for the son of the warlike goddess Tlagolteotl, Under his feet the god of our \nsheet has the signs cozcaquavMli, ' Vulture,' and oliny ' Rolling Motion.' The former, the Vulture, is \nthe sign of the Itzpajxdotl, the Chichimec Earth Goddess, while olin is the symbol of the Earthquake. \nLastly, on his breast, i.e. on his breast ornament, the god has the sign tecypatl, the Flint Knife, \nthe sacrificial knife, for this denotes the character of the god. In the same way as these few \nsigns are here shown, we see on Sheet 17 ( = Kingsborough 22) of Cordex Borgia all the twenty \nday-signs brought into relation with parts of the body and of the costume of a large Tezcatlipoca \nfigure. Here also the sign tecpatl lies on the breast ornament of the god. But the other day- \nsigns are associated with the body and limbs of the god in a different way from that here shown \non our Fejervfiry sheet. \n\n\n\nConcluding Remark. \n\nThe more searching inquiry into the several sections of this manuscript has had the result \nof somewhat modifying the statement made by me in the introductory chapter, to the effect \nthat the two sides of the strip covered with the paintings of this document differ in respect of their \ncontents. The last two sections of the B side of the manuscript, the upper half of Sheet 43 and \nSheet 44, belong properly to the commencement of the representations on the other, the A side. \n\n\n\n\\ \n\n\n\nConcluding Remark. 209 \n\nAnd, strictly speaking, Sheet 23 is no doubt accordingly to be taken as the beginning of the \nbook. \n\nOf the two halves into which the book thus becomes divided, one begins on Sheet 23 with \nthe representation of the four times five Venus periods. Further on, the six celestial wanderers are \nintroduced, and then the pictures .symbolising the correction of the year's duration, and this whole \nseries ends in the upper half of Sheets 41, 42 with the four forms of the deity of the Morning Star, \nin the lower halves of Sheets 85-43 with the six heavens and the six regions of the earth. \n\nThe other half of the book begins in the uppar half of Sheet 43 with the picture of the five \nquarters, and on Sheet 44 with the large picture of the magician, Tezcatlipoca, after which folloAv the \nguardians of the five quarters, the nine lords of the night hours, and after them the changed \nlists, the pictures of the gods propitious to-wizards, and the periods which appear favourable for the \nblack art. \n\nIn this double series of representations our manuscript seems to stand on a level only with the \nunfinished book of Codex Bologna. The contrast between these two series I have endeavoured to give \nexpression to by the titles Day Side and Night Side. But it would be more accurate and correct, \nbut still not quite in accordance with the true relations, were we to call one the Priests' Manual, the \nother the Wizards' Manual, or designate the first as QuetzalcouaiVs book, the second as Tezcatlijpoco'^. \nFor Quetzalcouatl must be regarded as symbolic for the Tonalamatl, and for all connected there- \nwith, and likewise for the Venus periods, since Quetzalcouatl was the reputed inventor of the \nTonalamatl, and was also supposed to be one with the Morning Star. Quetzalcouatl and Tezcatlipoca \n\u2014 those were the two contrasting principles which dominated the lore and the philosophy of the \nancient priests on all sides. \n\nIt is remarkable that in our manuscript no representation occurs of the Tonalamatl proper, with \nwhich all the other related manuscripts \u2014 Borgia, Vatican B, Bologna \u2014 begin. In our manuscript the \nTmicUamatl was obviously assumed to be known. Or else some other elementary book dealing with \nthe Tonalamatl was in existence, but is no longer extant. In this negative character our manuscript \nalso agrees with the nearly related Codex Laud. It is entirely in accordance with what we now \nknow of the knowledge and scientific systems of the ancient Mexican and Central American priests \nthat we here find the day side of the manuscript, the priestly Codex, beginning with the exposition \nof the Venus periods. But it is again singular that the clearest representation of these paricds, \nthe 5 X 13 periods, represented by the five pictures of the shooting god, which is given in absolutely \nthe same way by all three codices\u2014 Borgia, Vaticanus B, and Bologna \u2014 is absent both in our \nmanuscript and in Codex Laud. The third chief representation, the four pictures embodying the \ncorrection of the year, and recording the intercalation of ten days to be effected at the expiration \nof 42 years, is extant in our manuscript, as well as in the Borgian and the Bolognese, but is lackirg \nboth in Vatican B and in Codex Laud. A fourth remarkable representation, the 25 pairs of deities \naccompanied by the ciphers 2-26, is found in the Borgian, in Vatican B, and in Codex Laud. But it \nis missing in our manuscript, and I have consequently been unable to deal with it. Thus we \nsee that, as regards their contents, these various related pictoHal documents sometimes coincide, \nsometimes deviate one from another. Each separate book forms in itself a complete work, an \nencyclopaedia of contemporary knowledge, but they are encyclopaedias in which gaps are betrayed \nhere by one, there by another of the authors. \n\n2d \n\n\n\n21U Concluding Remark. \n\nDespite deviations in the subject-matter, our manuscript is most closely related with Codex \nLaud. This is seen above all in the style of the figure's, in the manner both of the design and of the \ncoloration. Both have presumably originated in the same region. But where has the region to be \nlooked for ? \n\nAt the conclusion of my commentary on the Tonalamatl of the Aubin collection, I drew \nattention to the fact that the metaphorical sign for war current amongst the Mexicans \u2014 atl- \ntUu'hlnolli, ' Water (Spear-throwing) and Conflagration' \u2014 finds pictorial hieroglyphical expression, not \nonly in the picture-writings of the district adjacent to the city of Mexico, but also in those of \nthe Codex Borgia group. And from this I have inferred that the land where the last-mentioned \nmanuscripts originated must have been inhabited by peoples of Aztec speech. On the other hand, \nin the course of the investigations forming the substance of the present treatise, I have had direct \nattention to the fact that in the figures of our manuscript a contact is frequently revealed with \nfigures of the Zapotec art, or of the Zapotec-Mixtec myths. And lastly, a kinship with the Maya \nmanuscripts has been repeatedly noticed, and in the most striking manner on Sheet 1. \n\nAll this taken together induces me to surmise that we have to look for the home of the Codex \nBorgia group of manuscripts, and consequently also of our Fej^rvary Codex, somewhere in the \ndistrict of Tehuacan, Cozcatlan, and Teotitlan del Camino. This was a land inhabited by Aztec- \nspeaking peoples ; it was conterminous with the Zapotec territory, and it lay on the trade-route which \nled thence to the coast, and to the Maya-peopled district of Tabasco. The antiquities made known \nfrom this region, the parti-coloured clay figure of the god XochipiUi, which I have published on \nPlate xiiL of my * Wandmalereien von Mitla,' so far as regards the carving and the face-painting, \nlooks in fact as if copied from the Codex Borgia. And indeed, we also know that in this very \nregion astronomic observation was highly developed, and the Morning Star held in special \nveneration. Who knows whether it may not have been colonists migrating from this region who \nin the Maya lands gave the impulse to that cultural development, whose prominent creations we \nnow gaze upon with astonishment in the numerous ancient cities of that region ? \n\n\n\nExplanatory Tables. \n\n\n\nThe sheets of the manuscript reproduced on the following pages are always to be read /ram \nright to left. The Mexican terms are accompanied by their English equivalents. This has been \nomitted with the day-signs alone. These are therefore here given with their translations: \u2014 \n\n\n\n1. cipactliy Crocodile. \n\n2. 6?m^i, Wind. \n\n3. calli, House. \n\n4. cuetzpalhi, Lizard. \n\n5. couatl. Snake. \n\n6. miquiztli, Death. \n\n7. TTuigatl, Deer. \n\n8. tochtli Rabbit. \n\n9. atl, Water. \n\n10. itzcuintli, Dog. \n\n\n\n11. o^cmultli, Ape. \n\n12. Tiudinalll, Twisted. \n18. ncatl, Reed. \n\n14. ocelotl, Jaguar. \n\n15. quauhtli, Eagle. \n\n16. cozcaquauhtli, Vulture. \n\n17. olin, Motion. \n\n18. tecpdtly Flint Knife. \n\n19. quutuitl, Rain. \n\n20. jcochitly Flower. \n\n\n\nSo also on the first sheet a number of other words are entered, the translation of which \nis not given on the sheet; they are as follows: \u2014 \n\nI. JCiichtecutli, Fire God, Lord of the Middle. \n\nXL Itztli, Stone Knife God, 1 \n\nTIL Tonatiuhy Sun God, / \n\nIV. Cinteotly Maize God, ] \n\nV. Mictlantecutli, Death God, J \n\nVI. CJuilcJduhtlicue, Water Goddess, 1 Ladies of the \nVII. Tla^olteotl, Earth Goddess, J West. \n\nVIIL TepeyoUotl, Heart of the Mountain,! . Lords of the \nIX. Tlaloc, Rain God, j South. \n\n\n\nLords of the North. \n\n\n\ntonatiuh iciutn, House of the Sun = East. \nffiictlan, Realm of the Dead = North. \ntamoatichan, House of Descent = AVest. \nuitznavuCy Place of Thorns = South. \nquetzalqtvauifl, Quetzal-bird Tree = East. \nquauhquauifl, Eagle Tree = North. \nuitzitzilquauitl, Humming-bird Tree = West. \ncorhoqiiaiiitly Parrot Tree = South. \n\n\n\nacatl, Reed, Year of the East. \ntecpatl, Flint Knife, Year of the North. \ncolli, House, Year of the West. \ntochtli, Rabbit, Year of the South. \nquetzaltototl, Quetzal Bird. \nalo, Red Arara. \nquaxihtli, Eagle. \ncochf, Parrot. \n\n\n\n\n\n\nuitznaUttC Place of Thoma. \n18. South 17. \n\neecatl atl \n\n\n\n\n\n\nV \n\n\n\n\n\n\n\\ \n\n\n\ni \n\n\n\nf s \n\n\n\n^A \n\n\n\n\n\n\nAfc. p\u00bba \u00bbi' JO \n\n\n\n*// \n\n\n\nI \n\n\n\niz; \n\na\" \n\n\n\n\n\nm \n\n\n\n.\u25a03 .^ \n\n\n\n\u00abT3 \n\n\n\n\n\n\n\n\n\u00a7fe \n\n\n\n\n.a \\ \n\n\n\na 3 \n\n-a IS \n\u25a0^ It \n\n\n\ni J \n\n\n\n5\" \n\n\n\n10 \n\n\n\nit \n\n\n\nS ^ \n\n\n\n\u25a0s \ni \n\n\n\n\n.Sf> \n\n\n\n\n\n\n(0 \n\n\n\n\n\n\nil \n\n\n\n\nII \n\nis\" \n* s \n\nIf \n\nCEO \n\n(X\u00a9 \n03 \n\n\n\nIE ^^\u201e^ \n\n\n\n\n\n\n\n\n\n\n\n\no \u2022 \n\n\n\n\n\n\n09 \n\n\n\n\nZ' \n\n\n\n\\ \n\n\n\ne> \n\n\n\n\u2022 tf? \u00ab9 tf> \n\u00bb tf> ^ c \n\n\u2022 \u2022\u2022\u2022 \u2022\u2022\u2022 \u2022 \u00bb t>oo \n\n\n\n\u2022\u2022\u2022\u2022 \u2022\u2022\u2022 \u2022 \n\n\u2022\u2022\u2022\u2022 \u2022\u2022< \n\n\n\nooooo \n\n\n\nT5 efl \n\n\n\n\n\u2022 \u2022\u2022\u2022 \u2022\u2022 \u2022 \n\n\u2022 \u2022\u2022\u2022 \u2022\u2022\u2022 \n\n\n\n\u2022\u2022\u2022\u2022 \u2022\u2022\u2022 \u2022 \n\n\n\n\n3 \n\n\nC<? \n\n\nT3 \n\n\nJ^ \n\n\n^ \n\n\n\n\nbo \n\n\n\n\ns \n\n\n& \n\n\n\n\n3 \n\n\n-<j \n\n\n1 \n\n\n\n1 \u2022\"\"\u2022\"\" \n\n\n\no \n\n\n\n\u2022 \n\n\n\n^ \u2022_ \u2022 \n\n\n\nI \u2022 \u2022 \nI * \u2022 \nI \u2022 \" \n\n\n\n1^ \n\n\n\n\u2022 \u2022 \u2022 \n\n\"\u00bb\" \"\u2022\" T\" \n\"T* T\" \"T\" \nT\" ~ ~ \n\"\u2022\" T\" T\" \n\n\n\n\n\n\na., \u00a3 ^\u25a0\u2014 ^^ ^= \n\nl|E _!. \u2022 \u2022 \n\n^ Si^ ^^^ ^^^ ^^^ \n\n\u00a3 13 o ^^^ ^^^ ^^^ \n\n2 g^ \u2022 \u2022 \u2022 \n\n\n\n\n\n\n\u00ab \n\n\n\nOf \n\n. a> \na. -i. \n\n\n\n\u25a02 \n\n\n\n\n\n\nit- \n\n\n\n\n10 \n\n\n\n\n\u2022\u25a0s* \n\n\n\n\n\n\n\n\n\n\n\no \n\n\n\n\u2022 \u2022\u2022\u2022 \u2022\u2022\u2022 \u2022\u2022\u2022\u2022 \u2022\u2022\u2022\u2022 #\u2022\u2022 \n\n\n\noe \nc \n\no \n\n\n\n\n\n\n4^ \n\nQ \n\n\n\n\n\u2022\u2022 \u2022 \n\n\n\n\u2022 \u2022\u2022\u2022\u2022 \u2022 \n\n\n\n\n\n\u2022 \u2022\u2022\u2022\u2022 \u2022\u2022\u2022 \n\n\n\n00 \n\n\n\n\na \n\n\n\n\nI- 1 \n\n\n\npt. \n\n\n4:> \n\n\n\n\nQ \n\n\n\n\nO \n\n\nCl) \n\n\nT^ \n\n\n^ \n\n\nd \n\n\n-u \n\n\n^ \n\n\nCm \n\n\n>5 \n\n\nO \n\n\n\n\n\n\n\n\nGQ \n\n\ni^ \n\n\n\n\n\u2022 fM \n\n\n4^ \n\n\n^ \n\n\ntuo \n\n\n\n\n\n\n^ \n\n\n<D \n\n\nJU \n\n\nM \n\n\n4^ \n\n\nH \n\n\n\n\n\n\"M'Bioxpim ifq n;^ ox \n\n\n\no \n\n\n\n\n\n\n\n\n\u2022\u2022\u2022e \n\n\n\nt4 \n\n\n\n^ ^'f \n\n\n\ne*\u00ab \n\n\n\n\n2) O \n\n\n\n\n\n\n\n\no OQ \n\n\n\n\n\nO \n\n1-5 \n\n\n\n\n\n\nOD \n\ns \n\nH \n\n\n\n\n\n\n\n\\ \n\n\n\nm \n\n\n'!^ \n\n\n\n\n\n\n\n\n& \n\n\n\n\n\n\n!z; \n\n\nh' \n\n\n\no \n\n\n\n\n\n.:i=o \n\n\n\n'i:i \n\n\n\n\no \n\n\n\u2022\u2022\u2022\u2022 \n\n\n\n\n\n\n\n\n\n\no \n\n\n\u2022\u2022\u2022\u2022 \n\n\n\n\n\n\n\n\n\n\no \n\n\n\u2022\u2022\u2022\u2022 \n\n\n\n\n\n\n\n\n\n\no \n\n\n\u2022\u2022\u2022\u2022 \n\n\n\n0) \n\n\n\ne:.'