Codex Vaticanus No. 3773
(Codex Vaticanus B)
Eduard Seler
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Codex Vaticanus No. 3773
(Codex Vaticanus B)
An ancient Mexican picture manuscript of the Vatican Library
Published at the expense of His Excellency the Duke of Loubat,
Corresponding Member of the Institut de France
Explained by
Dr. Eduard Seler
Professor of American Linguistics, Ethnology and Antiquities
at the University of Berlin
Second Half.
Text of the reverse side and explanatory plates.
BERLIN
MDCCCCII
Presented by
THE DUKE OF LOUBAT
An acknowledgment of receipt is requested, to be sent to him at
53, rue Dumont-d'Urville, Paris (France).
F
I Zfi
,M3
1 / 3 /
With the Compliments of
THE DUKE OF LOUBAT
whom you are kindly asked to acknowledge receipt
53, rue Dumont-d'Urville, Paris (France).
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Codex Vaticanus No. 3773
(Codex Vaticanus B)
Digitized by Google
Codex Vaticanus No. 3773
(Codex Vaticanus B)
An ancient Mexican picture manuscript of the Vatican Library
Published at the expense of His Excellency the Duke of Loubat,
Corresponding Member of the Institut de France
Explained
by
Dr. Eduard Seler
Professor of American Linguistics, Ethnology and Antiquities
at the University of Berlin
Second Half.
Text of the reverse side and explanatory plates.
BERLIN
MDCCCCII
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F
1 Z\3 ;
.F\3
V 3 \
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B. Reverse side.
14. The Tonalamatl arranged into twenty thirteen-day sections.
Leaves 49–68 (= Kingsborough 48–29).
The Tonalamatl arranged in this manner has the advantage that the opening days of its sections all bear the number one joined to their sign. This is evidently the form that in ancient times was the most favored for the books of divination. Of it, indeed, half a dozen different recensions have come down to us. A recension quite similar, in the style and arrangement of the figures, to that of our manuscript is found on leaves 61–70 (= Kingsborough 54–45) of the Codex Borgia. A somewhat different representation is offered by the Codex Telleriano-Remensis (fol. 8–24 = Kingsborough II, 1–33) and its copy, the Codex Vaticanus A (No. 3738) (fol. 12 verso–33 = Kingsborough 17–56). And again somewhat different are the Tonalamatl of the Aubin Collection and the one depicted on leaves 3–20 of the Codex Borbonicus. While this larger number of recensions allowed for a more extensive comparison, an exact determination was made possible by the interpretations that accompany these leaves in the Codex Telleriano-Remensis and in the Vaticanus A. And finally, the proof I furnished — that the divine figures depicted in the individual sections of the Tonalamatl arranged in this manner correspond in essence to the series of the twenty deities of the day-signs — made it possible to draw in, for comparison, three further sections of picture-writing. If anywhere in the picture-writings, then here we stand on firm ground. From this point I have likewise proceeded throughout in the various investigations directed toward explaining the entire content of the picture-writings.
Just as the old priestly scholars recognized the hidden meaning of the individual day-signs — each of which of course denoted a particular natural object, mostly an animal — in the image of a deity whose nature was conceived as one with the nature of the sign, so too it was believed that the nature and power of the Tonalamatl-sections, or rather of their opening days, were embodied in particular deities, who were then regarded as governing for all thirteen days of the section in question. As I have just stated, and as I already pointed out above in connection with the day-signs, there is the remarkable fact that the series of deities of the twenty day-signs is essentially identical with the deities of the twenty Tonalamatl-sections — but with one exception: — In transferring the deities of the twenty day-signs onto the twenty Tonalamatl-sections, Xochipilli, the regent of the eleventh day-sign, was left out; the regents of the twelfth through the twentieth day-signs that follow were then assigned to the eleventh through the nineteenth Tonalamatl-sections, and for the twentieth Tonalamatl-section a new deity was added, the Fire God, accompanied by Xipe Totec. I have set this out for inspection in the following overview: —
Seler, Codex Vaticanus No. 3773, II.
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B. Reverse side.
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Day-signs and their deities: Opening signs of the Tonalamatl-sections and their deities:
1. cipactli. — Crocodile. Tonacatecutli, the Lord of Life.
1. cipactli. — Crocodile. Tonacatecutli, Tonacaciuatl (Xochiquetzal), the Lords of Life.
2. ecatl. — Wind. Quetzalcoatl, the Wind God.
2. ocelotl. — Jaguar. Quetzalcoatl, the Wind God.
3. calli. — House. Tepeyollotli, the Heart of the Mountains, the God of Caves, and Tlazolteotl, the Earth Goddess.
3. mazatl. — Deer. Tepeyollotli, the Heart of the Mountains, the God of Caves, and Tlazolteotl, the Earth Goddess.
4. cuetzpalin. — Lizard. Ueuecoyotl, the God of Dance.
4. xochitl. — Flower. Ueuecoyotl, the God of Dance, and Amimitl.
5. coatl. — Serpent. Chalchiuhtlicue, the Goddess of Flowing Water.
5. acatl. — Reed. Chalchiuhtlicue, the Goddess of Flowing Water.
6. miquiztli. — Death. Tecciztecatl, the Moon God.
6. miquiztli. — Death. Tecciztecatl, the Moon God, and Tonatiuh, the Sun God.
7. mazatl. — Deer. Tlaloc, the Rain God.
7. quiauitl. — Rain. Tlaloc, the Rain God.
8. tochtli. — Rabbit. Mayauel, the Goddess of the Agave Plant.
8. malinalli. — Twisted Thing. Mayauel, the Goddess of the Agave Plant.
9. atl. — Water. Xiuhtecutli, the Fire God.
9. coatl. — Serpent. Xiuhtecutli, the Fire God, and Tlauizcalpantecutli, the Morning Star.
10. itzcuintli. — Dog. Mictlantecutli, the God of Death.
10. tecpatl. — Flint Knife. Mictlantecutli, the God of Death, and Tonatiuh, the Sun God.
11. ozomatli. — Monkey. Xochipilli, the God of Flowers.
12. malinalli. — Twisted Thing. Patecatl, the Pulque God.
11. ozomatli. — Monkey. Patecatl, the Pulque God.
13. acatl. — Reed. Tezcatlipoca-Itzquimilli, the God of Punishment.
12. cuetzpalin. — Lizard. Itztlacoliuhqui, the God of Punishment.
14. ocelotl. — Jaguar. Tlazolteotl, the Earth Goddess.
13. olin. — Movement. Tlazolteotl, the Earth Goddess.
15. quauhtli. — Eagle. Xipe Totec, Our Lord, the Flayed One.
14. itzcuintli. — Dog. Xipe Totec, Our Lord, the Flayed One, the Earth God.
16. cozcaquauhtli. — Vulture. Itzpapalotl, the Obsidian Butterfly.
15. calli. — House. Itzpapalotl, the Obsidian Butterfly.
17. olin. — Movement. Xolotl, God of Twins and of Malformed Births.
16. cozcaquauhtli. — Vulture. Xolotl, God of Twins and of Malformed Births.
18. tecpatl. — Flint Knife. Chalchiuhtotolin, the Turkey.
17. atl. — Water. Chalchiuhtotolin, the Turkey.
19. quiauitl. — Rain. Tonatiuh, the Sun God.
18. ecatl. — Wind. Chantico, the Fire Goddess.
20. xochitl. — Flower. Xochiquetzal, the Goddess of Flowers.
19. quauhtli. — Eagle. Xochiquetzal, the Goddess of Flowers.
20. tochtli. — Rabbit. Xiuhtecutli, the Fire God, and Xipe Totec, Our Lord, the Flayed One, the Earth God.
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14. The Tonalamatl arranged into twenty thirteen-day sections. 247
It is now clear, to begin with, that of these two series the one listed first, that of the day-sign gods, must be the original one. Ecatl "Wind" and Quetzalcoatl, the Wind God; xochitl "Flower" and Xochiquetzal, the Goddess of Flowers and of Love, are in fact identical. And that throughout — even where one would least suspect it — there is an agreement between the nature of the sign and the essence of the deity representing it, I have endeavored to demonstrate above, in the discussion of the series of the day-sign gods. But it is equally clear that at several points in the second series, identities must likewise have presented themselves to the ancient priestly scholars. I recall — to consider for the moment only the first half of the signs — (7) quiauitl (rain) and Tlaloc, the Rain God; xochitl "flower" and Ueuecoyotl, the God of Dance; tecpatl "flint knife" and Mictlantecutli, the God of Death; also mazatl "deer" and Tepeyollotli, the Jaguar, the Lord of Animals. And it may be that such observed or supposed correspondences also gave the first occasion for transferring the series of day-sign gods onto the Tonalamatl-sections. But there can be no doubt that responsibility for the remarkable displacement found in the series of the deities of the Tonalamatl-sections must be attributed either to an obvious incongruity, which the ancient scholars thought it advisable to avoid, or to such an observed or supposed correspondence between the nature of the sign and the essence of the deity. Which of these possibilities was actually decisive is hard to say. A worse incongruity between the nature of the sign and the nature of the deity, such as occurs at several points in the first half of the Tonalamatl-sections, would not, it seems to me, have resulted from a direct transfer of the gods of the second half of the day-sign series onto the second half of the Tonalamatl-sections. On the other hand, it is certain that in the displacement as it was carried out, a number of striking correspondences — or, if one prefers, outright identities — emerge. I point to olin "earthquake" and Tlazolteotl, the Earthquake Goddess; to atl "water" and the turkey Chalchiuhtotolin, which, as we have seen, in the series of the twenty day-signs in fact represents the chalchiuhatl, the blood. However one may judge the matter, there can be no doubt of the fact that, taking this displacement into account, the two series of gods agree with the utmost exactness, and I have therefore also been able to use the interpretations available for the series of Tonalamatl gods directly for determining the day-sign gods.
The series of the regents or guardians of the twenty Tonalamatl-sections, and in particular the manner in which they are represented in the picture-writings that are to be designated, in the narrower sense, as Mexican, I have discussed in detail in my commentary on the Tonalamatl of the Aubin Collection.¹) I therefore confine myself here to compiling only what is necessary for understanding the relevant leaves of our manuscript, drawing for comparison chiefly on the related Tonalamatl recension of the Codex Borgia.
The regent of the first Tonalamatl section, ce cipactli, "one Crocodile," is Tonacatecuhtli, the Lord of Life, of whom I have spoken in detail above on pp. 130–132. He is depicted here in the Codex Borgia (page 61, bottom) in general similarly to the figure given for the first day-sign (fig. 334 above, p. 180) (fig. 408), but differs from the figure there in posture. For the god is here in the Codex Borgia drawn mamafouhticac, with legs spread apart — that is, as we have seen above (cf. fig. 455 above, p. 210), in the birth-giving posture — evidently in order to mark him as the god of procreation. The strings of precious stones (cozcatl) that one sees emerging from beneath him perhaps therefore signify that which is born from him. He has painted, both on the cheek and on the white cloth that he has knotted about his hips, the small, rectangular, particolored field that probably represents the three or four colors of Xochipilli (cf. fig. 462b above, p. 162), and wears as a breast-ornament, on a necklace made up of precious-stone (chalchihuitl) beads, a treasure chest adorned with a large chalchihuitl disc and furnished with step-shaped feet, which marks him as Lord of Riches, but perhaps also as giver of precious stones (chalchihuitl) — with the particular meaning,
1) Berlin 1900, pp. 37–126.
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B. Reverse.
which we must always bear in mind especially with this god, namely of children — that he characterizes. In his hand he holds the usual priestly implements — copal pouch, sacrificial knife, grass bundle, bone dagger, and agave-leaf spine.
In the picture that our manuscript (page 49) gives of this god, one is almost led to the conjecture that it arose, through misunderstanding, from pictures similar to our figure 498. For instead of standing with legs spread apart (in the birth posture), the god is here represented sitting with legs crossed. The hips are similarly wrapped in a cloth. But that above this, on a band around the neck, a treasure chest is meant to be worn — this one can no longer divine from the picture in our manuscript. The treasure chest has here simply been transformed into a blanket pattern. But in this blanket pattern, the square-ring-shaped design in the middle evidently reproduces the chalchihuitl disc in the middle of the treasure chest of the figure in fig. 498. — Otherwise this Tonacatecuhtli of our manuscript is drawn similarly to the Xochipilli figures, and in particular also shows the characteristic chimney-like white feather ornament of this god on the back.
Fig. 498. Tonacatecuhtli, the Lord of Life, the Lord of Procreation, regent of the first Tonalamatl section, ce cipactli, "one Crocodile." Codex Borgia 61 (= Kingsborough 51).
In front of the god, in the Codex Borgia, a burning house is drawn, and above it a red serpent. I formerly regarded both as symbols of fire, but I am now inclined to view the red serpent — and thus also the red serpent before the god in our manuscript — as, in other instances, an emblem of blood, in that I assume here a connection with the red serpent that one finds depicted with Tlazolteotl (cf. fig. 293 above, p. 99), and with the penitent adulterer (cf. figs. 35, 36 above, p. 19).
Finally, one also sees, in our manuscript and in the Codex Borgia, just as with the god of the first day-sign, the first human pair depicted. This, however, is here brought into view in a different manner than there with the first day-sign (cf. figs. 336–339 above, p. 133). The pair is here likewise drawn in a transverse position relative to the main direction of the page, that is, lying down. But they are not concealed beneath a blanket; rather, they are two naked figures. One sees, particularly clearly in our manuscript (fig. 499), that the man is drawing the woman to himself. In the Codex Borgia (fig. 500), moreover, the two figures are connected by a stream of blood running from mouth to mouth, a clear symbol of the mingling of blood, the union of the life-energies.
The second Tonalamatl section, ce ocelotl, "one Jaguar," stands in the Codex Borgia in the lower half of page 62, in our manuscript on page 50. Its regent is the god of the second day-
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14. The Tonalamatl arranged into twenty thirteen-day sections.
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sign, Quetzalcoatl, the Wind God, concerning whose nature and appearance I have expounded in detail above (pp. 135–140). The god is here represented with human features, with his fan of black raven or wood-grouse feathers at the nape of the neck, but without the conical cap, his hair wound about with two yellow rattlesnakes, above which, in the Codex Borgia, one still sees the eye surrounded by darkness, the symbol of the dark sky or the starry heaven. A further peculiarity of our manuscript is that the ends of the strands of hair falling down the back are set with snail shells.
Before the god one sees, in both manuscripts, a kind of adoring figure, whose hair at the back of the neck is adorned with a large flower, and who perhaps represents one of the iteepoyouan, "his heralds," of whom so much is said in the legends of Quetzalcoatl. Between the two figures stands a house with a dark doorway, and beneath it, in the Codex Borgia, one sees a sphere painted in a dark color, enclosing a red core.
Fig. 499. The first human pair. Codex Vaticanus No. 3773, page 49 (= Kingsborough 18).
Fig. 500. The first human pair. Codex Borgia 61 (= Kingsborough 54).
In our manuscript, by contrast, one of the merlons of the roof of this house is replaced by a black ball. One could take the latter for rubber, and explain this as the Olman, the land of the Olmeca. I believe, however, that one must rather think of the Tlillan, or the Tlillan tlapallan, the "land of the black and the red color," of the legends. Both the "land of rubber" (olman) and the "land of the black and the red color" (Tlillan, tlapallan), that is, the "land of writing," denote incidentally the same thing: — the land situated tonatiuh ixco, "in the face of the sun," the Atlantic Gulf coast, whither Quetzalcoatl and his Toltecs emigrated, and where Quetzalcoatl died or vanished into the water.
As for the other objects that are further indicated with this god, we may perhaps connect the symbol composed of a half sun and the sign of night, which one sees in the Codex Borgia in the upper left corner of the picture, with the notion that the god Quetzalcoatl is the star that shines now in the morning, now in the evening, the planet Venus. The bowl with the chalchihuitl and the quetzal-feather ornament marks the god as the Lord of Riches or of offerings. It is more difficult to give a satisfactory explanation for the two spear bundles that one sees in both manuscripts beside this god. The
Seler, Codex Vaticanus No. 3773. 32
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B. Reverse.
tortoise-shell that lies beside one of these two spear bundles is of course to be regarded as a warrior's shield.
The third Tonalamatl section, ce mazatl, "one Deer," is depicted in the Codex Borgia in the lower half of page 63, in our manuscript on page 51.
Its regents are the two gods of the third day-sign, Tepeyollotli, the Jaguar, the god of caves, and Tlazolteotl, the old earth goddess. The latter is here represented not merely hieroglyphically, but as a full figure and as a warrior woman. She brings to the god the captive whom she has taken.
The god Tepeyollotli himself is, as with the third day-sign, drawn as a jaguar, and here also still upon his mountain cave. In our manuscript he wears in the wings of the nose the yacaxihuitl, the warrior's death-ornament (cf. fig. 358 above, p. 156); in the ear an axe-shaped peg, and beneath it a pendant consisting of a trapeze and a ray, the abbreviation of the sun-image; at the nape of the neck a fan-like ornament of black feathers, similar to the one we shall meet with Tlahuizcalpantecuhtli, the deity of the morning star; and around the neck a strap with white snail shells. In the corresponding copies of the properly Mexican manuscripts, the Codex Telleriano-Remensis and the Codex Borbonicus, this god is represented — as I have shown in more detail in my explanation of the Tonalamatl of the Aubin Collection — as a disguise of Tezcatlipoca and with the insignia of that god. In the Codex Borbonicus (cf. fig. 501) he likewise wears the warrior's death-ornament, the yacaxihuitl, in the wings of the nose. Beside the god, in both our manuscripts, the implements of war are indicated, evidently to characterize his nature. Among these, in both manuscripts, is a curious striking and thrusting weapon that looks like a swordfish's sword, to the end of which a stone point has been attached.
The goddess facing him is drawn in the Codex Borgia in the typical manner of Tlazolteotl, with her black rubber paint around the mouth, the golden nose-crescent, the bands of unspun cotton in the hair and in the ear, the spindle and the neck-ornament of quail feathers, and the enagua patterned with crescents. Beneath her finally the red coral snake, her constant companion. — The goddess has a somewhat peculiar appearance in our manuscript. The white (yellow-striped) color of body and face, the black rubber-paint around the mouth, the band of unspun cotton in the hair and in the ear, and the ornament of quail feathers on the crown of the head, from which hangs a tuft of large yellow poyatl feathers, allow one to recognize the goddess here too without difficulty. But instead of the golden nose-crescent, she wears the blue nose-plate of Xochiquetzal in the pierced nasal septum. Her cape (quechquemitl) and her skirt, both white, are each marked with a large bloodstain. At the small of the back she wears a death's-head, and attached to it a curious structure which, however, is undoubtedly to be thought of not in this upright, but in a transverse, position. It represents the so-called citlalcueitl, a girdle-pendant of snail shells hanging from cords or plaited thongs, which is quite regularly indicated in the properly Mexican manuscripts in connection with the earth goddesses, and as a rule is also to be seen on the stone images of the earth goddess originating from the narrower Mexican region, e.g. on the well-known colossal image of Coatlicue, the so-called Teoyaomiqui, from Mexico. The rattling snail shells are drawn, in the picture of our manuscript, so to speak, swinging upward. And with this whole structure, here in our manuscript, the companion of Tlazolteotl, the red blood-serpent, is connected.
Just as Tepeyollotli is characterized by the implements of war, so here in both manuscripts Tlazolteotl is characterized by a cozcatl, a necklace of precious-stone beads set with golden bells, which in our manuscript also has a centerpiece in the form of a small gold plate. This characterization appears at first glance somewhat striking for a figure that is represented in the Codex Borgia with shield and spear bundle in hand, dragging along a bound captive. But the striking quality vanishes at once if we merely recall the particular mode of thought of the Mexicans and their phraseology. The cozcatl, the necklace, simply signifies the child that is born of the goddess. And the bound captive signifies the same thing, and the
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the warlike apparatus of the goddess signifies birth. For the bearing of a child by a woman was compared to the capture of a prisoner by the warrior. When the birth has been successfully accomplished, the midwife raises a war cry — "and by this the midwife means to say that the patient has valiantly carried off victory, and that she has captured a child¹)." — And when a woman died in childbirth, she was called mociuaquetzqui, "she who has arisen/acted as a woman, who appears in the role of a woman," i.e. the warrior in the guise of a woman, or "mujer valerosa," as it is always translated in the Spanish writers. The woman who has borne a child is the warrior who has taken a captive; the woman who has died in childbed is the warrior who has fallen into the hands of the enemy and been slaughtered upon the sacrificial stone. In the funeral orations she is therefore addressed thus: — "O my daughter, thou hast fought valiantly with shield and sword, like thy mother Ciuacoatl-Quilaztli. Arise! Already it has become morning; go to the House of the Sun, where all the blessed dwell²)." — From this point of view the warlike adornment found everywhere among the earth goddesses is above all to be understood. It denotes in general, and denotes here too, the Tlazolteotl only as the one who gives birth. And that is why the cozcatl, the neck ornament, is here shown beside the goddess. It denotes the one captured by her, i.e. the child born of her.
From this point of view the relationship of the two persons who are set forth, at the third sign, in the series of day-signs and in the series of Tonalamatl sections likewise appears in a new light. To the god of the caves, Tepeyollotli, is joined Tlazolteotl, because she represents the maternal womb. And because this is the relationship of the two persons, one also understands why, in the properly Mexican pictorial manuscripts in the narrower sense — the Codex Telleriano-Remensis, the Codex Borbonicus, and the Tonalamatl of the Aubin collection — the Tlazolteotl at this sign is replaced by the wind god Quetzalcoatl, who is dragging along one captive, or more likely a small human figure. Instead of the child-bearer Tlazolteotl, these manuscripts have drawn above the creator of mankind, Quetzalcoatl. And when these same manuscripts place in the god Quetzalcoatl's other hand the sign cuitlatl, which means "excrement, filth, dirt, sin," this is surely nothing other than a reference to Tlazolteotl, the "goddess of filth," the Tlaelquani, the "filth-eater." It is meant to say that through Tlazolteotl, or if one will, through the cuitlatl, through the obscene act, the child has come into being. And this is also the reason — which was not clear to me earlier — why beside this Quetzalcoatl of the Codex Borbonicus the sea snail shell (tecciztli) is depicted, since — "así como sale del hueso el caracol, así sale el hombre del vientre de su madre."³)
Between the two gods of the third sign, in our manuscript as in the Codex Borgia, a large vessel with maize is also to be seen. And above it a jug painted in the colors of precious stone, from which a brown drink, studded with blossoms, foams forth. We are perhaps to take this as cacao, perhaps as fragrant resin or incense, as a symbol of abundance of food. The god of the caves and the child-bearing goddess are here further illustrated by the maternal womb of the earth, which brings forth food in abundance. For the dark womb of the earth, the tlalli itlollo, is indeed in fact what constitutes the essence of the third sign, the day-sign calli "house," which the Maya render with akbal "night."
The fifth Tonalamatl section, ce xochitl "one flower," is depicted in the lower half of leaf 64 of the Codex Borgia and on leaf 52 of our manuscript.
Its regent is the god of the fourth day-sign, Ueuecoyotl, the old Coyote, the god of sexual desire and of jest (cf. above p. 145–147). He is depicted here in both manuscripts not entirely as an animal, but only with a coyote head, wears a collar set with white snail shells, on his breast, on a strap, the likewise snail-shell-fashioned pendant oyohualli, and a precious loincloth trimmed at the ends with eagle feathers, like that of the sun god. The sign of war is given with him, as with the god of the previous sign, and besides the usual weapons one finds here too the jagged swordfish-sword fitted with a stone point, which evidently is meant to represent a weapon of foreign tierra caliente tribes. At his feet, as with the god of the fourth sign, a man is seen falling to the ground.
Opposite the god a dancer is depicted (fig. 502, 503), who wears the same leather collar set with white snail shells and has the same white rattle-ornament oyohualli hanging on a leather strap on his breast as the old Coyote himself, and in addition has fastened at the temple or on the crown of the head an animal ear (coyote ear, jaguar ear), and has bound before his face a mask on which, in white chalk (tízatl), a ring is painted around the eye and a field tapering to a point toward the back around the mouth, exactly as we have already encountered before with the dancer (fig. 460, above p. 221). In the Codex Borbonicus, where the old Coyote himself is depicted making music with the rattle (ayacachtli), the dancer is replaced by a singer and drummer (fig. 504). In the Tonalamatl of the Aubin collection we even see two figures setting rattle, drum, and a third, not certainly identifiable, instrument in motion.
In our two manuscripts, finally, a third figure is joined to the old Coyote and the dancer, one who in the Codex Telleriano-Remensis stands as the sole figure opposite the old Coyote and is likewise not absent from the Tonalamatl of the Aubin collection, though there rendered somewhat differently. It is a woman, who both in our two manuscripts and in the Telleriano-Remensis
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is depicted with her face turned backward and wiping the tears from her eyes with one hand, while the other hand holds a bowl in which, in the Codex Telleriano-Remensis, again the symbol cuitlatl "excrement, filth" is given. The interpreters give her the name Ixnextli, identify her with Xochiquetzal, and compare her with the biblical Eve, who is said always to weep in this manner and to look about for her husband Adam. And the name Ixnextli which she bears is said to mean "eyes full of ashes." She is said to have received this name only after she had sinned, by breaking the flowers [in the paradise Tamoanchan or Xochitlicacan], and for this reason, the Mexicans said, they could no longer look toward heaven, and it is a memory of the lost paradise.¹) — The interpreters thus identify this figure with the female half of the first human pair. But it is, as inspection shows, the abandoned Eve. The figure refers to a tale or a legend of which, unfortunately, nothing more precise is known to us.
The fifth Tonalamatl section — [sic, sixth] ce acatl "one reed" is depicted in the lower half of leaf 65 of the Codex Borgia and on leaf 53 of our manuscript.
The deity of this section is the goddess of the fifth day-sign, Chalchiuhtlicue, "she whose skirt is of green precious stones," the mistress of flowing water. The outward appearance of this goddess, her adornment and her attire, are the same as in the other places where we have already met her. In particular she is here too depicted in both manuscripts with her serpent-helmet mask. Above this, however, one sees in our manuscript two short feather tufts, of which one does not quite know whether they are meant to sit upon the nostrils of the serpents, as with the feathered serpent on leaf 27 of our manuscript, or whether they are perhaps meant to correspond to the ome quetzalli, the two quetzal-feather tufts on the crown of Xochiquetzal's head, with which we in fact found Chalchiuhtlicue equipped on leaf 42 of our manuscript (cf. fig. 430, above p. 204). As in the properly Mexican manuscripts, finally, the goddess is depicted above a stream of water, at whose other end one sees a priest (tlamacazqui) with a bundle of spears in his hand — a figure perhaps meant to illustrate the "shooting forth," the swift movement of the water. In the water one sees a woman, a bundle of spears, and a string of precious-stone beads. This signifies, as the interpreter (Pedro de los Ríos) states, sale into slavery, death in war, and loss of property and goods, i.e. poverty and want. For water is the mobile element, that which sweeps everything away with it, and thus an expression of the transience of earthly existence.
A chest or vessel, out of which quetzal feathers emerge, is given in our manuscript; a house and a bundle of spears besides are given also in the Codex Borgia, concerning which, however, I know nothing particular to say.
The sixth Tonalamatl section, ce miquiztli "one death," is depicted in the lower half of leaf 66 of the Codex Borgia and on leaf 54 of our manuscript.
As regent of the sixth sign we had encountered, in the day-sign series, Tecciztecatl, the moon god. He is likewise to be seen here as regent of the sixth Tonalamatl section, but he does not stand alone; rather the sun god is set opposite him —
The moon god Tecciztecatl is depicted in our manuscript as an old man with white hair and staff in hand, who raises himself from his seat only with effort. As a special emblem or special ornament only a wreath of flowers is to be mentioned, which encircles the hair, and to which at the forehead a tuft of quetzal feathers is added. Quite analogously the Codex Borgia depicts him, except that here he is marked as a priest (tlamacazqui) by the red spot at the temple, that the hair is not white but black and curls up over the forehead in two locks, and that the aged face, as generally throughout this manuscript, is expressed by the ring-shaped appendage beneath the upper lip. He too holds in his hand a staff curved at the tip, which, however, is short and painted blue (encrusted with turquoise mosaic), a xiuhcoatl [sic].
1) Codex Telleriano-Remensis fol. 11 (= Kingsborough II, 7).
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Verso.
Opposite the moon god, who sits upon his seat, the sun god is depicted in our manuscript in the well-known posture of submission, with arms crossed beneath the breast; in the Codex Borgia in what seems to be a posture expressing greeting, the left knee bent to the ground, and the right hand extended as if in salutation. Attire and adornment are the usual ones. He is painted in both manuscripts in yellow, and in the Codex Borgia in the manner characteristic of the sun god, with a small red disk on the cheek and a red half-ring encircling the eye, upon the yellow ground of the face.
As characterizing symbols, a bundle of spears and a stone knife are given for the moon god, and for the sun god a priest who carries a bundle of spears on his back. In the middle between the two, moreover, a bowl with a red fire-butterfly, which here perhaps is meant to signify blood, in the form appropriate to the sun god and moon god. Below that a bowl with maize. And finally a rabbit in a dark field, surrounded by twelve dots that yield the number twelve. With this, it seems to me, the twelve synodic months that go to make up one course of the sun, i.e., one year,
Fig. [506], Tlaloc, the rain god.
Ruler of the seventh Tonalamatl section, ce quiauitl, "one Rain". Codex Borgia 67 (= Kingsborough 46).
are meant to be seen. For the rabbit was, to the Mexicans, the man in the moon. With a rabbit the gods struck the moon in the face, in order to darken its brilliance, which had originally been equal to that of the sun.
The seventh Tonalamatl section, ce quiauitl, "one Rain," is depicted in the Codex Borgia on the lower half of leaf 67, in our manuscript on leaf 55.
This is one of the cases in which the initial sign of the Tonalamatl section appears entirely to correspond to the god who, as a result of the transfer of the gods of the day-sign series onto the Tonalamatl sections, falls to this Tonalamatl section. It is the god of the seventh day sign, the rain god Tlaloc.
The god himself is depicted here in the same characteristic manner, described in detail above, as the ruler of the seventh day sign (cf. above pp. 105, 106 and p. 151). But beside him a mighty stream of water is shown here as well, in which the figure of a priest is being swept away. And at the end of this stream of water a cave is depicted, on which, in the adoring posture of Huehuecoyotl of the second Tonalamatl section, a second priest crouches, holding a tuft of grass in one hand and a copal bag and two arrow shafts (the sign of the fire-drill) in the other (cf. fig. 505). And in front of the god himself a second copal bag (copalxiquipilli), a bone dagger (omitl), and an agave-thorn point (uitztli) are shown, with a flower at the upper end of these two instruments of penance, illustrating the blood that has been drawn. Beside it one sees a torn-off jaguar paw,
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14. The Tonalamatl arranged into twenty thirteen-day sections. 255
four agave-thorn points (uitztli) stuck onto a rod, and at the upper edge of the leaf a double-headed serpent, painted in the color of fire but bearing along its entire back a white foam-marking.
The rain god was the god of the great fast that was observed at the beginning of the rainy season, toward the end of our month of May, with great rigor by the entire priesthood, the youngest priest-novices included, in order to obtain favorable and sufficient rainfall for the period of the growth of the crops then beginning. In this fast, which is described in detail in Sahagún, strict watch was kept that not the smallest oversight, not the slightest impropriety occurred. Not a speck of dust was allowed to be on the priests' clothing, not the least error was to occur in the performance of the ceremonies, and the officiants were not permitted to stumble on the way to their duties. Whoever had committed an error in this respect had it atoned for, in order to appease the wrath of the god, by having these offenders led by the hair to the water on the day before the closing and actual main feast, rolled in every puddle, and finally ducked in the water so long that they could only be pulled out again half dead. — This fast, and the punishment of the priests who had not carried it out exactly, seems to me to be depicted on our leaf as well. At least I would not know how the figure of the priest plunging into the water, or being swept away by the water, could be explained otherwise or better. In the procession at this feast the incense priests (tlenamacaque) carried their incense (pellets made of incense-herb) in jaguar-skin bags hung with snail shells (oceloyaltactli euecheh), which were probably made from the entire pelt of a jaguar's foot, just as we do indeed see such an incense bag made from a jaguar's foot-pelt in the hand of the old god in deer form, fig. 496 (above, p. 239). Just such a jaguar foot-pelt bag for incense is, I believe, meant to be illustrated here by the torn-off jaguar paw. And the double-headed serpent, painted in the colors of fire and bearing a white foam-marking on its back, perhaps directly denotes the incense, the tlapopochhuilli, tlenamactli, that was brought to the god in great quantities at this feast. For in the symbolism of the Mexicans, incense signified abundance of food. The jaguar foot-pelt bag and the tobacco gourd denote the old gods, the sky gods, the gods of foodstuffs. In the temple of the West, in the house of maize and the maize deity, the tobacco gourd is drawn in the Codex Borgia.
The eighth Tonalamatl section, ce malinalli, "one Twisted-thing," is depicted in the Codex Borgia on the lower half of leaf 68, in our manuscript on leaf 56.
Its ruler is the deity of the eighth day sign, the goddess of the agave plant, called Mayahuel. We see her, as with the eighth day sign, sitting before or within her agave plant. The face here is painted blue in the lower half, and yellow in the upper half, like the rest of the body. The well-known blue stepped-plaque of the goddess Xochiquetzal hangs down from her nasal septum. At the front and back ends of her headband two rosettes are shown, as in certain images of the rain god (cf. fig. 307, above p. 110), which here alone, like the frontlet, are painted in cross-stripes alternating blue and white (in the colors of water) rather than in the colors of the rain god, but which, as with the rain god, evidently suggest a four-cornered headdress, at whose corners — illustrating the four cardinal directions — the rosettes are placed (cf. the image of the rain god, fig. 414, above p. 198).
In front of the goddess the pulque pot (octecomatl) is shown, drawn and furnished in a similar manner as with the goddess of the eighth day sign (cf. above pp. 152, 153). As the ring that keeps the round-bottomed, bulging vessel from tipping over, a black-spotted rattlesnake serves in our manuscript. In the upper part of the leaf is seen the sign of twilight or evening, composed of the images of the sun and of night. That is the time when the pulque revels took place. And opposite the goddess, seated on a chair, the drinker is depicted, who, by the heart skewered on a rod that one sees before, or beneath, him, seems to be brought into connection with Xochipilli, the god of flowers, who in the Sahagún manuscript and in
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D. [Rükkocitc?]
the pictorial manuscript of the Florentine Biblioteca Nazionale carries the yollotopilli, the staff with the heart. — In the Codex Borbonicus and in the Tonalamatl of the Aubin Collection, this drinker is replaced by a figure who carries the staff with the impaled heart on its back and a feather banner in its hand, and who in the Codex Borbonicus wears the star-sky crown (xiuhtzoncalli citlallo) of the god Tezcatlipoca. In the Codex Telleriano-Remensis there stands instead a figure likewise holding a feather banner in its hands, marked as a warrior, or as Tezcatlipoca, by an aztaxelli on its crown, but which carries not an impaled heart but a bundle of maize ears on its back, and is therefore designated by the interpreters as Cinteotl, "maize god."
The ninth Tonalamatl section, ce coatl, "one Snake," is depicted in the Codex Borgia on the lower half of leaf 69, in our manuscript on leaf 57.
Its ruler is the god of the eighth day sign, Xiuhtecutli or Ixcozauhqui. He is depicted entirely analogous to the manner in which we came to know him at the ninth day sign — red, with his face-painting mixed of red and black, and fire-colored hair, with the descending turquoise-bird (xiuhtototl) at the front of the headband, and the two, [namely] two arrow shafts,
Fig. 506. Xiuhtecutli, the fire god, and Tlahuizcalpantecutli, the morning star.
Rulers of the ninth Tonalamatl section, beginning with ce coatl, "one Snake." Codex Borgia 69 (= Kingsborough 46).
i.e., the feather tufts in the crown that mark the mamalhuaztli, the fire-drill. As a peculiarity there is here, only in the Codex Borgia image (fig. 506), the nose ornament formed in the shape of the head of a coxcoxtli bird, which we already came to know with the sky-bearer of the South (cf. fig. 271, above p. 86), but which in our manuscript, as quite generally e.g. in the Codex Borbonicus, has degenerated into a blue volute. And a peculiarity in our manuscript as well is the structure attached to the nape of the god's neck, in which we can recognize a short crest of red points enclosing three feather tufts, and which perhaps arose from a transformation of the xiuhcoatl, the fire serpent, which in the properly Mexican manuscripts (cf. the image in the Codex Borbonicus, fig. 507) the fire god wears on his back as a disguise (nahualli).
As with the ruler of the ninth day sign, so too here, with that of the ninth Tonalamatl section, a scorpion (colotl) and the symbol atl-tlachinolli, or teoatl-tlachinolli, "water (spear-throwing) and fire," the metaphorical designation of war, are depicted — the latter in a somewhat different manner than with the god of the ninth day sign, as I have already specially drawn out above on p. 154 in fig. 354. — Besides this, however, we also see a wood-carved chair, mounted with metal and inlaid with precious stones, over which, as a seat cushion, a jaguar skin has furthermore been thrown in the Codex Borgia, and which evidently stands here as an emblem of royal dignity, while
14. The Tonalamatl arranged into twenty thirteen-day sections. 257
a bowl with maize illustrates abundance of food, i.e., wealth. For those destined for rulership upon their knees, them the god places at the side of the fire god —
M teteu innan in teteu inta
in tlalricco onoc
in xiuhtotoatica mirtsatzaeuilüica
in veveteutl in aiamictlan in xiuhtecutli
"que es el padre de todos los dioses, que reside en el albergue del agua, y entre las flores, que son las paredes almenadas, envuelto entre unas nubes de agua. Este es el antiguo dios que se llama Ayamictlan y Xiuhtecutli." — ')
Fig. 507. Xiuhtecutli, the fire god, and Tlahuizcalpantecutli, the morning star, rulers of the ninth Tonalamatl section, beginning with ce coatl, "one Snake." Codex Borbonicus 9.
Finally, here in our sections yet another god is set opposite the fire god, and this is, as the interpreters state, and as is also clearly indicated alongside by the hieroglyph ce acatl "one Reed" in the picture of the Codex Telleriano-Remensis (fig. 508), Tlauizcalpantecutli, "the Lord in the House of Dawn," the deity of the Morning Star, who bears the name Ce acatl "one Reed" because the Morning Star is Ce acatl Topiltzin Quetzalcouatl, because the heart of Quetzalcouatl was transformed into him when this god, in the year ce acatl "one Reed," in Tlillan Tlapallan, in the land of the black and the red colour, that is, the land of writing, in Tlatlayan, the place of burning, mounted the pyre and burned himself.¹) It is noteworthy that here, in the Codex Borgia picture, the fire god is shown opposite the Morning Star in the repeatedly mentioned posture of submis-
1) Sahagun, lib. cap. 17. Ms. Biblioteca Laurenziana.
2) Anales de Quauhtitlan.
Codex Vaticanus No. 3773. 258
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-sion, with the arms crossed beneath the breast.
The Morning Star is everywhere depicted with white (or white, red-striped) body and face colour and with a deep-black, half-mask-like painting around the eyes, ringed by small circles, which is indicated in the Sahagún manuscript also for other gods (Mixcoatl, Painal, Atlaua) and is there described as ixcuitlacihuallo, ... miccatlaliuhticac molhueua tlatoatli, that is, "the star-face painting which is called Darkness." With this the god combines a brow-band which, at the places where in other gods blue or green discs (made of turquoise or chalchiuitl) are set upon the red leather strap, bears white ornaments, mostly somewhat elongated, becoming pointed and egg-shaped, and in the Codex Borgia with four projecting ends running out into a feather-tuft, such as we found in this manuscript in the case of the Sun God, of Ueuecoyotl, and also of Xochiquetzal. And the headdress is completed by a crown of black feathers provided with a white end-spot, among which, in our manuscript and in the picture of the Codex Borbonicus, individual yellow or red feathers project out at length. On the breast, finally, the god as a rule wears the eye, the white ring (anauatl) of the god Tezcatlipoca.
The Morning Star stands here before the fire god because the fire god too, like the Morning Star, belongs to the time of dawn, the time when the sun was not yet born. But above all the Morning Star stands here because, opposite the fire god, the representative of war, he illustrates the warriors and the warrior's death. For into the eastern heaven, into the region of the Morning Star, into the tonatiuh ichan, the "House of the Sun," comes the soul of the warrior who was sacrificed, or fell in battle, or died on the march, the tonatiuh iixco yauh. There these blessed ones greet the rising sun and escort it with songs and dances up to the zenith, where the female counterparts of the fallen warriors, the mociuaquetzque, the women who died in childbed, receive them, in order likewise to lead them down to the west amid dances. This deity of the Morning Star thus represents here the fallen warrior or the warrior's death, and this is also clearly shown in the picture which the Codex Borbonicus gives of this Tonalamatl section (fig. 507), in that we see depicted there, at the lower edge of the leaf, the warrior's death-adornment, as complete as the mummy of the dead warrior in fig. 358, p. 156, showed it to us: the xiuhuitzolli, the blue crown with the triangular brow-plate, the axe-shaped blue ear-plugs (xiuhnacochtli), the blue nose-plugs (yacaxiuitl), the shoulder-band of white paper (amatzapanalli), and the little blue dog, the xolocozcatl, of which I have spoken above (p. 157).
The tenth Tonalamatl section, ce tecpatl "one Flint-knife," is depicted in the Codex Borgia in the lower half of leaf 70, in our manuscript on leaf 58.
Its regent is the god of the tenth day-sign, Mictlantecutli, the god of death, lord of the underworld, who here, however, has set opposite him, as his counterpart, Tonatiuh, the sun god, lord of heaven.
The god of death is depicted in both manuscripts as a black god with a skull for a head, seated upon a chair formed of blood, bones, and tzatzayanqui-grass. His adornment
Fig. 508. Tlauizcalpantecutli, deity of the Morning Star, shown opposite the fire god, the regent of the ninth Tonalamatl section.
Codex Telleriano-Remensis fol. — verso (= Kingsborough II. 14).
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II. The Tonalamatl Arranged in Twenty Thirteen-Day Sections. 259
consists, in our manuscript, of the neck-shield (cuaxcochtechimalli) and the banner bent forward over it (pantzitzimitl); in the Codex Borgia, of the neck-shield (cuaxcochtechimalli) and a little wing of feathers. Before him, or beneath him, there is shown in both manuscripts a corpse wrapped in blankets and bound round with cords, a little paper banner (pyre ornament), and a cross that appears to be knotted together from strips of cloth or paper.
The sun god is shown, opposite the god of death, upon a dais covered with a jaguar skin, in what appears to be the same posture expressing a greeting as before the moon god in the sixth Tonalamatl section (fig. 509). The colour, painting, and adornment, and also the facial painting with the red disc on the cheek and the red half-ring surrounding the eye, are the same as in the sun god who, in the sixth Tonalamatl section, stands opposite the moon god. Before the god, or above him, one sees a flower set in a handle, which is presumably meant to represent a torch. And before his mouth, in the Codex Borgia, as though it were the breath streaming forth from it, a figure resembling an "ewiya"-sign is drawn, bearing yellow clouds of smoke at its end.
Codex Borgia 70 (= Kingsborough —).
A figure almost exactly like this one is used in the Codex Bologna, among the signs of the Nine Lords who there accompany the day-signs of the Tonalamatl, as a hieroglyph or symbol for the first of the Nine Lords, the fire god, and therefore doubtless signifies fire.
Between the two gods, finally, one sees a man who is being thrust down into the water by another with a staff which, in the picture in our manuscript, has the shape of a shovel. In the Codex Borbonicus, and in the Tonalamatl of the Aubin Collection, this picture is replaced by a tree or post rising up out of the water, up which a man is climbing. Both pictures seem intended to express nothing other than the difference in direction embodied by the two gods of this section, namely the below or downward (tlani) and the above or upward (ana).
The eleventh Tonalamatl section, ce ozomatli "one Monkey," is depicted in the Codex Borgia in the upper half of leaf 70, in our manuscript on leaf 59.
From this section onward, it is no longer the deities of the corresponding day-sign but of the one following it in the series that are transferred onto the Tonalamatl section, since the god of the eleventh day-sign, Xochipilli, has been allowed to drop out. The regent of this eleventh Tonalamatl section is thus the god of the twelfth day-sign, Patecatl, the pulque god. — This one, however, is not here depicted as the bar-
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260
-barian god, with the royal band of monkey fur, as at the twelfth day-sign, but resembling the other gods in appearance and in dress. In our manuscript he is marked by his two-colouredness (chictlapanqayotl), the half-black, half-red colouring, and by the golden nose-crescent (yacametztli). The two-colouredness, however, is oddly not expressed here in his face, which is simply red, but in his feather ornament, his feather crown (iuitzoncalli), and in the great fan-like neck feather ornament.
In the Codex Borgia (fig. 510) a woman is depicted who wears the golden nose-crescent (yacametztli) of the pulque gods and, like Tlazolteotl, a strip of unspun cotton in the tube of her ear-plug, has a simply red face and fire-coloured hair, which is wound about with the gem-strap bearing the stylised bird's head at the front, and is adorned above it with a crown of eagle feathers (quauhtzoncalli), similar to that of the sun god (cf. fig. 308, above p. 191), out of which fur-
Fig. 511. Patecatl, the pulque god. Regent of the eleventh Tonalamatl section, ce ozomatli.
Codex Borbonicus 11.
-strips hang down, again like those of the feather headdress of the sun god. Her Knagua is simply red and provided with the pattern of the golden nose-crescent. Judging by the totality of these attributes, one might call this figure a Tlapalteotl in the character of a sun god.
Beside the deity of this section, the implements of war are depicted in both manuscripts, and among them again the curious striking and thrusting weapon that appears to be made from a swordfish's sword, which we found depicted with Tepeyollotl and Ueuecoyotl, and already also with Patecatl, the regent of the twelfth day-sign.
Opposite, or before, the pulque god a striding jaguar is depicted, with a paper banner in its arm. This is an image of the warrior, for pulque is the drink of the strong. In the properly Mexican manuscripts one sees here, opposite the pulque god, not merely the jaguar, but the eagle and the jaguar (fig. 511). This is an expression of the well-known combination quauhtli-ocelotl, by which, in Mexico, in the elevated speech of the capital, the valiant warriors were designated. The little paper banners in the arms of these animals mark them, or rather
II. The Tonalamatl Arranged in Twenty Thirteen-Day Sections. 261
the warriors represented by them, as destined for sacrifice. For it does indeed seem as though the Mexicans could not conceive of a warrior at all without at the same time thinking of the warrior's lot, captivity, and death by sacrifice.
The twelfth Tonalamatl section, ce cuetzpalin "one Lizard," is depicted in the Codex Borgia in the upper half of leaf 69, in our manuscript on leaf 60.
The regent of this section must be the god of the thirteenth day-sign, and that is Tezcatlipoca-ixquimilli, the Tezcatlipoca with the bound eye, the god of punitive justice. Him, however, we do not see appearing here in the form in which we came to know him at the thirteenth day-sign. In the Codex Borgia, in this Tonalamatl section, the god of the thirteenth day-sign is, so to speak, split apart, in that two persons are set opposite one another, Tezcatlipoca on the one side and an ixquimilli, a god with bound eyes, on the other. And in our manuscript, as well as in the properly Mexican manuscripts, only the latter is depicted. This one, however, has here a very peculiar form. One sees, both in our manuscript (leaf 60) and in the Codex Borgia (fig. 512a), a kind of bundle, to which, in the Codex Borgia, a pair of malinalli strips are tied on as a breast ornament, while a covering falling far downward conceals the legs and feet. As a head, this bundle has set upon it a form drawn with two black longitudinal stripes, which at eye level
Fig. 512a. Codex Borgia 69 (= Kingsborough 46). Fig. 512b. Codex Borbonicus 13.
[is itztlacoliuhqui, the curved obsidian knife, the god with the bound eyes, the god of punitive justice. Regent of the twelfth day-count section ce cuetzpalin "one Lizard".
wears a band, while upward — in our manuscript directly, in the Codex Borgia above a wig-lock and a headband adorned with two precious stones — the structure, drawn in the same way with two black longitudinal stripes, continues and ends in a tip that curves backward and curls in. In a similar, only somewhat more complicated way, this head is drawn in the properly Mexican manuscripts (cf. fig. 512b), but there the front edge of the hat-like tip is regularly furnished with a jagged crest, and just as regularly there is shown, stuck in this tip, an arrow. In the Codex Borbonicus (fig. 512b) and in the Telleriano-Remensis, the face of this structure is also given a golden crescent-shaped nose ornament (yacametztli), in the manner of that of the pulque gods and of the Tlazolteotl. The figure furnished with this head is called by the interpreters Itztlacoliuhqui, "the curved sharp stone." Indeed, one is reminded, by this structure encircled with black longitudinal stripes, of flint or firestone or banded agate.
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The jagged crest with which this structure is drawn in the properly Mexican manuscripts is merely a conventional rendering of the serrated edge of struck flint. We must therefore regard this figure simply as the personification of hard pebble-stone or flint.
This figure is drawn here with a band over the eyes, i.e., it is characterized as the god of punitive justice, like the Tezcatlipoca itzquimilli, the god of the thirteenth day-sign, whom it does indeed represent. That this role or this task is assigned to the figure personifying the hard stone has its reason simply in the fact that the stone and the club are the instruments of punishment. With the club the unauthorized pulque-drinkers were struck dead; with the stone, i.e. by stoning, adulterers caught in flagrante were put to death, as is indeed shown in all of the properly Mexican manuscripts in the case of the Itztlacoliuhqui, in more or less realistic images (cf. fig. 515).
This figure has then, moreover, become in general a symbol of everything hard, and is therefore explained by the interpreters as the god of cold. Indeed, we see in the Sahagún manuscript frost, ice, cold (teil) illustrated by a small manikin with the itztlacoliuhqui hat upon his head (fig. 514). The Itztlacoliuhqui god is, however, named in yet another very curious role or connection, which I have earlier attempted to explain in various ways, but which, as we shall presently see, likewise comes down in the end to the fact that this god is the representative of the hard.
Fig. 513. mixcoatlaneuiUeh, [the warrior death-mask]. Fig. 514. cetl "cold". Fig. 515. The stoned adulterers.
Sahagún Ms. Biblioteca del Palacio (Madrid). Codex Borbonicus 1.
Sahagún Ms. Academia de la Historia (Madrid).
To the goddess Tlazolteotl — or Toci, or Teteoinnan, as she is usually called here — a great festival was celebrated in Mexico in one of the autumn months, which, because the broom is the emblem of this goddess, or for other reasons, was called Ochpaniztli, "the sweeping-out," the broom festival. At this festival an image of the goddess was sacrificed, and indeed in the manner customary with the earth deities, or at least with this earth goddess, namely by cutting off the head, and afterward, as also seems to have been the general custom with the earth deities, the victim was flayed. The skin as a whole was drawn on by a large and strong priest (Ixtzquacuitli / Uitzquacuitli), who, clothed in this skin, represented the goddess in the further ceremonies. From the skin of the thigh, however, a mask was made, which was called mācayacatl — properly messayacatl, that is metz-yacatl "thigh-mask" — and with this mask, and with a hat made of feathers and joined to a feather garment, which — "had a long tip curling backward, and a crest formed after the manner of a cock's comb, and was called itztlacoliuhqui, i.e. god of frost" — Cinteotl (maize god), the son of the goddess Toci, was clothed, who had his temple in the quarter
1) "a la punta del capillo que era larga, estaba hecha una rosca como culebra; tenía un lomo como cresta de gallo en la rosca" (Sahagún 2, cap. 30).
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of Uocuīlan. There the priest, clothed in the skin of the victim and representing the goddess Toci, goes to fetch Cinteotl. Running hastily, the goddess (i.e. the priest representing her) then turns toward the temple of Huitzilopochtli. She is accompanied by her Huaxtec servants (icuxtoan, cf. fig. 294 above p. 100), and war-captains run before her who, striking their shields, challenge the goddess to battle, but flee before her. The goddess and her retinue carry, meanwhile, blood-spattered brooms in their hands, with which they fight (yn ica ca çacatl, ca popotl yn immac tetenteuh, teco tlaquauh) and "fighting with the broom" (tlaçucatl) is therefore what this ceremony is called. And when the goddess then tlacxitlan in icxitlan Huitzilopochtli "arrives, below, at the foot of Huitzilopochtli," i.e. of Huitzilopochtli's temple, niman ic mahana, motetzahuana, mamahua in icxitlan Huitzilopochtli, contlanamiquitimoquetza "she then stretches herself wide, extends herself, spreads out arms and legs, at the foot of Huitzilopochtli, facing toward him." Beside her stands her son Cinteotl, who had awaited her there, clothed in his mask metzayacatl and in the hat itztlacoliuhqui — quacoltic, yhuan tzitziquiltic, auh in imotoca-yotiaya itztlacoliuhqui, ycuel cetl "which is curved at the tip and furnished with a jagged crest, and bears the name itztlacoliuhqui, i.e. 'frost.'" Both then go slowly, without running, back to their house.
This mahana, motetzahuana mamahua I formerly interpreted as a coital posture. We must, however, rather understand it as a birth posture, as in the picture fig. 455, which I have reproduced above, p. 219. For the preceding combat too signifies, as we have seen above (cf. p. 251), birth. It is the combat in which the goddess takes her captive, i.e., bears her son. The goddess Tlazolteotl is precisely the great bearer of children; that is shown us clearly enough also by the picture in the Codex Borbonicus (cf. below fig. 517). At the foot of Huitzilopochtli, then, she does not receive her son Cinteotl, but bears him. For maize is born of the earth. This was also said in the song which I have already quoted once above:
yccoc ye tonan
yccoc ye Toci
tlapaltehuia
ohuaya ohuaya
fought has our mother
fought has the goddess
Tlapaltehuia
otlacatqui centeotl
tamoanchan
xochitlicacan
te yxochitli
born is the maize god
in the house of descending
where the flowers stand
he (the god) of the flower.
— whereby it is to be noted that here the verb yecoa has the double meaning of "to fight" (yēcoa, with short first syllable) and of "to complete the work" (yecoā, with long first syllable).
But what are we to make of the fact that the maize, the son of the earth, wears the hat itztlacoliuhqui, of "the god of frost," as the reporter explains? What has frost to do with this festival, which fell in our month of September, at the time of the equinox? Even in the more elevated regions of Mexico, frost occurs only in the middle of winter. And what sense did this whole ceremony have at all? — The difficulty resolves itself if we recall the original meaning of itztlacoliuhqui, that he is the hard stone and the representative of the hard. The Ochpaniztli was the harvest festival, the time when the maize had become ripe, i.e. hard.
It seems to be a further development of the stone into the general concept of the earth, when the interpreter of the Telleriano-Remensis gives Cipactonal as another name for this god. But when the god is further designated as lord of sin and of blindness, when, as one interpreter relates, one was afraid, during the thirteen days of this Tonalamatl section, to bring any matter before a court, because the judges have their eyes bound and would not be able to see — these are in any case only late and perhaps rather unfounded reinterpretations on the basis of the
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pictures present here, which show us the god with bound eyes and as god of punishment. — This god must have been a well-known hieroglyphic figure. His image was also recognized in a star in the southern sky — "que fingen que va vuelta del revés y los ojos tapados" [which they picture as going turned backward with the eyes covered] — whose appearance was interpreted as portending coming wars — (tenían la por grande agüero para guerras).
Before the god we see, in both manuscripts, a human being depicted falling to the ground, as with Huehuecoyotl, the god of the fourth day-sign and of the fourth Tonalamatl section. And if there the interpreters spoke of the fall of the first man, of the transgression of Adam, then, given the occurrence of the same image here, one will be inclined, as I have already indicated above, to grant them their point and to regard the falling to the ground here, as there, as transgression, as sin (tlatlacolli). The nature of the transgression is shown by the other pictures, which show us, in our manuscript and in the Codex Borgia, the pulque pot, and in the Telleriano-Remensis and in the
Fig. 516. Tlazolteotl, the earth goddess.
Regent of the thirteenth Tonalamatl section
ce ollin "one Movement".
Codex Borgia 68 (= Kingsborough 47).
Fig. 517. Tlazolteotl, the earth goddess.
Regent of the thirteenth Tonalamatl section
ce ollin, "one Movement". Codex Borbonicus 16.
Borbonicus the adulterers, and in the Tonalamatl of the Aubin collection the adulterers with the pulque cup in hand.
The thirteenth Tonalamatl section ce ollin "one Movement" is depicted in the Codex Borgia in the upper half of leaf 68, in our manuscript on leaf 61.
Its regent is the goddess of the fourteenth day-sign, the old Huaxtec earth goddess Tlazolteotl. Her characteristic features, described often on the preceding pages, in particular the black painting around the mouth and the strands of unspun cotton that must serve as her hair-band and her ear-pendants, are clear here too. But even more than elsewhere Tlazolteotl is here shown as the countrywoman of the pulque god, in that she not only has the crescent-shaped ornament (yacametztli) in the nose, as he does, not only has the garment (cf. fig. 516) colored in the two-tone fashion of the pulque gods, half black, half red, with the golden nose-crescent in the middle, but also, like the pulque god of leaf 59 of our manuscript,
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...her feather diadem (iuitzoncatl) painted in the two colors, red and black — Also in the properly Mexican manuscripts, the two colors of the pulque-goddesses are indicated throughout in the goddess's attire, but here she is, without exception, also clothed, like Xipe, in the flayed skin of her sacrificial victim. In the Codex Borbonicus (fig. 517) she is depicted as giving birth. One sees, from above (to be understood as from the thirteenth heaven), a child coming down, which is to enter her body, and at the same time one sees, issuing from the vulva of the goddess who crouches with outspread legs (nomahuiticac) upon the mat, an image of herself stepping forth, holding two chain-links in its hands, evidently thereby indicating the continuation of life.
Before the goddess one sees, in our manuscript and in the related Codex Borgia, the goddess's red serpent depicted. And beside it, not, as with the ruler of the fourteenth day-sign, a house with an owl (tecolotl ichan), but a house with a vulture (cozcacuauhtli ichan). The house with the owl doubtless denoted the dark house of the earth, of which the goddess is the personification. The house with the vulture we shall perhaps have to interpret as the house of the old goddess. For this connection was, as we have already seen above (cf. p. 177–179), quite definitely intended in the case of the bald-headed bird. — In the properly Mexican manuscripts, facing the goddess a black bird is depicted, namely as the vestment of Tezcatlipoca. This god, indeed, according to the conception of the peoples of the narrower Mexican territory, lay at the root of all apparitions, especially of everything ghostly, terrifying, uncanny, and almost all the figures of their mythology were terrifying, ghostly, uncanny. But in none of the images can one divine what animal species is meant by the black bird.
The fourteenth Tonalamatl section, ce itzcuintli, "one dog," is depicted in the upper half of folio 67 of the Codex Borgia and on folio 62 of our manuscript.
Its regent is the god of the fifteenth day-sign, and that is Xipe Totec, "our lord, the flayed one," who only at two of the relevant places is not depicted in his usual form, but was represented by a red (Tlatlauhqui) Tezcatlipoca. Here we have him presented at both places — admittedly again not with his human skin, but otherwise in a thoroughly typical manner — with red body, red limbs, and red garment; before the face the mask of yellow, that is, dead, human skin, with the wide-open mouth (motenmaxaltihticac), the narrow eye-slit, and the red stripe running straight across the eye along the whole length of the face, which perhaps is meant to denote the cut made at the flaying. In the nose sits a rod whose disk imitates the yopitzontli, Xipe's pointed cap, while the rod itself reproduces the red-and-white, swallowtail-cut (maxaliuhqui) fluttering ends of the cap. From the ear hang two bands which, like everything on the god, are painted red and white, in the colors of the tlauhquechol, the red spoonbill. The hair is wound about with a band, upon which in our manuscript, instead of the gem disks, two ornaments made of hammered gold are set. For Xipe is, as is well known, the god of the goldsmiths. Above the hair, in the Codex Borgia, a continuous down-feather wig becomes visible. And attached to this is a feather ornament that is evidently comb-like, of the kind the Mexicans called patzactli.¹) In our manuscript this consists of one continuous part, worked in feather mosaic, red and white, in the colors of the tlauhquechol, and one (actually two) rows of quetzal feathers rising above it. In the Codex Borgia, however (fig. 518), it is composed of one (actually two) rows of red feathers, in any case meant as tlauhquechol feathers, alternating with gem (chalchihuitl) bands and ends of rattle-boards (chicahuaztli). Xipe Totec was regarded as the lord of the coastal land and properly as the god of the Zapotecs — anahuatl yteuc tzapoteca yn uel ynteouh catca.²) — The feather ornaments called quetzalpatzactli, however, were, as Sahagún expressly attests,³) Zapotec ornaments, and only came
1) Cf. my treatise "On Ancient Mexican Feather Ornament and Military Rank Insignia." Proceedings of the Berlin Anthropological Society, 17 January 1891. Zeitschrift für Ethnologie XXIII, p. (122).
2) Sahagún 1, chap. 13. Ms. Biblioteca del Palacio (Madrid).
3) Sahagún 9, chap. 2. Ms. Biblioteca Academia de la Historia, Madrid.
Cf. Codex Vaticanus No. 3171
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to Mexico only after the conquest of the Zapotecs, which took place in the time of King Ahuitzotl through the armed expeditions of the merchants: —
auh tlein iuhcauac centlapouh in ixquich anauaca tlalli
"and only then was the land of the various Anahuac (coastlands) fully opened up,
in aocmo toyaouh omochiuh in tzapotecatl in anauacatl
so that there was no longer any enemy for us among the Zapotecs, the Anahuaca (the coastlands).
auh in quetzalpatzactli ompa malli mochiuh in ayotlan
And the comb-like quetzal feather ornament was captured there in Ayotlan (in the Pacific coastal district);
Fig. 518. Xipe Totec, "our lord, the flayed one" — Regent of the fourteenth Tonalamatl section ce itzcuintli, "one dog." Codex Borgia (Kingsborough).
ayatle catca in nican mexico. Quin iquac itz
there was nothing of the kind here in Mexico yet; they only became known at that time
iyc mamalo tlatilolco. conmotlatquiti in auitzotzin
They were worn in Tlatelolco (the merchants' quarter) as back-devices, and Ahuitzotl adopted them as his own attire.¹) —
As a breast ornament, the Xipe Totec of our fourteenth Tonalamatl section wears, in our manuscript, a disk of hammered gold; in the Codex Borgia, on a necklace made of a mosaic of differently colored feathers, an ornament of a special form that appears to be ground from a snail shell. Finally he has his loincloth (maxtlatl), whose ends are likewise red and white and cut in swallowtail fashion (maxaliuhqui).
In the properly Mexican manuscripts he also wears, in addition, his human skin, and, as usual also, the apron or girdle of zapote leaves, the so-called "little women's skirt of zapote leaves" (tzapocueitl). In the Codex Borbonicus (fig. 519) he is again depicted half as Tezcatlipoca, with the facial painting of the red (Tlatlauhqui) Tezcatlipoca, with the smoking mirror at
1) "Y con esta conquista quedó el campo seguro y libre para entrar en la provincia de Anahuac, sin que nadie lo impidiese, ni los Tzapotecas, ni los Anautecas; y los penachos y plumas ricas, desde entonces se usan por acá; primeramente los trajeron los mercaderes ricos de Tlatelolco y los usaron, y también el señor de Mexico Ahuitzotzin." (Sahagún 9, cap. 2.)
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the temple, also with the white ring (waçotl) of this god and the special form of the back feather-ornament, as it is to be seen in the Tezcatlipoca images of these manuscripts. In addition, however, the ornament hammered from gold (instead of the gem disks) on the head-band, the crown of red spoonbill feathers (tlauhquecholtzontli), the swallowtail-cut (maxaliuhqui) band-ends, and other pieces belonging to Xipe's special attire.
The nature of the god is expressed in our manuscripts, first of all, through the spear-bundle and through his red rattle-staff (chicahuaztli). The former designates him as a warrior, as the god of the sacrificio gladiatorio — "il guerreggiatore attentato" the interpreter of the Codex
Fig. 519. Xipe Totec, "our lord, the flayed one." Regent of the fourteenth Tonalamatl section ce itzcuintli, "one dog." Codex Borbonicus I.
Vaticanus A (No. 3738) calls him. The chicahuaztli, on the other hand, marks him as the agrarian god, the god of the tilling of the fields, whose principal feast, the "flaying of men" (tlacaxipehualiztli), was a feast of preparation of the field for sowing. For this dreadful cult meant to the Mexicans, as clearly emerges from the song that was sung to him at his feast, the renewal of vegetation. The fourth strophe of this song is paraphrased by the commentator with the words: —
notenh ceppa tlatlacotian in mochiuh in itonacayuh
"o my god, some of the sustenance (the maize) ripens during the tilling of the field.
auh in tlein tlatlacotian achto mochiuh
And what ripens first during the tilling of the field,
muchi tlacatl achto mitzoalmaca
all the world offers it to you first."
94*
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auh iniquac ye o muchi mochiuh
And when everything has become ripe,
occepa no muchi tlacatl mitzoalmaca yn motonacayuh
again all the world brings you your sustenance (your maize)."
The warrior who was sacrificed in combat — that is the maize plant, which dies and rises anew. For, as it says in the song: —
ma niauia, niauia poliuiz niyoatzin
"let me go, let me go to perish, I, the maize plant
a chalchiuhtla noyollo
a green gem is my heart
a teocuitlatlococoyoltic noyol
a pierced gold bead is my heart
ce izqui tlacatl achtoquetl tlaquauaya
all the world first toiled hard
otlacatqui yaotlatoaquetl oviya
born is the war chief."
One understands that the cult and the person of this god touched most closely upon the cult and the person of the old earth goddess, Tlazolteotl.
Finally we also see, as with the regent of the fifteenth day-sign, so too with this regent of the fourteenth Tonalamatl section, the feathered serpent (quetzalcoatl) depicted. But whereas there (cf. fig. 380, above p. 174, and our manuscript, folio 30, lower left) one saw a rabbit emerging from the jaws of the serpent, here (figs. 518, 519, 521) one sees a human being plunging headfirst into the jaws of the serpent. I have long wavered over how this image, given with such regularity in connection with Xipe Totec, is to be explained. That the feathered serpent must represent the precious properties of water follows — apart from what is actually reported in the Maya sources about the meaning of this mythical being (cf. above p. 135) — already from the fact that we see it depicted in our manuscript before Chalchiuhtlicue, the sixth of the nine lords, in the water (fig. 520), in the same place and in the same manner as, before the parallel figure of the Codex Borgia (cf. fig. 292, above p. 99), the green gem (chalchihuitl).
In the already-mentioned song to Xipe, the second strophe runs: —
noteuh chalchiuh atl temoaya
"my god, the gem-water has come down
oy quetzalauehuetl
o quetzal feathers, the old tree
ay quetzalxiuhcoatl
o quetzal feathers, the fire serpent
nechinyauh ynocauhqui, oviya
she (the fire serpent) has abandoned me"
which the commentary explains thus:
o tinoteuh, otemoc yn mauh, ovalla yn mauh
"you, my god, your water has come down, your water has come
ye tlaquetzalpatia, ye xoxouhqui, ye xopantla
already it has turned into quetzal feathers, already it has become green, already it has become summer,
ca ye otechcauh yn mayanaliztli
already famine has left us." —
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Here I believe, on the strength of the commentary, that one can translate ay quetzal rivicoatl practically as "into the quetzal-serpent has the fire-serpent transformed itself," and, in order to be able to supply the word xivicoatl "fire-serpent" as subject to the following nechiya yqmnocavhquetl, oviyo "she has cheesed me" — [that] the commentary's explanation ca yc otocheauh yn mayanaliztli "already has the hunger-need left us" yields an excellent sense. And for quetzalamatl we would then likewise obtain here "water," or more particularly "the greenery called forth through the water," "the freshly arisen vegetation."
But if this is indeed the sense and meaning of the mythic feather-serpent, then we can scarcely interpret otherwise the images that show us, on the one occasion, a rabbit emerging from the jaws of the feather-serpent, and on the other, a human being plunging into the jaws of the feather-serpent, than that the earth clothes itself with green. And this, after what I was able to report above concerning the god Xipe Totec, the terrible god clad in human skin, is a symbol entirely fitting to him, appropriate to his nature.
Fig. 520. Fig. 521.
quetzalcohuatl, the feather-serpent, in the water, opposite the fleeing feather-serpent, before the Chalchiuhtlicue, the water-goddess. Xipe Totec, the regent of the fourteenth section. Codex Vaticanus B (No. 3773) leaf 21 (= Kingsborough...). Codex Vaticanus B (No. 3773) leaf 62 (= Kingsborough 3c).
The fifteenth tonalamatl section ce calli "one house" is depicted in the Codex Borgia on the upper half of leaf 66, in our manuscript on leaf 63.