^ \n\n\n\nO \n\no \n\n\n\n\u00ab \n\n^ \n\n\n\n\n\n\n&H \n\n\n\n\nO \n\n\n\n\n\n\nooo|.i \n\nO \n\no \n\n\n\n\n\n\n^ \n\n\n\n\n\n\n\no \n\nGD \n\nd \n\n\n\n<D \n\n\n\nC4-4 \nO \n\n\n\n\ns \n\nO \nQQ \n\nO \nO \n\n\n\no \n\n\n\n\u00bb \u00a7 g \n\n\u25a0\" O g \n\n\n\ncL](gia=] o \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nA \n\n\n\n\\j \n\n\n\n- ^ \n\n\n\nC4 \n\n\n\n\n\no \n\n\n\n\nit ^^ \n\no \\rll \n\n\n\nn \n\nCI \n\n\n\n\n\u00abf \n\n\n\n^ \n\n\n\no \no \n\n\n\no \no \no \n\n\n\no \no \no \no \n\n\n\n10 \n\n\n\n.a \n\n\n\n3 \n\na \n\n\n\n(0 \nC4 \n\n\n\nI \n\n\n\nI \n\n\n\nI \n\no \n\n\n\n\n\n\nI \n\nOh \n\n\n\nCO \n\n\n\n. 1 \n\n\n\n1 \nCM \n\n\n\nas \n\n\n\n1 \n\n\n\n\n\n\ns \nI \n\n\n\n\n\n\no \nm \n\n\n\n1 \n\n\n1 \n\n\n3 \n\n\nE \n\n\nX \n\n\nE \n\n\n\n\n\n\n02 \n\n\n\n\n\n\n\n\nS \n\n\n\n\nt>^ \n\n\n\n\n\n.s \nX \n\n\n\nI \n\n\u25a03 \n\n\n\ny \n\n\n\ng EQ \n\n\n\nm \n\n\n\nE \n\nS \n\n\n\n4 ^ \n\n\n\n1 \n\nO \n\n\n\n\n\n\nw \n\nCO \n\n\n\n\n\n\n\n\n\n\u25a01- \n\nI \n\n\n\n\n\n\nOS \n\n\n\ns.s \n\n\n\n\u00ab \n\n\n\n\nO.I \n\n\n\n\n'sjr'<ff--f \n\n\n\n^-i \n\n\n\n^ \n\n\n\n\u2022 \n\n\n& \n\n\n\n\nm \n\n\n\u25a0^ \n\n\n\n\n1- \n\n\n.a \n\n\n(0 \n\n\nH \n\n\nfO \n\n\n\n\nM \n\n\n\n\nn \n\n\nQ \n\n\n\n\n\nw \n\n\n\nS5 \n\n\n\n8. \u00a3 \n\nEh \n\nI a \n\n\n\nCO \n\nw \n\n\n\n6 \n\n>1 \n\n\nfS \n\n\nffl \n\n\naj \n\n\n\n\n\n\n\n\n\n\nC \n\n\nti \n\n\n\n\n& \n\n\n\n\no \no \no \no o o o \n\n\n\n<2 \n\n\n\nr \n\n\n\n\nO '3-3 \n\n\n\n3 \nI \n\n\n\n\n\ni \n\n\n\n\u25a0s ft. \n\n\n\nS? \n\n\n\n \n\n\n\u00a71 \n\n\n\n\n\n\nt \n\n\n\n\nO \n\n\nM \n\n\n\nooooooooo \n\n\n\nI \n\n\n\n\nINDEX. \n\nNative American words are all in italics, and are Mexican (Aztec), unless some other \nlanguage (Maya, Zapotec, etc.) is specified beside them. In letter c, I have adopted the following \norder for these words. First come those beginning with hard c=fc, Le, c before the vowels a, o, u, \nand (in Yucatec writing) also before e, i ; then follow those with initial f and c before e and i, \nwhich, according to Spanish orthography, has a lisping th sound ; lastly, those with initial \n\nch = chia church. \n\n\n\nAboTe-Below, symbolised by Xochipilli-Xochiquetzal, 190, \n\n191. \nacatl, reed, thirteenth day-sign. Denotes the years of the \n\nEast, 6, 7 ; initial sign of the fourth Venus period, 90 ; \n\nbrought into relation with the penis, 208. \nacijHxctliy swordfish, tears off the leg of the deity of the West, \n\nwho is the third form of the planet Venus, 200. \nAcompaf&adoB de la noche^ see Lords of the Night. \nAgave plant, which yields pulque, its deity Mayauel, 98, 99. \nAgave-leaf spike, see uitztli. \nAgricultural implement of the Mexicans, see uictli. \nAh bolon ts^acah (Maya), lord of the ninth generation, water \n\ndeity of the Mayas, his hieroglyph on the altar-piece of \n\nPalenque, 19 ; denotes the year of the East, 141. \nAh kin chU coba (Maya), see kin chil coba. \nakbcU (Maya), night, third day-sign ; denotes the years of \n\nthe West, 30 ; on the celestial shields of the Maya docu- \nments, 169. \ncdo, the red arara^ bears the shield with tecpatl * Flint,' which \n\nanswers to the years of the North, 6 ; on the tree of the \n\nSouth, 8, 13 ; as enemy of the maize fields in the years \n\nof the North, 182. \naloqvauitly tree of the South, 8, 13. \nAltar-piece, Palenque, 17-20. \nAmatitlan, lake in Guatemala ; spiked vessel, 47. \namilpampa xochiUalpan, region of the watered fields, land of \n\nflowers, indication of the South, 66. \nanauatl, ring, Tezcatlipoca's breast ornament, 34, 206 ; with \n\nUitznauatl, 113. \nAnatiatl item, * Lord of the Ring,' * Lord of the Coast ' = Xipe, \n\n202. \nAnimal-headed god, lord of the earth, denotes the lower \n\nregion, 140, 141 ; in the six earthly regions, 194, 195 ; \n\nin the temple of the North, 175. \n\n\n\nAnlxnal-headed priest, in the Dresden Maya manuscript, bearer \n\nof the years, 140-142. \nApe, representant of the Wind God, worn by Tonacatecutli \n\non his back, 183, 184 ; back to back with the Death \n\nGod, 27. \nApoala, in Mixteca alta, home of the two primeval gods in \n\ndeer form, 163. \nArara, red, see alo. \n\nArara-feathers in the nasal septum, worn by the Huaxtecs, 114. \nArm, human, of a woman dying in childbed, gives courage \n\nin war, 207 ; used for bewitching, 208 ; in the hand of \n\nthe wizard Tezcatlipoca, 206 ; in the hand of the red \n\nTezcatlipoca, who stands for Xipe, 206. \nArmlets of snail-shells, with Iztac Mixcouatl, 160 ; with \n\nXolotl, 154 ; with the index denoting the Below- Above \n\ndirection, 204. \nArrow-sliafbs, two in the Fire God's fillet, 32, 50. \nail, water, ninth day-sign, representing the cipher nine, 46 ; \n\ninitial sign of the third Venus period, 90 ; replaced by \n\nthe picture of the turtle, 57. \nAtlantic coast, the ancestors of the tribes of the, Olmecatl, \n\nXicalancatl, 161. \natloUl, throwing-stick, in the hand of the Fire God, of Tez- \ncatlipoca, and of other gods, 50, 52 ; of Tlauizcalpan tecutli. \n\n71, 107, 200, 201 ; of Mixcouatl, of Uitznauatl, 111, 199 ; \n\nof the Bat God, 197 ; of the deities of the four quartera, \n\n173. \natle ccUocan, where are no paths, name of the underworld, \n\n79. \natl-Uachinolli, water (spear-throwing) and conflagration, \n\nmetaphorical expression for war, 78 ; figiured also in \n\nmanuscripts of the Codex Borgia group, 210. \natocoua, all ynW be swept away by water ; symbol of the \n\nperishable nature of earthly things, 39. \n\n\n\n2 E \n\n\n\n214 \n\n\n\nIndex. \n\n\n\nAuicUl, merriment, name of Macuil xochiti, 83. \n\nAze, in the hand of the Rain God, 47, 51 ; in the hand of \nTezcatlipo(\u00bb,- IQ5 ; of (Jitznanac yaotl, 118 ; implement \nof the warriors of the telpochcalli, 48. \n\nayotl, turtle, entered for qniauitl, * rain,' 57, note ; entered \nfor atl, * water,' 57 ; footstool of Mayauel, 27. \n\naztamecatl, heron-feather cord, sacrificial cord, 107. \n\notztaiopilli, Iztac Mixcoiiatl's heron-feather staff, 61, 62, 160, \n161. \n\naztatzontliy Tlaioc's heron-feather wreath, 46. \n\naztcucdlif heron-feather forked ornament, the warrior's dancing \nheaddress, with Tezcatlipoca-itztlacoliuhqui, 104 ; with \nTezcatlipoca, the wizard, 206 ; with Tezcatlipoca and \nUitzilopochtli, 130 ; with Uitznauac yaotl, 119 ; with the \ngods of the North, 175 ; with MixcouatI, UitznauatI, 111, \n198 ; with Iztac Mixcouatl, 161 ; with Ce acatl of Codex \nBologna, 50. \n\nBa4dc oaaryiag-trnme, see cacaxtli. \n\nBa4dc mirror, see cuitlatezcatl. \n\nBa^ to tMudc, Gods seated, Quetzalcouatl and the Death God, \n\n26, 27 ; Xochipilli and Xochiquetzal, 190, 191. \nBalam (Maya), jaguar, personator of the Sun God, denoting \n\nthe years of the North, 141. \nballs, fiery, footstool of Naui olin in the Vienna manuscript, \n\n154. \nBall-oourt, see tlachtli. \nBall-playerst see ollamani. \n\nBall-playixig, with the Mexicans, 137 ; God of, Xolotl, 156. \nBamboo staff, see otlatopilli. \n\nBat, rends the head, see c'amazo'tz ; blocks Tollan, 198. \nBat Ood, lord of the East, first form of the deity of the planet \n\nVenus, 196, 197. \nBeard, with Tepeyollotli, 23, 43 ; with Tlaloc, 46 ; with \n\nQuetzalcouatl, 105 ; with Cipactonal, deity of the East, \n\n183 ; of white heron-feathers with Iztac Mixcouatl, 159. \nhten (Maya), thirteenth day-sign, denoting the years of the \n\nEast, 30 ; initial day of the fourth Venus period, 30. \nyjigmning of the manuscript, the proper, 204, 209. \nBird's hMid, conventionalised, at the fillet of the Sun God, of \n\nthe Maize God, and of other gods, 34, 35. \nBlood, Maya hieroglyph, 92, 93. \nBlood, stream of, from mouth to mouth, symbol of sexual \n\nunion, 105. \nBlood-letting, sacrifice for the gods symbolised by eye-gouging, \n\n90-92, 93. \nBone dagger, see omitl. \n\nBoring, hieroglyphic mark in the Maya manuscript, 93. \nBreast ornament, of the Fire God, 32 ; of the Water Goddess, \n\n37 ; of Tla^lteotl and the pulque gods, 186 ; of Tezcatli- \npoca, see anauatl ; tecpati, the flint knife used as such, \n\n208. \nBroken objects, symbol for the useless, the discarded, the \n\ndisused, the old, 161. \nBroken tree = Tamoanchan, 36. \nBroom, mark of Tla^olteotl, 42. \nBroom feast, see ochpaniztli. \nButterfly, white, about the mouth, painting of Xochipilli, 97, \n\n98 ; its degraded form, 23, 97. \n\ncahan (Maya), seventeenth day-sign, initial day of the fifth \nVenus period, 30 ; on the celestial shields denotes the \nmoon (?), 168. \n\n\n\nCacao, pods on the tree of the South, 13 ; beverage figured \nwith Tonacatecutli Tonacaciuatl, 185 ; with Chalchiu))tli- \ncue, 190. \n\neacaxtliy back carrying-frame, sign of the wanderer, 136. \n\nCaotos, with the first member of the changed list of guardians \nof the cardinal points, 60. \n\ncdUi, house, third day-sign, used in place of the cipher three, \n34 ; denotes the year of the West, 6, 7 ; symbol of the \ndark house of the Earth, 67. \n\nCamaxtli, God of Tlaxcallan, identical with Mixcouatl, 198 ; \nwears TlauizcalpantecuUi's face-painting, 71 ; in Vatican B \nat the foot of the tree of the North, 11 ; with the device of \nthe two-headed deer, subdues the tribes, 162 ; his feast, 59. \n\n(^amaaoHz (Qu'ich^), head-rending bat, 197. \n\nCaontchonc painting, about the mouth, with Tla^olteoU, 41 ; \nwith the Fire God, 5, 32 ; see rubber. \n\nCardinal points, the four, gods of, 171-180, 180-182 ; the five, \ntheir guardians, 22, 121 ; once more the five, 204, 205 ; \nthe six deities of, 121-134, 139-149 ; cf. the six heavens, \nthe six earthly regions, the six celestial wanderers, their \nsequence on sheet 1 of Fej^rv^ry, 20 ; with the guardians \nof the Venus periods, 95 ; transposed on sheet 1 of Fej^r- \nvdiy, 22 ; exhibited in reverse order, 51, 54, 60 ; enumer- \nated from different starting-points, 148, 149, 181, 182 ; \nMaya hieroglyphs of the, 31. \n\ncave^ god of, see Tepeyollotli. \n\ncavty temple oi^ with Tepeyollotli, 45. \n\nCentipede, in the house of Earth, 15 ; denotes fire, 136. \n\ndb (Maya), sixteenth day-sign, initial of the fourth TonaJa- \nmatl quarter, 30. \n\ncimi (Maya), sixth day-sign, initial of the second Tonalamatl \nquarter, 30. \n\nCoa, agricultural implement of the Mexicans, see uictlL \n\nCoastland, its lord Xipe, 202. \n\ncoaJtl^ snake, see couatl. \n\ncogauic xochitliy yellow flower, name of the Teteo innan, 42. \n\ncochoj the Loro, the green parrot, bears the shield with the \nsign tochtli, ^ rabbit,' which denotes the years of the South, \n6 ; perched on the tree of the South, 8 ; before the image \nof Ointeotl, 27 ; as foe of the maize fields in the years of \nthe North, 182. \n\ncochoqvauitly tree of the South, 8. \n\nCodex Bologna, belongs to the Codex Borgia group, 3 ; an \nunfinished book, 4, 49 ; its changecT list of guardians of \nthe five quarters, 49, 59. \n\nCodex Borgia Qronp, the manuscripts belonging to it, 3 ; are \nencyclopsedias, 209 ; composed by Aztec-speaking peoples, \n210 ; originated in the neighbourhood of the Zapotec and \nMixtec lands, 164 ; came from the territory of Tehuacan, \nGozcatlan, Teotitlan del camino, 210. \n\nCodex Cortes, Maya manuscript of the Museo Nacional in \nMadrid, a double sheet comparable to sheet 1 of the \nFej^rvdry, 28-30. \n\nCodex Land, belongs to the Codex Borgia group, 3 ; related to \nthe Fej^rvdry, 2Q9 ; representations taken from it, 24-28, \n81, 82, 85, 86. \n\nCodex Porflrio Dias, its discrepant names of the years, 181. \n\nCodex Vaticanus B (No. 3773), belongs to the Borgian group, 3. \n\nCold, hieroglyph of, see cetl ; god of, see Itztlacoliuhqui. \n\nColonrs answering to the cardinal points, 20. \n\ncolotl, scorpion, figured with the first members of the changed \nlist of guardians of the regions of the world, 59, 60 ; a \nconstellation, 56. \n\n\n\nIndex. \n\n\n\n215 \n\n\n\ncoTiecHitlailj children's dirt, fiice-painting of Tezcatlipoca and \nUitzilopochtli, 132. \n\nCopaUy In Honduras, its hieroglyphic stelae, 17. \n\ncopdlli, copal, incense, 62 ; instead of the rubber balls with \nthe gods of pleasure, 84. \n\ncopcUxiquipUli, incense-pouch in the hand of the maize gods, \n188. \n\ncopUli, wedge-shaped Huaxtec cap, with Quetzalcouatl, 68, \n105 ; with Xolotl, 68, 122, 154 ; with the pulque gods, \n73, 186, 187 ; with the Bat God, 196, 197 ; with Uitz- \nnauatl, 113. \n\nCk>pper axe on the cliff of Apoala, bears the sky on its sharp \nedge, 162, 163. \n\nGoxpso, packed, before Tla^olteotl, 42, 123. \n\nCorreotlon of the year's length, 135, 179. \n\nCotlnga-Urd, see Xiuhtototl ; tiara, see XiuhtotoamacallL \n\ncotzbalam (Qu'ich^), a species of jaguar, 197. \n\ncottatl, snake, fifth day-sign, used for the cipher five, 36 ; \ninitial sign of the second of the five Venus periods, 90, 99 ; \n= Twin, 156. \n\nCoxuUl icue^ Earth Goddess, colossal statue in Mexico, 195. \n\nCoxcoxtli, bird with comb-shaped feather-crest, singing at \ndawn, 116 ; in the temple of the Eaat, of the Sun God, \n173 ; in the temple of the West, of the maize deity, 176 ; a \ndisguise of Xochipilli, 63, 97, 98 ; a disguise of Macuil xochitl \nand of Ixtlilton, 117 ; its degraded forms in the manu- \nscripts and the stone effigies, 117, 118, 128. \n\nCoyolxaukqui, hostile sister of Uitzilopochtli, stone head of in \nMexico, 186, 187. \n\nCoyote ear, at the temple of the dance gods, 129. \n\ncozcaquanhtli^ vulture, sixteenth day-sign, denoting the initial \nof the fourth quarter of the Tonalamatl and the South, \n7, 20, 25, 179 ; sign of Itzpapalotl, 208 ; brought into \nrelation with the foot of the Tezcatlipoca figure, 208. \n\nCozcatlan, place on the frontiers of the Zapotec land, inhabited \nby the descendants of Xelhua, 86, 161 ; worshipper of the \nmorning star, 87 ; home of the Centzon Uitznaua, 112. \n\nCremation, symbol of, with Mictlantecutli, 76, 82. \n\nCrooodlle, see cipactli \n\nCroBs, on the Palenque altar-piece, conventionalised tree and \nsymbol of the cardinal points, 17-20. \n\nCroia-bonei, on the Death God's robe, 192. \n\nCroflsway, see otlamaxac. \n\ncuegcUuitoncaU, fan-shaped neck ornament with arara feathers, \nQuetzalcouatl's Huaxtecan article of dress, 105 ; with \nXolotl, 122 ; with the Pulque God, 186 ; with Tla^olteotl, \n124 ; with the Bat God, 196, 197. \n\nctteitl, enagua of the Water Goddess studded with jewelled \ndisks, 37. \n\neuetzpcUin, lizard, fourth day-sign, entered for the cipher four, \n35 ; in the baU-court, 137 ; in the throat of the dragon, \n202. \n\ncuexcochtechimalliy