Its regent is the goddess of the sixteenth day-sign, Itzpapalotl, the obsidian butterfly, the Chichimec goddess, concerning whom I have given some information above on pp. 178, 179. In the Codex Borgia she is depicted at this place almost exactly as at the sixteenth day-sign (cf. fig. 383, above p. 178). In our manuscript the insect, the butterfly, is brought to view more clearly and in a rather curious manner. As with the sixteenth day-sign, here too, in both manuscripts, and likewise in the tonalamatls of the properly Mexican manuscripts, the broken tree is depicted, with blood flowing from the break, which, as we have seen above (cf. p. 178), designated to the learned the Tamoanchan, the "house of descending," or Xochitlicacan, the "place where the flowers stand," the region of the mythic west, the homeland of maize and the seat of the primal gods, in which the wandering tribes too are said to have long tarried.
A few other symbols are given beside the regent of the fifteenth tonalamatl section that are absent at the sixteenth day-sign. These are, first, a house with a dark doorway, then an ixquimilli, a human being with bound eyes, and finally a tzontemoc, a human being falling headfirst, and indeed, as is clearly drawn in the Codex Borgia, falling from his seat or together with his seat. In our manuscript, however, what is clearly recognizable in the Codex Borgia as the back of a seat has been transformed into a kind of reptile- or earth-dragon. Yet this is evidently a drawing arising from a misunderstanding. For as an earth-dragon the figure would have to have its opening directed upward. The draftsman has here evidently drawn onto the back of the seat the earth-dragon — which in reality is often formed quite as a step-fret pattern, into which one sees the Tzontemoc plunging (cf. e.g. leaf 23 of our manuscript).
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The house with the dark doorway is probably meant to signify the dark house of the earth, or perhaps also the time of darkness — chi ekʼekum chi akab — the primeval time, the time before the birth of the sun. The other two images, however, evidently refer to the tale touched upon here by the interpreters, which is so strikingly reminiscent of the biblical account of Adam's transgression: — "This place which is called tamoanchan and xuchitlicacan is the place where these gods were created, whom they held to be almost as much as saying the earthly paradise, and thus they say that these gods being in that place transgressed in cutting roses and branches from the trees, and that for this the Tonacatecutli and his wife Tonacacihuatl became greatly angered, and cast them out of that place, and thus some came to the earth and others to the underworld, and these are the ones who inflict fears upon them." — The one falling is evidently the one cast down from heaven, from his seat, and the one with the blindfold before his eyes is the deluded one, who sins out of lack of understanding. And it seems the sinner is here brought to view in this manner and not, as above (leaf 60 of our manuscript), by a falling human figure — partly because in fact one wished to designate the one sinning out of lack of understanding, but then also because here anyway an actual fall, the plunge from heaven, already had to be shown.
The sixteenth tonalamatl section ce cozcaquauhtli "one vulture" is depicted in the Codex Borgia on the upper half of leaf 65, in our manuscript on leaf 64.
Its regent is the god of the seventeenth day-sign — Xolotl, the god of twins and of malformed births, who is also named as the god of the ballgame (cf. above p. 181). He is drawn here (fig. 522) somewhat differently, and indeed in both manuscripts fairly consistently, as a dog-headed figure equipped with the attire and adornment of the wind-god Quetzalcoatl. That it is meant to be a dog is seen from the cropped ears, which in the Codex Borgia have a yellow border, that is, painted with the color of dead flesh. But that it is not meant to be an ordinary dog, but rather the dog that goes down with its master to the dead, that helps carry him across the stream surrounding the actual dwelling-place of the dead, is proven by the yacaxihuitl, the blue peg in the nostrils, the warrior's death-adornment (cf. above pp. 208, 209 and 258), which one finds depicted in the image in our manuscript as in the Codex Borgia. Otherwise, as said, this god is here equipped throughout with attributes of Quetzalcoatl, with his curved ear-plug (epcololli), the breast ornament ground from the shell of a winged snail (teoilacatzcozcatl), the necklace of snail shells, with the headband of the wind-god, in which, in our manuscript, a bone dagger (omitl) and an agave-leaf point (huitztli) are stuck, above it in our manuscript a cone-shaped hat (copilli), in the Codex Borgia the eye surrounded by darkness, which designates the night sky or a star, and with the fan-like neck ornament made of black wood-grouse feathers. All this whole apparatus presumably signifies nothing further than that Xolotl is the god of twins, and that the wind-god Quetzalcoatl too contains the twin (coatl) in his name.
In the properly Mexican manuscripts one sees opposite this god a curious group, consisting of an earth-dragon or an earth-toad, into whose jaw-opening sinks a figure bearing the sun, which in the tonalamatl of the Aubin collection is simply drawn as Tlaloc, in the Codex Telleriano-Remensis represents a strange mixture of the insignia of Tlaloc and of the wind-god Quetzalcoatl, and finally in the Codex Borbonicus (fig. 523) appears as a bundled corpse, upon which is set a Xolotl-head equipped with the eye of Tlaloc as well as this god's cheek-markings, but otherwise with death-symbols. The interpreters designate this group as Tlalchitonatiuh, the "earth-near sun" — "properly, between light and darkness, and thus they paint him with the sun upon his shoulders and death below at his feet as appears here. They say that this is the warming or heat that the sun gives to the earth. They say that when the sun sets, it goes to give light to the dead." — Thus the sun that goes down to the dead, and this again is but a symbol of what, as we have seen, in fact lies in the nature of this god.
1) Codex Telleriano-Remensis fol. 19 (= Kingsborough II, 23).
2) Codex Telleriano-Remensis fol. 20 (= Kingsborough II, 25).
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This image, however, I believe, we must draw upon in order to understand what is further given with this god in our manuscript and in the Codex Borgia. In the Codex Borgia we namely see before the god the sign nahui olin, i.e., the day "four movement," which, as I have already once indicated above, is the day and the symbol of the sun. Immediately beneath it we see a rectangular field, which is divided crosswise into four stripes painted in different colors (green, yellow, blue, red). I explain this image as follows: — the four colors are the four directions; the whole rectangular field, then, that which is extended in the four directions, that is, the earth. Accordingly this whole group, very simple in its elements, signifies the same as the complicated figures of the properly Mexican manuscripts, namely the earth-near sun. Of this image, which in the Codex Borgia, although it is throughout hieroglyphic, is clear and intelligible, only the sign nahui olin remains in our manuscript, which, given there alone and above the main figure, is in itself entirely puzzling, unless only the general relation to the sun was meant to be indicated, which indeed, as I have set forth in more detail above on p. 183, does in fact hold for the god Xolotl.
Fig. 522. Xolotl, god of twins and of malformed births, regent of the sixteenth tonalamatl section ce cozcaquauhtli "one vulture." Codex Borgia 65 (= Kingsborough 50).
Fig. 523. Tlalchitonatiuh, "the earth-near sun," "the sun that goes down to the dead," depicted opposite Xolotl, the regent of the sixteenth tonalamatl section. Codex Borbonicus 16.
For the other three symbols still to be seen here — the dish with the deer's foot, the reclining incense vessel with the quetzal-feather bundle projecting from its mouth, and the red serpent torn into pieces — I know no explanation that would satisfy me. — It is noteworthy that on this leaf, where the god of twins and of every kind of double formation is depicted, one of the thirteen day-signs belonging to this section, that of the deer, is drawn with two antlers.
The seventeenth tonalamatl section ce atl, "one water," is depicted in the Codex Borgia on the upper half of leaf 64, in our manuscript on leaf 65.
Its regent is the regent of the eighteenth day-sign, Chalchiuhtotolin, the jewel-hen or the turkey. He is drawn in both manuscripts quite characteristically, in some details even fairly realistically. To the draftsmen of the properly Mexican manuscripts he counts, as usual, as the image of Tezcatlipoca and is therefore equipped with the smoking mirror at the temple and other insignia of this god. We have seen above, at the eighteenth day-sign,
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Chantico was the fire goddess, so we regard the turkey and, in particular, the chalchiuhatl, the jewel-water, i.e. the precious liquid of penance, the blood, as being represented. At the eighteenth day-sign we found this illustrated by the hieroglyph chalchiuhatl and by the priest who bores out his eye. Here, in the Codex Borgia, a simpler tangle formed of a fasting-cord is drawn (fig. 524), in which a pair of agave-thorn points are stuck, marked as bloody by the red liquid running down them and by the flowers at their upper end. In the properly Mexican manuscripts the penitent himself is depicted with the sign cuitlatl, "excrement, sin," in his hand (figs. 525, 526). We see this same sign, cuitlatl, in our manuscripts, the Codex Borgia and the Vaticanus, handed to the Chalchiuhtotolin by an eagle's claw (fig. 527), where evidently the idea is present that the turkey, i.e. the precious liquid, the blood drawn off in penance, is meant to take away the filth of sin.
For the interpretation of other figures, especially the red serpent, which appears as the companion of Tlazolteotl and elsewhere frequently, as we have seen, in these manuscripts, it is not without interest that the turkey here, which represents the blood, is drawn with smoke- or fire-clouds at its beak, or respectively upon its crown.
Fig. 524. Chalchiuhatl, the precious liquid of penance.
Codex Borgia 64 (= Kingsborough 58).
Fig. 525. The penitent.
Codex Telleriano-Remensis f. 21 recto (= Kingsborough II, 27).
Fig. 526. The penitent adulterer (before the Chalchiuhtotolin).
Codex Borbonicus 17.
These smoke- or fire-clouds we may take as an expression of the hot blood or of the burning pain during penance. But this occurrence proves that when we see, for example, similar smoke- and fire-clouds at the tail-end of the red serpent that stands on folio 68 of the Codex Borgia before its goddess, Tlazolteotl, we may not simply conclude without further ado that this serpent must signify fire. It is, as I have repeatedly stated above, entirely probable that this red serpent, colored in the manner of the coral snake, denotes rather the blood. And the smoke- or fire-clouds prove nothing to the contrary, since, as I noted, we see them likewise here with the turkey, in whose case any relation to fire is simply excluded.
The eighteenth Tonalamatl section, ce ecatl, "One Wind," is depicted in the Codex Borgia in the upper half of folio 63, and in our manuscript on folio 66.
This section ought, according to the theory that has so far been confirmed throughout, to have the same regent as the nineteenth day-sign. But that is apparently not the case here. The regent of the nineteenth day-sign was Tonatiuh, the sun god. Here, however, a female deity is depicted as regent of the Tonalamatl section, who, as we shall see, has directly nothing in common with the sun god. Indirectly, though, a connection must nevertheless exist between these two deities, since, as we shall see, the accompanying representations express the same idea.
The goddess ruling here in the eighteenth Tonalamatl section is called by the interpreters Chantico or Quaxolotl, because she wears the ornament of Xolotl upon her head. She was also called, after the day of her birth [Chicunaui Itzcuintli, i.e.], "Nine Dog." The day "Nine Dog" does indeed belong, as the ninth day, to this eighteenth trecena, and it is furthermore stated of this day that the sorcerers who can transform themselves into animals, into snakes, and into other such things have special power on it. Further, the interpreter (Pedro de Ríos) states that this goddess of the eighteenth Tonalamatl section was called "Mistress of the Capsicum Pepper" and "Yellow Woman." She was said to have been the first who, after eating a roasted fish, made an offering (that is, she sacrificed without first fasting, as is proper), and that this smoke rose to heaven, whereupon Tonacatecutli grew angry over it and pronounced a curse upon her, that she should be turned into a dog — and so it came to pass. And she is called Chantico, which is as much as [to say] Mictlantecutli.
So much for the interpreter. We fortunately now have other reports concerning this goddess as well. Sahagún states of her that she had a temple in Mexico called Tetlanman, and priests who dwelt in the Tetlanman calmecac, and that it was the task of these priests, the Tetlanman teohua — "de apretar las teas para hacer hachones, y también almagre, tinta, [...], unas xaquetas y caracolitos mariscos, lo cual todo era necesario para esta fiesta de la diosa del fuego." — This deity, thus designated by Sahagún as "fire goddess," was also the chief idol of the tlatecque, the stone-cutters, stone-polishers, jewelers, who worshipped this goddess under the name Chicunaui Itzcuintli, "Nine Dog," or Papaloxaual, "Butterfly-painted," [or] Tlappapalo, "She of the Red Butterfly." And Sahagún expressly states in this connection that the festival of this goddess was celebrated in Xochimilco, for the entire guild of stone-cutters originated from there. Concerning this goddess of Xochimilco and her festival we have in Durán a detailed description. Durán, however, names her with a different name. He calls her Ciuacoatl or Quilaztli, which is the name of the goddess of the city of Culhuacan, situated not far from Xochimilco, on the other shore of the lake. I believe that Durán has here wrongly applied the name of the goddess of Culhuacan to the goddess of Xochimilco. Ciuacoatl was a goddess of the earth and patroness of warriors. As such we come to know her in the song preserved for us by Sahagún, from which I translated a few stanzas above, pp. 82, 83 (cf. p. 173). In the goddess of Xochimilco, however, the devouring fire was thought to be embodied, and she was therefore, quite fittingly, associated with the biting animal, the dog.
That Chantico is a fire goddess, illustrating the devouring fire, is already shown by the stone image of her that Durán describes to us, which depicts the goddess with wide-open mouth and long, bared predator's teeth. This is shown above all, however, by the character of her festival, in which, as a foundation for the main offering of the image of the goddess, four captives were thrown alive into the fire — exactly as at the Xocotl huetzi festival in Mexico — and after this sacrifice the priests mortified themselves in such a way that they let the resin melting from burning copal torches drip onto the bare skin of their limbs.
The idol of the goddess was kept locked away in the tlillan, in a lightless, dark house. This, as well as the name Chantico, meaning "in the house," may allude to the fact that the fire burns within the house, and that it must be well guarded. The other name, Quaxolotl, which can mean "two-headed" or "splitting at the tips," could refer to the flame's dividing at its tips. And doubtless designations such as Papaloxaual, "painted with the butterfly on the face," or Tlappapalo, "she of the red butterfly," used by the stone-cutters for their goddess, are to be understood as names of a fire goddess. For the butterfly is the image [footnote reference]
Fig. 528. [Feather-butterfly] war-emblem Fig. 529. Chantico, fire goddess of Xochimilco.
"Feather-butterfly" and the quauhpach ichimalli, Regent in the eighteenth Tonalamatl section ce ecatl,
the shield with the eagle-foot, "one wind." "one wind."
Tribute of the chinampaneca. Libro de Tributos = Codex Borgia 61 (= Kingsborough 58).
= Codex Mendoza 48.
— of war-emblems that were worn on the back in the shape of a butterfly made of feathers. They were tribute of the chinampaneca, that is, the dwellers of the Xochimilco lagoon, and belonging to them was a shield bearing an eagle's foot as emblem (quauhpach iuhqui chimalli). (Cf. fig. 532.)
The goddess Chantico is also depicted in Sahagún's chapter on the attire of the gods (fig. 530), and her adornment is described there.¹ According to this, she is black in the lower half of the face, smeared with rubber, and red in the upper half of the face. That corresponds to the customary coloring of the fire god in the manuscripts. She wears a red garment, axochiauhpilli; her hair is wound with a band of teased material (tlazolxochitl), and on her back she wears as her device the [meyotl], the "arrow-like," "ray-like thing." In her hand she holds a feather-staff (ihuitopilli), whose paper covering is painted with sharp-angled figures, and in the other hand the shield with the eagle's foot (quauhpach iuhqui chimalli).
This well-characterized figure, entirely clear in its basic conception, is now also matched very well by the images of this goddess given in our manuscript and in the other manuscripts. In the Codex Borgia (fig. 533) and in our manuscript the goddess is painted with a yellow body and yellow face, thus as "mujer amarilla," but in our manuscript she has two thin red cross-strokes at the level of the eye, which recall the narrow black stroke seen at the same height in the face of the fire god. Her cape (quechquemitl) is red in the Codex Borgia, her skirt (cueitl) white, like the garment of Chantico, of Ciuacoatl Quilaztli, and of the Chalmeca cihuatl, the three goddesses of the chinampaneca in the Sahagún manuscript. In her nose she wears the step-shaped blue plate (yacapapalotl), and her head is covered with a red cloth bordered all around with white mussel-shell discs. Here we must recall Sahagún's statement (cf. above, p. 273) that the priests of Chantico had to keep red and black paint, sandals, a garment, and small sea-snails (caracolitos mariscos) ready for the festival of this goddess. Over the cloth the goddess wears her feather ornament. Beneath her seat, in the Codex Borgia, an overturned jug painted in the colors of the jewel (chalchihuitl) is drawn; in our manuscript, a downward-pointing flower fastened to a ball is drawn instead.
Still more characteristic are the images of this goddess that we see in the properly Mexican manuscripts. Her face is painted yellow in the Codex Telleriano-Remensis (fig. 534), and
1) Publications from the Royal Museum of Ethnology, Vol. I, Issue 1 [1890], p. 190.
II. The Tonalamatl Arranged in Twenty Thirteen-Day Periods. 275
Fig. 535. Chantico, fire goddess of Xochimilco. Fig. 536. Chantico, fire goddess of Xochimilco.
Regent of the eighteenth Tonalamatl section ce ecatl, Regent of the eighteenth Tonalamatl section ce ecatl,
"one wind." "one wind."
Codex Telleriano-Remensis f. 21 verso (= Kingsborough 29). Codex Borbonicus 18.
[verso] 276
is divided by red lines into a number of fields, each of which contains a red ring in its centre. It also shows the long, sweeping predator's-tail teeth which von Buron in his description of the stone idol of the goddess of Xochimilco. In the Codex Borbonicus (fig. 535) she is depicted with more human features, and in the lower half of the face painted black, in the upper red, like the fire god, exactly as Sahagún, as we have seen, describes and depicts her with this goddess. In the Codex Borbonicus she wears in her nostrils the blue peg yacaxiuitl, which we came to know above (cf. p. 208, 209) as a warrior's death ornament. In the picture of the Codex Telleriano-Remensis, however (fig. 534), she has both in the nose and in the ears a golden pendant, composed of ring, trapeze and ray, which evidently represents an abbreviation of the sun symbol. This is an ornament that we likewise see on a colossal head of stone that was found on the site of the great temple in Mexico (fig. 536), which probably represents Coyolxauhqui, the hostile sister of Huitzilopochtli. For we see on it, on both cheeks, the sign gold (teocuitlatl) and bell (coyolli) indicated. The face of this head is thus in fact painted with bells (coyolli) (xaualli). The sister of Huitzilopochtli named with this name will probably not stand far removed from the nature of the goddess of Xochimilco.
Fig. 536. Stone head of the fire goddess, the hostile sister of Huitzilopochtli
(from the temple in Mexico).
In all three, in the narrower sense properly Mexican manuscripts finally, she wears above the red cloth, which in these pictures too covers the crown and neck of the goddess, the sign atl-tlachinolli, "water (spear-throwing) and burning", the symbolic designation of war, and thereby proves herself again to be the female counterpart of the fire god, who indeed in these manuscripts is the expression of atl-tlachinolli, and is connected both with the ninth day-sign and in the ninth Tonalamatl section with the image of atl-tlachinolli (cf. figs. 353 and 506 above pp. 154 and 256). After all this there can therefore be not the slightest doubt that this goddess is a fire goddess.
At the nineteenth day-sign, which bears the name quiauitl "rain", I had pointed out (cf. above p. 135) that the sun god, who stands there as image and regent of this sign, is indeed a fitting expression of this sign, because quiauitl "rain" represented to the priests the fire-rain (tlequiauitl) or the time of the fire-rain, the third of the four prehistoric or pre-cosmic periods. And the sun god is indeed the fire falling from heaven. One will understand that our goddess Chantico, although she is really a quite differently constituted deity, could nevertheless have been the expression of the same conception, that is, symbol and image of the fire-rain. Indeed perhaps with even greater justice, since volcanism, the volcanic rocks,
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II. The Tonalamatl arranged in twenty thirteen-day sections 277
that is, fire in the earth, is in the accounts always brought into connection with the fire-rain. If that is so, then one will not find it any further surprising that here with Chantico, the goddess of the eighteenth Tonalamatl section, the same ideas are brought to view in the accompanying pictures as those we found represented with Tonatiuh, the regent of the nineteenth day-sign. For we see here, both in the Codex Borgia and in our manuscript, first a burning house, that is, tletl "fire"; then in a censer a red, burning mass, which is meant to be eztli "blood"; further a snail-shell (tecciztli), which of course denotes "she who is enclosed in the house," that is, Chantico, and perhaps also the being-shut-off of water, the parched, heated, rainless earth. We see finally in the opening of a treasure chest a human figure, which in one hand holds a bunch of grass, in the other bloody maguey-leaf points (uitztli ez[?]). This at first somewhat puzzling image becomes immediately understandable through the others, the properly Mexican manuscripts, which depict Chantico facing the penitent Quetzalcoatl in the golden house. This picture is thus a direct counterpart to the fasting figure sitting in the enclosure that we found depicted with the sun god, the regent of the nineteenth day-sign (cf. fig. 893 above p. 185).
Fig. 537. Xochiquetzal, regent of the twentieth Tonalamatl section ce quauhtli, "one Eagle."
Codex Borgia 62 (= Kingsborough 53).
In the case of the sun god I explained to myself the association with a representation of fasting from the fact that on every 260th day of the Tonalamatl, namely the day naui olin, a great, general, rigorously conducted fast was held for the sun god, which had the purpose of averting the destruction of the world that threatened on this day. Here with Chantico, we are to believe the interpreters, the representation of fasting, respectively of the penitent Quetzalcoatl, had another reason. According to the interpreters, Chantico is the goddess of the capsicum pepper. This is as readily understood as one understands that the fire god is brought into connection with the scorpion. The capsicum pepper (chilli) is the red, burning spice. The interpreters further say, however, that Chantico was the first fast-breaker, who, although she had previously roasted a fish, that is, without having first fasted, sacrificed to the gods, and who was therefore turned into a dog as punishment by Tonacatecutli. This, then, is the association of ideas that would explain the notion of fasting in this goddess, if we did not have better and simpler reason to assume that fire and the fire goddess are meant to embody self-mortification in general, the parched empty stomach, the burning pain of self-inflicted penance. That the interpreters characterize her as a fast-breaker follows simply from the fact that she is precisely the goddess of the capsicum pepper. For this was so much, and
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still is today, the universal spice used at every meal, that abstinence from this spice in ancient Mexico had the same significance as, in Christian times, abstinence from butter and meat dishes. Tortillas eaten without capsicum-pepper sauce (chilmolli) were fasting food.
The nineteenth Tonalamatl section ce quauhtli "one Eagle" is depicted in the Codex Borgia in the upper half of leaf 62, in our manuscript on leaf 67.
Its regent is the goddess of the twentieth day-sign, the already much-mentioned Xochiquetzal, the goddess of flowers. She is depicted in the Codex Borgia (fig. 537) and in our manuscript in rich attire, with face painted in artificial patterns, with the blue yacapapalotl in the nose and with her serpent-helmet mask, from whose nostrils the two feather tufts (ome quetzalli) of the goddess rise up.
Facing her one sees a dancer, who is painted over with black colour and presumably represents a dancing sorcerer. For the goddess, as the embodiment of all artistic skill, is therefore also the great sorceress. A similar meaning perhaps has the curious interlaced figure that one sees between the two figures, with the four half-eyes that are indicated beneath it. But it is also possible that this refers to some unknown game. I have, in my commentary on the Tonalamatl of the Aubin collection, pointed to some occurrences of this same interlaced figure in the pictorial manuscript of the Imperial-Royal Court Library in Vienna, where it is brought into connection with the day-sign olin and the rubber ball (olmaitl), thus, as it seems, with the ball game (tlachtli). Rubber (olli) also seems to be the bound black ball that we see drawn next to this interlaced figure in our manuscripts. In the properly Mexican manuscripts, the Codex Borbonicus and the Tonalamatl of the Aubin collection, we indeed find in its place, next to the interlaced figure, the ball-game court (tlachtli) depicted.
The twentieth section ce tochtli "one Rabbit" is depicted in the Codex Borgia in the upper half of leaf 71, in our manuscript on leaf 67.
With the Xochiquetzal of the previous section the series of day-sign gods had come to an end. Therefore two new deities are here introduced as regents of this twentieth section. They are Xiuhtecutli, the fire god, and Xipe Totec, our lord the Flayed One. They stand here presumably because ce tochtli is the sign of the earth and Xipe Totec is the god of the earth; and because the third day in this thirteen-group, the day yei itzcuintli "three Dog," is the day and sign of the fire god, since three is the number of the hearth-stones (tenamaztli) and the dog, the hot animal, is the image of fire (cf. above pp. 157 and 273).
Xipe Totec is depicted in both manuscripts in typical fashion, but with a stone knife as helmet-mask, holding his red rattle-staff (chicauaztli) in one hand, a stone sacrificial knife in the other, and clothed in the flayed human skin. The interpreters here call him Iztapaltotec, that is, "our lord, the flat stone," and they explain, evidently referring to his helmet-mask: — "pedernal o cuchillo del guerreador, el desdichado o dolorido, mas propio es dezir pedernal sangriento del dolorido" —, that is, in short, sacrificial knife. But they then add: — "yztapali propriamente es losa, de este asiento de la tierra" —, that is, they identify our god with the earth. And the occurrence of this god here is then finally justified by the remark: — "In two Reed (ome acatl) heaven was created, and the animals in one Flint (ce tecpatl), and the earth in one Rabbit (ce tochtli)."
Regarding the image of the fire god, it is noteworthy that this god here in the Codex Borgia is depicted with the blue nose-plate executed in turquoise mosaic, with which he is quite generally depicted in the properly Mexican manuscripts (cf. fig. 342a, above p. 137), and that he as
1) Berlin 1900, p. 122, 123.
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15. The Tonalamatl and the fifty-two-year period. 279
ear-pendant here too, only in blue colour, wears the trapeze and the ray, like Chantico, the fire goddess, of the Codex Telleriano-Remensis and like the stone head of the Coyolxauhqui of Mexico. In both manuscripts he holds his blue throwing-stick (atlatl) in one hand, in our manuscript correspondingly in the other hand a bundle of spears. Before him in the Codex Borgia is drawn a vessel painted in the colours of the precious stone (chalchiuitl), out of which precious-stone neck-bands (chalchiuhcozcatl) set with golden bells emerge. For the fire god was the lord of riches. "El que nacia en un conejo [ce tochtli]," says the interpreter, "seria hombre de luenga vida, y el que nacia en 5 malinalli seria mercader y rico."
15. The Tonalamatl and the fifty-two-year period.
Leaf 69 (= Kingsborough 46).
On the first eight leaves of the manuscript, and on the twenty leaves immediately preceding the present one, the Tonalamatl had been treated in two different arrangements, together with the deities pertaining to the individual sections. And interspersed among these, the deities of the twenty day-signs, the various world-directions and their deities, the Lords of the Night, and the hours of the day and of the night, and finally also the five Venus periods and the four forms of the deity of the planet Venus, had been set forth. Now, on leaf 69, there follows for the first time the solar year and the period that results for the solar years, in that it is established what significance, from the augural standpoint, attaches to the individual years and to the individual sections of this period.
The nations of ancient Mexico reckoned their year at 365 days. Since 365 = 28 × 13 + 1 and = 18 × 20 + 5, it follows that if, for example, a year were to begin with a day bearing the number 1 and the I. sign (cipactli), then the initial day of the following year would have to bear the number 2 and the VI. sign (miquiztli), that of the third year the number 3 and the XI. sign (ozomatli), that of the fourth year the number 4 and the XVI. sign (cozcaquauhtli); the initial day of the fifth year, on the other hand, would again be named with the number 5 and once more with the I. sign (cipactli). One sees that, on the assumption of a year of 365 days, only four of the twenty day-signs fall upon the initial days of the years, namely four signs each five signs apart from one another. It further follows, however, that from the assumption of a year of 365 days there necessarily results a period of 52 years. For since 365 = 5 × 73, and 73 is a prime number, it can only occur after 5 × 73 days, that is, 52 years, that the same number and the same sign of the Tonalamatl again falls upon the initial day of the year. Within this period the successive years were exactly determined by the numbers and signs that fall upon their initial days. And it was therefore only natural that these successive years should simply have been named after the names of their initial days. Thereby a degree of precision in the naming sufficient for a human lifetime was attained. For the historian and the chronologist, however, who had greater spans of time in view, there was still lacking a system for distinguishing from one another the identically named years of different periods.
It now appears that the Mexicans did not begin their years with the initial sign of the Tonalamatl, and that at the time when the Tonalamatl system was invented and, according to some principle, came to be used for designating the actual days — at the time when it first became apparent to the learned that only four of the twenty day-signs fall upon the initial days of the years — it was precisely the signs, each five signs apart from one another, acatl "reed," tecpatl "flint knife," calli "house," tochtli "rabbit," that at that time fell upon the initial days of the years, or that were chosen for some reason or other as the initial days of the years. For it is the days named with these signs after which, throughout the whole Mexican region, the years were named. And I have furnished proof that likewise all the dates occurring on the monuments of the Maya region, as well as, in like manner, the dates of the Dresden Maya manuscript, presuppose a beginning of the year with the signs been, etz'nab, akbal, lamat, which correspond to the Mexican signs acatl, tecpatl, calli, tochtli¹) — that it was only subsequently, or only in Yucatan, that the shift of the beginning of the year to the days kan, muluc, ix, cauac, which correspond to the Mexican ce·, tochtli [sic], atl, ocelotl, quiauitl, took place, which confronts us in the Codex Tro-Cortesianus and is transmitted in the reports of Bishop Landa. This latter, as has been said, must be regarded as a subsequent shift. But it may also be merely a regional difference. For yet another shift of the beginning of the year is found, for example, in the Codex Porfirio Diaz, which was published in 1892 by the Junta Colombina in Mexico, and which is said to originate from the region of Cuicatlan, thus belonging to a people of Zapotec kinship. In this manuscript the years are named with yet four other signs, namely ecatl, mazatl, malinalli, ozomatli [sic].
The most general and ordinary designation of the years, however, is that after the signs acatl, tecpatl, calli, tochtli. And the years beginning with these signs arrange themselves according to their initial positions as follows:—
1. acatl | 1. tecpatl | 1. calli | 1. tochtli
2. tecpatl | 2. calli | 2. tochtli | 2. acatl
3. calli | 3. tochtli | 3. acatl | 3. tecpatl
4. tochtli | 4. acatl | 4. tecpatl | 4. calli
5. acatl | 5. tecpatl | 5. calli | 5. tochtli
6. tecpatl | 6. calli | 6. tochtli | 6. acatl
7. calli | 7. tochtli | 7. acatl | 7. tecpatl
8. tochtli | 8. acatl | 8. tecpatl | 8. calli
9. acatl | 9. tecpatl | 9. calli | 9. tochtli
10. tecpatl | 10. calli | 10. tochtli | 10. acatl
11. calli | 11. tochtli | 11. acatl | 11. tecpatl
12. tochtli | 12. acatl | 12. tecpatl | 12. calli
13. acatl | 13. tecpatl | 13. calli | 13. tochtli
That of the twenty day-signs only four fell upon the initial position of the years must have appeared to the ancient scholars a very remarkable fact. But a particular mystery it must evidently have been to them that, as the above table shows, the period of fifty-two years divided itself of its own accord into four quarters, each of which begins with the number one and, in proper sequence, with one each of the four signs acatl, tecpatl, calli, tochtli. Thus the fifty-two-year period arranged itself of its own accord according to the four world-directions, just as the Tonalamatl, written down in columns of five members, likewise of its own accord, as we have seen, fell into four sections corresponding to the four world-directions. It is this distribution of the fifty-two-year period according to the four world-directions that is set forth on leaf 69 of our manuscript and on a leaf of the Codex Borgia exactly corresponding to leaf 69 of the Vaticanus, the beautifully drawn leaf 27 (Kingsborough 12).
We see on these two leaves the four days that form the initial days of the four quarters of the fifty-two-year period, the days ce acatl "one Reed," ce tecpatl "one Flint," ce calli "one House," ce tochtli "one Rabbit" — in the Codex Borgia large and distinct, in our manuscript less conspicuous, yet recognizable — indicated in the four corner compartments. But to these four signs there have been added, curiously, on both leaves, the days that would fall upon the beginnings of the four quarters of the fifty-two-year period if the first year began not with ce acatl "one Reed," but with ce cipactli "one Crocodile," the initial day of the Tonalamatl — that is, the days ce cipactli "one Crocodile," ce miquiztli "one Death," ce ozomatli "one Monkey," ce cozcaquauhtli "one Vulture." This fact seems intended to confirm the statements of certain Mexican writers, in particular of Cristóbal del Castillo — (from whose works Sigüenza y Góngora and León y Gama took their account of the Mexican calendar) — namely, that the Mexicans began their years with the initial day of the Tonalamatl. I have, however, already pointed out, in the treatise of the year 1891 mentioned at the beginning of this section, that it would indeed be quite strange if the Mexicans had named their years after days that stand at a fixed number of days removed from the initial days of the years, and I have emphasized that the dates of the Maya monuments and those of the Dresden manuscript presuppose a beginning of the years with the signs acatl, tecpatl, calli, tochtli. I have further, in my commentary on the picture-manuscripts of Alexander von Humboldt in the Royal Library at Berlin¹) of the year 1893, on the basis of the concordances between Mexican and European chronology given in the reports on the siege and the fall of Mexico, likewise been able to furnish proof that the Mexicans of the city of Mexico too began their years with the signs acatl, tecpatl, calli, tochtli. We shall accordingly have to explain in a different way the occurrence of the days ce cipactli, ce miquiztli, ce ozomatli, ce cozcaquauhtli here on our leaves 69 of the Codex Vaticanus and 27 of the Codex Borgia. Either that the intervals of the actual days falling upon the beginnings of the four quarters of the fifty-two-year period were measured by the signs which, reckoned from the initial day of the Tonalamatl, would fall upon these beginnings. Or that, alongside the beginnings of the four quarters of the fifty-two-year period, those of the four quarters of the ordinary Tonalamatl, arranged in twenty divisions of thirteen days each, were placed, comparing the one with the other, or, so to speak, employed the known relation of the Tonalamatl quarter-beginnings to the world-directions east, north, west, south as a hieroglyph for these world-directions. That this is the meaning of these leaves, and that this is the true role assigned here to the days ce cipactli, ce miquiztli, ce ozomatli, ce cozcaquauhtli, is evident from the fact that the god-figures which, on these two leaves of the Vaticanus and the Codex Borgia, represent the world-directions, appear, painted in accordance with the world-directions in different colors, correspondingly, and, moreover, in the mask of cipactli, miquiztli, ozomatli, cozcaquauhtli respectively.
We see on these two leaves, leaf 69 of the Vaticanus and leaf 27 of the Codex Borgia, distributed in the four corners, four Tlaloc figures, which denote the four world-directions, and in the middle a fifth Tlaloc figure, which of course must represent the fifth region of the world, the center, or the direction from above to below. That it was precisely images of Tlaloc, the rain god, that were chosen to designate the world-directions is understandable. The rain god is indeed at home in the four wind-directions. On account of this relation of the rain god to the four world-directions, in the Zapotec calendar the initial days of the four quarters of the Tonalamatl are directly called cocijo "rain god" or pitao "the Great One," "the god." But here, too, there probably comes into consideration in a particular way the fact that the significance of the period-sections corresponding to the four world-directions, or of the years distinguished by the signs, for the welfare of mankind, is meant to be portrayed, and this welfare depended precisely upon Tlaloc, the rain god, being conditioned by the more or less abundant or favorable rainfall. •
The first four figures are painted, in both manuscripts, corresponding to the four world-directions east, north, west, south, in the colors black, yellow, blue, red, and are furnished with the helmet-mask of cipactli (crocodile), miquiztli (death), ozomatli (monkey), cozcaquauhtli (vulture). Above this helmet-mask one sees, in the Codex Borgia, flanked by two (actually four) rosettes (meyotl),
Seler, Collected Essays on American Linguistics and Antiquities. Berlin (A. Asher & Co.), 1908, Vol. I, pp. 177–186.
Seler. Codex Vaticanus No. 3773.
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B. Reverse side.
Heron-feather crown (aztatzontli) of the god, and above it the sign of the year composed of the trapeze (the ring that has become angular) and the ray (cf. figs. 538, 539). Only in the first figure, the black god of the East, is this heron-feather crown and the hieroglyph of the year replaced by the eye surrounded by darkness, the sign of the dark sky and of the starry sky, above which a feather tuft rises. In our manuscript we see, in all four figures, above the cipactli-, miquiztli-, ozomatli-, cozcaquauhtli- helmet-mask, a loop, and above that the eye surrounded by darkness, above which a feather tuft rises. The features of the face are the same in all four figures in the Codex Borgia. In our manuscript, however, the rain god of the East, West, and South have before the mouth the coiling structure, almost resembling a serpent's jaw, of which I spoke above on page 108, while this is lacking in the rain god of the North. The figures of the Codex Borgia (cf. fig. 539) hold in one hand a jug formed in the shape of a Tlaloc-head, whose form probably corresponds to actually used vessels of the kind that I reproduced on p. 107 in figs. 300 and 301. In the other hand, an axe formed in the shape of a fire-serpent, and a kind of thunderbolt in the form of a spindle-shaped but sinuous, black staff, bordered on the side with a narrow yellow stripe, which one finds used as the hieroglyph for Tlaloc, the ninth of the nine Lords, in the tonalamatl of the Codex Bologna arranged in columns of five, and which we have also seen above on pp. 23 and 57 in the hand of the small Tlaloc figures, figs. 48 and 209. In our manuscript the god holds in one hand a flowering plant, which is probably actually meant to represent a maize plant, and in the other hand a real axe.
The god representing the fifth direction is, in the Codex Borgia (fig. 539), costumed in just the same way, except that, since no real year and no quarter of the tonalamatl corresponds to him, he naturally wears no helmet-mask. In our manuscript he also has a different headdress, a kind of copilli, which, however, is probably to be thought of as actually derived from the trapeze and the ray, the sign of the year. The weapons too, and the jug, or rather the plant, in his hands, are entirely the same as with the other figures.
The rain god of the East, who represents the first quarter of the fifty-two-year period, beginning with ce acatl, "one reed," occupies the lower right corner in the Codex Borgia, and the upper right corner in our manuscript. A dark sky, rich with rain clouds, spreads above him. The black god, whose face looks out from the jaws of a cipactli, likewise stands upon a cipactli, which in the Codex Borgia is drawn in the usual manner, but in our manuscript has the same shark-like form as with Xochipilli, the third form of the deity of the planet Venus, on folio 26 of our manuscript. On the cipactli one sees maize ears sprouting up in abundance, and healthy, well-formed maize ears can be seen in the stream of water that flows from the jug in his right hand down onto the earth. The East, as the region of fertility and prosperity, is evidently made visually apparent through this image. — In our manuscript the maize ears are missing, but since one sees the god here holding, together with the maize plant, a string of precious stones (cozcatl), the same idea is expressed with sufficient clarity.
The rain god of the North, who represents the second quarter, beginning with ce tecpatl, "one flint knife," of the fifty-two-year period, occupies the upper right corner in the Codex Borgia, and the upper left corner of the page in our manuscript. In both manuscripts a cloudless sky formed of light and rays is to be seen above him. The yellow god, wearing a skull (miquiztli) as a helmet-mask, stands in our manuscript upon a curious monster's maw, painted in black, opening downward. In the Codex Borgia, however, one sees beneath him the earth burst open into clods, and locust-like winged creatures devouring the maize ears, while one sees another of these insects carrying off a maize ear in the air. The maize ears, too, that stream out with the water from the god's jug, are gnawed, showing a broad eaten-away patch in the middle; and beside them one sees, just as in the other stream of water that trickles down from the rain god's other hand, an axe fitted with a shining yellow (copper) blade. The North as a region of drought is thereby indicated, and likewise the years of the North as ones that will suffer from locust devastation.
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Thus we also see, in our manuscript, a curious animal painted in red gnawing at the maize plant that the rain god holds in his hand.
The rain god of the West, who represents the third quarter, beginning with ce calli, "one house," of the fifty-two-year period, occupies the upper left corner in the Codex Borgia, and the lower left corner of the page in our manuscript. In both manuscripts the same dark, cloud-filled sky is drawn above this god as above the rain god of the East; indeed, in the Codex Borgia he seems to be marked as even richer in clouds than the god of the East, in that here, in the blue cloud-curling, the eyes are also missing that were indicated there in the clouds. The blue god, furnished with the ozomatli helmet-mask, stands here in a water vessel. The vessel is clearly drawn as such in our manuscript, but in the Codex Borgia it is only suggested by the fact that the water is bounded below by the same sequence of red, white-fringed, yellow, and green stripes that also, for example on folio 14
Fig. 508. Eight-year period — Relief on Mausoleum III in [Ititlunüsv] (After a photograph by Teobert Maler).
Fig. 539. Tlaloc, as representative of the fifth cardinal direction, the direction from above to below. Codex Borgia 27 (= Kingsborough 12).
of the Codex Borgia, form the wall of the water vessel in front of the water goddess Chalchiuhtlicue depicted there (cf. fig. 292, above p. 179). In the water, in the Codex Borgia, stand maize ears, which are almost drowned by it. The West and the years of the West thereby seem to be characterized as a region, or a time, of floods, of excessive rain. But the maize ears that one sees emerging with the stream of water beneath the god's jug in the Codex Borgia appear to be well-formed, and so in our manuscript too one sees the god holding, together with the maize plant, once again a cozcatl, a necklace of precious stones, as a sign that the years of the West, like those of the East, are to be regarded as fruitful.
The rain god of the South, who represents the fourth quarter, beginning with ce tochtli, "one rabbit," of the fifty-two-year period, occupies the lower left corner in the Codex Borgia, and the lower right corner of our page in our manuscript. Here, above the god, spreads the same bright, cloudless sky, composed of elements of the sun-image, of blue and red rays, as above the god of the North. The red god, wearing the cozcaquauhtli as helmet-mask, stands above a yellow, scorched soil, which in our manuscript is marked, through the black bone-pattern, as hard and infertile, and in the Codex Borgia through yellow color and through feather tufts scattered
36*
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at its edge and upon it, as dry, dead ground. In it, in our manuscript, one sees flames and a bundle of stone knives, whereas in the Codex Borgia maize ears do indeed grow in or on it, but these are evidently meant to be marked as morbidly altered or dead through white, red-dotted efflorescences painted in the color of bone, and on top of that one also sees long-tailed animals (mice or other rodents), furnished with death's-eyes and death's-jaws, busy at them. A maize ear furnished with similar white, red-dotted bone-efflorescences is additionally indicated specifically to the right of the rain god, in that compartment, and the maize ear that one sees coming down with the stream of water beneath the god's jug shows the same character. As years, then, in which the maize is threatened by diseases and by mice gnawing at it, these years of the South are thus meant to be characterized. And so we also see, in our manuscript, sitting on the maize plant that the red god of the South holds in his hand, a hairy, white little animal, which here is more clearly recognizable as a kind of mouse.
Above the rain god who represents the fifth cardinal direction, and who occupies the middle of the page in both manuscripts, one recognizes in the Codex Borgia (fig. 539) a dark sky, set with eyes and stone knives, that is, a night sky or starry sky, and in its middle the sign composed of a bright sun disk and the image of night, which denotes evening or, generally, twilight and darkness. The god is naturally represented without a helmet-mask. Body, limbs, face, and clothing are of white color (furnished with red longitudinal stripes). From both of the god's hands streams of water likewise trickle down here, and beneath the right hand, which holds the jug, one likewise sees a maize ear here. On the stream of water to the right, the implements of war are depicted — shield, bundle of spears, hand-banner, and swordfish-sword — while on the one to the left a skeleton and a death's-bone are depicted. The third stream of water, however, which trickles down beneath the god, falls into a vessel painted in the color of the precious stone (chalchihuitl), and in it sit two small figurines of the water goddess Chalchiuhtlicue, of which one is painted blue and the other green — that is, if one likes, Xiuhtlicue and Chalchiuhtlicue — each, however, marked as a water goddess by her wreath of shell disks in the hair and by the blue nose-plate, which has the form of a two-headed serpent.
In our manuscript the rain god of the fifth cardinal direction is likewise painted as white (with yellow longitudinal stripes). No sky is indicated above him, but an earth-dragon is indicated beneath him. Still further below one sees a pair of crossed death's-bones and the implements of war, which would thus correspond to the figures indicated to the right and left of the god in the Codex Borgia picture, namely the skeleton and the bundle of weapons.
I note further that what I have said, in interpreting the leaves of our two manuscripts, about the significance—following from the nature of the cardinal direction—of the four quarters of the fifty-two-year period must, strictly speaking, presumably hold good for all the years bearing the same signs, for the Mexicans applied the differentiation according to the four cardinal directions not only to the whole quarters of the fifty-two-year period, but also to the four successive years named with different signs. They accordingly depicted the years of the fifty-two-year period (cf. Duran, Tratado 1, Lámina 1) as a kind of wheel or swastika, in that they arranged all the years bearing the same sign in a line, which was made equivalent to one of the four cardinal directions, so that, in order to obtain the sequence of the years of the period, one had to trace spiral lines in a sense opposite to the rotation of a clock hand.
The fifty-two-year period thus fell into thirteen sections of four years each, after whose completion the same cycle repeated itself, the augural significance of the years being to be assumed in the same manner as before. This augural significance of the successive years was attended to in a particularly meticulous fashion among the Maya tribes. The last five days of the year, the so-called xma xaba lein or "nameless days," were there, as Bishop Landa tells us, devoted to elaborate ceremonies which were meant to modify, in a sense favorable to the welfare of the community, the significance—conditioned by the nature of the cardinal directions—of the years bearing the various signs. And of the Mexican tribes we know that everywhere in the fourth
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years the great festivals of the community were held with especial solemnity and under more elaborate ceremonies. The fourth years were those bearing the sign acatl, in which the cycle renewed itself, the same cycle that is likewise present in the leaves of the Codex Borgia discussed above and of our manuscript.
16. The Five Venus Periods.
Leaf 70 (= Kingsborough 27).
Whereas on the preceding leaf the four years were considered from the point of view of the cardinal directions, on this leaf—to which, again, another leaf of the Codex Borgia, the beautifully and grandly drawn leaf 25 (= Kingsborough 14), exactly corresponds—the five Venus periods are presented to the viewer in their relation to the four, or rather five, cardinal directions. For just as it follows, for the (somewhat inexactly assumed) solar year of 365 whole days, that of the twenty day-signs which the Mexicans counted, only four fall upon the initial days of the solar years, so, as I have already indicated above on p. 4, an easily performed calculation shows in the same way that upon the initial days of the Venus period—likewise not quite exactly assumed at 584 whole days—only five of the twenty Mexican day-signs fall. The solar year and the Venus period are the two time-periods that were given preferential consideration by the Mexicans and the other tribes of Central America, whereas the moon and its periods were, it seems—or at least so one must conclude from the content of these picture-writings—given less attention. It is also, I believe, from a computational combination of the solar year and the Venus period that the basic period of Mexican and Central American time-reckoning and time-notation, the Tonalamatl, arose.¹ Note that, just as here in our manuscript leaf 70, which subjects the Venus periods to a like consideration, follows upon leaf 69, which treated the solar years in their relation to the cardinal directions, so in the Codex Borgia the leaf 25 corresponding to the latter leaf of our manuscript actually stands immediately before the leaf that in the Codex Borgia forms the exact parallel to leaf 60 of our manuscript. For it is separated from it by only one leaf (26), which represents, so to speak, a reproduction of the content of leaf 25 reversed in toto.
We see on these two leaves (of the Vaticanus and of the Codex Borgia), distributed at the four corners, four large god-figures. Beside them the twenty day-signs are recorded in a peculiar arrangement, namely such that a definite sense of rotation, opposite to the movement of a clock hand, is thereby prescribed. This is the same rotation that is likewise followed on the previously discussed leaf representing the four years, as well as in the representation of the fifty-two-year period that Duran has transmitted to us. In the middle of the leaf, in a small square, from whose upper edge the counting of the day-signs proceeds (in that the first day-sign, cipactli, stands immediately above it), and to which, after a single traversal of the four sides of the leaf, the day-signs also lead back, one sees, drawn large and handsome, the seventeenth day-sign, ollin, "movement," but this one now not alone, but accompanied by twice five dots, which represent the numeral ten and, together with the sign ollin, represent the name of a particular day. This at least is correctly given in the Codex Borgia. In our manuscript one counts eleven dots, which, however, is doubtless to be regarded as an error and corrected to ten. This day, matlactli ollin, "Ten Movement," is precisely the day with which the fifth 584-day period must begin, if the first began with ce cipactli, "One Crocodile," the initial day of the Tonalamatl.
1) Cf. what was remarked on this above on p. 4.
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B. Seler.
It follows accordingly that on these two leaves (the Codex Borgia and our manuscript) the five Venus periods are indeed represented, as I said at the beginning of this chapter. But something else follows too. The successive years were, as we have seen, named with signs which all stand at a certain smaller or larger number of signs removed from the initial sign of the Tonalamatl. The initial days of the years never coincide with the initial day of the Tonalamatl. For the Venus periods, however, it here follows that from the day which must mark the beginning of the fifth period, it must necessarily be inferred that the first period began with the initial day of the Tonalamatl. The same thing is taught us by the leaves of our manuscript, with which we shall soon have to occupy ourselves, on which the 5 × 13 Venus periods are represented. There too we see these periods take their starting point from the first day of the Tonalamatl. This is the secret, the hidden reason why, in the picture manuscript of the K. K. Hofbibliothek in Vienna and in its sister manuscript, the Codex Nuttall, one so often sees the year ce acatl and the day ce cipactli united. This union, or this day, simply designates the starting point of the Venus-period reckoning in the first year of the fifty-two-
Fig. 601. Quetzalcoatl-Ehecatl, the god of Tollan. Regent of the first Venus period and of the East. Codex Borgia 25 (= Kingsborough 14).
year period and is, as can be demonstrated, always the starting point of a special computation which, in the Codex Nuttall, always amounts to a correction, at one time of the length of the solar year, at another of the length of the Venus period.¹
The four god-figures that one sees pictured on these two leaves of the Borgia and the Vaticanus, distributed into the four corners, must of course, like the Tlaloc figures of the previous leaf, represent the four cardinal directions. But here they are not, as there, four different images of the rain god—the successive Venus periods have nothing to do with the years and the meteorological conditions changing within the years—but rather they are the images of four different deities. Were the arrangement of these four figures on the leaf the same as that on the leaf representing the four years, we should have to begin counting, in the Codex Borgia, in the lower right corner, and would have to ascribe the figure in the lower right corner to the East. But this is evidently not the case, for the sign cipactli, the initial sign, stands at the upper edge
1) Cf. on this my essay in the current volume of the Zeitschrift für Ethnologie (XXXIV, 1903).
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of the middle square, and thus points to the figure depicted in the upper right corner as the first. And indeed, whereas in the leaves representing the four years a difference between the Codex Borgia and our manuscript came to light in that the Codex Borgia began in the lower right corner, our manuscript in the upper right corner, on the leaves designating the five Venus periods the figures are evidently distributed into the corners in the same manner in both manuscripts. This is proof that the beginning of the count, as it held for leaf 69 of our manuscript and is a priori probable for leaf 70 of our manuscript, must also hold for the Codex Borgia leaf corresponding to leaf 70.
The first figure, which must correspond to the East, is thus the one standing in the upper right corner on both leaves. It is depicted, as are likewise the three other figures on the leaf, with the throwing-board (atlatl) in the one hand, the bundle of spears in the other. This again has reference to the fact that
Fig. 612. nahui ehecatl, chicunahui ehecatl [sic]. Vienna manuscript.
here the Venus periods are brought to view. For the morning star was regarded as the shooting god. It is said of him in the Anales de Quauhtitlan:
auh yn iuh quimatia — and as they learned (the elders, the ancestors)
yn iquac hualquiztiuh — when he appears (rises),
yn tleyn ipan tonalli — according to the sign in which he rises,
quenmania ynic quimina — sometimes accordingly he shoots them (with his rays),
quinmina, quintlahuilia — he shoots them, casts his light upon them.
The first figure, in the upper right corner, then, which corresponds to the East (fig. 540), is represented in both manuscripts with black body and limbs and a two-colored face, in the forward half (the middle of the face) red, in the rear half black in the Codex Borgia, brown in our manuscript, and with a long beard framing the chin. Hair and beard are colored fire-red in the Codex Borgia, black in our manuscript. The hair is, in the Codex Borgia, bound about with the chain of precious-stone (chalchihuitl) disks, with the stylized bird's head at the forehead, which the sun god wears in this manuscript. And the feather ornament on the crown, too, is the eagle-feather ornament (quauhtlenatli) of the sun god. But combined with this, this figure also has a blue
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Death's-eye arched over by a brow-ridge. In the mouth the god has a bundle of stone knives, next to which a serpent also emerges in the Codex Borgia. Stone knives also form the crest of the stylized bird-head on the front of his headband. A stone knife is stuck into his armband, serving, as it were, as a feather. A stone knife (or, in our manuscript, a bundle of stone knives) likewise forms the lower end of his breast ornament. — A figure exactly like this one, that is, with precisely this equipment, is nowhere else to be found in our manuscripts. But comparable is the figure that is depicted in our manuscript and in the Codex Borgia as the first of the four guardians of the "second Venus period" (cf. above p. 107, figs. 411, 412), which there, however, still appears with a cipactli or a feathered serpent as a helmet-mask. And comparable too is the god Chicome couatl, "Seven Serpent," likewise wearing a cipactli- or perhaps a serpent-helmet-mask, who on folio 5 of the Vienna manuscript is depicted opposite the god Naui couatl, "Four Serpent" (fig. 541), and who at another place, on folio 33, opposite the god Naui couatl, seems to be represented by the god Chicunaui ecatl, "Nine Wind," that is, by Quetzalcouatl, the wind god. I am indeed of the opinion — and have already stated as much above in connection with the first of the four guardians of the second Venus period — that in this figure, which unites the facial paint and the beard of Quetzalcouatl with the costume-insignia of the sun god, and which appears in a cipactli- or serpent-helmet-mask, we are to recognize the Quetzalcouatl of Tollan, who, as I have already pointed out above on p. 138, was also a fire god, and presumably became the wind god — as which he was usually and later generally depicted — only through a derived train of ideas. One will understand, then, that if this first god of our folio does indeed represent the leader of the Toltecs, the "in tonatiuh iixco yauh," the one who emigrated in the direction facing the sun, he is indeed eminently suited to embody the cardinal direction of the East and at the same time to serve as the representative of the first Venus period. For this Quetzalcouatl of Tollan, according to general belief, transformed himself into the morning star.
The second figure, in the upper left corner (fig. 543), must now correspond to the North. This is a well-known figure — the white (red-striped) god of the Chichimeca and of the hunt, Mixcouatl, painted with the star-face paint (mitzitlalhuiticac motenēhua tlayahualli) of the morning star, also depicted with its curling locks flickering up over the forehead, but otherwise adorned as a warrior — whom we have already met above (cf. fig. 310, above p. 115, and folio 28 of our manuscript) among the four forms of the deity of the planet Venus, likewise as the representative of the North.
The third figure, in the lower left corner of both folios, must now correspond to the West. This too is a very well-known figure, that of the earth god Xipe Totec, whom we have already met as the representative of the cardinal direction proper to him, as the third of the four guardians of the fourth Venus period (fig. 427, above p. 204). Here too he is depicted in entirely typical fashion, with his human-skin jacket, his human-skin mask, the yopitzontli nose-plate, the red and white swallow-tail-shaped cut ends of the loincloth, and with his quail as breast ornament. Whereas in our manuscript, like the other figures on this folio, he holds the spear-bundle in one hand and the throwing-board in the other, the draughtsman of the Codex Borgia has put into his hand, instead of the throwing-board, his red rattle-staff, the chicahuaztli.
The fourth figure, in the lower right corner, corresponding to the South, is the rain god Tlaloc, depicted here not with his usual weapon, the axe, but, like the other figures on the folio, with the throwing-board and spear-bundle in hand. His appearance is otherwise that already familiar to us from other pictures. But it can be seen very clearly here in the Codex Borgia figure that the form which, in the rain-god pictures of our manuscript, is drawn in front of the mouth as a specially set-off shape curling up at the end, and is furnished, serpent-jaw-like, with teeth and even with an eye, is nothing other than the rear end — actually invisible in profile view — of the blue lip-stripe. — Tlaloc, the rain god, here stands for the cardinal direction of the South presumably because this god represented for the priests not only the rain that fertilizes the fields, but also the rain of fire that put an end to the third of the four prehistoric or pre-cosmic world periods.
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The fifth cardinal direction, the Center, or the direction from above to below, and the ruler corresponding to it for the fifth Venus period, has not been drawn on the two folios of our Vaticanus and of the Codex Borgia. It has only been pointed to by means of the hieroglyph of the initial day of the fifth Venus period (matlactli olin, "Ten Movement"). — There is, however, one folio on which we also see the fifth of the rulers of the five Venus periods represented in full figure. This, however, is not one of the folios of these Mexican picture-manuscripts, but folio 46 of the Dresden Maya manuscript.
I shall have occasion below, as soon as I come to folios 80–84 of our manuscript, on which the 13 × 5 Venus periods are depicted, to point out that not only the initial days of these 13 × 5 Venus periods, as they are recorded on the said folios 80–84 of our manuscript,
Figs. 544–548.
Figs. 544–548. The rulers of the five Venus periods and of the five world-regions (Center, East, North, West, South). Dresden Maya Manuscript, folios 46–50.
are set down likewise, and indeed in a still more complete way, on certain folios of the Dresden Maya manuscript, on the famous folios 46–50, but also that the figures which one sees struck by the spear of the deity of the planet Venus on folios 80–84 of our manuscript, and at the corresponding place in the Codex Borgia and the Codex Bologna, have their parallel in certain figures on these folios 46–50 of the Dresden Maya manuscript. These folios 46–50 of the Dresden Maya manuscript, however, differ from folios 80–84 of our manuscript and the corresponding folios of the Codices Borgia and Bologna, among other things, in that on them, in the five sections, it is not always the deity of the planet Venus that is brought to view in variations corresponding to the cardinal directions, as in the aforementioned picture-writings of the Codex Borgia group, but rather that there, in the sections where we should expect to meet with the deity of the planet Venus, five different deities stand. Now these five different deities of the Dresden
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manuscript correspond, I believe, to the five deities who are brought to view here on folio 70 of our manuscript and on folio 25 of the Codex Borgia — four of them in full figure, the fifth, however, only by way of suggestion through the initial day of the fifth period — namely, the rulers of the five Venus periods that I have discussed in this chapter. Only, in order for the parallel to emerge, one must make the assumption that on our folios of the Vaticanus and of the Borgia the fifth cardinal direction, or the Center, has been regarded as governing for the fifth Venus period, whereas on the folios of the Dresden manuscript — just as on the folios discussed in more detail above (p. 190 ff.), on which the 4 × 5 guardians of the Venus periods are depicted — the Center, or the fifth cardinal direction, has formed the starting point, so that this cardinal direction has there been claimed for the first Venus period. If, on this assumption, one arranges — as I have done here in figs. 544–548 — the five rulers of the five Venus periods depicted on folios 46–50 of the Dresden manuscript, one will see that, at least at some points, the parallel with the two folios, 70 of our manuscript and 25 of the Codex Borgia, is indeed a striking one. —
The god drawn in the upper right corner with a skeletal rib-cage and dead-bone lower jaw, but bearing the hieroglyph of the planet Venus in the string of beads hanging down forward from his headdress, can well be set alongside the Quetzalcouatl of Tollan (fig. 540), who is trimmed with stone knives and drawn with a death's-eye.
The god depicted in the upper left corner with animal-like facial features, who in his hieroglyph shows the elements of the hieroglyph of the deer,¹) seems to me without doubt to be a parallel to the hunting god Mixcouatl.
The god in the lower left corner, with the Tezcatlipoca-like facial paint and the jaguar skin about his hips, who also contains in his hieroglyph the element chac, "red,"²) can be compared, if not to the typical Xipe, then certainly to the red (Tlatlauhqui) Tezcatlipoca, whom we have come to know above as another manifestation, and also as another name, of Xipe.
There remains, then, in the lower right corner, a god of somewhat different character, who, however, with his bandaged eyes perhaps evoked, in a different way, the same conception of the South as does the Tlaloc of the two Mexican folios. I recall here that the Itztlacoliuhqui of the Mexicans, likewise a god with bandaged eyes, of whom I have spoken above on pp. 261–264, was recognized in a constellation in the southern sky.
For the Center or the fifth direction we would then get the black god, fig. 544, who in his hieroglyph contains the element imix, corresponding to the Mexican cipactli, and who is perhaps a kind of fire god, so that for the one reason as much as for the other he may be regarded as a god denoting the fifth cardinal direction, the direction from above to below, or the Center.
Now if this parallel is admissible — and I am convinced that it is — one must conclude from it something further still. The deities depicted on folio 70 of our manuscript and folio 25 of the Codex Borgia are, with the exception of the first, well-known, frequently depicted figures, which also play a large role in the cult of the various Mexican tribes. The five gods of folios 46–50 of the Dresden manuscript strike one, for the most part, as quite alien, and are indeed, with the exception of the first, the black god, nowhere else to be met with in the known Maya manuscripts. Must one not conclude from this that the mythology and the science of these time-periods, and the astronomical observations on which they were built, originated among the tribes that linked deity-figures known and familiar to them with those time-periods, and that among the other peoples, where quite alien figures appear as the rulers of these periods, these figures, and the science bound up with them, were a foreign import?
1) Cf. Seler, *Gesammelte Abhandlungen zur mexikanischen Sprach- und Alterthumskunde*, Berlin (A. Asher & Co.), vol. I, p. 351, fig. 55.
2) Ibid., part 16, fig. 8.
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17. The Planet Venus in Its Visibility as Morning Star. 291
17. The planet Venus in its visibility as morning star.
Leaf 71 and 72 (= Kingsborough 26, 25).
These two leaves, for which no parallel exists in the other manuscripts, show themselves to belong together—although they contain quite different representations—already externally through the division into nine fields, which in both is likewise connected with the same manner of reading. As the position of the heads and figures indicates, one is namely to begin on both leaves at the bottom right, go from the left end of the bottom row to the left end of the middle row and follow this from left to right, then go from the right end of the middle row to the right end of the top row and end at the left end of the top row. Exactly, then, as I described above on p. 211 for leaves 58–60 of the Codex Borgia.
On the first of our two Vaticanus leaves, leaf 71, one sees in all nine fields an earth-dragon drawn, painted alternately in green and in black, and out of which, connected to it by a thin, red or black, serpentine line, a One emerges. Distributed at the four corners of each field are, besides, four consecutive day-signs. It is no doubt natural to assume that the One in the middle corresponds to a fifth adjoining day-sign and is to be connected with it. And indeed this must be the day-sign following the four day-signs distributed at the corners, since the first field (bottom right) begins in the upper right corner with cipactli, the initial sign of the tonalamatl. Accordingly the first field (bottom right) would signify that out of the earth-dragon the day ce couatl "one Serpent" emerges. The second field (bottom middle) would mean that out of the earth-dragon the day ce itzcuintli "one Dog" emerges, the third, that out of it the day ce quauhtli "one Eagle," the fourth, that out of it the day ce xochitl "one Flower," and the fifth again, that out of the earth-dragon the day ce couatl "one Serpent" emerges. And so on in like manner further. There would accordingly be indicated on this leaf the emerging from the earth, or the rising, of the following days, which I shall first arrange in the same way as they are distributed on the leaf itself, in order to show the evidently intended symmetry of the distribution:—
(7) (8) (9)
1. couatl 1. xochitl 1. quauhtli
(Serpent) (Flower) (Eagle)
(4) (5) (6)
1. xochitl 1. couatl 1. itzcuintli
(Flower) (Serpent) (Dog)
(1) (2) (3)
1. quauhtli 1. itzcuintli 1. couatl
(Eagle) (Dog) (Serpent)
One sees that on this leaf the rising of the day ce couatl "one Serpent" is represented three times in the great diagonal, the other three days twice each in the small diagonals. But if one arranges the days as they actually follow one another on this leaf, one obtains:
1. couatl (Serpent)
1. couatl (Serpent)
1. couatl (Serpent)
1. itzcuintli (Dog)
1. itzcuintli (Dog)
1. quauhtli (Eagle)
1. quauhtli (Eagle)
1. xochitl (Flower)
1. xochitl (Flower)
That is one and a quarter times repeated the important column of the tonalamatl arranged in four-membered columns—that is, of the tonalamatl that is arranged not according to the four cardinal directions but the five world-regions—which we already encountered above on p. 123, 124 in the remarkable section dealing with the history and mythology of the planet Venus, which, filling the picture of the one and the beginning of the other side of the strip, occupies exactly the middle among the representations of the Codex Borgia. A day-sign column that, as we saw there (p. 123), still plays a significant role even in the late offshoots of the old native priestly science, the books of the Chilam Balam. That this row is connected with the planet Venus, that the rising of these days, as it is here so remarkably represented on this leaf 71 of our manuscript, must signify the appearance of the star of the planet Venus on certain days, or in certain phases of its course, seems to me beyond doubt. I believe, however, that one can make an even more precise determination.
I have already mentioned above that the 13 × 5 Venus periods, which we shall find depicted below on leaves 80–84 of our manuscript and at corresponding places of the Codex Borgia and the Codex Bologna, are also recorded fully written out with their initial days on five leaves of the Dresden Maya manuscript, leaves 46–50. These Maya leaves differ from the said Mexican representations of the Venus periods, among other things, in that on them the periods are not only fully written out as wholes with their initial dates, but each period of 584 days is on these leaves broken down into sections of 90, 250, 8, and 236 days. Each of these sections of 90, 250, 8, and 236 days is precisely indicated on each of these five leaves partly by days named according to the tonalamatl system that have these intervals from one another, partly by (so-called) month dates, and finally partly by rows of figures that progress in these intervals. Förstemann, to whom we owe the establishing of these relationships and their explanation, has now advanced the hypothesis that here the 90 days are to be reckoned to the invisibility of the planet during superior conjunction, the 250 days to its appearance in eastern elongation (as evening star), the 8 days to its invisibility during inferior conjunction, and the 236 days to its visibility in western elongation (as morning star). How he justifies this assumption, one may read for oneself in him.¹) I have given further details also in my treatise on the Venus period in the pictures of the Codex Borgia group. Of importance for our present considerations is the following.
Remarkably, none of the initial dates given on the first leaf, 46, of the Dresden manuscript contains the figure One. On the other hand, at the place where, according to Förstemann's interpretation, the first day of the visibility of the morning star would have to be set, the date 13 Kan is recorded, that is, in Mexican terminology, 13 cuetzpalin (Lizard). Let us assume that this date is meant to indicate not the beginning of visibility but rather the end of invisibility; then we would find as the day of the first rising as morning star the day 1 chicchan, that is, ce couatl "one Serpent" in Mexican terminology, recorded on leaf 46 of the Dresden manuscript. That is the first member of the day-sign column that, as we have seen, is recorded on leaf 71 of our manuscript—a member that stands out from the other three not only as the initial member, but also by the fact that it is reproduced in the great diagonal of the leaf no fewer than three times, and that evidently alone comes into consideration here out of the whole day-sign column. I note further that the same day-sign column couatl, itzcuintli, quauhtli, xochitl is also given on leaf 32 of the Codex Borgia, on which, as I stated above on p. 119, the rising of Quetzalcoatl as morning star indeed appears to be recorded.
On leaf 46 of the Dresden manuscript the period of visibility as morning star does not stand first. The first date signifies rather, according to Förstemann's interpretation, the beginning of the time when the morning star disappears in the rays of the rising sun. This first date, recorded on leaf 46 of the Dresden manuscript, is 3 cib, that is, 3 cozcaquauhtli in Mexican terminology.
¹) Erläuterungen zur Maya-Handschrift der Königlichen Öffentlichen Bibliothek zu Dresden. Dresden 1886. Page 66, 67.
17. The planet Venus in its visibility as morning star.
Let us here again assume that not the beginning of invisibility but the end of visibility is meant by this date; then on this leaf of the Dresden manuscript the day 4 eb, that is, naui olin "four Movement," would be indicated as the day on which the morning star unites with the sun. The day Naui olin, as we know, counted precisely as a symbol and sign of the sun, and it seems to me not at all impossible that it was regarded as such for the reason that on it the morning star became the sun. Just as the day ce acatl "one Reed" is called the sign and name of Quetzalcoatl, because on this day Quetzalcoatl became the morning star.
This day naui olin "four Movement," which denotes the time of the union of the morning star with the sun, the end of its visibility as morning star, is precisely the one that is recorded at the beginning of the following leaf of our manuscript, leaf 72 (bottom right). If leaf 71 told us the time when the planet Venus rises for the first time as morning star, then leaf 72 gives us the time when it ceases to be visible as morning star. The two leaves thus indeed belong together and represent, as I have also stated in the heading, the planet Venus in the period of its visibility as morning star.
The day naui olin "four Movement" is indicated at the beginning (bottom right) of leaf 72 first by figure and sign, but then also by a figure. The latter, despite its smallness, shows quite characteristic features. It is painted red, represented with flowers in the hair and a flower at the nape of the neck, in which a stone knife is stuck. A round death-eye and long-hanging huaxyacac[?] tufts stand out clearly, and through these two features this little figure recalls in a striking way the figures equipped with death-symbols that in the Vienna manuscript are marked with the date naui olin (fig. 549). This god Naui olin, however, is not depicted alone on leaf 72 of our manuscript; rather, eight other figures are joined to him—one might think, for the sake of symmetry with leaf 71. But all are represented in the same action. They all sip from a bowl that they hold in the hand, a drink that is painted white and with red spots, that is, in the color of bone. And this I can understand in no other way than—"they drink death." One appreciates that this would be a very fitting expression for what is meant to be represented on this leaf, for the end of the visibility of the morning star, for its disappearance in the rays of the sun.