occipital shield, an ornament of the death \ngods, 192 ; with the Bat God, 196. \n\nCuextecay foreign tribe in North-east Mexico, wear no loin- \ncloth, 113 ; jugglers, wizards, 128, 129 ; ministers of \nTia^olteotl, 103 ; their garb worn by Quetzalcouatl, Xolotl, \nTla^olteotl, the pulque gods, see copilli, cue^luitoncatl, \nyacametztli ; their image of the UitznauatI, 113. \n\ncuicacalliy dance house, its god Tezcatlipoca, 119. \n\ncuicatl^ song, its hieroglyphic representation, 66 ; given with \nXochiquetzal, 64, 65. \n\nOuicatlcmy city, its hieroglyph, 65. \n\n\n\nCuilapa^ place inhabited by Mixtecs, their popular sagas, \n162, 163. \n\ncuitlatezcatl, back-mirror, open- worked, worn by Tezcatlipoca, \n206 ; distinctive mark of Mexican dress with the Chichen \nitza figures, 120 ; large, made of a turtle's carapace, with \nXochiquetzal, 120, 184. \n\nCuitlauac^ place on the Xochimilco lagoon, its god a two- \nheaded deer fallen from heaven, 162. \n\nOifjsscOy wrong reading for Cozcatlani 112. \n\nfocaquixtUiztliy drawing out the stalks, see Uacoquixtiliztli \nQacaquixtliliztli. \n\npapa (Sanskrit), the hare, denotes the man in the moon, 151. \n\nce acatly 1 Reed, initial of the fifth thirteen-series of the first \nquarter of the Tonalamatl, 21 ; initial year of the first \nquarter of the 52-years cycle, denoting the East, 179 ; \nrepresented in the Vienna manuscript by the god chicome \nolin, 146 ; hieroglyph of the morning star, 151 ; in Codex \nBologna, fiacing the Fire God, represented as two-coloured \n(half white, half black) Tezcatlipoca, 51 ; with the gods of \npleasure, 83 ; on sheet 3 of Codex Laud, 85, 86. \n\nce ally 1 Water, initial of the second thirteen-series of the \nfourth quarter of the Tonalamatl, 21 ; sign of war, 65, 78, \n82-84 ; name of Xochiquetzal, 69. \n\nce calliy 1 House, initial of the fifth thirteen-series of the third \nquarter of the Tonalamatl, 21 ; a week belonging to the \nWest and to the Ciuateted, 114 ; initial of the third \nquarter of the 52-years cycle, denoting the West, 179 ; a \nday favourable for the homeward journey, 66. \n\nce couatly 1 Snake, initial of the fourth thirteen-series of the \nsecond Tonalamatl quarter, 21 ; denotes the God of the \nMiddle, op-the Below- Above, 204. \n\nce cozcaquaiihtUy 1 Vulture, initial of the fourth Tonalamatl \nquarter, denotes the South, 20, 179 ; week of Macuil \nxochitl, 114, 115 ; of Xolotl, 68. \n\nce eiutvpaliny 1 Lizard, initial of the second thirteen-series of \nthe third Tonalamatl quarter, 21 ; a week belonging to the \nSouth and name of an associate of Macuil xochitl, 114, \n115 ; one of the gods of pleasure, 84; a sign of Ueuecoyotl, \n68 ; given with Xochiquetzal, 68. \n\nce cipacUiy 1 Crocodile, initial of the first quarter of the \nTonalamatl, 20 ; initial of the first quarter of the Tonala- \nmatl disposed in columns of five members, denoting the \nEast, 21, 171, 179, 204 ; sign of the primeval divine \ncouple Tonacatecutli and TonacaciuatI, 83, 84 ; given with \nXochipilli, 63 ; with Xochiquetzal, 65 ; in the Vienna \nmanuscript, 100, 146. \n\nce eecatly 1 Wind, initial of the third thirteen-series of the \nfourth Tonalamatl quarter, 21 ; sign of the West, 204 ; \nname of the white (iztac) Tezcatlipoca, 52 ; name of Iztac \nMixcouatl, 54, 61, 62 ; sign of the wizards, 62, 206. \n\nce UzcuinUiy 1 Dog, initial of the fourth thirteen-series of the \nthird Tonalamatl quarter, 21 ; denotes death, 76, 77. \n\nCelestial shields, of the Maya dociunents, 165-171 ; their signs \non stele 4 of Menche Tinamit, 171, 172. \n\nCelestial wanderers, the six, 150-171. \n\nce magady 1 Deer, initial of the third thirteen-series of the \nfirst Tonalamatl quarter, 21 ; initial of the third quarter \nof the Tonalamatl disposed in columns of five members, \ndenoting the West, 21, 114, 171, 179; sign of the \nCiuateted, 83, 84, 114. \n\nce mcdinalliy 1 Twisted, initial of the third thirteen-series of \nthe second Tonalamatl quarter, 21 ; initial of one of the \nweeks belonging to the South, and name of one of Macuil \n\n\n\n216 \n\n\n\nIndex. \n\n\n\nxochitrs associates, 114, 115; one of the gods of pleasure, \n83. \n\nee miquiztlij 1 Death, initial of the second TonalamatI quarter, \ndenoting the North, 20, 179 ; sign of the North, 204 ; as \nsixth sign of the TonalamatI denoted by the Moon God, \n52 ; sign of Tezcatlipoca, 61 ; chief sign of the wizards, \n57, 61 ; name of the Wizard God, 128. \n\neempoualxochiU, yellow composite flowers (Tagetes sp.), used j \nat the Ochpaniztli flower battles, 186, 187. ' \n\nCerUzon Mimixcoua^ the 400 cloud-snakes, the 400 Northerners, { \nstars of the northern sky, 112, 164, 165. \n\nCtfiUzon Uitznatm, the 400 Southerners, Uitzilopochtli's \nhostile brothers, 112 ; slain by Uitzilopochtli, 132 ; stars of \nthe southern sky, 112, 132, 164, 168. \n\n\u00ab\u00ab oceloUj 1 Jaguar, initial of the second thirteen-series of the \nfirst TonalamatI quarter, 21 ; initial of the second quarter \nof the- TonalamatI disposed in columns of live members, \ndenoting the North, 21, ITI, 179 ; initial of the netonatiuh- \n^ualiztli, 53 ; name of the Sun God appearing in the \nform of the red Tezcatlipoca, 53. \n\nce ofomdtli, 1 Ape, initial of the third TonalamatI quarter, \n20, 179 ; initial of one of the weeks belonging to the West \nand to the Ciuatete6, 1 14. \n\nce olin, 1 Motion, initial of the third thirteen-series of the \nthird TonalamatI quarter, 21 ; sign of the South, 204 ; \nsign and name of Xolotl, 51, 68. \n\nce quauhUiy 1 Eagle, initial of the fourth thirteen-series of the \nfourth TonalamatI quarter, 21 ; one of the weeks belonging \nto the West and to the Ciuateteo, 114. \n\nee quiauitly 1 Rain, initial of the second thirteen-series of the \nsecond TonalamatI quarter, 21 ; one of the weeks be- \nlonging to the West and to the Ciuatete6, 114 ; sign of \nChantico, 66 ; name of the old goddess Ilamatecutli, 63. \n\nce tecpatlf 1 Flint Knife, initial of the fifth thirteen-series of \nthe second TonalamatI quarter, 21 ; initial year of the \nsecond quarter of the 52-years cycle, denoting the North, \n179. \n\ncetlj cold, denoted by white colour and dots, 130, 131, 175 ; \nas a mirror on the garment of Tezcatlipoca, 130, 131, \n175. \n\nee tochtli, 1 Rabbit, initial of the fifth thirteen-series of the \nfourth TonalamatI quarter, 21 ; initial of one of the weeks \nbelonging to the South, and name of one of Macuil \nxochitl's associates, 114, 115 ; initial year of the fourth \nquarter of the 52-years cycle, denoting the South, 179 ; \nsign of the earth, 202 ; sign and name of the Fire God, \n50. \n\nce xochitl, 1 Flower, initial of the fourth thirteen-series of the \nfirst TonalamatI quarter, 21 ; initial of the fourth quarter \nof the TonalamatI disposed in columns of five members, \ndenoting the South, 21, 171, 179 ; name of one of Macuil \nxochitl's associates, 114, 115 ; sign of the sun, denoted by \nthe god descending from above, 97, 98 ; sign and name of \nXochipilli, 63. \n\nCe yaoU, a warrior, name of Tezcatlipoca, 61. \n\nCincalliy maize house, earthly paradise, situate in the West, \n12; = Tamoanchan, 36. \n\nCinteotl, Maize God, figured both in male and female form, \n39 ; deity of the West, 176, 177, 187-189 ; fourth of the \nnine lords, located in the North, 22, 35, 36 ; jointly with \nXolotl denoting the North in the list of guardians of the \nfive quarters, 68 ; first member of the first series of 4 x 5 \nguardians of the Venus periods, 95 ; al.^ a name of \\ \n\n\n\nXochipilli, and of the son of Teteo innan, who plays a \npart at the Ochpaniztli feast, 66. \n\nCipOfCna (Qu*ich^), earth demon, slays the 400 youths. \n\ncipdctli, crocodile, first day-sign, used for the cipher one, 32 ; \ninitial day of the first TonalamatI quarter, denoting the \nEast, 7, 20, 25, 179 ; initial sign of the first Venus period, \n90 ; symbol of the fertile earth, 7, 144, 149 ; figured with \nthe Rain God, 47 ; rends the leg of the deity of the West, \nwho represents the third form of the deity of the planet \nVenus, 200 ; helmet-mask or disguise of the deity of the \nEast, 100. \n\nOipactoncUy deity of the East, second member of the first \nseries of the 4x5 guardians of the Venus periods, 100, \n102. \n\nCitlcUin icue, see Citlallatonac Citlalin icue ;=Tonacaciuatl, \n13. \n\nCitlallaionac Citlalin icue, divine couple, denoting the milky \nway or the zenith, 62, 165 ; their sphere, 112. \n\nCitlallicuej see Citlalin icue. \n\neiUalpol, morning star, 112. \n\nCiitapipUtin, see Ciuateted. \n\nCiuateteSj goddesses, souls of the mociuaquetzque, of the \nwomen dying in childbirth, 40, 207 ; dwell in the ciua- \ntlampa, in the West, 83, 208 ; descend on earth in the \nweeks belonging to the third TonalamatI quarter and to \nthe West, 114, 115, 208 ; figured with loin-cloths, 105. \n\nciuatlampa, region of the women, abode of the Ciuatete6, the \nWest, 83, 148, 207. \n\nConqneat, hieroglyphic symbol of, 35. \n\ngonecali, war-game of the women at the Ochpaniztli feast, \n59, 186, 187. \n\ngoyatl, palm-leaf strips, in Tla^lteotFs headdress, 42. \n\nChoc (Maya), Rain God, as representative of Ah bolon tz'acab \ndenotes the years of the East, 141. \n\nChaculd, in Guatemala, notched vessels from caves in, \n46. \n\nChcUco, town, represented hieroglyphically by the green \njewel, 9. \n\nc^a^AtiiAo^/, jewel- water = sacrificial blood, 109. \n\nchalchiuhcozcapetlatl, collar pleated with jewels, with Xochi- \npilli, 199. \n\nchalchiuktetelli, jewel-heap, the Fire God's fillet, 5, 32. \n\nChcUchiuhtliciie, Water Goddess, sixth of the nine lords of the \nnight, located in the West, 22, 37-40; faces Tlaloc as \nlady of the South, 189, 190 ; in the years of the West, \n181 ; one of the guardians of the 4x5 Venus periods, \ndenoting the West, 108, 109 ; stone efiigies of, in the \nMexican region proper, 40 ; the Miacatlan efiigy, 40, 41 ; \nsymbol of evanescence, 39. \n\nchalchiuhtotoliny the jewelled turkey, the turkey as image of \nTezcatlipoca, 61, 90, 91 ; one of the Tzitzimim^ 55. \n\nchaJchivhuitzatly the precious water of mortification, the \nsacrificial blood, 91, 96. \n\nchcdchiuitl, green jewel, hieroglyph, 9, 108, 109 ; the Water \nGoddess's enagua painted in its colours, 38 ; in the water \nbefore the goddess, 38 ; hanging in bands from the sky \ndenotes rain, 190 ; on the tree of the East, 9 ; in the hand \nof Xochiquetzal, 184 ; swallowed by Chimalman, who \nbecomes QuetzalcouatPs mother, 184; dish painted in its \ncolours, with Tonacatecutli Tonacaciuatl, 185 ; with the \nmaize gods, 188 ; jug painted in its colours, with the \nwater gods, 189 ; change of its colours with the death \ngods, 192. \n\n\n\nIndex. \n\n\n\n217 \n\n\n\nChantico, Groddess of Fire, with the Earth God in the changed \n\nUst of the guardians of the quarters, denotes the West, 67 ; \n\nlady of the week ce eecatl, 206 ; takes part at cremations, \n\n82 ; denoted by the dates yei cuetzpalin and chicuei atl, \n\n67, 82. \nchi (Maya), root of 'dog* and *to bite,' 77. \nchicauazUi, rattle-stick, in the hand of Xipe, 108 ; in the \n\nhand of the animal-headed priest in the Dresden Maya \n\nmanuscript, 141 ; the staff of the wandering gods, 156, \n\n158. \nchicchan (Maya), fifth day-sign, initial day of the second \n\nVenus period, 30. \nChiconu acMy 7 Reed, QuetzalcouatPs birthday, another name \n\nof the morning star, given with the two-coloured (chictla- \n\npanqui) Tezcatlipoca, 53 ; with Xochitl, 68. \nchicome c<dli^ 7 House, a day propitious for the homeward \n\njourney, 66 ; name of the Earth Goddess, who, jointly \n\nwith Chantico in the changed list of the guardians of the \n\nquarters, denotes the West, 66. \nchicome couatl, 7 Snake, name of the Maize Goddess of the \n\nMexicans, 59, 95 ; in the Vienna manuscript, 144. \nchicome cuetzpalin^ 7 Lizard, given with Xolotl, 68. \nchicome eecatl, 7 Wind, in the Vienna manuscript, 146. \ndiicome mafiUl, 7 Deer, in the Vienna manuscript, 146. \nchicome olin, 7 Motion, in the Vienna manuscript, 146. \nchicome quiauitl, 7 Rain, in the Vienna manuscript, 146. \nchicome xochitl, 7 Flower, sign nnd day of Xochipilli, 63. \nChicomolotl, 7 Club, name of the Maize Goddess, 59. \nChicommtoc, the 7 Caves, primeval home of the (Aztec) tribes, \n\n161 ; abode of Iztac Mixcouatl, 62. \nChieoyaotl, on one side foe, name of Tezcatlipoca, 61. \nChictlapanqui TezcatlipocOj two-coloured (half white, half \n\nblack) Tezcatlipoca, disguise of Ce acatl, the morning \n\nstar, 50, 51 ; disguise of Chicome acatl, the morning star, \n\n53. \nChicuei acatl, 8 Reed, name of the Moon Goddess, 52, 85, 86. \nchicuei ail, 8 Water, name of Chantico, 82. \nchicuei ma.^atl, 8 Deer, name of Xochiquetzal, 81. \nchicunanhmictlan, 9 Realm of the Dead, the deepest, lowest \n\nhell, 79. \nchicunaui acatl, 9 Reed, name of Tlagolteotl, 52, 85, 86 ; \n\ngiven with Xolotl, 68. \nchicunaui couatf, 9 Snake, name of Xolotl, 68. \nchicunaui cipactli, 9 Crocodile, name of Mictecaciuatl, 52-79. \nchicunaui eecatl, 9 Wind, in the Vienna manuscript, name of \n\nQuetzalcouatl, 145 ; given with Xochipilli, 63 ; given \n\nwith the Earth Gkxldess, 66. \nchicunaui itzcuintli, 9 Dog, chief sign of the wizards, 62, 206. \nchicunaui ocelotl, 9 Jaguar, name of the Rain God, 51. \nchicunaui olin, 9 Motion, in the Vienna manuscript, 146. \nChichenitza (Maya), city in Yucatan, figures in Mexican \n\ngarb, 120. \nChichicomecoua, the four maize goddesses, appear at the \n\nOchpaniztli feast, 44. \nCliieftaln'8 headdress, Mexican, with Tezcatlipoca and Uitzilo- \n\npochtli, 33, 130 ; with the Sun God, 34. \nchijcin (Maya), West, 31. \nChilam Balam (Maya), prophet, his book from Mani village, \n\n168. \nGliild1)ed, women dying in, see mociuaquetzqui. \nChildren*! flaca-painting, see pilnechiualli. \nChildren's dirt, face-painting of Tezcatlipoca and Uitzilo- \n\npochtli, 132. \n\n\n\n.