Of the nine figures on this leaf, only the first, Nahui Olin, is named fully and completely with number and sign. For the others, the dates or days after which they are supposed to be named are indicated by numbers, which always give the distance from the date with which the preceding figure is designated. That the dates obtained in this way are indeed meant to give the names of the figures is, at least for two of them, beyond doubt. For the second figure the date Chicunaui Ecatl, "Nine Wind," would result as its name, and the figure is Quetzalcoatl, who, as is known, is designated with this date in the Vienna manuscript, in the Codex Fejérváry, and elsewhere (cf. Fig. 542 above, p. 287). And likewise, for the last figure we would obtain the name Ce Miquiztli, "One Death," which can evidently be regarded as a fitting name for the death goddess depicted in this compartment. In what follows I list the dates which are accordingly to count as names for the nine gods depicted on leaf 72 of our manuscript, and indeed, for easier comparison, in the arrangement in which they are to be seen on the leaf itself, marking their actual sequence only by numbers placed alongside: —
Fig. 551.
The god Nahui Olin, "Four Movement". Picture-manuscript of the Imperial Royal Court Library in Vienna. 90.
(9)
ce miquiztli
"one Death"
(8)
macuilli olin
"five Movement"
(1)
ce acatl
"one Reed"
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296
(6)
matlactli omome tecpatl
"twelve Flint-knife"
(3)
ce mazatl
"one Deer"
(7)
yei ecatl
"three Wind"
(2)
chicunaui ecatl
"nine Wind"
(4)
chicuei mazatl
"eight Deer"
(5)
nahui olin
"four Movement"
This together gives a number of 49 days, that is, if one includes the initial day, Nahui Olin, in the sum, 50 days. The number 50, multiplied by the number of world-regions, would give 250, and that, according to leaves 46–50 of the Dresden manuscript, would be the period of visibility of the planet Venus as evening star. I have, however, no basis for determining in any way whether a real connection is present here, or whether this is merely a quite accidental numerical coincidence.
Since we have nine figures before us here, these will presumably be arranged in the same way according to the five world-regions as is established for the nine Lords of the Night by leaf I of the Codex Fejérváry-Mayer, that is, the first figure will correspond to the center or the direction up—down, the others in pairs to the directions East, North, West, South.
The first of these nine figures, Nahui Olin, is, as I have already indicated, a deity who resembles in certain features the figure named after this day in the Vienna manuscript. Corresponding to the death-eye and the long fangs is the stone knife projecting from the flower that the figure wears at the nape of the neck. A stone knife is also shown above the drinking bowl of the god.
The second and third figures should designate the East. The second is the wind god Quetzalcoatl, easily recognizable by the formation of his face and his headdress. Above his drinking bowl a bloody agave-leaf point is shown, as if characterizing his nature.
The third figure is a woman who wears on the crown of her head, as it seems, the stylized head of a quetzal bird, and behind it a flowering tree. She is probably to be equated in some way with Xochiquetzal. From her drinking bowl protrudes, characterizing her nature, a precious stone (chalchihuitl).
The fourth and fifth figures should designate the North. The fourth is, to all appearances, a male god equipped with death-symbols. Judging by the coloring, however, one might feel inclined to think of Tlazolteotl, the old earth goddess. From his drinking bowl rises a human heart skewered on a rod, and in front of it projects a stone knife bordered by tongues of flame.
The fifth figure is Ozomatli, the monkey. Above his bowl one again sees, as with Quetzalcoatl, a bloody agave-leaf point.
The sixth and seventh figures should correspond to the West. The sixth seems intended to represent Xolotl, the god of twins. Above his bowl, too, one sees an agave-leaf point.
The seventh figure is a dog (Itzcuintli). Here too one might think of Xolotl. Here, however, a stone knife is to be seen above the drinking bowl.
The eighth and ninth figures should designate the South. The eighth is Chalchiuhtotolin, the turkey. He has, like the penitent Quetzalcoatl, and like the monkey and Xolotl, an agave-leaf point above his bowl.
The ninth and last figure is Mictecacihuatl, the death goddess. Above her drinking bowl a stone knife again appears to have been depicted.
What particular significance these nine figures may have, I am unable to say, all the more since a parallel is also lacking. I believe I have correctly interpreted the general meaning of the whole leaf, as well as that of the preceding one, in the above — an interpretation which I have, in essence, already given in this way in my treatise on the Venus period in the manuscripts of the Codex Borgia group. The demonstration that an agreement exists, down to such details, between the content of these Mexican manuscripts and what the Maya manuscripts tell us will certainly be regarded, I trust, as a very remarkable result.
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18. The Four Feather-Serpents.
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18. The Four Feather-Serpents.
Leaf 73 (= Kingsborough 24).
Just as on leaves 43–48 we saw the six world-directions represented by six different Tlaloc figures, so here the four world-directions are visually presented by four differently drawn feather-serpents, equipped with different attributes and accessories. The feather-serpents evidently stand for water- and vegetation-conditions, which were conceived as varying according to the world-directions, sometimes more favorable, sometimes less favorable. For the water and rain god — so it is told in the "Historia de los Mexicanos por sus pinturas" ¹) — has a dwelling of four chambers, and in the middle a great courtyard, where four great vats of water stand. The one water is very good, and from it rains fall when the maize-ears and the field crops thrive, and the rain comes at the right time. The other water is bad; when it rains, cobwebs (fungal growth) form on the maize-ears with the rain, and they turn black. The third water is when it rains and the maize-ears freeze. The fourth, when it rains and the maize-ears set no grain and dry up. — This description of the different rain-waters corresponds, as we shall see, to the world-directions East, West, North, South.
On the leaf of our manuscript we see the four feather-serpents, curved together into a square, each occupying one field in the four corners of the leaf, or more precisely, each occupying one quarter of the leaf, with their heads turned toward the center. Which world-directions are to be associated with these coils, or rather, in which rotational sense the four world-directions are meant to follow one another here, is indicated by the first four of the twenty day-signs — Cipactli (crocodile), Ecatl (wind), Calli (house), Cuetzpalin (lizard) — and it follows from this that on this leaf, as on the previously discussed leaves 69, 70, the beginning is to be assumed in the quarter at the upper right, and the world-directions follow one another in a sense opposite to the rotation of a clock. There exists, however, alongside our leaf 73, a further parallel leaf, the incomparably more beautifully drawn and far more elaborate leaf 72 (= Kingsborough 43) of the Codex Borgia. Here the order and sequence of the world-directions is expressed not merely by a single day-sign, but by an entire deity-figure in each case, surrounded by five of the twenty day-signs (cf. fig. 550). Moreover, on this leaf the fifth world-direction, the center or the downward direction, is expressed in the middle of the leaf, between the open jaws of the serpents, by a tzitzimitl face, the image of one of the demons of darkness who descend from the sky at the time of a solar eclipse, and who will also come down from the sky at the time of the destruction of the world and devour mankind. The beginning lies, on this leaf, in the lower left quarter. The world-directions likewise follow one another in a sense opposite to the rotation of a clock.
The feather-serpents are depicted on the Codex Borgia leaf, as usual, in profile, with open jaws (turned toward the center) and an upper jaw that flips upward. On our leaf, however, the heads are drawn, in a very curious manner, full-face, with the lower jaw missing, so that the yellow border running around the upper jaw looks almost like one of those golden nose-crescents (teocuitlayacametztli) that form the insignia of the pulque gods and of the old Huaxtec earth goddess, Tlazolteotl. Above the eyes, long-stalked snail-eyes are drawn, and a kind of eye is also indicated beneath the chin.
1) Joaquín García Icazbalceta, Nueva Colección de Documentos para la Historia de México, Tomo III, Mexico 1891, p. ...
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B. Hflckaoit**.
298
The first serpent occupies the lower left quarter on the Codex Borgia leaf, and the upper right quarter in the picture of our manuscript. In the Codex Borgia it is clearly and beautifully drawn as quetzalcoatl, as a quetzal feather-serpent, and this is presumably meant to indicate that the East is the region where, as it is said in the "Historia de los Mexicanos por sus pinturas," it rains in such a way that the maize-ears and the field crops thrive, and the rain comes at the right time. And so, accordingly,
Fig. 550. The four feather-serpents. Codex Borgia 72 (= Kingsborough 43).
in it, surrounded by the first, fifth, ninth, thirteenth, and seventeenth of the twenty day-signs, is seen the rain god Tlaloc, with a rubber ball lying before him on a censer. In our manuscript, the serpent enclosing the day-sign Cipactli, which is meant to correspond to the East, is painted yellow, has at the end of its tail a tuft of macaw feathers, and is bordered with stone knives and tongues of flame. It is evidently conceived as the serpent of the sun god
18. The Four Feather-Serpents.
297
(who rises in the East), or as the serpent of the fire god. That this is meant to be a region of fertility and thriving does not come directly to expression in the image of this serpent, but can only be inferred indirectly from the notion, which did indeed exist among the Mexicans, that the fire god is the lord of thriving.
The second serpent occupies the lower right quarter on the Codex Borgia leaf, and the upper left quarter on the leaf of our manuscript. In the Codex Borgia it is drawn as a mottled coral snake, that is, as a blood-serpent (tlapalcoatl), and accordingly we see in it, sitting at a crossroads, the earth goddess Tlazolteotl, naked, clothed only in her headband, a necklace, and her golden nose-crescent (yacametztli), and with a wrinkled belly that marks her as one who has given birth, surrounded by the second, sixth, tenth, fourteenth, and eighteenth day-signs. In front of her, in a fire-vessel, one sees firewood and the tail-end of a blood-serpent.
In our manuscript the second serpent is painted blue and provided with a drawing that perhaps imitates the hard shell of turtles or crocodiles, and could mark this serpent as belonging to the region of the earth. Unless we are perhaps to assume — which actually seems to me quite probable — that here in our manuscript the second and third serpents have mistakenly been interchanged, so that for this second cardinal direction the serpent standing in third place in our manuscript (on our sheet, lower left) comes into consideration. For this one indeed also presents itself, through drawing and colour, as a many-coloured coral snake, as a blood-serpent, that is, as one fully resembling the second serpent of the Codex Borgia. Indeed, here it is marked as a blood-serpent even more clearly, by the streams of blood that one sees welling upward from its back like plumes of feathers.
The North, as a region of war, as the region of the stone knife, is evidently meant to be indicated by this serpent, for that is in any case the region where, as it says in the "Historia de los Mexicanos por sus pinturas," it rains, and the ears of maize freeze.
The third serpent occupies, in the Codex Borgia, the upper right, and on the sheet of our manuscript the lower left quarter. It is drawn in the Codex Borgia as a blue feather-serpent, as xiuhcouatl or xiuhtotocouatl, and because the word xiuhcouatl "turquoise serpent" calls to the Mexican's mind the memory of the xiuhatlatl, the blue or turquoise-mosaic-covered spear-thrower formed in the shape of a serpent's body and serpent's head, which the fire god — and also Uitzilopochtli — holds in his hand, this serpent is accordingly beset along its back with spear-throwers (xiuhatlatl) painted in blue and with darts (tlacochtli) (cf. fig. 550, above right). In the Codex Borgia this serpent encloses the image of Quetzalcouatl, the wind god, who is surrounded by the third, seventh, eleventh, fifteenth, and nineteenth day-signs. Before him one sees, in the fire-vessel, an ear of maize and the implements of penance, the bone dagger and the agave-leaf point.
In our manuscript, as I have indicated above, an interchange of the second and third serpents has probably taken place, and for this third cardinal direction the second serpent of our Vaticanus sheet, the one depicted in the upper left quarter, must be taken into consideration. This one is covered with a somewhat blackish mosaic, which must nevertheless in any case be thought of as blue (as made with turquoise plates), and so must likewise be regarded as a xiuhcouatl. On its back it is beset with clusters of malinalli-grass. On its belly side with blue flames that end in flowers.
The West is characterized by these two serpents as the region of abundant water, but at the same time it also counts, as the ear of maize in the fire-vessel before Quetzalcouatl indicates, as a region of fertility. But excessive abundance of water can also become harmful. In any case it is this cardinal direction for which the "Historia de los Mexicanos por sus pinturas" states that cobwebs (that is, fungal webs) form on the ears of maize, and they turn black.
The fourth serpent occupies, in the Codex Borgia, the upper left quarter, and on the sheet of our manuscript the lower right quarter. — It is drawn in both manuscripts as a skeleton- or
Ser. Codex Vaticanus No. 3771⅞
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298
B. Reverse.
bone-serpent (couatl cofauhqui or miquizcouatl) and encloses, in the Codex Borgia, the image of the red Macuilxochitl, the god of pleasure and of games, who is precisely marked by the yellow field around the eyes and the drawing of the white hand at the mouth, and who is, as we shall see in a following section, indeed the actual representative of the South. He is surrounded by the fourth, eighth, twelfth, sixteenth, and twentieth day-signs, and in the fire-vessel before him one sees firewood sticks and a rubber ball.
The South as a region of fire, of drought, of death, is illustrated by this. That is the region where, as the "Historia de los Mexicanos por sus pinturas" says, the ears of maize set no grain and dry up.
Whereas our Vaticanus sheet contents itself with expressing, through the four serpents and the four day-signs enclosed by them, the significance of the four cardinal directions for the conditions of rain and for vegetation, the Codex Borgia sheet, which in the space bounded by the four serpents depicts not a single day-sign but a whole divine figure surrounded by five day-signs each, serves at the same time to express certain other relationships as well. The four times five day-signs, namely, that surround the four divine figures, are on this sheet each brought into connection with a particular body-part of the respective deity — sometimes with the eye, sometimes with the ear, sometimes with the mouth, the heart, the genitals, the anal opening, the hands and the feet, and finally also the ground on which the figure is drawn. I reproduce these relationships in the following table.
1. cipactli "crocodile" — the foot of Tlaloc
2. ecatl "wind" — the anal opening of Tlazolteotl
3. calli "house" — the mouth of Quetzalcouatl
4. cuetzpalin "lizard" — the penis of Macuilxochitl
5. couatl "serpent" — the ear of Tlaloc
6. miquiztli "death" — the ground, the crossroads on which Tlazolteotl sits
7. mazatl "deer" — the foot of Quetzalcouatl
8. tochtli "rabbit" — the foot of Macuilxochitl
9. atl "water" — the hand of Tlaloc
10. itzcuintli "dog" — the mouth of Tlazolteotl
11. ozomatli "monkey" — the heart of Quetzalcouatl
12. malinalli "twisted thing" — the ear of Macuilxochitl
13. acatl "reed" — the eye of Tlaloc
14. ocelotl "jaguar" — the ear of Tlazolteotl
15. quauhtli "eagle" — the ear of Quetzalcouatl
16. cozcaquauhtli "vulture" — the hand of Macuilxochitl
17. olin "movement" — the mouth of Tlaloc
18. tecpatl "flint knife" — the eye of Tlazolteotl
19. quiauitl "rain" — the eye of Quetzalcouatl
20. xochitl "flower" — the mouth of Macuilxochitl.
One will not find this list uninteresting. For the study of the symbolic significance of these twenty day-signs it is certainly of great importance. I draw attention only to a few points: — Cipactli, the sign of the earth, for the foot of Tlaloc is thoroughly fitting. Ecatl "wind" for the anal opening of Tlazolteotl is curious, but also fitting. Calli "house" for the mouth of Quetzalcouatl presupposes, as an intermediate concept, presumably that of the dark interior, the cave, the earth's maw. Cuetzpalin "lizard" for the penis, and precisely in the case of Macuilxochitl, the god of pleasure, agrees entirely with what I said above (pp. 145 and 146) concerning the significance of this sign under the regent of the fourth day-sign. Couatl "serpent" for the ear of Tlaloc presumably stands in connection with the fact that this god wears a chalchiuhcouanacochtli, whose inner rim surrounding the hollow of his
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19. The gods of lust and their signs. 299
ear-plug was worked in the form of serpents.¹) Miquiztli "death" for the earth and the crossroads on which Tlazolteotl sits is understandable. That the animals of the field, mazatl, the deer, and tochtli, the rabbit, are equated with the foot of Quetzalcouatl and Macuilxochitl respectively, is also understandable. Tochtli indeed counts virtually as a sign of the earth. Atl "water" on the hand makes sense precisely in the case of Tlaloc, for whom the sign is given. For his hand pours water upon the earth. But if itzcuintli "dog" is equated with the mouth of Tlazolteotl, one might perhaps think here of the sharp teeth. To me it seems more probable that the sharp tongue, the pointed speech of women, or perhaps also indecent speech, is meant. Ozomatli, the monkey, as the heart of Quetzalcouatl is presumably to be understood in the sense that the monkey and the wind god Quetzalcouatl are equated. Malinalli "the twisted thing, the broom" and the ear of Macuilxochitl I am not able to bring into proper connection; just as little ocelotl "jaguar" and quauhtli, eagle, with the ear of Tlazolteotl and Quetzalcouatl respectively. If acatl "reed" and the eye of Tlaloc are equated, one may think here that the eye of the rain god is the lightning bolts, his fiery missiles. Cozcaquauhtli, the vulture, and the hand of Macuilxochitl I am not able to properly reconcile with each other. But that olin "movement" is brought into connection with the mouth of Tlaloc seems understandable from the fact that olin is also the earthquake. The rolling thunder is the voice of Tlaloc. Tecpatl "flint knife" and the eye of Tlazolteotl tells me nothing. Quiauitl "rain" and the eye of Quetzalcouatl — here one may think of fiery rain and fire, but perhaps also of the gouged-out, bleeding eye of Quetzalcouatl. Xochitl "flower" finally fits the mouth of Macuilxochitl, who is, after all, among other things also the god of dance and of song.
19. The gods of lust and their signs.
Sheet 74 (= Kingsborough 23).
This sheet too has a parallel in the unfortunately rather badly damaged sheet 74 (= Kingsborough 41) of the Codex Borgia. It connects, so to speak, to what on the preceding sheet of our manuscript was not indeed actually depicted, but was in any case implied — the relation of the day-signs to the body parts, which on the corresponding Codex Borgia image, as I have just set forth, is indeed made clear to the viewer in fully executed images. On the present sheet the matter concerns exclusively the significance of certain body parts. We see, in the upper half, Tlazolteotl, the earth goddess, the "goddess of filth," the goddess of lust and the great progenitress, sitting naked and with legs spread. In the lower half of the sheet, correspondingly, Xochipilli, the god of flowers, but in a temple that stands in flames. Both gods are surrounded by the signs of the twenty days, which, however — as the explanatory table readily illustrates — serve solely the purpose of leading up to the last two, quiauitl "rain" and xochitl "flower," which are equated, in the upper section, with the vulva of the goddess, and in the lower, with the anal opening and the penis of the god.
1) Sahagún 12, chap. 4.
38*
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B. Reverse.
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20. Heaven and Earth. Life and Death.
Sheets 75, 76 (= Kingsborough 22, 21).
These two sheets have their parallel in sheet 73 (= Kingsborough 42) and sheet 56 (= Kingsborough 50) of the Codex Borgia.
On both sheets one sees a double image, Quetzalcouatl, the wind god, and Mictlantecuhtli, the death god, seated leaning back to back. Quetzalcouatl is here evidently conceived as the creator of mankind, the lord of life. And in their sitting leaning back to back, a difference of direction between these two persons, or the antithesis that exists between them, is expressed. The difference of direction in these two persons signifies, by above and below, the antithesis of life and death. We shall presently see that this same difference of direction and this same antithesis also holds for the whole of the sheets that I have grouped together here in this section.
Both figures of the double image are, moreover, by no means represented in quite the same way on the two leaves. The death god of the first Vaticanus leaf (75) is depicted with a yellow body and limbs and animal claws, and only with a skeletal rib-cage and a skull as head. That of the second Vaticanus leaf (76) is entirely and completely a skeleton and wears on its head the occipital rosette (cuexcochtecomaitli) and the bent banner (pantoyauhtli), both painted in the well-known manner in alternating white and red transverse stripes; in addition he holds a rattle-board (chicahuaztli) in his hand. — The death god of the corresponding two Codex Borgia leaves shows, as far as the formation of body and limbs is concerned, no noteworthy differences. But here too the one on leaf 56, which corresponds to the second Vaticanus leaf, is equipped with the occipital rosette (cuexcochtecomaitli) and the bent banner (pantoyauhtli). And while the death god of leaf 73 of the Codex Borgia, which corresponds to the first Vaticanus leaf, holds in his hand a staff (chicahuaztli!) similar to that of the wind god, only made of bone, the one on leaf 56, which corresponds to the second Vaticanus leaf, has a curious bone staff — likewise certainly meant to represent a chicahuaztli — whose head reproduces a closed bony fist.
The wind god on the first Vaticanus leaf (75) is not, as usual, two-coloured in the face, but is painted uniformly with a not quite deep black but dark colour, and wears in his hair a band of loose material of unspun cotton, like the ichcaxochitl of Tlazolteotl. On the second Vaticanus leaf (76) the face is painted black with red mouth-parts in the customary manner, and the headdress too is the usual one: — the band with the fan-shaped ornament and the conical two-coloured cap (copilli), beside which in the hair are stuck the bone dagger and the agave-leaf point — in addition the god here holds in his hand a snake bent at the head-end, which, as comparison with the corresponding Codex Borgia leaf shows, is to be regarded as the hoe of the wind god (tlaquitl). — More striking are the differences in the Quetzalcoatl figures of the two Codex Borgia leaves. The one on leaf 78, which corresponds to the first Vaticanus leaf, is not black but light blue, and the front half of his face, like the mouth-parts, is painted "citlallo," "star-sky-like," i.e. with white circles on a black ground. Above the forehead a pair of curls rise up. The two-coloured conical cap does not bear an eye, but the white wind-cross in the middle. And on his breast the god wears, not the usual ehecailacacozcatl, but, like the sky-bearer Quetzalcoatl on leaf 21 of our manuscript, a snail-shell. In his hand he holds a blue staff of special form, a xiuhtopilli, which, however, might perhaps also represent a chicahuaztli, though one differing in form. Conversely, the wind god of leaf 56 of the Codex Borgia, which corresponds to the second Vaticanus leaf, is painted and equipped in a thoroughly typical manner, and he holds in his hand a white and sponge-like curved staff, which resembles in form the hoe that is given into the hand of the figure of the Wind in the meteorological chapter of Sahagún, in the manuscript of the Biblioteca del Palacio, and is there called ecauictli, i.e. "hoe of the wind god."
Evidently the blue Quetzalcoatl of leaf 73 of the Codex Borgia and the corresponding figure of our first Vaticanus leaf (75) represent the celestial Quetzalcoatl, the whole leaves the celestial region, while the Quetzalcoatl of leaf 56 of the Codex Borgia and the corresponding figure of our second Vaticanus leaf represent the earthly Quetzalcoatl, the whole leaves the earthly region. This is confirmed by the fact that on the latter leaf the death god holds in his hand the staff-rattle chicahuaztli, which the earth, mountain, and water deities carry, and which also, in the series treated in the seventh chapter of this book, distinguished the guardians of the earth from the guardians or bearers of the sky. And it is fully proven by the fact that on this second Vaticanus leaf (76) and the corresponding leaf 56 of the Codex Borgia, in the lower part, Tlaltecuhtli, the earth, is brought before view in the form of a skull opening its jaws upward. In our manuscript it further shows the peculiarity that the eyes are drawn as if driven out of their sockets, and that in the middle of the death's-head, where on the Codex Borgia leaf one sees the hieroglyph chalchihuitl, the sign ollin, "movement," which is also the sign of the earthquake, is depicted.
These two double images, which represent the contrast of life and death in the celestial and in the earthly region, are now also both accompanied by day signs. On the first leaf (75) of the Codex Vaticanus, besides the 2×5 signs that form the border, the twenty signs are once more repeated, partly around, partly on the two figures of the double image, in that certain body parts and certain items of costume are brought into connection with them. In this the distribution on our Vaticanus image (75) is approximately the same as on the corresponding leaf 73 of the Codex Borgia, although on our leaf Quetzalcoatl is turned to the right, while on the Codex Borgia leaf he sits turned to the left. On the Codex Borgia image the twenty day signs have been drawn in completely around the circumference of the double image, ending with xochitl, "flower," which stands in the mouth of the figure turned to the right there, the death god. On the leaf of our manuscript the scribe has written the signs only up to the fifteenth, quauhtli, "eagle," which stands in the same place as in the Codex Borgia, at the foot of the figure turned to the right, here Quetzalcoatl's. The following signs are missing. But, corresponding to the flower which one sees as the last of the twenty day signs before the mouth of the figure turned to the right (the death god) of the Codex Borgia, there is drawn on our Vaticanus leaf, before the mouth of the figure turned to the right (here Quetzalcoatl's), a form painted in blue colour, which outwardly resembles somewhat the flower and agrees exactly in form with the element painted mainly in yellow colour that is indicated before the mouth of the sun god of the tenth Tonalamatl section (cf. fig. 509, above p. 259), and presumably signifies fire or fiery breath.
The second double image, leaf 76 of our manuscript, leaf 56 of the Codex Borgia, is accompanied on each side by a row of ten day signs. The first row, that on the right side of the leaf, begins at the bottom with cipactli, the initial sign of the first quarter of the Tonalamatl arranged in five-member columns; the second row, that on the left side of the leaf, correspondingly with ocelotl, "jaguar," the initial sign of the second quarter of the Tonalamatl arranged in five-member columns. Above these initial signs of the first two Tonalamatl quarters, which at the same time represent the cardinal direction of the East (= Quetzalcoatl?) and of the North (= Mictlantecuhtli), there then follow on each side nine more signs, which are always six signs apart from the next lower sign, so that altogether 60 days would be recorded on each side of the leaf. The distance between the lower and the upper ends of these columns of day signs, i.e. from the sign cipactli to the sign ocelotl, and from the sign quauhtli to the sign tochtli, is indicated in the Codex Borgia at the lower and upper edge of the leaf by twelve red discs. The same twice-twelve discs or circles, i.e. twice the number 12, we see in our manuscript in the upper part of the leaf indicated in red before the head of the death god, in blue before that of Quetzalcoatl. The number six, which stands out in the intervals separating the signs of these two columns from one another, may refer to the cardinal directions, but may also perhaps be connected with the fact that this leaf is the leaf of the earth, for even numbers, in particular six, appear in the Codex Fejérváry and in the Codex Bologna linked with the female deities, the deities of the earth.¹)
21. The Deer of the East and the Deer of the North.
Leaf 77, right half (= Kingsborough 20, upper half).
After on earlier leaves the four, the five, the six directions or world-regions had been repeatedly considered from various points of view, on the two immediately preceding leaves of our manuscript a specialized consideration has, so to speak, begun, in that on them, both in the two figures of the double images and in the two whole images, the Above and Below and their union, the Middle, are brought before view. This manner of consideration is now continued here. The two rows of day signs that stand beside the two images of this section are the initial columns of the first and second quarters of the Tonalamatl arranged in five-member columns. Through them, and the twice twelve dots, which indicate that here actually the twelve following columns of each quarter ought properly to have been written out as well, the first and the second quarter of the Tonalamatl, and with them the cardinal directions of the East and the North, are thus brought before the viewer. These two cardinal directions are now here — and likewise in two exactly corresponding images which are reproduced on leaf 22 (= Kingsborough 17) of the Codex Borgia in another place, i.e. attached to leaves of other content — represented each by a figure of a deer.
The first is of white colour, wears a costly ear-plug (xiuhnacochtli), from which hangs a pendant in the form of a ray, exactly the form we have encountered with the fire god, the regent of the twentieth Tonalamatl section. On the head and at the neck he wears a feather ornament. Around the shoulders a garland of blood grass is wound. On his body one sees a jewel disc, from which hangs a chalchihuitl band. Below him (his anal opening) chains of jewel discs ending in flowers are indicated. This so adorned white deer is drawn as dead, and from his mouth comes forth a long tongue, bordered on the underside (outer side) with foam-lines, curling up at the tip.
The second deer is brown, without any ornament and with open eye, thus depicted as living. This one is pierced through the middle of the body by a spear — which, however, we probably ought not to interpret otherwise than when, for example, Quetzalcoatl's blood-serpent is drawn struck by a spear, or when the flower-tree of Tamoanchan (cf. above p. 178) or the maize-roller (metlapilli) in the hand of the old goddess (cf. above pp. 188 and 190) are represented broken in the middle and with blood streaming from the break.
The deer signifies, for the ancient Mexicans, as we have seen above (p. 150, 151), drought or downright fire. — "Pingono che così diventano li huomini ingrati", "per la quale significano la diligenza de li huomini in cercar il bisogno per sostentarsi" — so says the interpreter of Codex Vaticanus A (No. 3738) concerning it. The brown deer will accordingly signify the North as a region of drought, and this is indeed — as one grows almost weary of finding it — the representation which the Mexicans, again and again, linked with the North. What, then, does the dead, white deer mean, adorned with flowers and feathers and with
1) Cf. my commentary on the Codex Fejérváry-Mayer. Berlin 1901. p. [illegible]
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22. The Five Goddesses of the West and the Five Gods of the South. 303
the ear-ornament of the fire god, in a sense breathing forth a rim of foam from its mouth? — I believe that here we have to compare the rim of foam and the white animal directly with the white vessels bearing the rim of foam at the upper edge, of which I have depicted a series on p. 30. That is to say, the white deer signifies the fire of the incense, and this, just like the incense-pouch in the priest's hand, or the tobacco-gourd on his back, means abundance of food and marks out the East as a region of fertility and prosperity — something which we, too, have already found expressed again and again, in what is by now an almost wearisome repetition.
22. The Five Goddesses of the West and the Five Gods of the South.
Folio 77 (= Kingsborough 20), left half, to 79 (= Kingsborough 18).
The representations on these folios are, in our manuscript, rightly joined to the two deer, and these in turn to the images of the Above and the Below, of Life and of Death. For, taken together, these images render the properties of the six directions, arranged in pairs. The same principle is not followed in the Codex Borgia. There the corresponding images have been fitted in merely to fill whatever free spaces happened to be available. Thus in the Codex Borgia the two double images that represent the Above and the Below were torn apart from one another. The two deer stood in yet a third place. And so we likewise find those images corresponding to the representations of this twenty-second section — the gods of the West and of the South — reproduced in the Codex Borgia at quite another place again, on folios 47 and 48 (= Kingsborough 88 and 67), following on from the complicated representations, discussed above on p. 118 ff., that deal with the mythology of the planet Venus.
The arrangement of the tonalamatl into columns of five members, which we see set out on the first eight folios of our manuscript, has the result that the tonalamatl divides of itself into four quarters of thirteen columns each, which have the property that the day-signs, identically numbered within the columns, are linked, from the first to the last column, in regular sequence with the numerals 1–13. The day-signs which, accordingly, joined with the numeral one, form the initial column of the third quarter of the tonalamatl — these are the signs:
"Deer"; quiahuitl "Rain"; ozomatli "Monkey"; calli "House"; quauhtli "Eagle" —
these we see indicated, on the folios of this section of our manuscript, in the lower halves, at the lower edge of the fields, on the left-hand side. And the day-signs which, joined with the numeral one, make up the initial column of the fourth quarter of the tonalamatl — these are the signs:
xochitl "Flower"; malinalli "Twisted Grass"; cuetzpalin "Lizard"; cozcacuauhtli "Vulture"; tochtli "Rabbit" —
these are depicted, in corresponding fashion, in the upper halves of the folios of this section, at the lower edge of the fields, on the left-hand side. But neither the one set nor the other of these twice-five signs stands alone. Above them, occupying the whole left-hand side of the five fields, there have first been drawn three discs or dots denoting the numeral "three"; then again a day-sign in each case; and finally eight discs or dots representing the numeral "eight". The signs depicted between the Three and the Eight are the day-signs following four places after the initial signs, and consequently show us, only arranged in a different way, the very same images as the initial signs. In each quarter of the tonalamatl they represent the column following four after the initial column — that is, the fifth column. It is clear that the three and the eight discs or dots which, besides the two signs, are given on the left-hand side of the fields, are merely a substitute for the signs of the second to fourth and the sixth to thirteenth columns, which the draughtsman has spared himself the trouble of rendering in an actual image. Accordingly, the columns of signs and dots seen on the left-hand side of the five fields of this section denote the five horizontal rows of the two quarters of the tonalamatl. Through them, the third and the fourth quarters of the tonalamatl are brought to complete representation in the lower and the upper half of the folios.
Besides the columns of signs and dots which present to the viewer the five horizontal rows of the two quarters of the tonalamatl, two further rows of figures are now to be seen in the twice-five fields of this section. Those in the five fields of the lower half are female deities; those of the upper halves, male. — The figures of the lower row, corresponding to the third quarter of the tonalamatl, the West, are depicted on folios 47 and 48 (= Kingsborough 68, 67) of the Codex Borgia (fig. 551) in the manner of Tlazolteotl, with the ichcaxochitl, the headband of unspun cotton, with the ear-plug made of the same material, and with the golden nose-crescent (yacametztli) of Tlazolteotl and of the pulque gods. But the eye has run out, or been bored out, and hangs from its socket, as with Xolotl, the god of twins and of misbirths, the regent of the seventeenth day-sign, who is reproduced above on p. 181 in fig. 386. On the crown of the head lies a feather ornament similar to the aztaxelli of the warriors, which, however, above a tuft of down feathers, consists as a rule of five white feathers (or paper strips). And at the nape of the neck the figures wear, as a kind of device, a black vessel in which lies a bundle of malinalli grass, tied together like a bundle of firewood. The upper body is bare. Around the hips is wound a skirt (enagua) which shows crossed bones on its surface and has a hem painted in the manner of the many-colored coral snake, the blood-snake. The whole appearance and attire are entirely the same in all five figures. Only they are painted differently on the face and on the forearms and lower legs — the first white (striped with red), the second blue, the third yellow, the fourth red, the fifth black. All hold in one hand a tuft of malinalli grass (a broom), and in the other the instruments of sacrifice and self-mortification — a sacrificial knife of black obsidian, a bone perforator, and an agave-thorn point, both furnished with the image of a flower, the symbol of blood. All of them drink the smoke that rises from a black incense- or fire-vessel standing on the ground before them. And indeed, in the case of the first figure, which presumably corresponds to the East, a rubber ball lies in the vessel. In the case of the second, which presumably denotes the North, the vessel is replaced by a crossroads, and the rising smoke by a centipede emerging from the goddess's mouth. In the case of the third, corresponding to the West, a skeleton sits in the bowl, holding a heart in one hand and a sacrificial knife in the other. The rising smoke is replaced by two streams of blood passing into the skeleton's mouth, one coming from the mouth of the figure, the other from her right breast. In the case of the fourth figure, that of the South, there lies on the bowl a bundle of malinalli grass and a many-colored snake (blood-snake). No smoke or anything of the kind passes into the figure's mouth; but a many-colored coral snake (blood-snake) issues from her mouth, and another hangs likewise on each of her two arms. Before the last figure, that of the Center or of the downward direction, a little owl sits in the bowl, and a stream of blood passes from the figure's mouth into that of the owl.
In our manuscript the five figures of the lower row are depicted in similar fashion, Tlazolteotl-like, with the ichcaxochitl and the plug of unspun cotton in the hair, but without the golden nose-crescent. Whereas, in the case of the last four, the same two (or three) [feathers,] above the forehead —
Fig. 551. Goddess with the day-sign "One Deer", first of the five Cihuateteo, the goddesses of the West. Codex Borgia [...] (= Kingsborough [...])
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22. The Five Goddesses of the West and the Five Gods of the South. 304
flickering curls, as with the Codex Borgia figures. and, is the first of the five figures in our manuscript represented with the hair brushed up on one side, the warrior or tequiua coiffure. The eye, too, is drawn as bored-out or protruding in the figures of our manuscript. On the crown there likewise lies an aztaxelli-like ornament, but with a varying number of upright, black or white feathers. All wore at the neck the same black defensive garment with the malinalli-grass bundle. The loincloth (maxtlatl?) — [Knagua] — is on most of them further marked with two diagonal, crossing red stripes, such as Tlazolteotl, too, the seventh of the nine lords on leaf 22 of our manuscript (cf. fig. 293a, above p. 99), wears. Only on the first figure is the Knagua red and painted with crossed white bones of the dead. And in the last figure, corresponding to the fifth direction, the direction downward, the Knagua consists, as with the god of death, of strips of malinalli grass and is held fast by a girdle made of a skeletal vertebral column, upon which, at the back, a death's-head sits as a cross-mirror (tezcacuitlapilli). All five, however, besides the Knagua, are also clothed with the men's breechcloth (maxtlatl). Like the figures of the Codex Borgia leaves, they hold in one hand a bundle of malinalli grass (a broom), in the other the sacrificial and penitential implements — sacrificial knife, bone dagger, and agave-thorn point. The sequence of colors here is somewhat different from that in the Codex Borgia, namely white, yellow, blue, red, and again yellow — a sequence that actually corresponds better to that of the cardinal directions. An incense- or fire-vessel also stands before them on the ground, with varying contents, whose symbolism corresponds almost exactly to that of the Codex Borgia figures. Accordingly, we see here too the figure corresponding to the East drinking the smoke rising from a rubber ball. From the mouth of the figure of the North hangs a centipede, which here is additionally armed with scorpion pincers. In the figure of the West, blood flows from the hanging breast into the mouth of the small skeleton sitting in the incense bowl. In the red figure of the South we have in the bowl a rubber ball and a striped blood-serpent, and a striped blood-serpent likewise comes forth here from the figure's mouth, while another hangs over each of its two arms. In the last figure, the one corresponding to the downward direction, one sees in the black bowl before the goddess the little owl, surrounded now only by firewood and by colored rods, and here too one sees blood passing from the mouth of the figure — which, differing from the others, is drawn with crooked feet turned toward each other — into the death's-head gullet of the little owl.
These five figures are, as I already established in one of my earliest works¹), the Ciuateteo or the "otiamique Ciuapipiltin manca," "the goddesses" or "the women who dwell at the crossroads," whom the Sahagún manuscript, in the first book, names immediately before Tlazolteotl, of whom it there says:
macuiltinteme yn imunpuauutl catca
jfiuech tlamiloa
quilJt mach (ellauelui teca mocayava
ynic aea yte cA quimevaia tlauelilocati
ttnweuiliui ymecuiUui
matzicoliui ycxicochapi yrjrimiwiqui
momacwcuftza ttlacuahic quica
yc mitvaya
Five images they were,
to them it was ascribed —
it was said, they vent their wrath on
people, they make their mockery
of them (bewitch them).
If someone is possessed by a demon, struck
by demons,
with mouth twisted and eyes turned
awry (lying there),
with hands clenched together, feet
drawn in,
striking about themselves with their hands.
Foam before the mouth,
then it was said: —
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II. Reverse side.
omotennmirti he has joined himself (with a demon),
tepan oquiztpu ciuapipilti omuac chantque the Ciuapipiltin, who dwell at the
crossroads, have taken on
his form. —
Therefore the parents warned their children and admonished them (on the days when the Ciuapipiltin come down) not to go out of the house: —
vuica xonquica flu! pan acy tmto yn ciuapipilli "go not out, the Ciuapipiltin
come down upon their knees."
These ghostly beings, to whom in their temples or at the crossroads breads were offered in the shape of butterflies (papalotlaxcalli) and S-shaped ones (xonecuilli), which were held to be images of the lightning, others called xocoicxitlamatlamalli, and white, popped, roasted maize (izquitl), were regarded as the souls of the mocihuaquetzque, the warriors who had taken on the form of a woman, the women who had died in childbed. The woman who bore a child was, as I stated above on p. 251, compared by the Mexicans to the warrior who had been victorious, who had taken a captive. The woman who died in childbed, she was the warrior who had fallen, who had fallen into the hands of the enemy and been slaughtered on the sacrificial stone. — "O my daughter," — she was addressed — "thou brave one, thou beautiful and tender dove, thou hast exerted thyself as a brave one, thou hast fought resolutely, like thy mother, the goddess Ciuacoatl Quilaztli. Thou hast used the shield and the hand-sword, as a terrible and valiant female warrior, the shield and the sword which thy mother Ciuacoatl Quilaztli placed in thy hand."²)
The woman who died in childbed thus awaited the same lot as the warrior fallen in battle or slaughtered on the sacrificial stone. The souls of the dead warriors went up into heaven, into the House of the Sun, where they escorted the sun as it rose in the East with songs and dances up to the zenith. There, however, they were relieved by the souls of the women who had died in childbed, who, dwelling in the western heaven, received the sun at the height of its course and likewise, with songs and dances, escorted it down to the horizon. — "Arise and lift thyself up," — the woman who had died in childbed was addressed — "already it is day, already morning has come, already the Coyoltototl and the other birds are singing. Arise and array thyself! Go to that good place, the house of thy father, thy mother: the sun, where the blessed dwell — go, that the blessed ones, the heavenly goddesses, the Ciuapipiltin, may receive thee there, and that thou mayest ever dwell among them, to gladden with songs and dances our father, our mother, the Sun, and to escort her wherever she may go to disport herself."²)
In the western heaven, in the West, then, dwell these female warriors, the Ciuapipiltin, the souls of the dead women, the mocihuaquetzque, for which reason indeed it is called cihuatlampa, the "region of the women." But because that is their dwelling place and their domain, therefore on the days that are dedicated to the West, that denote the West, the Ciuapipiltin have power. And these are the five days that make up the initial column of the third quarter of the tonalamatl, arranged in columns of five, the same days whose signs we have met in the five fields of the lower halves of the leaves of this section. On these five days, the days
ce mazatl "one Deer"
ce quiauitl "one Rain"
ce ozomatli "one Monkey"
ce calli "one House"
ce quauhtli "one Eagle"
there the Ciuapipiltin come down to earth (tlalpan ad temo in ciuapipiltin). And there they caused all manner of mischief. For they were indeed the brave ones, the female warriors, the mere sight of whom already caused fear and terror. Therefore the young warriors sought to obtain the hair or a finger of a woman who had died in childbed, in order to set it as a talisman into their shield, and thereby to instill fear and terror into their enemies.¹) The evil sorcerers, the sorcerer-scoundrels, the temacpalitotique, knocked with the severed hand of a woman who had died in childbed upon the threshold of a house and thereby put the inmates into complete tetanic rigidity, into paralysis, so that they could plunder the house unpunished and unhindered and play all manner of mischief upon the inhabitants, especially the women.²) That the Ciuapipiltin, by their mere sight alone, must have caused paralyzing terror, is perhaps the reason why it was assumed that they caused epilepsy in children, so that on their days the children were anxiously guarded and not allowed to go out of the house. But perhaps also the other notion was at work here, that they, of whom it was said that when they came down to earth they sought their spindles, their work-baskets, and so forth, the whole apparatus of earthly female activity, also desired children and, wherever they found such, took possession of them. For there existed, as the passage cited above from the original text proves, among the Mexicans quite decidedly the same notion as among the ancient Orientals, that an epileptic was one possessed by a strange demon. It is also said that, if someone was well-formed of body, the Ciuapipiltin became jealous of his beauty and struck him with sickness.³) The Ciuapipiltin, finally, were also the women who seduced to unchastity, to adultery, to sin. Therefore the reporter says that the days on which the Ciuateteo were powerful, on which they came down to earth, brought forth — "suciedades y torpezas."⁴)
In those [dark] days, [these] Aztecs* were destined once to be stoned as adulterers—
That the women depicted alongside the signs mafatl (deer), quiauitl (rain), ozomatli (monkey), calli (house), quauhtli (eagle) in the lower halves of leaves 77–79 of our manuscript represent the Ciuateteo or Ciuapipiltin is already proven by the fact that these signs are precisely the days on which (as Sahagun states in the second and fourth books, in the section on the "movable feasts," i.e., the Tonalamatl feast-days) the Ciuateteo descend to earth. But this is also evident from the appearance and adornment of these figures. The Ciuateteo are white — mixtecaxique auh pani tlaolxaualli — as Sahagun describes in the first book. And the first of the female figures in the lower halves of our leaves is likewise white. The others naturally had to be given different colors, in order to express the variation of the cardinal directions. They are dressed like the Tzitzimime, for the Ciuateteo are, by their nature, akin to this goddess. They wear the loincloth of men and are — at least the first of them — coiffed as warriors, for the Ciuateteo are indeed the women-warriors. They are depicted with a protruding eye, like Xolotl, since, like him, they are the sacrificed ones who died in the exercise of their warrior calling. They are depicted — at least one of them, the last — with feet curved toward one another, for it is the Ciuateteo who have taken up their dwelling in those stricken with tetanus and in epileptics. They are, terrible already in appearance, painted and equipped with all manner of death-symbols. For the Ciuateteo are the uncanny, ghostly beings who hold power in the region of evening and in the time of twilight, and who have their cult-sites at the crossroads. Everything accords with the overall picture, and there can be no doubt as to the correctness of this interpretation.
Fig. 552. Macuil cuetzpalin, "Five Lizard," first of the five gods of pleasure, the gods of the South.
Codex Borgia 17 (= Kingsborough 58).
1) Sahagun 5, cap. 2. — 2) Sahagun 1, cap. 31. — 3) Sahagun 4, cap. 22. — 4) Sahagun 4, cap. 27.
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B. Reverse side.
Opposite the five female deities, in the upper halves of leaves 77–79 of our manuscript, in whose five fields the initial signs of the fourth Tonalamatl quarter, which governs the South, are drawn, stand five male deities. These show, in the Codex Borgia (fig. 552), a similar alternation of colors as the five Ciuateteo. Except that, just as white is properly assigned to the Ciuateteo, so black is the color properly belonging to them, with which indeed the first of the five figures is painted, while the others are correspondingly rendered in blue, yellow, red, and — the last, since black has already been assigned to the first of the five — in green. Like the Ciuateteo, moreover, these five male deities characteristic of the South and the fourth Tonalamatl quarter also have, in the Codex Borgia, the black night-garment with the malinalli-bundle at the nape of the neck. Through this emblem, and through the parallel alternation of colors, this upper row of male deities is thus clearly marked, in the Codex Borgia, as a counterpart to the row of the Ciuateteo.
In the columns drawn on the left side of the fields of this section — expressing the five transverse rows of the third, respectively the fourth, Tonalamatl quarter — the fifth sign, besides the initial sign, is also rendered by the actual image of that sign, while the others are indicated only by discs or dots. This may have its reason in the fact that these signs of the fifth column of the Tonalamatl quarter — the days which combine, in their name along with their sign, the number Five — were regarded as especially characteristic for these deities who appear in the number five. While we would have to assume this in a certain sense also for the lower row of the Ciuateteo, it holds quite definitely for the upper row of the male deities. These are in fact named directly with the names of these fifth days of the Tonalamatl quarter, and therefore have (at least in the Codex Borgia) all of them, at the side of the mouth, in white color, the drawing of a human hand, which is indeed, in a certain sense, a hieroglyph for "Five." Macuilli, "a hand taken, a hand as a whole," is the Mexican word for "Five." That this is indeed so is proven by the descriptions in the chapter on divine costumes of the Sahagun manuscript, where two of this upper row of male deities are named by their names and depicted with the sign of the human hand at the mouth (figs. 553, 554), which is described in the accompanying text by the word motenmacpalcuiticac (properly motenamacpalcuiticac), "he has made himself a hand at the mouth," and elsewhere by tennacpatl, "he wears a hand at the mouth." 1) — That indeed, for
1) Publications from the Royal Museum for Ethnology. Vol. I, part 4 (Berlin 1890), p. 88 and 118 [numbers uncertain in source].
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22. The five goddesses of the West and the five gods of the South. 309
the lower row of the five Ciuateteo, the days of the initial column of their Tonalamatl quarter (the third) are to hold, and for the upper row of the five male deities, the days of the fifth column of their (the fourth) Tonalamatl quarter are determinative — for this there is yet another proof.
In our manuscript the representations of this section are limited to the two rows, that of the Ciuateteo and the upper row of the male deities. But in the Codex Borgia one sees, at the beginning of these two rows, a further special field each. These two initial fields are rendered in dark color. The one before the row of female deities in blue, that before the row of the males in gray with black spots.
In the field standing before the row of the Ciuateteo, one sees, with their openings turned toward one another, two bowls, painted in the colors of the precious stone (chalchihuitl), but furnished with a face, which on one bowl has the features of a living face, on the other those of a skull. From the two bowls radiate four scolopendrae [centipedes] and four red coral-snakes (blood-snakes). And beneath them one sees, on the one side, a scolopendra-head, on the other, a cloak painted in the two colors of the rain-gods and ornamented with their nose-crescent. In the middle between the two bowls the hieroglyph chalchihuitl, "green precious stone," is drawn, and out of it emerges a naked female figure, equipped with death-symbols — the back-of-head shield cuexcochtechimalli and the broken banner pantoyahualli — and having a band over her eyes.
In the field before the row of the male deities one sees, similarly, with their openings turned toward one another, two cooking-pots, and beneath each of them, serving as it were as a support for the round bottom, a long tubular bone. Blood- or fire-serpents also radiate here from the two pots. And out of a tecpatl, a sacrificial knife of flint, which is situated in the middle between the two pots, one sees a male figure emerging, which has the color and the facial paint (the drawing of the white hand at the mouth) of the first of the five male deities, but in addition has crooked limbs, like Xolotl, the god of monstrous births, whom we have come to know as the regent of the seventeenth day-sign (cf. fig. 386, above p. 181).
To enter into the symbolism of these representations would lead me too far afield. For our present purpose, what matters above all is that we should recognize, in each of these two fields, the actual image of five dates. And these are, in the lower field, the one before the row of the Ciuateteo, the days 13 miquiztli, 13 tecpatl, 13 itzcuintli, 13 ehecatl, 13 ocelotl, that is, the days preceding the initial days of the transverse rows of the third Tonalamatl quarter, belonging to the Ciuateteo and the West. In the field before the upper row, that of the male deities, however, the days are 4 calli, 4 quauhtli, 4 mazatl, 4 quiauitl, 4 ozomatli, that is, the days preceding the fifth days of the transverse rows of the fourth Tonalamatl quarter, characteristic of these male deities and the South. With this, I believe, it is sufficiently clearly suggested that for the Ciuateteo, the members of the lower row, the initial days of the transverse rows of their Tonalamatl quarter, that is, the days —
Ce mazatl, Ce quiauitl, Ce ozomatli, Ce calli, Ce quauhtli
are to hold good as names. For the upper row of the male deities, however, the fifth days of the transverse rows of their Tonalamatl quarter, that is, the days
Macuil cuetzpalin "Five Lizard"
Macuil cozcaquauhtli "Five Vulture"
Macuil tochtli "Five Rabbit"
Macuil xochitl "Five Flower"
Macuil malinalli "Five Twisted-Grass"
Now as regards these figures in detail, they are all, both in the Codex Borgia and in our manuscript, marked by a rectangularly bounded light field around the eyes, which indeed recalls a similar field around the eyes in the coyote-god, the dance-god Huehuecoyotl (cf. above p. 147). In the Codex Borgia they are, besides, all characterized by the
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310
B. Reverse side.
above-discussed drawing of the white hand at the mouth, which, however, in our manuscript, in the second figure, is replaced by the drawing of an actual hand entirely covering the mouth, and in the others by a bundle of grass-stalks. The hair, in the figures of the Codex Borgia, is disheveled, in the manner of that of the death-god, and stuck with owl-feathers, and wound about with a band of paper forming a tuft in front. On the crown lies a feather ornament which, above a great ball of down-feathers, shows two feathers (or paper-strips?), painted half red, half white, and, as it seems, furnished with eye and mouth-opening. In the figures of our manuscript the headdress varies; everywhere on the crown lies an ietemalli, whose components, however, differ among the various figures. On the breast all the figures of the Codex Borgia wear the white ring (anahuatl) of the god Tezcatlipoca, the image of the eye. And so too do various, though not all, figures of our manuscript. The figures of the Codex Borgia hold in one hand a copal-bag, in the other the sacrificial and penitential implements — a black obsidian knife, bone dagger, and maguey-leaf spine. The figures of our manuscript have, like the Ciuateteo, in one hand a bundle of malinalli-grass (a broom), in the other the sacrificial and penitential implements, a sacrificial knife of flint, bone dagger, and maguey-leaf spine. Before the figures of the Codex Borgia, finally, stands on the ground a white fire- or incense-vessel of the kind I have reproduced above, p. 30, in figs. 80a–c, with copal or rubber, from which black smoke rises and passes into the mouth of the figures. These incense-vessels are absent from the figures of our manuscript.
To the first figure belongs the name Macuil cuetzpalin, "Five Lizard." Within this series of southern gods it ought to designate the region of the East. In the Codex Borgia the god is drawn as black, in our manuscript as half black, half white. In our manuscript he has his head covered with a white cloth, over which lies an *ihuiitzolli* whose end-tuft consists of quetzal feathers. On his breast he wears the eye, Tezcatlipoca's white ring. In the Codex Borgia one sees beside him the emblems of war drawn — shield, spear-bundle, and messenger's fan — and from the incense-vessel before him, together with black smoke, blood passes over into the mouth of the god. A god characterized by the hieroglyph Macuil cuetzpalin, "Five Lizard," is depicted in the Sahagún manuscript of the Biblioteca del Palacio in Madrid (fig. 355, p. 308 above) as one of the two figures that stood atop the great temple in Mexico at the top of the stair-ramps, into whose hands one placed the poles of the banners that were planted when a festival was to be celebrated.
The second figure bears the name Macuil cozcaquauhtli, "Five Vulture." Within this series of the gods of the South it ought to represent the cardinal direction of the North. In the Codex Borgia here, as at the corresponding place in the series of the female deities, a blue god is drawn, and an axe and a broken bone-dagger are indicated before him. — The figure in our manuscript has roughly the appearance of a sun and fire god, or a red Tezcatlipoca. He is the only one among the five gods of this series who has, instead of a stone-knife bundle, a hand at the mouth. Not, however, the white drawing of a hand, as in the Codex Borgia figures, but apparently a real human hand, which lies before the mouth in the same manner as the hand of the human forearm which the red (Tlahuahque) Tezcatlipoca representing the god Xipe, the regent of the fifteenth day-sign (cf. fig. 380, p. 174 above), holds before his mouth. The god is, as already said, painted red, with fire-colored hair, which is wound about with a band set with precious-stone discs, with the usual stylized bird's head at the front. On the crown lies a feather-crest of red feathers. As breast-ornament this god wears a stone knife, and on the upper arm a large ring-ornament (machoncotl) painted in blue (turquoise) color.
The third god, who in this series of the gods of the South must represent the cardinal direction of the West, bears the name Macuil tochtli, "Five Rabbit." He is painted with yellow color in both manuscripts. Now, in order to be able to distinguish, within the yellow color, the rectangularly bounded yellow field which — a very characteristic feature for all the gods of this series — is to be seen in the area around the eye, the draughtsman of the Codex Borgia has painted the god with a somewhat deeper yellow, almost brownish color, but our manuscript, conversely, has rendered this actually yellow field with dark, grey color. This god is drawn in our manuscript in
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22. The five goddesses of the West and the five gods of the South.
311
general similarly to the previous figure, but with a bundle of stone knives before the mouth, and also wearing on the front of the head-band a flower, out of which a bundle of stone knives projects. On his breast he wears the eye, the primal form of the white ring (anahuatl) of the god Tezcatlipoca, and on the upper arm he has an upper-arm ring machoncotl painted in blue color, like the red god, the second of this series.
In the Codex Borgia one sees, in the case of this third figure, from the incense-vessel, together with the black smoke, a precious-stone band drawn into the mouth of the god, and beside this figure the Codex Borgia has drawn a pulque-vessel, that is, the Codex Borgia conceives, in accordance with the meaning of the sign tochtli, this god as a pulque-god. In fact, in the Sahagún manuscript of the Biblioteca del Palacio too, the god Macuil tochtli is drawn indeed with the white hand at the mouth (motemacpalhuitica) and the crown-feather crest (quetzalpatzactli) of the god Macuilxochitl, but at the same time with the axe (iztopolli) of the pulque-gods in his hand and with the nose-half-moon (yacametztli) of the pulque-gods as shield-device (cf. fig. 353, p. 308 above).
The fourth god, who bears the name Macuilxochitl, is now the genuine, true South-god, who within this series of the gods of the South represents the South. He is painted, in the Codex Borgia, like the fourth Cihuateotl, with red color. And so he also appears in the images of the Sahagún manuscript and of the pictorial manuscript of the Florentine Biblioteca Nazionale (cf. figs. 367 and 305, p. 163 above). This is the red god whom we encountered as the third of the four gods of the fifth Venus-period (assigned to the South) (fig. 437, p. 207 above), and who on leaf 72 of the Codex Borgia is enclosed by the fourth serpent, the serpent of the South (fig. 550, p. 296 above) — the god of pleasure, the Ahuiatl, the god of dance and of play, in particular of the ball-game (tlachtli) and of the dice-game (patolli). As god of the dice-game he is depicted in the pictorial manuscript of the Florentine Biblioteca Nazionale (fig. 365, p. 163 above), and as the god of the ball-game his stone image, in the posture of one watching the game, stood everywhere on the ball-courts, from which presumably also came the images that I reproduced above on pp. 164 and 166 in figs. 369–371. That is why we also see here, on the Codex Borgia leaf, the rubber ball, the play-ball, indicated with this god. Beside it, to be sure, also an axe (tepoztli), for play leads to gambling-away. The great ball-players gamble away in the end all their goods and chattels and even themselves. And for that reason perhaps we see also, in our Codex Borgia image, from the incense-vessel before the god, together with the dark smoke, also a blood-band drawn into the mouth of the god — unless this has another, deeper meaning relating to the Ahuiatl, the god of pleasure, the god of lust.
In our manuscript there is, curiously, in place of the red god, a black one drawn here, and indeed — apart from the drawing on the face — a proper Tezcatlipoca, with his smoking mirror at the ear, the warrior's feather-ornament aztaxelli on the crown, and with the eye, the white ring (anahuatl), as breast-ornament. It seems to me not impossible, indeed probable, that in our manuscript there is again a confusion present, that perhaps this black Tezcatlipoca-like god has to exchange his place with the red god, the second of the series.
The fifth and last god of this series bears the name Macuil malinalli, and he must, within the main region, the South, represent the fifth direction, the above-below. He is represented in the Codex Borgia as a green god, namely as Cinteotl, as maize-god. As with the first god, the god of the East, there lies with him a rubber ball in the fire-vessel, which, as we know, signifies abundance of food, and with the smoke a precious-stone band rises from it into the mouth of the god, and another precious-stone band goes up from the mouth, ending in a maize-cob. Another maize-cob is additionally indicated in the upper part of the compartment. Evidently the earth is thought of here as the fruit-bearing one. I recall that above, p. 279, the sign macuil malinalli was designated as one that guarantees wealth to those born under it.
In our manuscript the fifth god is painted with blue color. He has a red cloth, studded with feather-balls, on his head, such as one sees on the earth-god Xipe, on the red Tezcatlipoca,
1) from the Royal Museum for Ethnology. Vol. I. Part I. Berlin 1899. K. Jil. [translator: illegible/uncertain fragment]
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312
B. Reverse side.
and also on the old fire-goddess Chantico. Here presumably the same conceptions are present as with the green god, the maize-god of the Codex Borgia.
In our manuscript the representations of this section are confined to the two rows of the Cihuateteo and of the gods of the Macuilxochitl series. On the corresponding leaves (47 and 48 = Kingsborough 68, 67) of the Codex Borgia, however — apart from the two dark fields that are additionally appended before the rows of the Cihuateteo and of the gods of the Macuilxochitl series — there is present yet a third, lowest row of figures, which we may briefly designate as the five forms of the goddess of the Earth. — These are five female figures, who wear the black rubber-paint (motenteocopinticac) of the goddess Tlazolteotl about the mouth, the golden nose-half-moon (yacametztli) of the same goddess, her head-band of unspun cotton (ichcaxochitl) and the ear-plug of the same material, as well as the tuft of yellow feathers (toyaomalli) at the neck, which, however, ties together the tangled, dark hair of the
Fig. 556. atl-tlachinolli, water (spear-throwing) and fire, the metaphorical designation of war.
With the Tlazolteotl of the East.
Codex Borgia 47 (= Kingsborough 68).
Fig. 557. tecpatl "flint-knife," xiuhcoatl "fire-serpent" and Mixcoatl, the god of the Chichimeca and of the hunt.
With the Earth-goddess of the North.
Codex Borgia 47 (= Kingsborough 68).
Fig. 558. Cinteotl, the maize-goddess, and as "riches" (necuiltonolli), "annexation," namacaliztli "sale into slavery" and yaomiquiztli "death in war."
With the Earth-goddess of the West.
Codex Borgia 48
(= Kingsborough 67).
Fig. 559. tonatiuh, the sun.
eztli "blood," tlamictiliztli "human sacrifice." With the Earth-goddess of the South.
Codex Borgia 48
(= Kingsborough 67).
Fig. 560. The descending bat. With the Itzpapalotl, the goddess of the agave-plant, the earth-goddess of the Center or of the downward direction.
Codex Borgia 48
(= Kingsborough 67).
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22. The five goddesses of the West and the five gods of the South.
313
death-god, and a kind of little head on the crown, and are otherwise distinguished, in a manner similar to the Cihuateteo and to the gods of the Macuilxochitl series, in color. The first, however, is here painted yellow (and striped red), for that is the color properly belonging to the earth-goddess. This first figure is, moreover, as the actual goddess of the Earth, marked by the drawing of a black footprint on the cheek. The following three are then, like the corresponding figures of the two upper rows, blue, yellow, red; the last, however, again differently, white and covered with down-feathers.
The first goddess, who must correspond to the East, is designated with the date Chicunaui acatl, "Nine Reed." This is a day which is indeed given in Sahagún (Book 4, chap. 30) as the day dedicated to the goddess Tlazolteotl, and under whose name the goddess Tlazolteotl is also depicted on the reverse side of the Codex Bologna. This first form of the earth-goddess is, on her garment and at various other places on her body, garnished entirely with arrow-points. She holds in one hand a bundle of malinalli-grass (a broom), in the other a bundle of spears and the peculiar thrusting weapon, seemingly made from a swordfish's sword. Beside her a burning house and the naked figure of the water-goddess in the water are indicated (fig. 556). This is, again, another and highly interesting form of the hieroglyph atl-tlachinolli, "water (spear-throwing) and conflagration," the metaphorical designation of war.
The second, the blue goddess, who must correspond to the North, is designated with the date Nahui tecpatl, "Four Flint-knives," which, if one prefers, may also be translated "nothing but flint-knives." Her garment is patterned and adorned all over with flint-knives. Beside her are shown a flint-knife as the lower, ground-lying part of a fire-drill, an arrow, and the leg of Mixcoatl — the god of the North, of the Chichimecs, and of the hunt — trimmed with a black mask at the knee (fig. 557).
The third, the yellow goddess, who must represent the West, is designated with the date Chicuacen acatl, "Six Reed." Her garment is patterned all over with bones. Beside her the maize goddess is seen between two maize plants in the water. Above that an axe, a bound captive, and an arrow (fig. 558). The West as the region of water and the homeland of maize is clearly illustrated by the former. The other three images above it, the axe, the bound captive, the arrow, might be meant to signify the three things that were inseparably bound up for the Mexican with the notion of water as the fluid, mobile element — icnoyotl (poverty), tlanamactiliztli (sale into slavery), yaomiquiztli (death in war)*).
The fourth, the red goddess, must denote the South. She is designated with the date Chicuei acatl, "Eight Reed," a day which in the Codex Bologna and in the Codex Laud appears to occur as the name of the moon goddess*). The garment of this goddess likewise shows (besides nose-crescents) bones as ornament. Beside her are depicted the sun and blood, and a heart pierced by an arrow, a treasure chest, a torn-off human head, and a priest cutting open his breast with the sacrificial knife (fig. 559). All symbols that mark this cardinal direction, the region of the South, as a region of sacrifice.
The fifth goddess, the white goddess, who must denote the lower region, appears to be designated with the date Ce quauhtli, "One Eagle." It is Mayauel, the goddess of the agave plant, here painted with a similar face too, as for instance the Mayauel who is the fourth of the four guardians of the first (likewise center- or lower-region-denoting) Venus period on leaf 16 (= Kingsborough 23) of the Codex Borgia (cf. fig. 409, above p. 1%). At present the lower part of this compartment is almost completely rubbed away. Kingsborough's draftsman seems to have seen still more. Here, beneath the goddess, he draws a peculiar animal (fig. 560), which apparently comes flying down from above, and which, in its tail-like appendage, resembles the bat-god of leaf 49 (= Kingsborough 66) of the Codex Borgia (fig. 314, p. 113).
1) See my commentary on the Codex Fejérváry-Mayer. Berlin 1901. p. 88.
2) Cf. my commentary on the Tonalamatl of the Aubin Collection. Berlin 1900.
3) Codex Fejérváry-Mayer. Berlin 1901. pp. .V2, 85, 80.
4) Cf. Codex Vaticanus No. 3773.
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814
B. Verso.
This series of the five forms of the Earth Goddess was important to me, apart from the interest inherent in it, also because it proves to me that above, in the section dealing with the four-times-five guardians of the Venus periods, I correctly related the Venus periods to the cardinal directions. For there too we found that Mayauel (standing first there) was indicative of the center or the lower region, and the true Tlazolteotl (who stands there in second place) was indicative of the region of the East.
23. The Thirteen-Times-Five Venus Periods.
Leaves 80–84 (= Kingsborough 17–13).
The following five leaves of our manuscript, as well as the corresponding ones of the Codex Borgia (53, lower left, and 54 = Kingsborough 62, 61) and of the Codex Bologna (W–11), contain the important representations from which, as I first demonstrated at the time*), it emerges most clearly not only that the authors of these picture-writings, who undoubtedly belonged to Mexican-speaking tribes, were just as well acquainted with the Venus period — the synodic revolution of the planet Venus, the time that elapses from one conjunction of this heavenly body to the next of the same name — as were the scribes of the Dresden Maya manuscript, but also that the particular superstitious notions which those ancient tribes associated with this heavenly body were, among the Mexicans as among the Maya tribes, essentially the same.
From the given magnitude of the synodic period of revolution of the planet Venus, which on average amounts to 583 days, 22 hours, 6 minutes, 40 seconds, but which was assumed by those ancient scholars, somewhat inexactly, to be 584 days, it followed — since 584 = 29 × 20 + 4, and the 4 goes into the 20, indeed five times — that of the twenty signs which the Mexicans used to designate the successive days, only five fell on the initial position of these periods reckoned at 584 days. If, for example, the first period begins with the first sign cipactli, "crocodile," then the second would have to begin with the fifth sign couatl, "serpent," the third with the ninth sign atl, "water," the fourth with the thirteenth sign acatl, "reed," the fifth with the seventeenth sign olin, "movement," and the initial day of the sixth would again coincide with the sign cipactli. Since, further, 584 = 44 × 13 + 12, and the 12 does not divide evenly into the 13, it followed that each successive period had to fall on a number reduced by one unit, and only after the passage of thirteen periods could it occur that the initial day of a period again contained the same number in its name as that of one of the preceding periods. And from these two facts followed the further one, that only after 5 × 13 periods had elapsed could the case occur again that the initial day of a period was named with the same sign and the same number as that of one of the preceding periods. Thus, then, through the circumstance that the Mexicans named their days by means of a combination of 13 numbers and 20 signs, and through the period of 584 days observed for the revolution of Venus, there arose, quite of themselves, two smaller cycles of five and of thirteen periods, and a larger cycle of 5 × 13 periods. The first, the cycle of five periods, comprised the possible variations of the initial sign. It thus corresponded to the unit of four years, for which the same held true, and which accordingly, as we have seen above, also played a special role in the life and cult of the Mexicans and Central Americans. The cycle of thirteen periods possessed the peculiarity that in it the initial days of the periods each had entirely different numbers in their names. It corresponded
1) "The Venus Period in the Picture Writings of the Codex Borgia Group." Proceedings of the Berlin Anthropological Society, 16 July 1898 [Zeitschrift für Ethnologie XXX, pp. (360)–(383)]. Cf. Collected Essays on American Linguistics and Antiquities. Berlin (A. Asher & Co.) 1902. Vol. I, pp. 618–667.
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The Thirteen-Times-Five Venus Periods. 315
to what the older archaeologists called an indiction, the number of thirteen years, for which the same likewise held true. The great span of 5 × 13 Venus periods, finally, one can place alongside the well-known cycle of 4 × 13, or 52, years. For with this cycle too it held true that only after its completion did it occur again that the initial day of a year received the same sign and the same number as that of a preceding one. — The initial positions of the periods of that great cycle would accordingly, if one sets the initial day of the first Venus period as the initial day of the Tonalamatl, arrange themselves in the following manner:
The 13 × 5 Venus Periods. Table I. (Actual Sequence.)
1.
9.
4.
12.
7.
2.
10.
5.
13.
8.
3.
11.
6. cipactli
13.
8.
3.
11.
6.
1.
9.
4.
12.
7.
2.
10.
5. couatl
12.