(/%t?7uiZman, mother of Quetzalcouatl, 184. \n\nChimamaU, wrong reading for Chimalman, 161. \n\nchiqudUi, the scops, the owl, on the crossway, with the Death \n\nGod, 39. \nchuen (Maya), eleventh day-sign, initial of the third Tonala- \n\nmatl quarter, 30. \ndond-Urd, see moan. \nClond-honae of heaven, 15. \n\nDanoe gods, 125-127. \n\nDarkness, devouring, denoted by the jaguar, 199 ; face-painting, \n\nsee mixcitlalhuiticac. \nDart in the eye, with the Codex Laud figure, 85 ; with Kin \n\nchil Coba, ruler of the Katun (the period) 13 ahau, 168. \nDates of the Maya monuments, 17. \nDawn, gloaming, symboUsed by white (red-striped) or by half \n\nblue, half red colour, 199 ; symbol with the pulque gods, \n\n187. \nDay and night, parting of, symbol with the pulque gods, 185, \n\n186 ; with the deity of the West, third form of the planet \n\nVenus, 200. \nDay Bide of the manuscript, 87, 208 ; a priestly codex, 209. \nDay-signs, the twenty, see Tonalamatl ; originally stars ? 171 ; \n\nput in relation with parts of the body, 208. \nDead, the, feast in memory of, 118. \nDead, the, kingdom of, see mictlan. \nDead warriors, ornament of, 118, 119. \nDeath, by disease, symbolised by Mictlantecutii, 79 ; in war, \n\nsee yaomiquiztli ; by sorcery, see teyolloqualiztli. \nDeath, by sorcery and other deaths, 76-80 ; in Codex Laud, \n\n80-82. \nDeath Qod, of the Mexicans, see Mictlan tecutli ; of the \n\nMayas, see Uac mitun ahau ; ape of the lord of life, 167 ; \n\nhis sign the dog, 77. \nDeath Qoddess, see Mictecaciuatl \nDeer, two-headed, fallen from heaven, god of Cuitlauac, 162 ; \n\non the wall-paintings of Mitla, 163. \nDeer gods, in the tribal legends of the Mixtecs of Cuilapa, \n\n162, 163. \nDeer-headed god, Iztac Mixcouatl, the sixth of the six celestial \n\nwanderers, 160 ; chicome magatl of the Vienna manuscript, \n\n146. \nDice-throwing with maize-grains, 189. \nDog, see itzcuintli ; the biting animal, 77. \nDog-headed god, of the East = Xolotl, 122; the Death God \n\nof the third member of the second series of the 4x5 \n\nguardians of the Venus periods in Vatican B, 104. \nDowny feathers, white, sacrificial ornament, 107 ; in the hair \n\nof Mixcouatl, of Uitznauatl, 111 ; on Uitzilopochtli's \n\nrobe, 130. \nDnmuner, 106, 107. \n\nEagle, see quauhtli. \n\nEagle, double-headed, with chicome eecatl of the, Vienna \n\nmanuscript, 146. \nEagle-feathers, Tonacatecutli's beard, 183. \nEagle disguise, with chicunaui olin of the Vienna manuscript, \n\n146. \nEarth, its deities thought of as female, 133. \nEarth, the six regions of, 193-195. \nEarth Qod, see Tlaltecutli ; see animal-headed god. \nEarth Goddess, old Huaxtec, see Tla^lteotl. \nEarth, Jaws of; given with the death gods, 76, 192 ; with \n\nTlaQolteotl and the Moon Goddess, 52 ; with Xolotl, 69. \n\n\n\n218 \n\n\n\nIndex. \n\n\n\nBarthquake, symbolised by the sign olin, 208. \n\nBurtb toad, image of Hades and the North, 164. \n\nBast, region of dawn, house of the siin, 6 ; its temple and \ndeity, 173 ; tree of the, 9, 10 ; symbolised by the Sun \nGod, 173 ; by the Sun God and the Stone Knife God, 22 ; \nby Xochitl and Xochiquetzal, 122, 123 ; by the god with \nthe snake's throat, 143, 144 ; by Tonacatecntli, Tona- \ncaciuatl, 184, 185 ; years of the, denoted with acatl, years \nof fruitfulness, 7, 182. \n\nBast heayen, abode of the sacrificed warriors, 107. \n\nBating man, given with the maize deity, 36. \n\necacenaztli, fan, sign of the wanderers, 136 ; in the hand of \nthe wandering gods, 154, 155. \n\nccaUacaizcozcaily the Wind God's breast ornament, 105 ; worn \nby Xolotl, 155. \n\necatlf see eecatl. \n\nBolio\u00bb see TepeyoUotli. \n\neecatl, wind, second day-sign, entered for the cipher two, 32. \n\nBight rain gods, those of the Vienna manuscript, 146, 147. \n\nRnagna, see cueitl. \n\nBnyoyi of Motecuh^oma, 136. \n\nBpUepsy, caused by the Ciuateteo, 207. \n\ne^tznab (Maya), eighteenth day-sign, denotes the years of the \nNorth, 30. \n\nBvening star, deity of the, see Tlauizcalpan tecutli. \n\nBrening twilight, its symbol, with the pulque gods, 1 85, 186 ; \nwith the gods of the West, of the third form of the planet \nVenus, 200. \n\nBren numbers, with the female deities, 59, 75. \n\n?ye, round, of the Death God, with the gods of the four \nquarteifs, 173 ; gouged, symbol of priestly mortification, \n90-92, 93, 106, 167, 168 ; hieroglyph for malinalli, 83 ; \nin Codex Fej^rvftry shown for the anauatl of Tezcatlipoca, \n118. \n\nBye, socket of^ empty, bleeding, in the Maya manuscripts, \nhieroglyph of twenty and of the starry sky, 166 ; in the \nhieroglyph of the old god Itzamnd, 166-168. \n\nByebrow, prominent, with the jaguar figures and with Tepe- \nyoUotli, 43. \n\nBye-gouging, symbol of priestly mortification, 90-92, 93, 106, \n107, 108. \n\nFaoe-mask, of the dead warrior, 119. \n\nFaca-painting, of the Fire God, 32 ; of the Sun God, 34 ; \nof Tezcatlipoca and Uitzilopochtli, see ixtlan tlatlaan ; \ndifferent with Tezcatlipoca, 6, 33, 174 ; of Tla^olteotl, 40, \n41 ; of the Maize God, 35 ; a variant of the Maize God's, \n176 ; of XochipiUi, 68, 98 ; of Xochipilli as Sun God, 109 ; \nof Tonacatecntli, 68, 187 ; of Macuil xochitl and his \nassociates, 114 ; of the dance gods, 127 ; of Tlauizcalpan- \ntecutli, Mixcouatl, and Camaxtli, see mixcitlalhuiticac ; \ntwo-coloured with Xolotl, 51, 122, 155 ; of the pulque \ngods, 73, 186 ; of Cipactonal, deity of the East, 101 ; of \nthe god of monstrosities, 156. \n\nFan, see ecaceuaztlL \n\nFeather headdress, of the Sun God, 34. \n\nFeather-palm, in Vatican B denotes the tree of the South, 13. \n\nFeather-snake, see Quetzalcouatl. \n\nFfliMnriiy, Gabriel, former owner of the manuscript, 1. \n\nFiny-nine-days period, 134-138, 179. \n\nFifty-two-years cyole, its four quarters, representing the \ncardinal poiiits, 179. \n\nFlg-cactos, see nopalli. \n\n\n\nFillet of the Sun God, 34 ; of the Fire God, see Chalchiuh- \n\ntetetelli ; of Tla^olteotl, see ichcaxochitl ; of . the Bain \n\nGod, 46. \nFire, figured with Tlaloc, 47 ; with the 59-days period, \n\n138. \nFire-drill, see quammamalitli. \nFire-drilling, beginning of the feast, 72 ; on the day naui \n\nacatl, 72 (note). \nFire Qod, see Xiuhtecutli. \nFire Ctoddess, see Cbantico. \nFire, rain of, see tlequiauitl. \nFire-twirler, Mixcouatl, 72. \nFirewood, for the temples, procured by the bachelor warriors, \n\n48. \nFirewood and rubber ball, symbol of burning, denote cre- \nmation, 164 ; denote the nine lords of night, 32-38, 42, \n\n48, 63, 66, 70, 72, 204 ; with the gods of pleasure, 84 ; \n\nbrought by Tonatiuh, first of the six celestial wanderers, \n\n151. \nFish, suckled by Mayauel, 99. \nFive, number of Ciuatete6, 115. \nFiTe quarters, their guardians, the nine lords of the night, 22 ; \n\nin Codex Cortes, 28-30 ; a changed list of, 49-75 ; also \n\nguardians of the 4x5 Venus periods, 121 ; symbolised by \n\ncrossway and finger-posts, 204, 205. \nFlowering tree, before the Maize Goddess, 36 ; borne by \n\nXolotl on his back, 155. \nFlowers, on Xochipilli's temple, 139, 140. \nFlower-wreath, in the moon deity's hair, 52. \nFood snpplies, their deities, 99, 100 ; abundance of, denoted \n\nby tobacco-calabash and incense-pouch, 176, 185, 188. \nFoot, rended, with Tezcatlipoca, 6, 33, 206 ; with the god of \n\nthe West, third form of the planet Venus, 199, 200. \nFoot^ imprint of, denotes the road to be taken, 34 ; employed \n\nas a diacritic mark, 57, 58. \nFOrstemann, his studies of the Dresden Maya manuscript, 88. \nForty-two-years cycle, ten days intercalated after, 179. \nFonr ftf^t^JTia^^ points, their deities, 171-180; another series \n\nof, 180-182. \nFonr hundred demi-gods, see Centzon Uitznaua, Centzon \n\nMimixcoua, omuch c'aholab. \n\nGarcia Icashaleeta, Joaquin, owner of Motolinia's manuscripts, \n\n87. \nOod with the Kan sign of the Maya manuscripts. Maize Gk)d, \n\ngod of fertility, 19 ; as personator of Itzamnd denotes the \n\nyears of the West, 141. \nOods of pleasure, 82-86. \nGold disk, see teocuitlacomalli. \n\nGrab, figured with Tla^^olteotl and the Moon Goddess, 56. \nGraye yessais, Zapotec, 1 47. \n\nGreen, colour of TepeyoUotli, 45 ; of the Bain God, 46. \nGrowth, see izcalli. \nGuardians of the five quarters, 22, 31-48 ; of the five Venus \n\nperiods, 87-121. \n\nHair-dress, Zapotec, 43 ; Tepeyollotli's, 43, 44 ; of the Mexican \n\nchiefs, 33, 34, 130. \nHalf-moon, yellow on the robe of Tla^olteotl and of the pulque \n\ngods, 186 ; as nasal ornament, see yacametztii ; made of \n\nbone in the effigy of the moon, 151, 174. \nHalf red, half blue, denotes the twilight, 199. \nHalf-sun, symbol of the moon ? 152 ; symbol of the sky, 193. \n\n\n\n\\ \n\n\n\nIndex. \n\n\n\n219 \n\n\n\nHalf-nm and half-night, symbol of the parting of day and night, \nwith the pulque gods, 185, 186 ; with the deity of the( \nWest, third form of the planet Venus, 200. \n\nHand, white, about the mouth, face-painting of Macuilxochitl \nand his comrades, 114 ; of Tezcatlipoca itzUacoliuhqui, 174 ; \nof Xolotl, 156. \n\nHatohet, see axe. \n\nHeaddreu of the maiie deity, 35, 36. \n\nHead-rending tMtt, see c'amazotz. \n\nHeart, human = costliness, 98 ; on the doorposts of the temple \nof the Sun and the East, 173. \n\nHeart of the Moantaina, see TepeyoUotli. \n\nHeayena, various, 112 ; the six, 182-193 ; denoted by the half- \nsun, 193 ; on the celestial shields of the Maya documents \nand in the hieroglyph of the moan-bird, 169, 170. \n\nHeavens, quarters of the, see cardinal points. \n\nHensslmann, catalogue of the Fej^rviry collection, 2. \n\nHerald, see tecpoyotl. \n\nHeron-feather orown, see aztatzontli. \n\nHeron-feather forked ornament, see aztaxelli. \n\nHeron-feather stajOr, see aztatopilli. \n\nHeron-fiftatherB, white, mark of Iztac Mixcouatl, and of Ilan- \ncueyl, 62, 159. \n\nHouse of the Earth, in Vatican B, 15 \n\nHnaztecs, see Ouexteca. \n\nHuman generation, first, its destruction, 197. \n\nHuman skin, worn by Xipe totec, 108. \n\nHunan sacriflce, its symbolic indication, 192 ; represented with \nItztli, 34 ; with the guardians of the 4x5 Venus periods, \n90-94. \n\nHuman eacrilioe, god of, see Itztli. \n\nHumming-bird, see uitzitzilin. \n\nHun ahan (Maya), sign and name of the Sun Grod, 98. \n\nHurdkan (Qu'ich^), God of Heaven = Tezcatlipoca, 33. \n\nicnoyotl, poverty, figured with the Water Goddess, 39. \nicuexuan, the Huaxtec ministers of Tla9olteotl, 103. \nichcctxochitl, fillet of unspun cotton, with Tla^olteotl and the \n\npulque gods, 41, 78, 186. \nIguana, lizard, see cuetzpalin. \n\nik (Maya), wind, breath, second day-sign, sign of life, 30. \nIlamatecutli, the old princess. Earth Goddess, 133. \nUancueyi^ the old woman, consort of Iztac Mixcouatl =Ilama- \n\ntecutli, 159-161. \nIlhuicatl xoxauhqui, the blue heaven, name of Uitzilopochtli, \n\n132. \nilhuiily day, feast, symbol, 127. \nImage, offered to the gods, 93. \nimiz (Maya), first day-sign, initial of the first Tonalamatl \n\nquarter, 29 ; the first Venus period, 30. \nIncenae and thurible, symbol of abundant food supplies, 176, \n\n185, 188. \nIndex linger, double, denotes the Above-Below direction, 204. \nIntercalation of ten days after forty-two years to correct the \n\nyear's length, 135, 179. \niopochpa tonatiuh, to the left of the sun = South, 131, 132. \nItzamni (Maya), lord of life, the old god of the Yucatecs, \n\nanswering to the Fire God and to the Tonacatecutli of the \n\nMexicans, 30 ; to be identified with the starry sky, 166, \n\n167 ; denotes the years of the West, 141 ; symbol of the \n\nKatun period, 13 ahau, 168. \nItzcuintli, dog, tenth day-sign, sign of the Death God, 76, 82 ; \n\nthe biting animal, 77. \n\n\n\nItzmal (Maya), city in Yucatan, its ^pd in bird form, 191. \n\nIfs^pcUotl^ Chichimec Earth Goddess, 208 ; ruler of the six- \nteenth day and of the fifteenth week, 36 ; one of the \nTzitzimimd, 55. \n\nUztiCf sharp, pointed, cold, a symbol, 154, 159. \n\nItztUieoliuhquij god of the sharp stone, of punishment, of cold, \nthird member of the third series of guardians of the 4xFi \nVenus periods, 104 ; his face-painting, 33, 174 ; god of \nthe North, 131, 132, 174, 175. \n\nItztliy Stone Knife God, second of the nine lords, located in the \nEast, 22, 33, 34 ; = Tezcatlipoca. \n\nitztopolli, stone hatchet, weapon of the Pulque God, 186 ; \nweapon of the Bain God, 47, 51. \n\niuitlj downy feathers, white, sacrificial ornament, 107 ; on \nUitzilopochtli's robe, 130 ; in the hair of Mixcouatl and \nUitznauatl, 111. \n\nluitl, one of the Fire God's priests, 67 (note). \n\nIxca^auhquiy the yellow-faced, name of the Fire God, 32. \n\nixtlan tlatlaan, Tezcatlipoca's and Uitzilopochtli's face-painting \nin yellow cross-bands, 6, 33, 43, 104, 119, 130, 132, 205 ; \nface-painting of children, 1 32. \n\nIxtlilton, the little black-face. Dance God, 127 ; brother of \nMacuil xochitl, 117 ; god of the South, 128. \n\nixtliltxin = Ixtlilton. \n\niyecampa tonatiuh, to the right of the sun = North, 131. \n\nizcalliy growth figured by a naked mannikin striving upwards, \nwith Tonacatecutli Tonacaciuatl, 184, 185 ; with the Water \nand Rain gods, 189. \n\nIztac Mixcouatl, the white cloud-snake, Old God, primeval \nfather of the tribes, dwelling