7.
2.
10.
5.
13.
8.
3.
11.
6.
1.
9.
4. atl
11.
6.
1.
9.
4.
12.
7.
2.
10.
5.
13.
8.
3. acatl
10.
5.
13.
8.
3.
11.
6.
1.
9.
4.
12.
7.
2. olin
where it is assumed that one reads first from top to bottom, and then from left to right.
The initial days of the Venus periods named here in the five horizontal rows with number and sign, i.e., the initial days of the periods that always stand five periods apart from one another, and thus always contain the same sign in their name, are the ones that one sees listed with number and sign on leaves 80–84 of our manuscript and at the corresponding places of the other two manuscripts. Only the order in which they are named there is not that of the above list, which corresponds to the actual sequence of the periods. If one writes out, in a manner similar to before, these beginnings of the Venus periods given on leaves 80–84 in horizontal rows, the following order results instead:
The 13 × 5 Venus Periods. Table II. (Schematic Enumeration.)
(Leaf 80) —
1.
8.
2.
9.
3.
10.
4.
11.
5.
12.
6.
13.
7. cipactli
(Leaf 81) —
5.
12.
6.
13.
7.
1.
8.
2.
9.
3.
10.
4.
11. couatl
(Leaf 82) —
9.
3.
10.
4.
11.
5.
12.
6.
13.
7.
1.
8.
2. atl
(Leaf 83) —
13.
7.
1.
8.
2.
9.
3.
10.
4.
11.
5.
12.
6. acatl
(Leaf 84) —
4.
11.
5.
12.
6.
13.
7.
1.
8.
2.
9.
8.
10. olin
that is, one has let these follow one another in a more schematic manner, [corresponding to] how the days of each horizontal row would come to stand one after another in the Tonalamatl.
One sees this both in our manuscript and on the corresponding leaves of the Codex Borgia. In a still more schematic manner, still more merely by way of indication, one has proceeded in the Codex Bologna. There the day-signs from the first to the twentieth are depicted, together with the numerals corresponding to the first twenty days of the Tonalamatl. But the five signs cipactli, couatl, atl, acatl, olin fall out of the series, in that they are depicted not with the numerals due to them in the series, but with a large "One." — One sees how greatly these Mexican picture-writings differ from the Maya manuscripts in this respect. In the Maya manuscripts, calculations carried through, painstaking precision in fixing both the dates and their intervals. Here, in the Mexican writings, only a hint of the actual arithmetic, with arithmetic of any kind receding altogether before the images. One gets the impression that the Mexican picture-writings call to the minds of those already in the know what is familiar, while the Maya manuscripts record or transmit knowledge.
In this particular case, moreover, at least in our manuscript, care was taken that the viewer could be oriented as to the relationship between the schematic enumeration and the actual sequence. We see, on all five leaves, first of all — and likewise at the corresponding places of the Codex Borgia — indicated, partly at the upper, partly at the lower edge of the compartments, three day-signs, which indicate the distance from the initial sign of one Venus period to that of the next following,
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from that to this passage over. Besides, one sees in our manuscript on each of the five leaves, at the upper left, five closely adjoining figures drawn, consisting of a disc, a trapezoid and a kind of serpent's-tongue, which on the first two leaves are painted blue, on the third yellow, on the fourth blue, and on the fifth again yellow. These figures, which recall somewhat the manner in which, in the historical Mexican picture-writings, the years are rendered by turquoise discs with rays going upward, can scarcely signify anything other than five periods, and must, I think, be periods which, like the three day-signs, denote an interval.
It is, to me, beyond doubt, the five periods that in reality lie between the periods whose beginnings follow one another in the schematic enumeration of these leaves. Indeed, on leaf 80 the day 1 Cipactli, the initial day of the first Venus period, is followed by the day 8 Cipactli, and this is, as a glance at Table I shows, the initial day of the sixth period following the first, that is, of a period separated from it by five periods.
Now if it is indeed beyond doubt that on these five leaves the initial days of the 13×5 Venus periods are set down in a correct manner, fully intelligible to the initiated, it further follows from this record, as likewise from the other passages of our manuscripts in which initial days of Venus periods are named, that, in contrast to the years, whose initial days, as we have seen (cf. above p. 279, 280), never fall on the beginning of the Tonalamatl, the Venus periods were counted from the beginning of the Tonalamatl. It would be more correct, I think, to put it that the count of the days of the Tonalamatl was brought into agreement with the Venus periods. For the Venus periods are given, fixed lengths of time; the beginning of the Tonalamatl was arbitrarily set at some particular time. The day on which the heavenly body occupied in the sky the position that was regarded as the starting point of its course — that day was, at some particular time, chosen as the first day of the Tonalamatl. The kinship relation of the Tonalamatl to the Venus period, to which I already drew attention at the beginning of the first chapter of this book, leaps to the eye here as well.
On the five leaves of our manuscript on which, then, in the manner more closely described above, the 13×5 periods of Venus are recorded, we see, repeated five times, Tlauizcalpantecutli, the deity of the planet Venus, represented in his form as evening star (fig. 561), that is, in the form in which we have already met him above as the second of the four guardians of the fourth Venus period (cf. figs. 424, 425 above p. 203), with the quincunx of white spots or discs on the dark ground of the face, which represents the hieroglyph of the planet Venus (cf. figs. 399–402 above p. 193). The god is depicted on these leaves of our manuscript as half white, half black: that is, the body, the upper arms and the knees are black, but the forearms, as well as the upper and lower legs, are white and provided with fine yellow longitudinal lines. This is a similar difference of colour to that given also for the images of Xolotl, and it suggests the idea — which in any case lies close at hand on other grounds — that this dreaded god of the Mexicans stands in some kinship relation to the god of the morning and evening star.
On the dark face marked with the quincunx of white spots, one still sees, in the figures of these leaves of our manuscript, beneath the eye, a figure resembling the blue lip-serpent Xiuhcoatl but painted in yellow, which in the middle of the face above the root of the nose seems to entwine itself and is there furnished with a kind of tassel. This figure, which I have not yet found in other figures of these manuscripts, recalls in a striking way a type that appears in sculptures and pictorial works of the Maya region (cf. figs. 562–564) and presumably denotes a particular deity that will not stand very far from that of the evening star¹). Like other images of the deity of the evening star, the figure of our leaves 80–84 is depicted with fire-coloured hair, which flares up over the forehead in three locks, and which is bound about with a band on which, instead of the (green or blue) jewel-discs, white discs (ground from shell) are set. Above the hair he wears an ornament of black feathers furnished with white tips, which here evidently is thought of as comb-like (as a paitzactli), and from which, like rays, three eagle feathers rise up. On the breast he wears the eye, the white ring (anahuatl) of the god Tezcatlipoca. But in front of it a star- or ray-eye furnished with protruding eyes, which evidently here is meant to be the image of the heavenly body itself, and which we have likewise seen on the neck-collar of the Tlauizcalpantecutli of the Codex Fejérváry (cf. fig. 426 above p. 203). In one hand the god holds the spear-thrower (atlatl), in the other a bundle of three spears (tlacochtli). For the deity of this planet was conceived as a shooter. And indeed we have already, above, found the images of the five Venus periods (cf. figs. 540, 543, 544–548 above p. 286, 287, 289) armed with spear-thrower and spear.
¹) Cf. Seler, "Die alten Ansiedlungen von Chaculá im Distrikte Nenton des Departements Huehuetenango der Republik Guatemala." Berlin (Dietrich Reimer) 1901, p. 88ff. and 177, 178.
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To these images of our manuscript, in the whole construction of the figure, the corresponding figures depicted at the corresponding places of the Codex Bologna are similar (fig. 565). We see the fire-coloured hair, which flares up over the forehead in three locks. On the head-band the white discs are set, which here however have a pointed oval shape. Above the hair one sees the large, comb-like ornament of black feathers furnished with white tips. The breast ornament is likewise the white ring (anahuatl) of the god Tezcatlipoca, and the lower hem of the pelerine-like neck-collar is here too set with long-stemmed eyes between other blunted figures, the remains of a star- or ray-eye. But of the five figures only the first is depicted with white, red-striped limbs, similar to the figures of our manuscript. The others are painted green, yellow, brown (which is presumably meant to count as red) and blue. The face does not have the characteristic painting of the deity of the evening star (the quincunx of white discs on a dark ground), but is a death's-head devouring blood and a heart. And the god not only holds the spear-thrower in his hand, but has laid a spear upon it and draws back to cast it. In the other hand, however, he holds shield, hand-flag, and, together with a bundle of spears, the hunter's net-bag (matlahuacalli).
Fig. 565. Tlauizcalpantecutli, the deity of the evening star, in the second period, hurling the spear against Chalchiuhtlicue, the goddess of flowing water. Codex Bologna 3.
In the five figures of the Codex Borgia, the fire-coloured hair flaring up over the forehead in three locks, the head-band with the white, pointed-oval attachments, and the comb of black feathers furnished with a white tip are likewise clearly present. Only here this comb is much shorter, consisting of merely five feathers that spread only over the crown proper. The first figure here too is again white and red-striped, the following ones blue, red, yellow (and red-striped), and again white (and red-striped). The first figure (fig. 566) has, like the Codex Bologna figures, a skull as head, but this is painted with the facial painting of the deity of the evening star, the quincunx of white discs on a dark ground. The following four figures, however, wear over the face — which, in the colour corresponding to the body colour and with the quincunx of white discs, is for the most part still clearly recognizable — a mask. And specifically, the second figure wears the mask of an owl, the third that of a dog, the fourth that of a rabbit, and the fifth again a death's-head, but this time a white one. The owl as the mask of the second figure and the death's-head as that of the fifth prove that the five periods and their signs are meant to correspond to the cardinal directions in the order east, north, west, south, below. These five deities of the Codex Borgia, too, have already laid the spear upon the spear-thrower and are shooting, carrying in the other hand a further bundle of spears and a shield.
I have already cited above the passage from the Anales de Cuauhtitlan from which it emerges that the deity of the planet Venus was regarded as the shooting god, the sender of rays —
auh yn iuh quimatia — and as they knew (the ancients, the forefathers),
yn iquac hualnetzi — when he appears (rises),
ypan tonalli — according to the sign (in which he rises),
cecentlamantin ynpan miyotia — he strikes various classes of
people with his rays,
quinmina, quintlahuilia — he shoots them, casts his light upon them. —
And evidently there was fear of these rays. For, as Sahagún states¹), when the morning star rose, people stopped up chimneys and light-holes, so that no harm might enter the house with its light. "Sometimes, however, he was also regarded as something good."
The cecentlamantin, the "various classes of people," upon whom, according to the Anales de Cuauhtitlan, this planet casts its light according to the sign in which it rises, whom it shoots, wounds with its spear — these are now depicted on the leaves of our manuscript and the corresponding places of the other manuscripts before the deity of the planet. They correspond exactly in the three
Fig. 566. The evening star (Tlauizcalpantecutli), in the first period, hurling the spear against Chalchiuhtlicue, the water goddess.
Codex Borgia 53 (= Kingsborough 53).
Fig. 567. Chalchiuhtlicue, the goddess of flowing water, struck by the spear of the planet Venus (in the second period).
Codex Vaticanus B (No. 3773) 31
(= Kingsborough 16).
Picture writings. Only the sequence, i.e. the relation to a particular one of the five initial signs of the Venus periods, differs in the three manuscripts. This is in a certain way remarkable, since these representations, as well as the initial signs of the periods, evidently stand in relation to the cycle of the five directions, and one should expect from the outset that for one and the same group of images the relation to the cardinal directions should have been carried out in the same way in the different sources. The differences that occur here are evidently due to the fact that one class of scholars — among them those of the Codex Borgia — linked the representation showing us the deity of the earth (Tezcatlipoca, or the jaguar) struck by the spear of the planetary deity with the direction of the North, which is the region of the earth and of the realm of the dead, while the other school — among them the scholars of the Codex Bologna and those of our manuscript — believed they had to connect this representation with the fifth world-region, with the downward direction. Thus the Codex Borgia shows us the picture in question in second place, while the other two show it only in fifth place. For the rest, the sequence of the representations in the three manuscripts is, at least group by group, the same. Only in our manuscript have the two members of the first
1) Nahiigtin 7, cap. 3.
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11. Rltclmite [Religious matters?].
and the two members of the second pair of representations exchanged their places as compared with the order that we see followed in the Codex Borgia. And the same holds for the pictures of the Codex Bologna, where, as the accompanying Tochtli-days show, the sequence of the figures is to be taken as running from bottom to top on the first leaf, and from top to bottom on the second. — In what follows I shall discuss the individual figures in the order in which they appear in the Codex Borgia.
In the first division, which, as we have seen above, must correspond to the East, the god in the Codex Borgia hurls the spear against Chalchiuhtlicue, the water goddess (fig. 566). This representation stands in the second division in the Codex Bologna (fig. 565) and in our manuscript (fig. 567). The goddess sits, in the Codex Borgia and in the Codex Bologna, in the water; in our manuscript, at least, above a stream of water. In the Codex Borgia (fig. 566) she is depicted naked, but marked as the water goddess by the wreath of white shell discs in her hair and the broad, short, black strokes at the lower edge of the cheek. In the Codex Bologna (fig. 565) she is depicted before a tree which bears at the ends of its branches the hieroglyph chalchihuitl (green precious stone). Here too she has the two black stripes at the lower edge of the cheek, and wears a blue nose-plate, which is probably a somewhat degenerate form of the two-headed serpent that in the Codex Borgia is the nose ornament of Chalchiuhtlicue, and has on the crown of her head the trapeze-and-ray, the sign of the year, i.e. she wears the headdress of the rain god Tlaloc. In our manuscript (fig. 567) the two black strokes at the lower edge of the cheek seem to have run into one another. The goddess wears, as elsewhere in this manuscript, the blue, step-shaped nose-plate of the goddess Xochiquetzal, and her face looks out from the jaws of the serpent, which indeed, quite generally in the representations of these manuscripts, forms the helmet-mask of the water goddess.
In the second division, which must correspond to the North, we see in the Codex Borgia (fig. 568) the well-known figure of the black (Yaotzin) Tezcatlipoca struck by the spear of the god. Tezcatlipoca kneels here over a cleft mountain and before a double thorn-tree painted in the colors of the knee (brown and black). This is meant, presumably, to indicate that he is to be thought of as the Tepeyollotl, the "heart of the mountains," the jaguar, the god of the knee. And that is why, in the other two manuscripts, he is simply replaced by the jaguar (ocelotl), though, as I already noted above, he is depicted in these other two manuscripts in the fifth division.
In the third division, which must correspond to the West, Cinteotl, the maize god, is shown struck by the spear in the Codex Borgia (fig. 570). He is here likewise depicted as a naked figure, with the small colored rectangular field on the cheek, the brown jagged nose-plate, and
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emerging from the opened beak of a dove (?), as on leaves 51 and 57 of the Codex Borgia. Above this bird-helmet-mask maize ears grow upward, which leave no doubt as to the nature of the deity. The god kneels upon an earth-ground painted in the two colors (brown and black), in which one sees worms eating the maize ears. This is a clear proof that this irradiation on the part of the star, this spear-throwing of the god, is to be regarded as a harmful influence for the one struck. — In the Codex Bologna and in our manuscript the corresponding picture stands in the
Fig. 570. Cinteotl, the maize god, struck by the spear of the planet Venus (in the third period).
Codex Borgia 54 (= Kingsborough 61).
Fig. 571. Cinteotl, the maize god. struck by the spear of the planet Venus (in the first period).
Codex Bologna 9.
Fig. 572. Huitocayotl, kingship, struck by the spear of the planet Venus (in the fourth period).
Codex Borgia 5* (= Kingsborough 61).
Fig. 573. Codex Bologna 10. Fig. 574. Codex Vaticanus B (Nr. 3773) leaf 88 (= Kingsborough 11).
Huitocayotl, kingship, struck by the spear of the planet Venus (in the fourth period).
first division. In the Codex Bologna (fig. 571) one sees the maize god depicted before a tree whose crown, and whose branch-ends, are set with maize ears and maize blossoms. The god has the small, colored, rectangular field on the cheek, like the one in the Codex Borgia, likewise wears a jagged nose-plate, which only here is of blue color, and his face likewise looks out from the opened jaws of a bird. He kneels over an earth-ground painted in the two colors (brown and black). The harmful influence exerted by the spear-throwing of the star-god is here illustrated by the fact that the earth-ground is set with flame-tongues, meant, presumably, to characterize it as parched, dried out. Less characteristic is the corresponding picture in our manuscript (leaf 80), yet the yellow color of body and face, the black crosses and stroke-patterns on this body, and the flowering tree that the god bears on the crown of his head, are clear indications that this too is meant to be a maize god.
In the fourth and fifth divisions of the Codex Borgia, to which the fourth and third of the other two manuscripts correspond, symbolic figures take the place of the deity-figures. — In the fourth division of the Codex Borgia (fig. 572) one sees one of the well-known chairs or benches, cut from wood, painted, mounted with metal, ornamented with inlaid precious-stone discs, and covered with a jaguar skin, struck by the spear of the god. This chair, on which a figure kneels who wears, as it were, two ear-plugs as pegs in the wings of the nose, is evidently conceived as a royal throne and as symbol and expression of royal power, of huitocayotl. This is expressed still more clearly in the other two manuscripts, in that in the Codex Bologna (fig. 573) we see lying on the chair a sun-disc, from which bands of precious stones proceed, and it is this disc that here is the one pierced by the spear of the god. In our manuscript, however (fig. 574),
Fig. 575. Quauhyotl, warriorhood, struck by the spear of the planet Venus (in the fifth period).
Codex Borgia VI (= Kingsborough 61).
Fig. 576. Codex Bologna 10.
Fig. 577.
Codex Vaticanus B (Nr. 3773), leaf 92 (= Kingsborough 11).
Altepetl, the community, the people, struck by the spear of the planet Venus (in the third period).
one sees, above the chair, a figure sitting who has a feather ornament at the neck and the sign of speech before the mouth, and who is evidently meant to represent the tlatoani, the "speaker," i.e. the ruler, the king himself.
In the fifth division, finally, of the Codex Borgia (fig. 575), a shield and bundle of spears, the sign of war (yaoyotl), is shown struck by the spear of the god. This armament and these weapons are evidently intended as symbol for those who bear them, the warriors. This is proved clearly, should it not be clear in itself, by the head of the eagle (quauhtli) depicted above it. In the other two manuscripts an interesting variant occurs. In the Codex Bologna (fig. 576) one sees the familiar drawing of a mountain (tepetl) struck by the spear of the god. But from beneath this mountain a stream of water (atl) emerges. This water (atl) must be combined with the mountain (tepetl), giving then altepetl, i.e. "the village, the community, the citizenry," which is made up of the people who make up the village (atl-tepetl), the community, but who naturally coincide with the warriors (quaquauhtin). — Our manuscript combines these two variants, in that it (fig. 577) draws an eagle (quauhtli) above the atl-tepetl.
I refrain from entering into the symbolism of these curious pictures. There is also a lack of material for a proper judgment of these matters. In my work on the Venus period in the
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picture-writings of the Codex Borgia group, however, I have cited a passage from the Anales de Quauhtitlan, in which the various classes of people upon whom, according to the sign in which it appears, the planet Venus casts its rays, are named individually. In this text, which unfortunately is preserved solely, and in a badly corrupted state, in this important manuscript, I had to make a number of corrections. After carrying out these corrections, however, it emerged that at that passage of the Anales de Quauhtitlan the following is stated concerning the influence of the planet Venus in its five successive periods: —
1. In the sign Cipactli it shoots the old men and women.
2. In the sign Coatl it shuts off the rain, it will not rain.
3. In the sign Atl there is general drought.
4. In the sign Acatl it shoots the kings.
5. In the sign Ollin it shoots the youths and maidens.
Fig. 579. Balam, the jaguar. Struck by the spear of the planet Venus (in the second period). Dresden manuscript 17.
Fig. 580. The god with the Kan-sign, the maize god. Struck by the spear of the planet Venus (in the third period). Dresden manuscript 48.
Fig. 578. Chac-Ah-Kutz (?), the water god. Struck by the spear of the planet Venus (in the first period). Dresden manuscript 46.
Fig. 580. Holtun, the warrior. Struck by the spear of the planet Venus (in the fifth period). Dresden manuscript 50.
Fig. 581. d) The tortoise.
Struck by the spear of the planet Venus
(in the fourth period).
Dresden Manuscript 49,
One sees that here, at least in the case of the three last kinds of influence exercised by the planet Venus, there is a complete agreement with the three last pictures of the Codex Borgia. And presumably the first two, with the two members transposed, can likewise be traced back to the events depicted in the first two pictures of the Codex Borgia.
If these pictures are already significant enough in themselves, the interest that one must bring to them grows enormously by the fact that they prove to be parallel representations of certain pictures of the Dresden Maya manuscript. I have already above, and, as I believe, rightly, compared the deity-figures that are represented on leaf 70 of our manuscript and a corresponding leaf of the Codex Borgia, as guardians and regents of the five Venus periods, with the pictures that one sees on
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E. Seler.
leaves 46–50 of the Dresden Maya manuscript, on which, in this manuscript, the 13×5 Venus periods are set out with their sub-numbers and with distance figures, occupying the middle of the right halves of the leaves. On these same right halves of the leaves one sees below, in each case, a figure struck by the spear. I have presented these five figures to the reader in Figs. 578–582, arranged in a particular order according to the cardinal directions, of which I shall give an account afterward. It is certainly a noteworthy fact that these five figures correspond almost exactly, in the order in which they are set out in the Codex Borgia, to the five figures struck by the spear in the manuscripts of the Codex Borgia group that I have just discussed.
Indeed, the first of these five figures (Fig. 578), the god with the proliferating nose, is without doubt the god of water, to whom, as I have shown, the name Ah bolon tzacab belongs.¹) He is thus the true counterpart of the Chalchiuhtlicue in the first Venus period of the Codex Borgia.
The second figure (Fig. 570), the jaguar, is merely another form of the god Tezcatlipoca, who in the Codex Borgia is depicted struck by the spear in the second Venus period. And indeed, this god had already, in the other two manuscripts of the Codex Borgia group, simply been replaced by the jaguar.
The third figure (Fig. 580), the god with the Kan sign, is without doubt the maize god, and thus corresponds exactly to the deity that is depicted in the Codex Borgia, in the third Venus period, as struck by the spear of the deity. Indeed, I even believe that in the fine line which one sees—admittedly not clearly in our Fig. 580, but otherwise generally—cutting across the entire length of the face of the god with the Kan sign, one can recognize the angularly broken black longitudinal stripes of the facial painting of the maize god in the manuscripts of the Codex Borgia group.
One may entertain doubt with regard to the fourth figure (Fig. 581). That is the tortoise. I believe, however, that here too a relationship exists. In the Codex Pom the tortoise is depicted with the hieroglyph of the sun on its back. This, I think, was occasioned by the yellow radiating pattern that the box tortoise, likewise widespread in Mexico, bears on its back. One will at least grant me, as a hypothesis with something to be said for it, my assumption that the tortoise was regarded as the sun-animal and therefore stands as a symbol of royal power.
One can, I believe, be more certain again with regard to the fifth figure (Fig. 582). For that this fifth figure struck by the spear is meant to represent a warrior is taught by mere inspection, since one sees him armed with shield and spear.
If, then, we have here in fact an almost exact parallel to the figures struck by the spear in the Codex Borgia, and if these figures of the Dresden manuscript are really set out in the same order as their counterparts in the Codex Borgia, it further follows that we must also relate the figures of the Dresden manuscript to the cardinal directions in the same manner as those of the Codex Borgia — that is, in the order that I have given these figures in the group put together on p. 323. There would then result, however, the curious fact that in the series of the regents of the five Venus periods (Figs. 544–548, above, p. 289) [the count] began with the fifth direction, whereas in that of the figures struck by the spear it would have been closed with the fifth direction. Yet this is perhaps not something altogether so unusual, or even beyond possibility. Something similar seems indeed also to occur, as we have seen, with the thirteen hours of the night and of the day. And we have already met this difference in enumeration above in the case of the Venus periods as well. It is also plausible that usage fluctuated here, so that on one occasion one believed one had to begin with the fifth direction, the center of the quincunx, while on the other occasion one preferred rather to close with it.
1) Cf. Seler, Gesammelte Abhandlungen zur amerikanischen Sprach- und Alterthumskunde [Collected Treatises on American Linguistics and Antiquities]. Berlin (A. Asher & Co.) 1902. Vol. I, pp. 877, 878.
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24. The Red and the Black Tezcatlipoca.
Leaf 85, 86 (= Kingsborough 12, 11).
Above, on p. 178, I reproduced two splendidly drawn pictures from the Codex Borgia, which I repeat here (Figs. 583, 584), in which one sees the black and the red Tezcatlipoca set opposite one another, once on the ballcourt, the other time on a trodden path, which is presumably meant to represent the earth. To these pictures there seems, in a certain way, to correspond the picture that fills pages 85, 86 of our manuscript.
Fig. 583. The red and the black Tezcatlipoca. Codex Borgia 21 (= Kingsborough 18).
Fig. 584. The red and the black Tezcatlipoca on the ballcourt. Codex Borgia 21 (= Kingsborough 18).
On these leaves of our manuscript one sees, in the middle of the picture above, a sun, and beneath it a vessel with maize. On the right side sits the red (Tlatlauhqui) Tezcatlipoca, clothed with a red cape. He wears Tezcatlipoca's smoking mirror at the temple or at the nape of the neck; but the loincloth — painted in red and white cross-stripes and furnished with a swallow-tail-like notched (majauhipti) end — as well as the likewise swallow-tail-like cut-out ends of his nose-rod, indicate that this red Tezcatlipoca is only a form of the god Xipe
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13. Reverse side.
Totec, "our lord of the flayed one," the god of the pustules. — Opposite, on the left side, one sees the black (Yayauhqui) Tezcatlipoca, — that is to say, he is actually, like the Tlahuizcalpantecuhtli of the preceding five leaves of our manuscript (cf. Fig. 561, p. 316), half white (and red-striped), half black, in that the body and the legs are white and red striped, while the arms and the ground color of the face are black. In the case of Tlahuizcalpantecuhtli, however, the color properly belonging to this god was white. Here, with this Tezcatlipoca, black belongs to him as his proper color. Thus the cape, too, which he has hanging over his back, is black. At the temple or at the nape of the neck he wears his smoking mirror.
In front of each of the two gods is drawn an animal that is taking a string of precious stones (cozcatl) out of a treasure chest whose lid is flipped open. The animal in front of the red (Tlatlauhqui) Tezcatlipoca, which, like the god, is clothed with a red cape, seems to correspond to the animal that we found depicted above, p. 169, with the pulque god, the regent of the twelfth day-sign, and which one also sees standing on the road with a banner in its arm in Fig. 583. I have identified this animal — which in the Codex Borgia is marked by a stripe enclosing the eye, painted star-like (cicitlaltin), that is, with white disks on a black ground — as the cuetlachtli, or kinkajou (Wickelbär). If we can indeed equate the animal depicted here in front of Tlatlauhqui Tezcatlipoca with that one — and the sharply rectangular, dark field enclosing the eye does indeed speak in favor of this — then my determination above would thereby receive support. For the cuetlachtli, the kinkajou, is the animal of the sacrificio gladiatorio, the "uncle" of those sacrificed in the sacrificio gladiatorio, who binds them to the round stone (temalacatl); it thus belongs, in fact, to Xipe Totec, and Xipe Totec is the red (Tlatlauhqui) Tezcatlipoca.
On the left side, in front of the black (Yayauhqui) Tezcatlipoca, is depicted the animal that is characterized by a pointed snout, small sharp teeth, white color, and a black stripe encircling the eye and running to a sharp point toward the snout, and which we have encountered several times above (cf. Fig. 258, p. 271, and our manuscript, leaf 9, lower right) as a representative of the earth, or of the downward direction.
Above these groups, finally, on both sides, in the upper part of these leaves, the sign of war (yaoyotl) is also given — a bundle of spears, a shield, a round banner, and another piece not readily identifiable — a symbol that naturally belongs to these deities, warlike by their very nature.
In the lower part of the two leaves, a kind of meander is drawn on each side, executed in red beneath the red Tezcatlipoca, in dark gray beneath the black Tezcatlipoca. In the red meander on the right one sees the figure of a dog (itzcuintli); in the black meander on the left, the figure of a monkey (ozomatli); and the twenty day-signs are distributed around the perimeter of these two figures, without, however, as it seems, any particular correspondence having been attempted between these day-signs and specific parts of the bodies of the two animals. In the red meander, finally, a bound captive lies, as it seems, dead on the ground. In the black meander the monkey stands in a water vessel, in which fish and snails are frolicking.
The totality of these symbols leaves, I think, no doubt that the red (Tlatlauhqui) Tezcatlipoca is meant here to be represented as the representative of fire, or of the dry season, and the black (Yayauhqui) Tezcatlipoca as the representative of water, or of the rainy season.
25. Once More the Twenty Day-Signs and Their Regents.
Leaf 87–94 (= Kingsborough 10–3).
These pictures have been explained above in the tenth section (pp. 127–190).
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26. The Four Scorpions.
327
26. The Four Scorpions.
Leaf 95 (= Kingsborough 2), right half.
On this half-sheet one sees, distributed in the four corners, four scorpion figures. Those of the upper half turn their mouths toward those of the lower half; in reality, presumably, all four ought to have had their mouths turned toward the middle. The twenty day-signs are distributed around them in such a way that the day-signs begin at the tail-end of the figure at upper left, and then the third day-sign (calli, "house") takes its position before the mouth of the scorpion at lower left. And correspondingly the eighth sign (tochtli, "rabbit") before the mouth of the scorpion at lower right, the thirteenth (acatl, "reed") before the mouth of the scorpion at upper right, and the eighteenth (tecpatl, "flint knife") before the mouth of the scorpion at upper left. These day-signs placed before the mouths of the scorpions we shall presumably have to regard as the ones meant to be characteristic for these scorpions. Accordingly we shall have to take as the first figure the one in the corner at lower left, and the others would then follow one another in a sense opposite to the rotation of a clock's hands.
The first figure, at lower left, which has the sign calli "house" before its mouth, is meant to be characteristic of the East. It is painted in red color. —
The second figure, at lower right, before whose mouth stands the sign tochtli "rabbit," we must claim for the North. The various parts of the body are here painted in different colors. But as the color properly belonging to the figure we must regard that of the arms, and that is black. The face of this scorpion is drawn on a yellow ground with two black transverse stripes bounding the eyes below and above, so that the eyes themselves come to lie within a yellow band. In this way a kind of ixtlan tlantlaan, a Tezcatlipoca facial painting, comes about, and this is evidently intended here.
For the third figure, at upper right, which has the sign acatl "reed" before its mouth, and which must represent the West, the yellow color of the arms seems correspondingly to be regarded as decisive.
For the fourth figure finally, at upper left, which has the sign tecpatl "flint knife" before its mouth, and which must signify the South, the white bone-color of the arms holds good.
The scorpion (colotl) is the animal of the fire god (cf. above p. 154). But it also signified penance (cf. above p. 226, 227). And we also found it indicated with Xochipilli, the god of flowers, the god of the earth (cf. above p. 190). Which of these relations is to be thought of here cannot be decided with full certainty. Probably the first, the relation to the fire god, since we see the first of the four figures painted red, and this figure alone, before all the others, is given entirely and completely in its proper color. We might therefore perhaps also designate this picture as "fire in the four directions."
27. The four quarters of the Tonalamatl and their directions.
Sheet 95 (= Kingsborough 2), left half.
As if to indicate more precisely that in the right half of this sheet we are to regard the red scorpion depicted in the corner at lower left as the first, and as the one corresponding to the cardinal direction of the East, we see in this left half of the sheet, around a large flint knife which forms the center, the initial signs of the four quarters of the Tonalamatl, arranged in columns of five members, distributed —
and indeed the first of these four signs (cipactli "crocodile"), in the corner at lower left before the flint knife, the other three (ocelotl, mazatl "deer," xochitl "flower") following the first sign in a sense opposite to the movement of a clock's hands.
From these four signs diagonal colored stripes proceed, which make it evident that these four quarters of the Tonalamatl correspond to the four cardinal directions, and on them twelve small colored disks or dots indicate the beginnings of the remaining twelve columns of five members which, besides the initial column, are contained in each quarter of the Tonalamatl.
28. Once more the god of pleasure and his signs.
Sheet 96 (= Kingsborough 1).
To this sheet corresponds a picture which, in the Codex Borgia, occupies the upper field of the left half of sheet 53 (Kingsborough 62), and which I have reproduced here in fig. 585. The agreement between the two pictures, this sheet 96 of our manuscript and that of the Codex Borgia, is striking. One also sees at once that in both pictures an animal clothed in a hairy hide is represented. But it is really only in the Codex Borgia picture that it is clear that a deer is meant, and likewise it is only from the Codex Borgia picture that one can gather that this deer is thought of as a disguise of a well-known god, the god whose upper half of the face is painted yellow, the lower red, and who bears around the mouth, in white color, the drawing of a butterfly. That is the god whom we have come to know as regent of the eleventh day-sign (ozomatli "monkey"), to whom, as we saw there, belongs the name Xochipilli, who is a god of flowers, of pleasure, of feasts and of artistic skills, and also a god of riches and of foodstuffs.
Around the figure of this god, here clothed in the shape of a deer, one sees, following one another in general from below upward, the twenty day-signs arranged. But this whole distribution evidently has only the purpose of setting three of these signs into relation with particular parts of the body of this god: — the fourth sign, cuetzpalin "lizard," which, as we saw above on pp. 145 and 146, is the sign of unchastity, with the penis; the eleventh sign, ozomatli "monkey," with the heart, for this god is the regent of the sign ozomatli "monkey" and expresses the nature of this sign within himself; and finally the twentieth sign, xochitl "flower," with the mouth of this god, for Xochipilli is the god of song, of cultivated speech, and of everything connected therewith.
Fig. 585. Xochipilli as deer, and the twenty day-signs.
(Codex Borgia 53 = Kingsborough 62).
Concluding remarks.