in Chicomoztoc, 161 ; in the \nchanged list of the guardians of the quarters denotes the \nupper region, 61, 62 ; sixth of the six celestial wanderers, \n159-164 ; denotes the milky way or the zenith, 165. \n\nIzta^i Tezcatlipocay white Tezcatlipoca, in the changed list of \nthe guardians of the cardinal points, denoted by the date \nCe eecatl, taking the role of Cinteotl, 52, 54. \n\nixtac xochitl, the white flower, name of Teteo innan, 42. \n\nJaguar, see Balam ; see ocelotl ; his voice in the mountains, \n\nsee TepeyoUotli. \nJaguar diagniae, with Ce cipactli of the Vienna manuscript, \n\n100 ; with chicome olin and chicome ma^atl of the Vienna \n\nmanuscript, 146 ; see TepeyoUotli. \nJaguar ear, in the throat of the snake forming the helmet- \nmask of the Water Goddess, 37, 85 ; at the temple of the \n\nFire God, 5. \nJaguar*B foot, as pouch, see oceloyataztli. \nJagnar-akln aeat, see oceloicpalli. \nJaguar-akin deaign, about Tepeyollotli's mouth, 43 ; with tlie \n\ngod of the North, 175. \nJaguar's throat, in the human face, with Chicome olin of \n\nthe Vienna mHuuscript, 146. \nJewel, green, see chalchiuitl ; two or four on the bracelet, 98 ; \n\ntie at the mouth of XochipiUi and Xochiquetzal, 96 ; on \n\nthe tree of the East, 9. \n\nKan (Maya), fourth day-sign, 30 ; symbol of the maize fruit, \n\n31, 93. \nXan-sign, god with the, god of the maize fruit, 19 ; as per- \n\nsonator of Itzamna denotes the years of the West, 141. \nKatun (Maya), cycle of 20 x 360 days, 17. \nKin (Maya),' sun, day, hieroglyph, 19, 97, 127 ; on the celestial \n\nshields of the Maya documents, 165, 166. \n\n\n\n220 \n\n\n\nIndex. \n\n\n\nKinch ahau (Maya), Sun Grod, denotes the North and the \n\nyears of the North, 19, 141. \nKin chil coha (Maya), ruler of the Katun (cycle), 13 ahau, \n\nfigured with dart in its eye, 167, 168. \nKinich kdkmo (Maya), sun-bird, god of Itzmal, 191. \n\nlamat (Maya), eighth day-sign, denotes the years of the South, \n\n30. \nLeft, from the sun = South, 131, 132. \nLeff, replaced by body and head of snake, with Tla^olteotl, the \n\nMoon Goddess, 152 ; with the celestial wanderers of the \n\nNorth, 157 ; torn off, with Tezcatlipoca, 6, 33, 206 ; with \n\nthe deity of the West, third form of the planet Venus, \n\n199, 200. \nLightnln^-Bnake in the Rain God's hand, 47, 51. \nlikin (Maya), hieroglyph of the East, 31. \nLinrd, see cuetzpalin. \nLoln-oloth, see maxtlatl. \nLord of life, of the Mexicans, see Tonacatecutli ; of the Mayas, \n\nsee Itzamnd. \nLords of the night, the nine, guardians of the five quarters, 22, \n\n31-48 ; denote the night hours, 48 ; lords of the starry \n\nsky? 48. \nLot casting, with maize grains, 189. \nLower region, symbolised by the animal-headed god, 140, 141 ; \n\nby the two old Earth goddesses, 132, 133 ; by Xochiquet- \n\nzal, 191 ; by the image of the spider, 133. \n\nmacuil cozcaquanhtli, 5 Vulture, one of Macuil xochitl's com- \nrades, 115. \n\nmacuil cuetzpalin^ 5 Lizard, one of Macuil xochitPs comrades, \n115. \n\nmacuil maHnalli^ 5 Twisted, one of Macuil xochitl's comrades, \n115. \n\nmactiU olin, 5 Motion, on the sheet of the East, 180. \n\nmacuil tochtli, 5 Rabbit, one of Macuil xochitl's comrades, 115. \n\nMaciiU xochitl, 5 Flower, god of revelries, feasts, and sports, \n83, 116 ; associate of Ixtlilton, the Dance God, 117, 127, \n128 ; venerated jointly with Xochipilli, 115 ; associate of \nthe Ciuateted and lord of the South, 26, 115 ; variant of \nTezcatlipoca, 119, 129 ; one of the guardians of the 4 x 5 \nVenus periods, 114-119 ; facing Quetzalcouatl at the foot \nof the tree of the Middle, 14 ; of red colour, 114 ; wears \nthe tonallo emblem, 117 ; his face-painting with Xolotl, \ngod of monstrosities, 156 ; with Tezcatlipoca, god of the \nNorth, 174 ; one of the gods of pleasure, 83, 84 ; in Codex \nLaud, 85, 86 ; hymn in his honour, 72. \n\nmagatly deer, seventh day-sign, used for the cipher seven, 40 ; \ndenotes drought and fiery rain, 135, 138. \n\nmxuxualixili^ dance, 127. \n\nmachoncotl^ upper arm bangle, an ornament of the Mexican \nkings, 129 and note ; with Xochipilli, 199 ; with Tezcatli- \npoca, 206 ; in the dish before Macuilxochitl-Ixtlilton, 129. \n\nMagicianB, see Wizards. \n\nMaiie bloom^ on the Maize God's headdress, 35, 187, 188. \n\nKalie Ood, see Cinteotl. \n\nMaiie Qoddeii^ Mexican, see Chicome couatL \n\nMaise-graln scattering, casting lots, 189-191. \n\nKaise plant, before the Maize God, 36 ; in the four years, 7, \n181, 182. \n\nMaiie veeie], at the doorposts of the temple of the West, 176. \n\nMaler, Teobert, his researches in Mench^ Tinamit, 170. \n\n\n\nmalinalli, twisted, fourteenth day-sign, figured by a gouged \neye, 83 ; grass ornament of the death gods, 148, 192. \n\nMani, place in Yucatan, its book of the Ohilam Balam, \n168. \n\nMan in the moon, by the Mexicans regarded as a rabbit, \n151. \n\nmanoiOa, an article of the dance, 130. \n\nManoscriptB, Mexican, their outward form and origin, 3. \n\n7tuiquiy courtesans who join the ranks, associates of the \nwarriors, 65. \n\nMat, a mark of royalty, 61 and note ; made of pleated palm- \nleaves, a covering of the traveller's packs, 154, 157. \n\nmaUactli oce cipactli, 1 1 Crocodile, in the Vienna manuscript, \n100, 101. \n\nmaJtlacUi olin, 10 Motion, initial of the fifth Venus period, 89. \n\nmatlactli omd xochitl, 13 Flower, given with the Earth \nGoddess, 66 ; in the Vienna manuscript, 160. \n\nMatlalcueyt, mountain in Tiaxcallan, place of sacrifice for the \nrain gods, 59. \n\nmaxtlatl^ loin-cloth, not worn by the Huaxtecs, 113 ; not worn \nby the god Mixcouatl, UitznauatI, 113, 198 ; given with \nthe Ciuatete6 and Micteca ciuatl, 105 ; Xipe's, 108. \n\nMayauely goddess of the agave plant, seated on a turtle borne \nby a dragon, 27 ; first member of the fourth series of the \nguardians of the 4x5 Venus periods, 98, 99 ; suckling a \nfish, 99 ; one of the TzitzimimI, 55. \n\nMayeccayotziriy he to the right (of the sun), the Northerner, \n132. \n\nMayer, Joseph, acquired the Fej^rv^ Codex and presented \nit to the Liverpool Museum, 2. \n\nTtiayeuatl, gloves of the ball-players, 137, 138. \n\nTMcapalliy frontal band to which the bearing-strap of the \ndorsal packs is fastened, 157. \n\nMenchd Tinamit, site of ruins on the Usumacinta river, its \nstele No. 4, 170-172. \n\nMerchantB, travelling, their badge, 136. \n\nMezicane, their tribal ancestor Tenoch, 161. \n\nmexxayacaUy mask made of the skin of the victim's thigh, worn \nat the Ochpaniztli feast, 174, 208. \n\nmeyotliy rosettes on the Maize Goddess's headdress, 95. \n\nMiacailany hacienda at Xochicalco, its stone effigy of the \nWater Goddess, 40, 41. \n\nMictecaciuatl, queen of the underworld, consort of the Death \nGod, 79, 191, 192 ; facing the white Tezcatlipoca in the \nchanged list of guardians of the cardinal points denotes the \nNorth, 52 ; the third member of the fourth series of guar- \ndians of the 4x5 Venus periods, 105 ; named with the date \nchicunaui cipactli, 52, 79. \n\nmicilampa, region of Hades, the North, 6, 121, 147. \n\nmictlan, Hades, represented by the jaws of earth, denotes the \nNorth, with the death gods, 12, 76, 192 ; with Tla^olteotl \nand the Moon Groddess, 52 ; with Xolotl, 69 ; introduced \nfor the primeval home, Chicomoztoc, situate in the North, \n164. \nMictlantecutliy lord of Hades, 191, 192 ; denotes death by \nailments, 79 ; fifth of the nine lords of the night, located \nin the North, 22, 36, 37 ; third member in the first series \nof the guardians of the 4 x 5 Venus periods, 103, 104 ; one \nof the guardians of the six quarters, 147, 191, 192 ; one of \nthe Tzitzimime, 55 ; in Maya manuscripts figured with \nreptile helmet-mask, 37 ; name of Tezcatlipoca as lord of \nthe North, 6 ; seated back to back with Quetzalcouatl, \n26, 27. \n\n\n\nIndex, \n\n\n\n221 \n\n\n\nHlddle, the first of the five quarters, represented by the Fire \nGod, 1, 21 ; represented by the gods of food supplies, 100 ; \ntree of the, in Codex Boigia, 14. \n\nHlddle finger of a woman dying in childbed gives courage in \nwar, 207. \n\nMilky way, or Zenith, see Citlallatonac, Citlalin icue ; indicated \nby Iztac Mixcouatl, 165 ; symbol on the celestial shields of \nthe Maya documents, 166-168. \n\nMiUitone, the, the old goddess at, 159, 160. \n\nMimixcouay see Centzon Mimixcoua. \n\nmiotliy see meyotli. \n\nMi^tm, a name of Tezcatlipoca, 61. \n\nmiquisAli^ death, sixth day-sign, used for the cipher six, 37 ; \ninitial day of the twelfth Tonalamatl quarter, denoting the \nNorth, 7, 20, 25, 1?9 ; sign of the Moon God, 52 ; sign of \nthe wizards, see Ce miquiztli. \n\nMliTor, smoking, at the temple of Tezcatlipoca, 33 ; in place \nof his rended foot, 33 ; back-mirror, see cuitlatezcatL \n\nMUla, ruined city of the Zapotecs ; wall-paintings in the \ncourt of palace i., 162, 163. \n\nmitzontli, Uacochtzontliy two arrow-shafts in the Fire God's \nfillet, 32, 50. \n\nMixeo^iaU, cloud-snake, god of the hunt and of the hunting \ntribes, identical with Camaxtli, 198 ; god of the North, \nfigured as a naked god without loin-cloth, 26, 198, 199 ; in \nVatican B at the foot of the tree of the North, 111 ; has \nthe face-painting of Tlauizcalpantecutli, 71, 111 ; second \nof the four forms of the planet Venus, 198, 199 ; images \nof, from the west side of the court of palace i. at Mitla, \n162 ; fire-twirler, 72 ; in the device of the two-headed \ndeer subdues the tribes, 162 ; one of the Fire God's priests, \n67 (note) ; see Iztac Mixcouatl. \n\nmixcitlalhuiticac, steUar face-painting of Tlauizcalpan t^cutli, \n106, 107 ; of Mixcouatl and Camaxtli, 71, 111, 198, 199 ; \nof the tonatiuh iixco yauh, 119. \n\nMixtecatl, ancestor of the Mixtecs, 161. \n\nKixtecs, of Ouilapa, their tribal saga, 162, 163. \n\nMoan (Maya), cloud-bird, its hieroglyph, 170. \n\nmocitMquetzquiy the warrior in the form of a woman, a woman \ndying in childbed, 206 ; dwelling in the west heaven, at \ncertain times descends on earth, 207 ; people bewitched by \na finger or arm of the, 161, 207. \n\nMontb, synodic, 134. \n\nMoon, its hieroglyphic representation, 150, 151 ; with Tlagol- \nteotl, 103 ; second of the six celestial wanderers, 151, 154; \nin the temple of the North, 174 ; with the gods of the \nunderworld, 192 ; assumed hieroglyph of, in the Maya \ndocuments, 166, 167. \n\nMoon God, the Mexican, see Tecciztecatl ; conjectured, of the \nMaya documents, 166, 167. \n\nMoon Goddess, see chicuei acatl. \n\nMorning twilight^ symbolised by the Bat Grod, 197. \n\nMorning star, see Venus planet ; its deity, see Tlauizcalpan \ntecutli. \n\nMortification, priestly, symbolised by eye-gouging, 90-93 ; its \nimplements, bone dagger, and agave-leaf spike, see omitl, \nuitztli. \nmotz (QuHch^), heap = the Pleiades, 112. \nMonae^ see quimichin. \nMoyocoyaizin, the capricious agent, a name of Tezcatlipoca, \n\nwrongly derived from Mayeccayotzin ? 132. \nmtdue (Maya), ninth day-sign, initial of the third Venus period, \n30. \n\n\n\nMninmy pack, false, set up at the rites in memory of the dead, \n\n78, 118. \nMuiio, gods of; 125-127. \nMiuHMl ooncb, see tecciztli. \n\nNaked god, Mixcouatl, Uitznauatl, 113, 198, 199. \n\nNasal omainent^ of the Water Goddess, 23, 37 ; of the Maize \n\nGoddess, 176, 188 ; of Tla^lteotl and the pulque gods, see \n\nyacametztli ; of Xipe and Tla^olteotl, 41, 108 ; of Tepe- \n\nyoUotli, 43, 45 ; of Uitznauatl and the Huaxtecs, 113, 114 ; \n\nof the tonatiuh iixco yauh, see yacaxiuitl. \nNauhyo teuctliy lord of the four quarters, the Fire God, 5. \nnaui acaU, 4 Beed, day of fire-drilling, 72 and note ; year, on \n\nthe sheet of the West, 178, 179 ; name of Tlauizcalpan \n\ntecutli, 70, 71. \nnaui atlj 4 Water, sign of the epoch of the flood, 71. \nnaui callij 4 House, year, on the sheet of the East, 178, 179 ; \n\nname of the Death God, 79. \nnaui couaUy 4 Snake, god of this name in the Vienna manu- \nscript, 144. \nnaui dpadlif 4 Crocodile, name of the Pulque God, 73 ; in \n\nthe Vienna manuscript, 100, 101. \nnaui eecaily 4 Wind, in the Tonalamatl figured facing the Bain \n\nGod, one of the TzitzimimS, 55. \nnaui oliUf 4 Motion, symbol of the present (the historical) \n\nsun, 53 ; in the Vienna manuscript, 153, 154. \nfnaui quiauiil^ 4 Bain, one of the gods of pleasure, 83. \nnaui tecpatly 4 Flint Ejiife, year, on the sheet of the South, \n\n178, 179. \nnaui tochtliy 4 Babbit, year, on the sheet of the North, 178, \n\n179. \nnaya>a (Zapotec), white, 163. \n\nnecoc ya>otlj on both sides foe, name of Tezcatlipoca, 61. \nTumnatlaxOy to-and-fro movement of the hands, dance at the \n\nOchpaniztli feast, 59. \nnenacaJtequilixUiy gashing one's ear, 91. \nnenenepUtequUiztliy gashing one's tongue, 91. \nndonatiuhgaualiztli, four-days fast in honour of the Sun God, \n\n53. \nNew period, entrance of the, indicated by human sacrifice, 94. \nNight, symbol of, in the headdress of Itzamnd and his hiero- \n\nglyphi 167 ; indicated by the number (341), 75, .204, 205 ; \n\nthe nine lords of the, 31-48. \nNight tide of the manoscriptk 5-86 ; its proper beginning, 204, \n\n209. \nNine, a number favourable to the wizards, 59, 68 ; numeral of \n\nthe underworld, 59 ; numeral of the lords of the night, \n\nguardians of the five quarters, 21, 22. \nNine caves, wind of the, one of the two twin sons of the \n\nprimeval divine pair, 163. \nNine lords, of the night hours, 21, 22, 31-48. \nNine snakes, wind of the, one of the two twin sons of the \n\nprimeval divine pair, 163. \nNine-and-flf^-day period, 134-138, 179. \nTiohol (Maya), South, its hieroglyph, 31. \nnopalli, fig-cactus, introduced with the first members of \n\nthe changed list of guardians of the cardinal points, 60 ; \n\nbranches of, used in the battle of flowers at the Ochpaniztli \n\nfeast, 186, 187. \nNorth, region of Hades, 6, 7 ; denoted by the crossway, 164 ; \n\nits temple and its deity, 174, 175 ; its tree, 10, 11 ; de- \nnoted by Tezcatlipoca, 174, 175 ; denoted by Tla^olteotl \n\nand the Death God, 123, 124 ; denqted by the death gods, \n\nF \n\n\n\n222 \n\n\n\nIndex. \n\n\n\n103-105, 147, 148 ; denoted by the pulque gods, 186, 187 ; \ndenoted by Mixcouatl, 198, 199 ; years of the, indicated \nby teqtatl, 7 ; years of the, when insects and other pests \ndestroy the maize, 7, 182. \n\nHorth heaTon, stars of the, see Centzon Mimixcoua ; on the \ncelestial shields of the Maya documents, 169. \n\nVonristaliig of the gods with sacrificial blood, 94. \n\nVunmali, ritual, with the Tlaxcaltecs, 59. \n\nIhunanls, writing system, Mexican, 49 ; Maya, 49, 57. \n\nMumntl i\u00abilM, with the changed list of the guardians of the \ncardinal points in Codex Borgia, 58, 59 ; of Codex Fej^- \nviiry, 74 ; on the sheets symbolising death by witchcraft \nand other deaths, 79, 80 ; with the gods of pleasure, 85. \n\nOooipital iliield, see cuexcochtechimalli. \n\nocdoicpalli^ jaguar-skin seat, 60, 61, 190. \n\noedatl, j&guar, fourteenth day-sign, given on the thigh of the \nTezcatlipoca figure, 208 ; on the tree of the South, 13 ; with \nthe first members of the changed list of guardians of the \ncardinal points, 55, 60 ; in Vatican B with the Stone Knife \nGod, 34 ; denotes the solar eclipse and devouring darkness, \n15, 149, 199 ; clay figures of, Zapotec, 43. \n\noedayatazUi, tobacco or incense pouch of the skin of a jaguar's \nfoot, mark of the priests, 123 ; in Iztac Mixcouatl's hand, \n159, 160 ; on the back of the old god of the Vienna \nmanuscript, 160, 161 ; homologue of the tobacco -calabash, \nsymbol of abundant food supplies, 176, 185, 189, 191. \n\nofomhUi^ Ape, eleventh day-sign, initial day of the third \nTonalamatl quarter, denoting the West, 7, 20, 25, 179. \n\nOehpanixtliy broom feast, feast of the Earth Groddess, 44, 59 ; \nbattle with spiked balls, 174, 175, 186, 187. \n\nOld, the disused, denoted by objects broken in two pieces, 161. \n\nOld god, see Ueueteotl, Tonacatecutli, Iztac Mixcouatl ; of the \nVienna manuscript, see ome itzcuintli ; of the Mayii \ntribes, see Itzamn^ ; their representation in Codex Borgia, \n159. \n\nOld goddess, see IlamatecutU, Ilancuey^. \n\nOld pilett, Iztac Mixcouatl, 161, 164 ; Itzamni, 167. \n\noUfiy motion, seventeenth day-sign at the foot of the Tezcatli- \npoca figure, denotes earthquake, 208 ; initial sign of the \nfifth Venus period, 90 ; sign of Xolotl, 51, 68, 156. \n\nolUmanif ball-players, 137. \n\nolli, rubber ball, 137. \n\nOlnucaU^ ancestor of the Atlantic coast tribes, 161. \n\nofpiyauac, spotted with caoutchouc, article of dress of the Rain \nCk>d, 46. \n\nomaxac, crossway, see otlamaxac. \n\nome acatlj 2 Reed, sign of fire-drilling, name of the black \nTezcatlipoca, 53. \n\nome itxcuintli, 2 Dog, old god of the Vienna manuscript, 160, \n161. \n\nome tochtlif 2 Rabbit, name of the Pulque God, 77, 83, 133. \n\nomiUy bone dagger, implement of mortification, 90 ; in the \nhand of the Sun God, 143 ; in Quetzalcouatl's fillet, 106 ; \nin Xolotl's, 154 ; in the Bat God's, 196, 197 ; in the Maize \nGod's, 188 ; in that of the deity of the West, third form of \nthe planet Venus, 200 ; broken in two pieces denotes the \npriests of the olden time, 161, 164. \n\nomuch &aholab (Qu'ich^), the 400 youths slain by Cipacna = \nthe Pleiades, 112. \n\nOne-legged, see Hurakan. \n\nop yehquiaiuiyocan, where the doors on the left (t.e. are shut), \nname of Hades, 79* \n\n\n\nopochtlif the left, i.e. the Southern, 132. \n\notkrniaocae^ crossway, with Tezcatlipoca, 34 ; with the Death \n\nGod, 37 ; with Tla^olteotl, 42 ; with the animal-headed \n\ngod, the god of ike earth, 141 ; with Xolotl, god of \n\nmonstrosities, denotes the North, 164 ; denotes the four \n\ncardinal points, 204. \notlamaxac Oituitetedy the goddesses at the croesways, the souls \n\nof women dying in childbed, 153. \noUatopUli, bamboo staff, sign of the wanderer, 136. \nOtomiUj forefather of the Otomi people, 161. \nOwl, see tecolotl, see chiquitli. \noyouaUiy rattling pendant, 160, 161 ; ornament of the Centzon \n\nUitznaua, 160 ; breast and ear ornament of Mixcouatl, \n\n160 ; of the dance gods, 125, 126. \n\n\n\npachUij TiUandsia usneoides, 186, 187. \n\nPalenqne, its altar-pieces, 17-20. \n\nPalm-leaf strips, rolled up, worn in the nose by the Huaxtecs, \n\n114. \npancttecuetlayan, where the flags wave, place in the under- \nworld, 77. \nPanquetxalidli, hoisting the flags, chief feast of Uitzilopochtli, \n\n112, 132. \npantoyauaUi^ bent forward, paper flags, ornament of the dead, \n\n192. \nPaper IU^b, ornament of the dead, 36, 76, 178, 192 ; sacrificial \n\nornament, 107. \nParrot, see cocho ; foe of the maize field in the years of the \n\nNorth, 182. \nPaimoh, wrinkled with Tla^olteotl and the Ciuapipiltin, \n\ndenotes the state just after childbirth, 40. \nPd,tecatl, Pulque God, 73, 185-187. \npatollif game of dice, its patron Macuil xochitl, 116. \npeyaa (Zapotec), puma, 163. \npiaa (Zapotec), puma, 163. \nPigeon (7), disguise of the maize deity, 176, 188. \npilfiechiualli, children's face-painting with Tezcatlipoca and \n\nUitzilopochtli = ixtlan tlatlaan, 132. \nPUtzintecuili, name of the Sun God, as third of the nine lords, \n\n22, 34. \nPlanets, identified by Forstemann with signs of the celestial \n\nshields, 164, 165. \nPleasure, gods of, 82-^6. \nPleiades, see omuch c'aholab. \nPonce, Fr. Alonso, his journal of travels, 112. \npoy aham che (Qu'ich^), puppets, wood carvings, first genera- \ntion of men, 197. \nPresenting ofltolngf, gesture of^ 93. \nPriestly mortiflcatlon, 90-93. \nPriests, of the water deity and of the deity of the West on the \n\naltar-pieces of Palenque, 19 ; of the olden time, Iztac \n\nMixcouatl, 161. \nPrimeval gods, see Tonacatecutli Tonacaciuatl ; see Iztac \n\nMixcouatl ; in deer form in the tribal legends of the \n\nMixtecs of Cuilapa, 162, 163. \nPrimeval borne of the tribes, see Tamoanchan, see Chicomoztoc. \nPnlqne Ood, facing Tlauizcalpantecutli in the changed list of \n\nguardians of the cardinal points, 73 ; lord of the North, \n\n186, 187 ; denoted by tochtli, ' Rabbit,' 72 ; as Death \n\nGod, third member of the second series of guardians of the \n\n4x5 Venus periods, 104. \nPulqae revels, opened with fire-drilling, 72. \n\n\n\nIndex. \n\n\n\n223 \n\n\n\nPnluky, Franz, nephew of Gabriel Fej^rv&ry, and heir of his ' \n\ncollection, 1, S. \nPuma, the white animal, 163. \nPnma makt, the nude deer god, in the tribal myth of the \n\nMixtecs of Cuilapa, 162, 163. \n\nq%uimmamal%tlty wooden drill, two in the Fire God's fillet, 32. \n\nqttaukquauitly eagle-tree, tree of the North, 8. \n\nquauhtliy eagle, fifteenth day-sign, given on the thigh of the \nTezcatlipoca figure, 208 ; on the tree of the North, 8, 10, \n11 ; bears the shield with calli, the sign of the years of \nthe West, 6 ; one of the four forms of the deity of the \nplanet Venus, 201, 203. \n\nquauhxolotly double-headed eagle, with chicome eecatl of the \nVienna manuscript, 146. \n\nQuaxolotly see Chantico. \n\nquechquemitly tippet-like mantle of the women, 64. \n\nquemitly apron-like garment, 122, 130. \n\nQnetial Mrd, see quetzaltototl. \n\nquetxcUcoriatly feather-snake, before the Water Goddess, 38 ; \nsymbol of the sea^ 202 ; before Xipe Totec, 38, 201, 202. \n\nQuetzalcoucUly Wind Gk>d, son of Chimalman, 161, 184 ; his \nsupernatural birth, 184 ; borne by Tonacaciuatl on his back) \n183, 184 ; one of the guardians of the 4x5 Venus periods, \ndenoting the West, 105 ; facing Macuil xochitl at the foot \nof the tree of the middle, 14 ; back to back with the \nDeath God, 26, 27 ; first of the six celestial wanderers, \n152 ; in the Vienna manuscript called chicunaui eecatl, \n145 ; inventor of the Tonalamatl, 209 ; his distinctive \narticle of dress with Xolotl, 68, 122, 123, 155 ; with the \npulque gods, 73, 186, 187 ; with the Bat God, 196, 197 ; \nwith Uitznauatl, 113. \n\nqxutzcUcoxcooetli, see coxcoxtli. \n\nQuetzal featlierB, see quetzalli. \n\nquetzaUiy quetzal feathers, symbol of vegetation, of the rainy \nseason, 10 ; a covering of the temple of the deity of the \nEast, 143 ; with Xochipilli, 199. \n\nquetzalmackoneoUy see machoncotl. \n\nquetzalqtiauitl, quetzal-feather tree, tree of the East, 8. \n\nquetzcdtotoU, quetzal bird, Pharomacrus raocinno, bird of the \nEast, on the tree of the East, 8, 9 ; bears the shield with \nacatl, sign of the years of the East, 6 ; disguise of Xochi- \nquetzal, 120 ; on the travelling-pack of one of the six \ncelestial wanderers, 157-159 ; descending on the dish, \n191. \n\nquezeuatlf leather hip- wrap, which the ball-players fasten round \ntheir buttocks, 137, 138. \n\nquiauitl, rain, nineteenth day-sign, replaced by ayotl, the \nturtle, 57 (note). \n\nquimichiny mouse, enemy of the maize fields in the years of \nthe North, 182 ; at the crossway with Itztli, the Stone \nKnife God, 34 ; with one of the six celestial wanderers, \nthe wanderer of the North, 158. \n\nQulneiinx, white spots on dark ground, hieroglyph of the planet \nVenus, face- painting of Tlauizcalpan tecutli, 70, 94, 106, \n200. \n\nQuiriffudy in Guatemala, its monuments, 17. \n\nRabbit, see tochtli. \n\nRadial esre, on the tree of the West, 11 ; breast ornament of \n\nTlauizcalpan tecutU, 107. \nBain CkHi of tli6 Mezicaai, see Tlaloc; of the Mayas, see \n\nChac. \n\n\n\nBain gods, the eight,of the Vienna manuscript, 146, 147. \n\nBamon j Zamora, P. Geronimo, 87. \n\nBattlA-stlok, see chicauaztli. \n\nBectangnlar Held, on the cheek of Xochipilli, Tonacatecutli, \n\nand the maize gods, 68, 98, 187 ; of the Sun God, 34 ; on \n\nthe enagua of the Maize Goddess, 188 ; on XochipillPs \n\nrobe, 122, 124. \nBed longitudinal band, on white ground, variant of white \n\npainting, 41. \nBended foot, with Tezcatlipoca, 6, 33, 206 ; with the deity of \n\nthe West, third form of the planet Venus, 199, 200. \nBeptll6*8 JawB, denoting a cave, 45. \nBing-sbaped pendant at tbe month, with the Codex Borgia \n\nfigures, mark of old gods, 159. \nBogue wizards, see temacpalitotique. \nBound eye. of the death gods, with the deities of the four \n\nquarters, 173. \nBnbber ball, symbol of the movement of the sun, 154 ; with \n\nthe burnt-offering, 164. \n\nSacriiicial cord, see aztamecatli. \n\nSacrificial death, represented by Tlauizcalpantecutli, 107. \nSacrificial ornament, down-feather dress and paper flags, 107. \nSacrificial priest, represented by Quetzalcouatl, first of the six \n\ncelestial wanderers, 154. \nSacrificial stone, see techcatl. \nScaffolding of poles, temple of Tla^olteotl, 148. \nScorpion, see color 1. \nSea, denoted by feather-snake, 202. \nSea-snail shell, see tecciztli. \n\nSeftores de la noche, see nine lords of the night hours. \nSepulchral vessels, Zapotec, 147. \nSeven, number of the Maize Goddess, lucky number, 59. \nSeven caves, primeval home, see Chicomoztoc. \nSexual union, see blood, stream of. \n7 Shield, one of the signs on the celestial shields of the Maya \n\ndocuments, 170, 171. \nBhooUnggod, Tlauizcalpan tecutli, 71, 107 ; Mixcouatl Uitz- \nnauatl, 111, 199 ; the Centzon Uitznaua, 112. \nShooting with darts, sacrifice to the Earth Croddess, 79. \nSix celestial wanderers, the, 150-171. \nSix earthly regions, the, 19?- 195. \nSix heavens, the, 182-193. \nSix quarters, the gods of the, 121-134 ; another list of the, 139- \n\n149. \nSlavery^ sale into, see tlanamictiliztli. \nSlaves, entertained on the day of Tezcatlipoca, 61. \nSmoking mirror^ on the temple of Tezcatlipoca, 33 ; in the \n\nplace of his rended foot, 33. \nSnail, hidden in the house, figured with Tlagolteotl and the \n\nMoon Goddess, 56. \nSnail-shell, armlet of Iztac Mixcouatl, 160 ; of Xolotl, 154; at \n\nthe finger-post which denotes the Above-Below direction, \n\n204 ; large, of sea-snail, see tecciztli. \nSnake, day-sign, see couatl ; disguise of the Water Goddess, \n\n37, 189 ; in the hole, given with the first members of the \n\nchanged list of guardians of the cardinal points, 55, 60. \nSnake's throat, god with the, deity of the West, 143, 144 ; on \n\nZapotec sepulchral vessels, 147. \nSong to Xochiqnetsal, 65. \nSorcerers, see Wizards. \nBonis of the sacrlflced warxiors, see tonatiuh iixco yauh ; of \n\nwomen dying in childbed, see mociuaquetzqui. \n\n\n\n224 \n\n\n\nIndex. \n\n\n\nSootli, place of thorns, 7 ; its temple and deity, 177, 178 ; its \ntree, 13 ; its guardians, Tlaloc and TepeyollotU, 22 ; sym- \nbolised by Tlalocand Cbalchiuhtlicue, 189, 190 ; by Macuil \nxochitl and Ixtlilton, 124-130 ; by MicUantecutli, 177, 178; \nyears of the, indicated with tochtli, fEunine years, 7, 182. \n\n\u25a0oath ik7, stars of the, see Centzon Uitznaua. \n\ntpemr and tlirowiiiff-ftldE, see shooting gods. \n\ntpeotral forms, disguises of Tezcatlipoca, 43. \n\ntpeotral gods\u00bb see Tezcatlipoca, Ciuatete6, mociuaquetzqui. \n\ntpider, see tocatL \n\ntpiked ball, in the hand of Tlagolteotl, 186 ; with the god of \nthe North, 174. \n\n\u2022pUwd bolls, at the Ochpaniztli flower battle, 174, 175, 186, \n187. \n\ntplked crown, headdress of the maize deity, 35, 36. \n\ntptked spear, in the hand of the fourth of the celestial wan- \nderers, 157, 158. \n\nt]iiked spit\u00bb in the hand of the fourth of the six celestial wan- \nderers, 157, 158. \n\ntpiked ysssels, with TepeyollotU, 45, 46 ; with the Rain God, \n47. \n\ntplndle, in Thifolteotrs headdress, 41, 78. \n\ntpoonUl], see Uauhquechol. \n\nStaff, sign of the wanderers, 136 ; in the hand of the wandering \ngods,' 154 ; rattle-staff, see chicauaztli. \n\nttan, indicated by wandering gods, 164 ; of the north sky, \nsee Centzon Mimixcoua ; of the south sky, see Centzon \nUitznaua. \n\nttellar fltwi-iwInMng, see mixcitlalhuiticac. \n\nttellar sky, on the celestial shields of the Maya documents, \n166-168 ; in Itzamni's headdress and hieroglyph, 167. \n\nStep meander, on the jug of the water gods, 189. \n\nSteppe tribes, of the North, identified with the Centzon \nMimixcoua, 112. \n\nStone batohet^ see itztopolli. \n\nStone knife, dis^ise of Itztli, 23 ; of Tezcatlipoca, 33 ; in place \nof the rabbit in the image of the moon, 174 ; Maya hiero- \nglyph, 92, 93. \n\nStone Knife Ck>d, see Itztli. \n\nStone statues, of the Water Goddess, 40, 41 ; of Macuil \nxochitl, 117. \n\nStraw rooft, pointed, in the Atlantic Tieira Caliente, 46. \n\nSon god, his descent, symbolises ce xochitl, the fourth Tonala- \nmatl quarter, 97, 98. \n\nSwallow-tall-llke ends, of Xipe's loin-cloth, 108 ; at the nasal \nrodofTla^olteotl, 41. \n\nSwordflsh-Uke animal, see acipactli. \n\nTabatxi (Cora) = name of the deity of the morning star, 71. \n\nTagetes, see cempoualxochitl. \n\nTamaii (Huichol), name of the deity of the morning star, \n\nTamoancharij house of descent, the West, 81, 124 ; figured by \n\na broken tree, with ihe Maize Goddess, 36. \nteatlauiani, the drowner, the Pulque God, 104. \nTecciztecatly he of the sea-snail, the Moon God, 56 ; one of the \n\nguardians of the 4 x 6 Venus periods, appearing for Xochi- \n\npilli (as Sun God), 110 ; musician, 110. \nteceizdiy conch blown by TepeyollotU, 44. \nUeoloti, scops, owl, with the Death God, 37 ; with Thigolteotl, \n\n42 ; in the house of the Earth, 15 ; in the temple of the \n\nNorth, facing Tezcatlipoca, 174 ; in the temple of the South, \n\nfeeing Mictlantecutlj, 177. \n\n\n\ntecpaUf flint knife, tenth day-sign, given as breast ornament \nwith the Tezcatlipoca figure, 208 ; denotes the years of the \nNorth, 6, 7. \n\nUcpoyoUy herald, 107. \n\nUctUlij king, prince, hieroglyph, 79. \n\nteehaloU, squirrel, masked dancer ? 127. \n\nteehcaUy sacrificial stone, with the Sun God, second member of \nthe third series of the 4x5 guardians of the Venus periods, \n102. \n\nTehtuuan, see Teouacan. \n\ntelpochcaUiy bachelor's house, residence and workplace of the \nunmarried warriors, 48 ; its god Tezcatlipoca, 1 19. \n\ntemaepalitotiquej those who dance with a (dead) hand, the \nrogue-wizards, 207. \n\ntemalacatly round stone for the sacrificio gladiaiorio, 107. \n\ntemimincdiztliy shot with darts, victims of the Earth Goddess, \n79. \n\ntemiminaloyanj a place in the underworld, 77. \n\ntenamasUli, heiurthstone, occurring in three numbers and de- \nnoting the number three, 67 and note. \n\nTenock, ancestor of the Mexicans, 161. \n\nteocuiUcicomaUi, gold disk, breast ornament of the Water \nGoddess, 37 ; on the chalchiuhcozcapetlatl of the deity of \nthe West, 200. \n\nTeoiiilan dd camino, place on the frontiers of the State of the \nOaxaca, inhabited by people of Aztec speech, 210 ; their \nancestor Xelhua, 161 ; they worship Macuilxochitl, 86 ; \nand the morning star, 87 ; painted clay figures of Xochi- \npilli found here, 98 ; home of the Codex Borgia group of \nmanuscripts, 210. \n\nTeouacan^ place near Teotitlan del camino and of same religion, \n86, 87, 98, 161, 210. \n\nTeoycuymiquiy so-called colossal statue of the Earth Goddess, \nin Mexico, 195. \n\nTepeyolloiliy heart of the mountains, voice of the jaguar in the \nnight. Earth Goddess, god of the caves, echo, 43, 45 ; eighth \nof the nine lords, located in the South, 22, 43-46 ; one of \nthe Tzitzimimd, 55. \n\ntepotxoiqxUli, back-chair, 139. \n\nUqtiechmecauianiy the throttler, the Pulque God, 104. \n\ntequxucky chieftain, 130. \n\nTeUo innariy name of Tlagolteotl, patroness of the medicine- \nmen and soothsayers, 78 ; her hymn, 42. \n\ntetUpanqtietxay putting one in the fire, a peculiar kind of death \nby witchcraft, 39. \n\nTetxauhduay their heaven, 112. \n\nteyolloqualayaiij a place in the underworld, 77. \n\nteyoIloqucUiztliy to eat one's heart, to kill by witchcraft, 77, 81. \n\nTezcaUipocay god of the Toxcatl feast, lord of the North \nand South, 6, 119, 131 ; one of the Tzitzimim^, 55 ; his \nabode in the three regions, 61 ; a god ruling by caprice, \n61 ; see Moyocoyatzin ; lord of the telpochcalli and of \nthe cuicacalli, 119 ; wizard, 34, 205-208 ; identical with \nTepeyollotU, 43 ; represents the Stone Knife God, 27, 33 ; \nappears as itztlacoliuhqui, god of the stone, of punishment, \nof cold, 131, 132; lord of the North, 174, 175; third \nmember of the third series of guardians of the 4x5 Venus \nperiods, 104 ; as Uitznauac yaotl, fifth member of the \nthird series of guardians of the 4x5 Venus periods, 119 ; \nin Vatican B, at the foot of the tree of the South, 13 ; as \nred Tezcatlipoca (tlatlauhqui) appearing for Xipe, 203, 206 ; \nappears for the Sun Grod, 53 ; as black Tezcatlipoca \n(yayauhqui) appearing for the Stone Knife Grod, 53 ; as \n\n\n\nIndex. \n\n\n\n225 \n\n\n\nwhite Tezcatlipoca (iztac) for the Maize God, 52, 54 ; as \ntwo-coloured (chictlapanqui) for the morning star, 51, 53 ; \nas red and black in the tennis-court for Xolotl, 69. \n\nTlilgli, denotes strength, 208. \n\nThlirh, skin o^ used for the mexxayacatl mask, 174, 208. \n\nTbirtecntlL heaven, abode of TonacatecutU, 63. \n\nThree^ number of the hearthstone, a number sacred to the gods \nof fire, 67. \n\nTliree hundred and forty-one, the days when no morning star \nshines, when the night must be awaited, 75, 204, 205. \n\nTbzowlnff-stiok, see atlatl. \n\nThrowlnff-stidk and spear, see shooting gods. \n\ntipatlf white chalk, 130. \n\nTipoc-stone, in Mexico city, 195. \n\nTlllandita, see pachtli. \n\nIStitly seventeenth yearly feast, in memory of the dead, 118. \n\nUachcali, shooting with darts, sacrifice to the Earth Goddess, \n79. \n\nUcusamictiliztliy human sacrifice, 34, 93. \n\nUacaxipeualizUif flaying of human beings, 93. \n\nUacockealcatly he of the spear-house, the Northerner = Tez- \ncatlipoca, 119. \n\nTlacoehcaleo yaotl^ the warrior in the spear-house = Tezcatlipoca, \n6, 119. \n\nUacochtxonUiy see mitzontli. \n\nUaeoquixtUissUi, passing rods through the pierced tongue, 96. \n\nTlagolteoUj goddess of dirt, the Huaxtec Earth Gk)ddess, \nseventh of the nine lords, located in the West, 22, 40-42 ; \nfacing the Moon Goddess, in the changed list of the guar- \ndians of the cardinal points denotes the West, 51, 52 ; as \nMoon Goddess, second of the six celestial wanderers, 151, \n152 ; lady of the West, 148 ; facing the Death Goddess as \nlady of tJie North, 123 ; as Pulque Goddess, lady of the \nNorth, 186 ; second member of the fourth series of guar- \ndians of the five Venus periods, 102, 103 ; one of the \nTzitzimimd, 55 ; mother of strife, 78 ; indicated by the \nname of Chicunaui acatl, 52 ; her temple a scaffolding of \nposts, 148. \n\nTlagopUliy noble prince, name of Xochipilli, 64, 98. \n\nUac^matlf wall of the tennis-cqurt, 137. \n\ntlacht&nuda.catlj ring-shaped stone in the wall of the tennis- \ncourt, 138. \n\ntUuihtliy tennis-court, 137, 138 ; in the Vienna manuscript \nshown with the god naui olin, 154. \n\nJ^adquani, the filth-eater, the female sinner, name of Tlagol- \nteotl, 148. \n\ntlcUchi UmcUiuhy the near-the-earth sun, figured with Xolotl, \n69. \n\nTUUhuiccty a tribe, 40. \n\nTlcUli iyolloy heart of the earth, name of the Earth Groddess, \n42. \n\nTUUoCy Rain God, his face of snake formation, 46 ; ninth of the \nnine lords, located in the South, 22, 23, 46, 47 ; ruler of \nthe South, 189, 190, 193 ; in the changed list of guardians \nof the cardinal points faces Xolotl, 51 ; second member of \nthe second series of guardians of the 4 x 5 Venus periods, \n102 ; in various disguises indicates the yearly forecasts, \n7 ; denotes the fertility of the years of (he East, 182 ; \nnamed by the date Chicunaui ocelotl, 51 ; denotes fiery \nrain, 135. \n\nTlaloc-h%$A, bearer of the maize plant, 36. \n\nTlcUocany abode of the Rain God, in the East, 10, 12. \n\ntlcUocayotly east wind, 103. \n\n\n\ntlalpan ue%teUy skin drum, 127. \n\nTlaltecuUi, EEoth God, see chicome calli, see animal-headed \ngod. \n\nTlalxictenticay who forms the navel of the earth, the Fire \nGod, 5. \n\nUanamictUixUiy sale into slavery, 39. \n\nUatlaUaqualixtHy the gods nourished with the victims' blood, \n94. \n\nTlaUauhqui Tezcatlipocay the red Tezcatlipoca, appears for \nXipe, 34, 203, 206 ; appears for the Sun God, 53 ; &ces \nthe black Tezcatlipoca in the tennis-court, 69, 137, 138. \n\ntldiouaniy the speaker, the king, 79. \n\ntlauhquecholy the spoonbill (Platalea aj^ja) before the image of \nTlaloc, 27. \n\nTlauizcalpanUcuUiy lord of the house of the dawn, deity of the \nplanet Venus, of white colour, with stellar face-painting, \n106, 107 ; painted with the hieroglyph of Venus on his \nface, 70, 94, 106, 200 ; his headdress, 200, 201 ; one of the \nTzitzimimd, 55 ; the shooting god, 71, 107 ; with the \nPulque God in the changed list of guardians of the cardinal \npoints denotes the East, 70 ; one of the guardians of the \n4x5 Venus periods, denotes the West, 106, 107 ; in \ncolour and face-painting agrees with Mixcouatl, 111, 199 ; \nrepresented by the Bat God, 190, 197 ; represented by the \neagle, 201, 203. \n\nUequiauiily fiery rain, one 'of the four prehistoric ages, 135, \n138. \n\ntlUatly black water, 190. \n\nTliUan, shrine of Chantico, 67. \n\nTohaoco-calahash, see yetecomatl. \n\nTotwooo-powder, incense offering, 163. \n\ntocatly spider, figured with the first members of the changed \nlist of lords of the cardinal points, 55, 60 ; symbol of the \nTzitzimimd, 55, 56 ; denotes the downward direction, 133. \n\nTocititlauy temple of Tla9olteotl, 42, 148. \n\ntochtliy rabbit, eighth day-sign, used for the cipher eight, 43 ; \ndenotes the years of the South, 6 ; are famine years, 7 ; \nsign of the ei^h, 149 ; in the dragon's jaws represents the \netathy 201, 202 ; in the image of the moon as ' Man in the \nMoon,' 151 ; in the image of the moon replaced by a stone \nknife, 174 ; name of the pulque gods, 72. \n\nTollany primeval home of the tribes, 198. \n\nTonacaduatly lady of food supplies, identified with Xochi- \nquetzal, 65 ; goddess of the West^ 124. \n\nTonacatecutliy Tonacaduatly lords of food supplies, 62 ; lords \nof the middle, agree with the Itzamn^ of the Mayas, 30 ; \nlords of the east heaven, 183, 184. \n\ntonacayoUy food supplies, maize, 188. \n\nTonalamatly calendar of 20 x 13 days, 20, 21 ; invented by \nQuetzalcouatl, 209 ; time of the visibility of the planet \nVenus as evening star, 74, 87 ; disposed in columns of five \nmembers forms the beginning of Codices Borgia, Vatican B, \nBologna, 121 ; given with the deities of the four cardinal \npoints, 171 ; sixfold division of, 183. \n\ntonalli, day-sign, determines the fitness of things, 205. \n\nUmallOy emblem, four balls or four beads on the flag and shield \nof Macuilxochitl and IxtUlton, 98, 117 ; with Xochipilli, \n98. \n\nTanatit^y Sun God, his image beside the moon and morning \nstar, 151 ; third of the nine lords, denoting the East, 22, \n23, 34, 35 ; lord of the East, 173 ; second^member of the \nthird series of the 4x5 guardians of the Venus periods, \n102 ; first of the six celestial wanderers, 151 ; denotes the \n\n\n\n226 \n\n\n\nIndex. \n\n\n\nupper region, 143 ; appears for the Fire God, the lord of \n\nthe middle, 25. \nTonatiuh ichan^ house of the sun = East, 6 ; one of the four \n\nentrances into the earth, ihe paradise of the South, 12. \ntonatiuh iixco yauh, he who goes before the face of the sun, \n\nthe soul of the dead warrior, 119. \nTMigUM, little, before the mouth, denote discourse and rule, \n\nsway, 179. \nTotonacuy tribe, their dance, 130. \nToxcatiy fifth annual feast of the Mexicans, held when the sun \n\nis at the zenith, feast of Tezcatlipoca, 6, 131. \nTozpnUj one of the three priests of the Fire God, 67 (note). \nTluTeUerB, their marks, 136. \nTrayeUinff-paoks, of the wandering gods, 154, 157. \nTreei, symbol of the cardinal points, 8-14. \ntv4yumbalam (Qu'ich^), a species of the jaguar, 197. \nTuUafij see Tollan. \ntun (Maya), stone, hieroglyph, 140. \nTurkey, see uexolotl ; see chalchiuhtotolin. \nTwenty, numeral, its hieroglyph in the Maya manuscripts, 166. \nTwenty ffoda, special series in Codex Borgia, 155, 159. \nTwins, the god of, see Xolotl. \nTwins at a birtb, something unnatural, 156. \nTwins, pair of, of priests and wizards, sons of the primeval \n\ndivine pair, 163. \nTwo axTOw-Bliafts, in the Fire God's fillet, 32, 50. \nTwo-coloored ffcce-iwlnttng, with Xolotl, 51, 122, 155 ; with \n\nCipactonal, deity of the East, 100 ; with Quetzalcouatl, \n\n105 ; with the pulque gods, 23, 186 ; with. Tezcatlipoca, \n\ngod of the North, 6, 33, 174. \nTwo-ooloured god, half blue half red, see Xolotl ; see Uitz- \n\nnauatl ; half black half white, see Chictlapanqui Tezcatli- \npoca ; half red half jaguar-skin colour, Macuil xochitl, 125, \n\n127, 128. \nrwo featber-bnnclieB, on the head, mark of Xochiquetzal, 64. \nrwo-headed deer, fallen from heaven, god of Cuitlauac, 162 ; \n\non the wall-paintings of Mitla, 162, 163. \ntxapoeueitl, Xipe's coat of Zapote leaves, 108. \nVzi (Qu'ich6), root of * dog' and *to bite,' 77. \nTzitzimimiy stellar deities, demons of darkness, denote the \n\nWest, 7 ; symbolised by the spider, 56, 133 ; their heaven, \n\n112. \nfcrittocfW, thorny tree, 60. \ntzoTuoztliy the yellow-haired, the Fire God, 137. \n\nu (Maya), moon, 166. \n\nUac mitun ahau (Maya), lord of the six hells, ruler of the years \nof the South, 141. \n\nu ctich haab (Maya), bearers of the years, hieroglyph, 141, 142. \n\nuei tediUhuitl, great feast of the lords, eighth annual feast, \nfeast of XochipiUi, 64 ; symbolised by dancers, 127, 128. \n\nUeuecoyotl, the old coyote, god of music and feasts, 65. \n\nUeueteoUy the old god, name of the Fire God, 62, 159. \n\ntiexolotly turkey, in the cloud-house of the sky, 15 ; with Iztac \nMixcouatl, 61 ; image of TezcatHpoca, 77, 81. \n\nuieoUiy handle of a vessel, see yacauicoUi. \n\nuictliy agricultural implement, coa, 138, 181. \n\nainal (Maya), period of twenty days, 166. \n\nUitxilopoehtli, tribal god of the Mexicans, akin to Tezcatli- \npoca, god of the South, 131, 132 ; overcomes the Centzon \nUitznaua, 112; chief feast of Panquetzaliztli, 112, 132. \n\nuUzitziliny humming-bird, on the tree of the West, 8, 12 ; \nwith the celestial wanderers of the South, 158, 159. \n\n\n\nuitzitzUqiuitiitl, tree of the West^ 8. \n\nUitznauoy see Centzon Uitznaua. \n\nuitznauaey at the thorns = South, 7. \n\nuitsmaiiocatZ = Tezcatlipoca, 119. \n\nUitznauae teot/ = Tezcatlipoca, 119 ; = Macuil xochitl, 129. \n\nUttssnatUK yaoUy the warrior in the South house = Tezcatlipoca, \n6, 119 ; appears for Macuil xochitl as fifth member of the \nthird series of the guardians of the 4x5 Venus periods, \n119. \n\nUitznaucUly God of the South ; figured as a naked god with- \nout loin-cloth, 113 ; fifth member of the second series of the \n4x5 guardians of the Venus periods, 111-113. \n\nuitztlampa, region of the place of thorns = South, 7. \n\nuitztlan, place of thorns. South, 7. \n\nuitztliy thorn, agave-leaf spike, implement of mortification, \n106, 143, 154, 188, 196, 197. \n\nUlmeeatly see olmecatl. \n\nUluapaUy mountain lake in San Salvador, 112. \n\nUnderworld, lords of the, see Mictlantecutli, Mictecaciuatl. \n\nUnspun cotton, headband and ear-plug of Tlagolteotl, 41, 42, \n78. \n\nUotan (Tzeltal) = Tepeyollotli, 43. \n\nUpper region, symbolised by Iztac Mixcouatl, 61, 62 ; by \nTezcatlipoca, 130, 132 ; by the Sun God, 14, 31 ; by \nXochipiUi, 191. \n\nUuayeyab (Maya), ceremonies on the last five days of the \nyear, 19. \n\nUuc ekel ahau (Maya), lord of the seven blacks, deity of the \nWest, hieroglyph on the altar-piece of Palenque, 19. \n\nVenus, planet figured beside the sun and moon, 151 ; venerated \nby the people of Tehuacan, Cozcatlan, Teotitlan del \ncamino, 87, 94 ; its hieroglyph on the face of Tlauizcalpan \ntecutli, 70, 71, 94, 106, 200; on the celestial shields of \nthe Maya documents, 168, 169 ; on the forehead of the \nmonster's head on the altar-piece of the Cross-temple ii. \nat Palenque, 19 ; on the stele 4 at Mench4 Tinamit, \n170-172 ; its deity, see Tlauizcalpan tecutli, Ce acatl, \nChicome acatl ; symbolised by Xolotl, 164 ; its deity in \nits four forms, 195-203. \n\nVenus period, in the Dresden manuscript, 88 ; in the Codex \nBorgia group of manuscripts, 88-90 ; its 4 x 5 guardians, \n87-121. \n\nVienna, pictorial manuscript of Zapotec origin, 147. \n\nWandering gods, 136, 137, 152, 164 ; indication of the stars, \n164. \n\nWar, symbol of, on the tree of the East, 9 ; at the threshold \nof the Fire God's temple, 33 ; with Mixcouatl, Uitznauatl, \n113 ; worn by Tla^olteotl on her pack, 152 ; on the \ntravelling-pack of the fourth of the six celestial wanderers, \n157 ; metaphoric meaning, see atl tlachinolli. \n\nWar Ctod, in the years of the North, 182. \n\nWarrlort* deatli, represented by Tlauizcalpantecutli, 107. \n\nWarriors* ftmeral ornament, 119. \n\nWarrioTB' headdress, with Tezcatlipoca and Uitzilopochtli, \n130 ; with Tonatiuh, 34. \n\nWater deity, of the Mayas, see Ah bolon tz'acab. \n\nWater Goddess, of the Mexicans, see Chalchiuhtlicue. \n\nWerewolf, 207. \n\nWest, region of the setting, the dying sun, 6 ; where the sun \nis devoured, 195 ; region of the women, abode of the \nCiuateteo, 8.3, 148, 207; its temple and its deity, 176, \n\n\n\nIndex. \n\n\n\n227 \n\n\n\n177 ; tree of the, 11, 12 ; represented by the maize deities, \n\n176, 187-189 ; represented by Xochipilli and the evening \n\nstar, 199, 200 ; years of the, indicated by calli, 7 ; suffers \n\nfrom superabundant water, 7, 181. \nWhite, and white with red stripes, denotes twilight, 199 ; \n\ncolour of Tlauizcalpan tecutii and Mixcouatl, 71, 111 ; of \n\nthe Ciuateted, 115 ; of Tlagolteotl, 41, 42. \nWbite-bearded god, see Iztac Mixcouatl \nWliite olood-make, see Iztac Mixcouatl. \nWillie flMLtlierB, mark of Iztac Mixcouatl and of Ilancueyd, \n\n62, 159, 160. \nWliite flower =Teteo innan, 42. \nWind, of the nine snakes and of the nine caves, twin sons of \n\nthe primeval divine couple, 163. \nWinged insect, with the first members of the changed list of \n\nguardians of the cardinal points, 55, 60. \nWitOhcraft^ gods skilled in, 77, 81. \nWiiards, bom under the sign ce eecatl, 206, 207 ; their chief \n\nsign chicunaui itzcuintli, 62, 206 ; god of the, see Tez- \n\ncatlipoca, see Ce miquiztli ; the changed lists of guardians \n\nof the cardinal points prepared for their use, 54, 55. \nWliardi* Codex, the night side of the manuscript, 209. \nWiiards, rogue, see temacpalitotique. \nWoodman*8 axe^ badge of the inmates of the telpochcalli, 48 ; \n\non the shoulder of Tzoncoztli, 137. \nWoxld, the five regions of the, their guardians, 5-31 ; = the \n\nnine lords of night, 22 ; in Codex Cortes, 28-30 ; changed \n\nlist of, 49-75. \nWorm, figured with Tla^olteotl and the Moon Goddess, 56. \n\nxalHj sand, its hieroglyphic representation, 130. \n\nzaman (Maya), North, its hieroglyph, 31. \n\nXdhua, ancestor of the people of Tehuacan, Cozcatlan, Teo- \ntitlan del camino, 86, 161. \n\nXicalancatlj ancestor of the Atlantic coast tribes, 161. \n\nxicalcoliukquij pattern on the jug of the water gods, 189. \n\nXicollij priest's vestment, 136. \n\nXipe Totec, oiw lord the flayed, the god clothed in a human \nskin, 93 ; lord of the fifteenth day and of the fourteenth \nweek, figured with the feather-snake, 201, 202 ; lord of \nthe coastlands, 202 ; one of the guardians of the 4x5 \nVenus periods, 108, 109 ; related to Tla^olteotl, 41 ; repre- \nsented by the red Tezcatlipoca, 34, 206 ; in the Vienna \nmanuscript indicated as chicome quiauitl, 146. \n\nxiuhcouaU, tlie blue snake, the disguise of the Fire God, on \nthe Palenque cross, 19 ; amongst the signs of the celestial \nshields, 170, 171. \n\nXiuhtecutli, the Fire God, first of the nine lords of the night, \ndenotes the middle, 5, 22, 32, 33 ; in the changed list of \nthe guardians of the cardinal points, facing Ce acatl, \ndenotes the middle, 50 ; wears the tobacco-calabash of the \npriests, 176 ; indicated by the date ce tochtli, 50 ; indi- \ncated by the date yei itzcuintli, 67. \n\nxiuktotoamacalli^ the Fire God's tiara of cotinga feathers, \n5,50. \n\nx%uhtotoec\u20actceuazUiy fiEin of cotinga feathers, with Xolotl, \n155. \n\nxiuktototly the cotinga-bird, the blue cotinga, on the frontal \nband of the Fire God, 32. \n\nXochiccUeOf pyramid in the territory of the Tlalhuica, 40. \n\nxochilhuitly the flower feast, Xochipilli's feast, 63. \n\nXochipilli, flower prince, god of flowers and food supplies, \nwith the butterfly's figure about his mouth, god of Teo- \n\n\n\ntitlan del camino, 98 ; in songs invoked as Cinteotl, 99, \n100 ; appears in the disguise of Coxcoxtli, 98, 115 ; god \nin bird-form comparable to the Kinich Kakmd, 191 ; god \nof the Uei tecuilhuitl, 115 ; god of the xochilhuitl, 63 ; \nfirst member of the third series of guardians of the 4x5 \nVenus periods, 97, 98 ; in Codex Fej^rviry and Vatican B \nfirst member of the second series of the guardians of the \n4x5 Venus periods, appearing for Xochiquetzal, 95, 96 ; \nwith elements of the Sun God's face-painting, fifth member \nof the first series of the guardians of the 4x5 Venus \nperiods, 109 ; appears for the Sun God, 23 ; in the Sun \nGod's temple of the East, 173 ; lord of the East heaven, \n184 ; in the temple of the Maize Goddess, of the West, \n177 ; god of the West, 124 ; appears as third form of the \ndeity of the planet Venus, 199, 200 ; jointly with Xochi- \nquetzal, in the changed list of guardians of the cardinal \npoints, denotes the South, 63 ; lord of the South, 139 ; in \nthe years of the South, 181 ; as XochiquetzaPs counterpart \nrepresents the upper region, 190, 191. \n\nXoehiqtteizal, goddess of fiowers and of female artistic skill, \n65 ; lady of the day-sign Xochitl, * Flower,' 120 ; identi- \nfied with Tonacaciuatl, 65 ; one of the Tzitzimim6, 55 ; \npatroness of the courtesans, 65 ; goddess skilled in magic, \n77 ; in Codex Borgia first member of the second series of \nguardians of the 4x5 Venus periods, 96 ; fifth member of \nthe fourth series of guardians of the 4x5 Venus periods, \n120 ; facing Xochipilli, in the changed list of the guardians \nof the cardinal points, denotes the South, 64 ; as counter- \npart to Xochipilli represents the lower region, 190, 191 ; \nin Codex Laud indicated with the date chicuei ma^tl, 81. \n\nxochiU, flower, twentieth day-sign, represented by the gods \n^ Xochipilli and Xochiquetzal, 64, 65, 120. \n\nxochiUalpan^ land of flowers\u2014 South, 66. \n\nXochitlan, city on the Pacific coast plain, 43. \n\nxochitl icacan, where the flowers stand upright ^Tamoanchan, \n123, 124. \n\nXolotl, god of ball-playing, of twins and monstrosities, ruler of \nthe day-sign olin, 156 ; named with the date, ce olin, 51 ; \nnamed with the date chicunaui couatl, 68 ; figured \nas hah* blue half red god and with Quetzalcouatl's dis- \ntinctive dress-mark, 51, 154, 155 ; with dog's head and \nQuetzalcouatl's distinctive dress-mark, 122 ; with crippled \nlimbs and Macuil xochitl's &ce-painting, as god of mon- \nstrosities, 156 ; god of the East, 122 ; jointly with Tlaloc, \nin the changed list of guardians of the cardinal points, \ndenotes the South, 51 ; jointly with the Maize Goddess \nfigured in the North, 68 ; third of the six celestial \nwanderers, 154-156 ; image of the morning and evening \nstar, 164 ; on a crossway, appears for Iztac Mixcouatl, \n164. \n\nycLcametxtli, half-moon-shaped nasal plate, Huaxtec ornament, \nornament of Tlagolteotl and the pulque gods, 41, 78, 186, \n187 ; worn by Mayauel, 99 ; worn by Tezcatlipoca, god \nof the North, 174 ; made of bone on the image of the \nmoon, 103, 151, 174. \n\nyacauicoUiy nasal handle, large hole in the nasal septum with \ntheHuaxtecs, 113, 114. \n\nyaccunuitl, blue plug in the nasal septum, ornament of the \ntonatiuh iixco yauh, 118, 119. \n\nYcuymauitl, the dreaded warrior, name of Tezcatlipoca, 61. \n\ny<wmiquiztli, death in war, 78, 82 ; figured with the Water \nGoddess, 39. \n\n\n\n228 \n\n\n\nIndex. \n\n\n\nYaoU, the warrior, name of Tezcatlipoca, 61. \n\nyax (Maya), blue, green, hieroglyph, 20. \n\n'Yaacchilan=MeiicU Tinamit, 170-172. \n\n1/ayan^ui Teaxailipoca^ the black Tezcatlipoca, figured as \nwizard, 205 ; appears for the Stone Knife Grod, 33, 53 ; \nindicated with the date Ome acatl, 53 ; &cing the red \nTezcatlipoca in the ball-court, 69, 137, 138. \n\nTear, length of, fourth of a day too short with the Mexicans, \n135 ; corrected by intercalating ten days at end of forty- \ntwo years, 179. \n\nTears, their symbol in the Zapotec-Mixtec manuscripts, 481 ; \nthe four different, and their relations to the cardinal points, \n7, 179, 182 ; different denotation in Codex Porfirio Diaz, \n181 ; the four different, and their gods in the Dresden \nMaya manuscript, 140-142. \n\nyei cuetzpalin, 3 lizard, name of Chantico, 67. \n\nyet itzeuintliy 3 Bog, name of the Fire God, 67. \n\nTeilow, colour of the women and the dead, 192 ; of the Fire \nGod, 32 ; of the Maize God, 36, 36, 176, 177, 187 ; of the \nDeath God, 37. \n\nT\u00abllow-fkoe, name of the Fire God, see IxcoQauhqui. \n\nTellow feathers, in Tlagolteotl'e headdress, 42. \n\n\n\nTeUow flower =Teteo innan, 42 ; see cempoualxochitl. \n\nT\u00abllow-liaired, name of the Fire God, see TzonooztlL \n\nT\u00abllow longitadinal stripes, on white ground, a variant of \nwhite bodily painting, 41. \n\nydecomaiXy tobacco-calabash, mark of the priests, 62, 123; \nworn by the Fire Grod, 176 ; worn by Iztac Mixcouatl, \n159, 160 ; worn by ome itzcuintli, the old god of the \nVienna manuscript, 160, 161 ; in the temple of the maize \ndeity of the West, 176; homologue of the oceloyataztli \nand emblem of abundant food supplies, 176, 185. \n\nyollotopUlij the staff with the heart, mark of Xochipilli, 64. \n\nyopitzonilij Xipe's peaked cap, his nasal ornament of same \nshape, 108. \n\nToualtetecvhtvn, guardian of the night, 48. \n\n\n\nZapotec vessels, 147. \n\nZapote-leaf girdle, Xipe's, 108. \n\nZenith, denoted by Iztac Mixcouatl, 165 ; on the celestial \n\nshields of the Maya documents, 166-168. \nZenith, sun at the, feast of Toxcatl, 6, 131. \nZipacna (Qu'ich^), see Cipacna. \n\n\n\nPRINTED BT T. AND A. CONSTABLE, (LATE) PRINTERS TO HER MAJESTT \nAT THE EDINBURGH UNIVERSITY PRESS \n\n\n\ni \n\n\n\ni \n\n\n\nI \n\n\\ \n\n\n\ni \n\n\n\nr \n\n\n\nS \n\n\n\n\\ \n\n\n\nI","title":"Codex Feje\u0301rva\u0301ry-Mayer : an old Mexican picture manuscript in the Liverpool Free Public Museums (12014/M) ","tradition":"Mesoamerican Mythology","translated_text":null,"word_count":123240}