Concerning the relationship of the Vaticanus 3773 to the other manuscripts of the Codex Borgia group I have given further particulars at the close of my commentary to the Codex Fejérváry-Mayer. That this entire group of manuscripts belongs to a Mexican-speaking nation seems to me beyond doubt and is, in my view, clearly proved by the hieroglyphic representation of certain phrases intelligible only from the Mexican language, such as atl-tlachinolli "water (spear-throwing) and conflagration," the metaphorical expression for war, which we repeatedly meet with in the manuscripts of the Codex Borgia group. I have also pointed out, at the close of my commentary to the Codex Fejérváry-Mayer, that we have to seek the narrower homeland of these manuscripts in the region of Teohuacan, Cozcatlan, and Teotitlan del Camino. I have depicted above on p. 168 one of the painted clay figures which I brought back from Teotitlan del Camino. The colored facial painting, which the original of this figure still allows one to recognize even today, looks as if it were copied directly out of the Codex Borgia. The inhabitants of this region were Mexican-speaking people who traced their origin back to a man named Xelhua — a name which presumably means nothing more than "lord of separation" and designates this group as one detached from the main stem of the nation, pushed forward into foreign, hostile territory. They were known as attentive sky-observers and worshippers of the morning star, and it accords with this that a large part of the pieces contained in the manuscripts of the Codex Borgia group deal with the movements of this heavenly body, the influences ascribed to it, and its mythology. It must be kept in mind, however, that all these manuscripts represented, so to speak, encyclopedias of astronomical-augural knowledge, so that pieces of very different origin may be contained in them. As particular parts, for example, there stand out the twenty-five pairs of gods treated in the twelfth chapter of the above commentary, as well as the deities of the four directions, which illustrate a certain correction of the length of the year, and the six pairs of gods which I have designated, in my commentary to the Codex Fejérváry-Mayer, as the "six heavens." In these last two pieces one sees, in the Codex Borgia, the maize god depicted with a quite peculiar facial painting, differing from that of the other sheets, and with a dove(?) as helmet-mask.
As against the properly Mexican manuscripts, these manuscripts of the Codex Borgia group show a significantly more many-sided treatment of the problems envisaged by these ancient tribes. They evidently already belonged to the Tlillan Tlapallan, the "land of the black and the red color," that is, the "land of writing," to the East (tonatiuh iixcopa), whither the ancient tribes, the tlamatinime amoxhuaque, "the wise men, the book-learned," withdrew.
quitquitpu' — taking with them.
in tlilli in tlapalli — the black and the red color,
in amoxtli in tlacuilolli — the books, the picture-writings,
quitquitpu yn tlamatiliztli — taking with them the science,
moch quiquitpu in cuicaamatl in tlapitzalli — the songs, the flutes, everything they took with them ¹) —
1) Cf. Cakchiquel Annals 8 ff. — xa ruyon xit puvak k'ub k'u raxon r'ubaal chorti' ru'quin q'anati e'atzi'ic ymyanic xni Mr th'oj ti'ih mag k'ih prk cocoah, xa ruyon k'inomal rulraji pe pa Tullan tri ruk umulk — "only turquoise and gold, green and blue feathers, chests and coffers, together with paintings and carvings, flutes and songs, tonalamatl and year-count, noble and ordinary cacao, mere riches did they bring [the seven tribes, the Tz'utuhil confederation and the Mexicans of the Pacific coast of Guatemala] out of their Tollan."] — And similarly in other passages.
Sahagún, Codex Vaticanus No. 3773
for which, for those who remained behind, the great sages Oxomoco, Cipactonal and their two companions created only the meager substitute which is present in the properly Mexican manuscripts — in tonalamatl, yn xiuhmatl yn ... yn temicamatl — "the tonalamatl, the fifty-two-year period, and the dream book." — But because these picture-writings of the Codex Borgia group, by contrast, evidently already represent what was reckoned as belonging to properly Toltec cultural possession, hence too the intimate relations evidently present here to representations which appear in the Maya manuscripts and are there claimed without further ado as a Maya cultural achievement.
I give, finally, a list of the various pieces contained in the Codex Borgia, together with a reference to the places where they have been treated in the above commentary: —
Codex Borgia, sheet 1–8. The Tonalamatl arranged in columns of five members. Cf. above pp. 3–65.
" " " 9–13. The twenty day-signs and their deities. Cf. above pp. 127–190.
" " " 14. The nine lords of the hours of the night. Cf. above pp. 93–111.
" " " 15–17 (upper half). The four times five guardians of the Venus periods. Cf. above pp. 190–210.
" " " 17 (lower half). Day-signs and parts of the body. (Missing in the other manuscripts.)
„ „ „ 18–21. Eight (litter and glyph pairs) (Missing in the other manuscripts.)
„ „ „ 22 (upper half). The stag of the East and the stag of the North. Cf. above p. 802, 303.
„ 22 (lower half) — 24. Another list of twenty deities. (Missing in the other manuscripts.)
„ 25. The five Venus periods. Cf. above p. 285–290.
„ 26. The four dead. (Missing in the other manuscripts.)
„ 27. The Tonalamatl and the fifty-two-year period. Cf. above p. 279–285.
„ 28. The Venus periods and the years. (Missing in the other manuscripts.)
„ 29–46. Mythology of the planet Venus. Cf. above p. 118–127.
„ 47–48. The five goddesses of the West and the five gods of the South. Cf. above p. 303–314.
„ 49–53 right (upper halves). The four ends of heaven and the four corners of the earth. Cf. above p. 81–93.
„ 49–53 right (lower halves).
a) The five directions of heaven and their trees. Cf. above p. 76–81.
b) The deities of the four directions (correction of the length of the year). Cf. "Commentary on the Codex Fejérváry-Mayer," p. 171–180.
c) The four forms of the deity of the planet Venus. Cf. above p. 112–118.
d) The descent of the four goddesses of the West and the four gods of the South. (Missing in the other manuscripts.)
e) The four fire-drillers. (Missing in the other manuscripts.)
f) Once again four trees. (Missing in the other manuscripts.)
g) The four ball players. (Missing in the other manuscripts.)
h) The four human pairs. (Missing in the other manuscripts.)
i) The years of the correction of the length of the year. (Missing in the other manuscripts.)
„ 53 left (upper half). The god of lust and his signs. Cf. above p. 328.
„ 53 left (lower half) — 54. The thirteen-times-five Venus periods. Cf. above p. 314–324.
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Closing survey.
831
Codex Borgia. Sheet 55.
* . , 56.
„ „ „ 57–60.
» „ . 61–70.
„ „ „ 71.
. - . 72.
„ . , 73.
» . . 74.
„ , , 75–76.
The six sky wanderers. Cf. Commentary on the Codex Fejérváry-Mayer, p. 150–171.
Heaven and earth, life and death. (Second sheet.) Cf. above p. 300–302.
The twenty-five pairs of gods. Cf. above p. 211–242.
The Tonalamatl arranged into twenty thirteen-day sections. Cf. above p. 245–279.
Sun, moon and morning star and the thirteen birds (the thirteen hours of the day). (Missing in the other manuscripts.)
The four feathered serpents. Cf. above p. 295–299.
Heaven and earth, life and death. (First sheet.) Cf. above p. 300–302.
The gods of lust and their signs. Cf. above p. 299.
Eight gods of death. (Missing in the other manuscripts.)
42*
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Explanatory plates.
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Explanatory plates.
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Index.
Words taken from Indian languages are printed in italics. Where no other language is noted after them, they are Mexican words. Words spelled, in accordance with Spanish orthography, with c (and c before e, i), I have listed under k (which corresponds to our k-sound), and after that have let follow the words beginning with ch, whose initial letters correspond to our sound "tsch." The x of the Mexican words and of the other Central American languages is to be pronounced like our sch. The h in the Maya words is pronounced like the Spanish jota (our ch in "auch"). The k is a deeper guttural, corresponding to the Swiss k. The consonants provided with an apostrophe are so-called "glottalized sounds" ["Knacklaute"], that is, explosive sounds that are formed by closure of the glottis and of the point of articulation and simultaneous release of these two points of closure.
a — spear-throwing t.U
aac (Maya), turtle, struck by the spear of the planet Venus in the 4th period 8**.
Image, presentation of an — = sacrifice K12.
Abbreviated images, transition to hieroglyphic writing 84, 85.
Evening, tlapoyaua.
torn-off pass, Tezcatlipoca's 8, %. — Xochipilli's 116. — Tlahuizcalpantecutli's 116.
severed head, of the image of the earth goddess 202, of the earth goddess herself 217.
cropped ears, on the dog 156, 157. — on Xolotl 270, 271.
to sit turned away, signifies a change of ruler in a year-bearer 227, 229, 1100.
acaltetepontli. Crustacean-like [creature], Aphrodisiac 146.
acatl. Reed, thirteenth day-sign 12m, 170. — Signifies judicial power 170. — Its regent Tezcatlipoca-Itztlacoliuhqui 171. — Initial sign of the first of the four years 278, 279. Initial sign of the fourth of the five Venus periods 102, 819.
Acolhua, pulque god 108.
Acompañados, see Nine Lords of the Night.
acuacuetzpalin. Iguana, real (Iguana tuberculata and related species) 145.
acuecheozcatl. Necklace of snail shells, on Quetzalcoatl 110. — on Xolotl 270. — on Ueuecoyotl 251.
axoyatl. Pine branches, offering-gift for Tezcatlipoca 9*.
Achitometl, a king of Tollan 91, one of the Tzitzimime 1*0.
Eagle, see quauhtli.
Eagle-down, see quauhtlacoyotl.
Eagle-down crown, quauhtzontlalli.
Eagle-feather, see quauhtli.
Eagle-vessel, on the tepetlacalli of the Codex Borbonicus 34. — accompanying image in the second quarter of the Tonalamatl 3*, 84. — in the third
W. — in the fourth, denotes death in war 51, 55. — see quauhpachiuhqui chimalli.
Eagle-helmet-mask, on Xochipilli, who denotes the seventh hour of the day (noon) and the upward direction 228, 229.
Monkey, see ozomatli.
Monkey-head, on the front of the headband of the pulque god 10.
Agave plant, pulque agave, see metl; — wild —, see nequametl, tzihuactli. — Goddess of, see Mayauel.
Agave-leaf-point, see uitztli.
ehau. (Maya) day-sign, = xochitl; fourth member of the four-member sequence that denotes the rising of the morning star 123.
Ah Bolon Tz'acab (Maya), water god, struck by the spear of the planet Venus, in the first period (East) 324.
ah toc (Maya), the burner, fire-priest [in] the Chilam Balam 10.
Ah toltecat (mixed with) a K'ukulcan (Quetzalcoatl)
akbal (Maya), night. Day-sign = mex. calli, house 144. — Initial sign of the third of the four years 280.
ara, the red macaw, the guacamayo. Accompanying image in the second quarter of the Tonalamatl 18, 19. — in the third 53, 54. — on the tree of the South 81.
araquauitl. Tree of the South 81.
old people, men and women, struck by the spear of the planet Venus, in the second period 323.
old gods, the fire god Ueueteotl 151, Tonacatecutli 130. — Tecciztecatl 140.
altepetl, village, community. Struck by the spear of the planet Venus, in the fifth period (middle, below) 822.
amacalli, paper crown of the rain gods, on Cinteotl 9*.
amaneapaualli. Shoulder garlands of bark paper. War-death ornament 258. — Pattern on the back-covering of Tlaloc 1**.
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Index.
385
amapantli. Banner of bark paper, corpse ornament 3**. — Sacrificial ornament on the quauhtli ocelotl 260. — symbol on Tlahuizcalpantecutli 3**. — on Mictlantecutli 259. — on the bat god 1**. — on Xipe 27, 28.
Amatitlan, town and lake in Guatemala, jar-shaped vessel 3**.
amoxtli, books 142, 1**.
amoxnaqua. Book-writers, the mythical Toltecs, see tlamatinime.
Amulto, Cardinal, Librarian of the Vatican Library I.
Ayoala, in the Mixteca, he on whom the sky rests, 27
Anauac, coastal land 108.
Anahuac, coastal lands. Zapotecs, subjugated in the time of Ahuitzotl 3**.
anauatl, coastal land 20*.
anauatl. White ring, on a red leather strap, image of the — , breast ornament of Tezcatlipoca 95, 96. — of the five gods of the South 3**. — of red Tezcatlipoca (i.e. Xipe) 317. Tlahuizcalpantecutli's 25*, 3**. — Mixcoatl's 317.
Anahuatl (see Xipe)
Initial signs, of the years 279, 280, differing ones in Yucatan 22*, — differing ones in Cuicatlan 3**. of the Venus periods 3**, 816.
Aphrodisiac, various lizard species 145, 1**
Macaw, red, see ara. Costume on the xiuhcoatl 12*.
Macaw-wing, neck ornament of Ueuecoyotl 147
Poverty, see icnoyotl.
atamalcualiztli, water-tamale-eating, feast celebrated every eight years, for the renewal of foodstuffs 187, 1**.
atl. Water, ninth day-sign 128, 153. — Symbol of the changeability of existence 25*, 2**; originally spear-throwing, its regent the fire god 154–156. — represented at the Tlazolteotl of the west 1*2, 3**. Initial sign of the third Venus period p.**, 3**
Atlacoaya. Pulque goddess 1**.
atlacuiotli, garment adorned with water, garment of Mayauel 1**.
atlan calaquilizti, diving into water, accompanying image in the fourth quarter of the Tonalamatl 88.
atlatl, throwing-stick, [borne] as ... in the hand of Tlahuizcalpantecutli's 1**, Mixcoatl's 2**. — of the bat god 115. — of Cinteotl, the earth god of the North 80, 81.
Atlaua, god of Cuitlahuac, has the facial painting of the morning star 258.
atl ayauican. Land of water and mist, Tamoanchan, paradise of the West 3**, 165.
atl tlachinolli. Water (spear-throwing) and fire (?), metaphorical expression for war, indicated on Xiuhtecutli 154–1**, 2**. — on the fire goddess Chantico 27*. — on the Tlazolteotl of the East 3*2. 3** on the rain god of the North 21*. represented through the smoking mirror of Tezcatlipoca 8*, 9*. Descent of the — 52.
atonatiuh, water-sun, first of the four pre-cosmic world periods 172, 1**.
oua tepetua, community elder [?]
Rising, of the moon with a fixed star 65 — of a constellation, hieroglyphic representation 221, 222.
Cessation of the rain, hieroglyphic representation 31, 32, 37.
Eye, in the middle of the sign olin, = sun 18*. — surrounded by darkness, night or star, on the crown of Quetzalcoatl 1**, Xolotl 3**. Xochipilli's 1**, Tlaloc's 22*. Origin of the white ring, the breast ornament of Tezcatlipoca 8*. — flowed-out one, on Xolotl 1**. — on the Cihuateteo 5**. — boring-out of, = sacrifice 1**, 1**. — bound, see ixquimilli.
Eye-slit(?) Xipe's 86, 9**. on the Tlazolteotl 3**.
auiani, pleasure-girl (courtesan), her patroness Xochiquetzal 1**, 180, 2**.
Auiateotl, god of lust, see Macuil xochitl 3**.
Auiatl Macuilxochitl 5**.
Boring-out of the eye, = sacrifice 184, 1**.
axolotl. Larva of Ambystoma mexicanum 1**.
Ayacachtli, gourd rattle 221, 222. in the hand of Ueuecoyotl's 147, 3**.
Ayamictlan. Name of the fire god 2**.
ayotapalcatl. Turtle-shell, back-mirror of Xochiquetzal 1**, 210. — shield, on Quetzalcoatl 21*
ayotl. Turtle, calendar-sign of Mayauel 18, 152. — musical instrument 221, 222 — sometimes standing in for the day-sign quiauitl 128, 1**.
Ayotlan, the Pacific coastal land 2**. — from there came the Quauhtemallan (?) 2**.
aztamecatl. Heron-feather cord, sacrificial garment, indicated on Xipe 27, 28. — on Tlahuizcalpantecutli 3**. — on the fire god 28. — on Tonacatecutli 25.
aztapatzactli. Fan-shaped ornament of heron feathers, on Xochipilli 1**, 1**. — on Tlahuizcalpantecutli 2**. — on Tecciztecatl 150.
aztatapilli, heron-feather staff, Itztli Mixcoatl's 2**.
aztatzontli, heron-feather-comb of Tlaloc 100, 2**.
aztaxelli. Forked ornament of heron feathers, worn by warriors, on Tezcatlipoca 8, 09, 95. — Huitzilopochtli 1**. — Mixcoatl 115.
balam (Maya), jaguar, struck by the spear of the planet Venus, in the second period (North) 82*.
Ball, see oltelolli.
Ball game, ball-court, see tlachtli.
Bear, great, constellation, = Tezcatlipoca. 9.
Beard, on the Quetzalcoatl of Tollan 61. — on Quetzalcoatl, the wind god 136. — on Tepeyollotl 1**. — on Tecciztecatl 150. — on Tlaloc, in the Codex Vaticanus 109. — long, flame-like, on Tonacatecutli 1**. — on Quetzalcoatl 1**. — on the sun god 1**. — of white heron feathers, on Tonacatecutli 130. — on Itztli Mixcoatl 2**.
Trees, — denoting the directions of heaven 76–81,
Baaa the East, entering for Quetzalcouatl, the regent of the ... Tonalamatl quarter, 7.
Becker Collection of Mexican Antiquities 161.
b'en (Maya), day sign, Mexican acatl (reed), one of the four initial signs of the years 251.
k'an-i'k (Maya) group, so-called, see 6-a-k'an.
k'an-i'k (Maya) group, in the hieroglyph of the sun god 113. — combined with the hieroglyph of the bat 114.
Fertilization, of the earth, with blood 281.
Accompanying images, of the Codex Borbonicus 64. — of the Tonalamatl arranged in five-membered columns 6 — 68.
Burial, see tetlalaquiliztli.
The Lively One, of the adulteress, dwelling among the priestesses of Tlazolteotl.
Bell, of copper, see tepoztli; — of stone, see itztopulli.
Feast of the Mountain Gods, see Tepeilhuitl.
Mountain region, of medium height, = Tlalocan 104.
Broom, see malinalli. — see tlazolli, tzquiztli, popotl. — bloody, in the hand of Tlazolteotl and her retinue at the feast of Ochpaniztli — fighting with, see yacacaili.
Besom-feast, = ochpaniztli.
Possessed, seized by the Ciuateteo, 305, 311.
Movement, rolling, see olin.
kil (Maya), hairless dog 156.
blue, color of the moon god 160. — of Xochipilli's 160. — of Quetzalcouatl of the (East) 7. — of birds, hooves, horn-pieces, antlers 150, with lengthwise stripes in Xipe Totec's case 91, 92. —
blue and red, fields of the sign olin 180. — the cone-shaped cap of Quetzalcouatl 195. — the face of the moon god 150. — of the Mixcouatl of the Codex Fejérváry 116, 207.
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Index.
337
Lightning, companion image of the Tonalamatl arranged in five-membered columns 23, 25, 40, 41, 45.
Flower, see xochitl.
Blood, see eztli.
Blood-band, symbol of sexual union 117, 301, 219.
Flowering tree, in the headdress of Tonacatecutli 138. — of Ilamatecutli 140. — of the Kulhuacan maize god 149. — broken, = hieroglyph of Tamoanchan 178, 223, 224, 250.
Bloodsnake, see tlapalcouatl.
Burner, see uh tue [uhtli?].
Bundle of firewood, see tlatlacuauhquetzalli.
Bringer of the years, in the Maya manuscripts 72.
Breast ornament, of the sun god, the maize god, etc., see teocuitlaanahuatl — Tezcatlipoca's, Tlacaxipeualiztli's, etc., see ecailacatzcozcatl — of Quetzalcouatl, Xolotl, etc., see maquizcouatl — of Tlaloc, see maquizcouatl — of Xipe's, see yolin.
Penitent, depicted with a snake 18, 19. — see ne-yolmeliualiztli.
... adulteress.
katun (Maya), brought down, era, day-sign, = Mexican olin 180.
calli, house, third day-sign 144. — its regent Tepeyollotli and Tlaolquani 144, 149. — initial sign of the third of the four years 370, 269.
cama fo'tz (Quiché), head-tearing bat 111.
caban coco (Maya), = Mexican naui olin. End of visibility as morning star 195.
Chili pepper, see chilli.
cauac (Maya), day-sign, Mexican quiauitl, in Yucatan initial sign of the fourth of the four years 291.
kib (Maya), day-sign, = Mexican cozcaquauhtli, hieroglyph contains the nose-crescent of the pulque gods 198.
coatl and derivatives, see cuatl.
cocozqui, sick person, depicted before the death god 158.
cocozqui xochitl, yellow flower, Tlazolteotl's 96.
coqui-xapotekisch, rain god, marks the beginnings of the Tonalamatl quarters 8, 281.
cocha, green parrot, loro, on the tree of the south 81.
cochoquauitl, tree of the south 81.
Codex Borgia group, picture writings 1.
Colhuatzincatl, pulque god 198.
colotl, scorpion, depicted with the fire god 155, 158 — with the red Tezcatlipoca, the regent of the second Tonalamatl quarter 9. — with Xochipilli, the regent of the twentieth day-sign 199. — companion image in the first Tonalamatl quarter 35, 26. — denotes penance and time of penance (midnight) 229. — the four scorpions 227.
concuitlatl, child's ornament, yellow cross-stripes in the face of Tezcatlipoca and Uitzilopochtli 116, 95.
copaliquipilli, copal pouch, depicted with Tlaloc — in the hand of Xochipilli 88. — Tonacatecutli's 219. — of the god who marks the noon hour 229. — on the arm of the penitent 272. — of the five south gods 118.
copilli, cone-shaped cap of Quetzalcouatl's 7, 159. — see ocelocopilli. — Huaxtec ornament 149. worn by Xolotl 187, 270. — worn by the pulque gods 188. — worn by Tonacatecutli 199. — worn by Mixcouatl of the Codex Fejérváry 207. — worn by the bat god 114.
cuatl, snake, symbol of water 135, 148. twin 220, 279. fifth day-sign 128, 148. Its regent Chalchiuhtlicue 148, 149. Initial sign of the second Venus period 192, 315. Initial sign of the four-membered column that is significant for the morning star 133.
cuatl cozauhqui, the yellow snake, feather-snake of the south, its regent Macuilxochitl 233.
Codex Vaticanus No. 3771
Coatlicue, earth goddess, mother of Uitzilopochtli 35. actual name of the so-called Teoyaomiqui.
Coatzacoalco, place on the border of Tabasco, destination of Quetzalcouatl's wandering 7.
cozoliyo uei tepolli, fan-shaped neck ornament of turkey feathers, Quetzalcouatl's (cuextecatl-type) 87, 139.
cozcocoxtli, bird with a tall feather crest, disguise of Xochipilli's 100. — sings at daybreak 96, 105. (see quetzalcoxcoxtli). — nose-ornament of the fire god 80, 87, 250. — mirror-cross of Xochipilli and other gods 100.
Cozcotli, king of Colhuacan 101.
cozcatl, bell, golden, on the cheek of Coyolxauhqui 211.
Coyolxauhqui, hostile sister of Uitzilopochtli, related to Chantico 274.
cozcaquauhtli, "necklace-eagle", = vulture, king of the zopilotes, Sarcorhamphus papa 177. sixteenth day-sign 128, 177. Symbol of old age 177. Its regent Itzpapalotl, the Chichimec goddess 177 — 179. — see Tlacacozcaquauhtli.
cozcaquauhtli ichan, "house of the vulture" = house of the old goddess?, given with Tlazolteotl.
cozcatl, necklace, pearl chain, jewelry, see chalchiuhcozcapetlatl. — denotes abundance of food 232, 281. Symbol of wealth 213, 213. denotes a child 21, 24, 219, 217, 251. — Presenting of, denotes conception 235. — Taking off of, denotes birth 214. connects the dancers in the round dance 21, 222, 258.
Cozcatlan, city, on the borders of the Zapotec land, inhabited by descendants of Xelhua. — worshippers of the morning star 192.
Crónica Franciscana of Guatemala, day-sign list 127, 128.
Cuchulchan Tzeltal, feather-snake that lives in the water, = Quetzalcouatl 185.
cuacuauhtzpalin, iguana, the black one, Ctenosaurus completus 149.
cuecallacoyoalli, wheel-shaped neck ornament of macaw feathers of the Cuexteca 111.
Cuepaltzin, the macaw feather, the flame, name of the fire god 154.
cuetzalucotoncatl, fan-shaped neck ornament of Quetzalcouatl, of black turkey feathers with individual macaw feathers (= cozoliyo uei tepolli) 7, 139. — worn by Xolotl 187, 271. — worn by the pulque gods 188. — worn by Tonacatecutli 139. — worn by the bat god 114.
cuetlachtli, the wolf, Percolestes caudivolvulus [Canis], with the red Tezcatlipoca, the representative of Xipe 226. — with the pulque god 178.
cuetlachueue, the old wolf, uncle of those sacrificed in the sacrificio gladiatorio 226.
cuetzpalin, lizard (iguana?), symbol of unchastity 145, 217, 218. — denotes the phallus 218, 328. — denotes the uterus 145. — symbol of fertility and abundance of water 150, 151, entering in place of the rabbit in the mouth of the feather-snake 117. — fourth day-sign 145 — 147. its regent Uexcoyotl 147, 148. — beginning of the Tonalamatl division into two groups of 9×9 and two groups of 7×7 days 5.
cuezcochtechimalli, rosette of grass-paper, neck ornament of the death god 98, 158, 199, and elsewhere. — with the bat god 114.
Cuexteca, Huaxtecs, inhabitants of the northern Vera Cruz coast 101. — their attire 141.
Cuextlan, Huaxtec land, situated in the northeast of Mexico 141.
cuicaamatl, songs, Toltec property 142, 323.
cuicacalli, dance house, its lord Tezcatlipoca 38.
Cuicatlan, region, on the borders of the Zapotecs, different initial signs of the years 280.
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cuitlatl, excrement, filth, sin 114 (see tlaelquani). — in the hand of the penitent and beside the blood streaming from the ear, 18, 19, 272. — in the hand of Ixcuina 258. — given with Chalchiuhtotolin 272. — in the hand of Quetzalcouatl, the creator of mankind, denotes Tlazolteotl or tlazolli, the obscene act 251.
yacacaili, to fight with the broom, Tlazolteotl and her retinue at the feast of Ochpaniztli, denotes giving birth 268.
zacatapayolli, grass ball, for sticking in the blood-smeared agave-leaf points 226, 227.
zacatl = broom 261.
zacatlacotl, stalks, through which the pierced tongue is drawn, in the hand of Quetzalcouatl 282.
ce acatl "one reed", beginning of the fifth Tonalamatl section, regent Chalchiuhtlicue 253. — beginning of the first quarter of the fifty-two-year period, marking the East 260. — year of fruitfulness 282. — day on which Topiltzin Quetzalcouatl died and turned into the morning star 257. — hieroglyph of the planet Venus 192, 257, 260. — a heavenly body 47, 48. — one of the Tzitzimime 90. — = Itzcintli 289, 291.
ce acatl ce cipactli, beginning of the first Venus period in the first year of the fifty-two-year period 286.
ce atl "one water", beginning of the seventeenth Tonalamatl section. Its regent Chalchiuhtotolin 271, 272.
ce calli "one house", beginning of the fifteenth Tonalamatl section. Its regent Itzpapalotl 269, 270. — beginning of the third quarter of the fifty-two-year period 280. — year of abundance of water 288. — one of the days on which the Ciuateteo come down to earth 305.
ce couatl "one snake", beginning of the ninth Tonalamatl section. Its regents Xiuhtecutli and Tlazolteotl 256 — 258. — first member of the four-membered series significant for the morning star 128. — beginning of the visibility of Venus as morning star 291, 292.
ce cozcaquauhtli "one vulture", beginning of the sixteenth Tonalamatl section. Its regent Xolotl 270, 271. — beginning of the fourth quarter of the ordinary Tonalamatl, marking the South 281, 283.
ce cuetzpalin "one lizard", beginning of the twelfth Tonalamatl section. Its regent Itzpapalotl 261 — 261.
ce cipactli "one crocodile", beginning of the first Tonalamatl quarter, marking the East. Its regent Quetzalcouatl 7. — beginning of the first of the twenty Tonalamatl sections. Its regent Tonacatecutli 247, 248. — beginning of the first Venus period 285, 286.
ce ehecatl "one wind", beginning of the eighteenth Tonalamatl section. Its regent Chantico 272 — 273.
ce itzcuintli "one dog", beginning of the fourteenth Tonalamatl section. Its regent Xipe Totec 265 — 269. — second member of the four-membered column significant for the morning star 128, 218. — sign of fire. Beginning of the Xiuhmolpilli 157.
ce mazatl "one deer", beginning of the third Tonalamatl quarter, marking the West. Its regent the earth goddess 10. — beginning of the third of the twenty Tonalamatl sections. Its regent Tlazolteotl 250, 251. — one of the days on which the Ciuateteo come down to earth 306. — name of Xochiquetzal (?) 291.
ce malinalli "one twisted-grass", beginning of the eighth Tonalamatl section. Its regent Mayauel 249, 250.
ce miquiztli "one death", beginning of the sixth Tonalamatl section. Its regents Tecciztecatl and Tonatiuh 253, 254. — beginning of the second quarter of the ordinary Tonalamatl, marking the North 261, 262. — sign of the moon, sign of Tezcatlipoca 70. — name of Mictecaciuatl 258, 291.
Centzon mimixcoa, the four hundred North gods 210.
Centzon Totochtin, the four hundred pulque gods 152. — are harvest gods 167. — their names ltiM.
Centzon Huitznahua, the four hundred southern gods 210. — the hostile brothers of Huitzilopochtli 91.
ce ocelotl "one Jaguar," beginning of the second Tonalamatl quarter, denoting the North. Its regent Tezcatlipoca 8. — beginning of the second of the twenty Tonalamatl sections. Its regent Quetzalcoatl 248, 219.
ce ozomatli "one Monkey," beginning of the eleventh Tonalamatl quarter. Its regent Patecatl 258–261. — beginning of the third quarter of the ordinary Tonalamatl, denoting the West 281, 282. — one of the days on which the Ciuateteo descend to earth 80 ff.
ce olin "one Movement." Beginning of the thirteenth Tonalamatl section. Its regent Tlazolteotl 204, 205.
ce quauhtli "one Eagle," beginning of the nineteenth Tonalamatl section. Its regent Xochiquetzal 278.
third member of the four-membered series significant for the morning star 128, 291 — one of the days on which the Ciuateteo descend to earth JUL — name of Mayauel, the fifth of the five forms of Tlazolteotl, denoting the lower region — 318.
ce quiauitl "one Rain," beginning of the seventh Tonalamatl section. Its regent Tlaloc 154, 2Vi. — one of the days on which the Ciuateteo descend to earth 306.
ce tecpatl "one Flint," beginning of the tenth Tonalamatl quarter. Its regents Mictlantecutli and Tonatiuh 258, 259. — beginning of the second quarter of the fifty-two-year period, denoting the North 280. Years of drought and locust-plague 282, 288. — on it the animals were created 278.
cetl. Cold, frost, hieroglyph 09. — god of it, Itztlacoliuhqui 262, M.
ce tochtli "one Rabbit," beginning of the twentieth Tonalamatl section. Its regents Xiuhtecutli and Xipe Totec 278, 279. — beginning of the fourth quarter of the fifty-two-year period, denoting the South 280. — years of infertility and mouse-plague 288, 281. — on it the earth was created 152. — beginning of the present world period 186.
ce xochitl "one Flower," beginning of the fourth Tonalamatl quarter, denoting the South. Its regent Tonatiuh 11. — beginning of the fourth of the twenty Tonalamatl sections. Its regent Ueueyotl 251—258. — fourth member of the four-membered series significant for the morning star 128, 291. — day of the flower festival (xochilhuitl), festival of Xochipilli 161. — = Cinteotl, the one born of Tlazolteotl in Tamoanchan 101, 166. — sign and name of the sun 11, 12. — = Hunahpu of the Quiché 11.
citlalli, painted after the manner of the starry sky, white discs on a black ground. The throwing-board of Quetzalcoatl 140. — the garment of Quetzalcoatl of the height ;l0ü. — the feather crown of Tezcatlipoca 256. — a field around the eyes of the cuetlachtli 169, 1fcäi. — the garment of Citlalinicue 28.
cincalli. Maize-house, West 10. — through confusion(?) with the rain god of the South 218. — denotes the East of the West-region 121.
Cinteotl. Maize god, a male god 128. — appearance and attire 88, 128. — fourth of the nine lords of the night 128. — first of the four guardians of the first Venus period, denoting the lower region 114. — earth god of the North 88, 89. — standing for the earth 74. — in the series of the nine lords denoting the North 111. — born in Tamoanchan of the Tlazolteotl 101, 165. — = Xochipilli 154, 156. — in the Fejérváry confused with Xochipilli 194. — indicated with the Tlazolteotl of the West 212, 213. — struck by the spear of the planet Venus in the third period in the Codex Borgia 221. — depicted opposite Mayauel 256.
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Cinteotl Itztlacoliuhqui, the one meant in the mask of the deity of the stone, born of the Tlazolteotl at the feast of Ochpaniztli 261.
zolin, quail, animal of the earth, breast-ornament of Xipe 85. — on the front of the headband of Xipe 204. — feathers in the neck-ornament of the Tlazolteotl 102. — feathers in the nose-ornament and at the crown-tip of the Tlazolteotl 264.
zotz (Maya), bat, in Maya hieroglyphs 113. — closure of the gate of Tollan 118. — of the Tollan of the West 126. — name of a year-festival of the Maya 113.
xochitomalli, tuft made of yellow feathers, with the Tlazolteotl 102, 172.
xopatlihualli, tube-shaped neck-ornament of palm-leaf strips of the Cuexteca 141.
Chocolá, hacienda in the district of Kenton of Guatemala. Jagged vessel from there 31.
chachanme, "the houses," two captives who are sacrificed at the netonatiuhqualli 186.
Chalco, city-state, denoted hieroglyphically by chalchiuitl 96.
chalchiuhmichoacan, "jewel-stone Michoacan" = Tamoanchan, the mythical West 164, 165. — depicted with Xochipilli 161, 165.
chalchiuhatl, the jewel-water, also = blood 100. — hieroglyph 23, 184, illustrated by a blood-serpent 75, 76. — with Quetzalcoatl, the sweeper, 21. — with Chalchiuhtotolin, the turkey, 181, 272. — represented by the Chalchiuhtotolin, the turkey, 188, 2Li. — depicted with the Chalchiuhtlicue 265.
chalchiuhcozcapetlatl, multi-strand necklace of jewel-stone beads, with Xochipilli 116, 150 and other gods.
chalchiuhtotolli, headband of the fire god 95.
Chalchiuhtlatonac. God of flowing water, in the Codex Vaticanus [standing] for Chalchiuhtlicue, entering as regent in the fifth day-sign 148, 149.
Chalchiuhtotolin, the "jewel-hen," the turkey, denotes water 75 and note. — in the house of the rain god 75, 76. — regent of the eighteenth day-sign tecpatl [page]; of the seventeenth Tonalamatl section ce atl 271, 212. — image of Tezcatlipoca 211. — represents the chalchiuhatl or the blood 189, 272.
chalchiuhyacamitl, nose-rod of green jewel-stone, precious nose-rod. Worn by the sun god 127. — by Xochipilli 150.
chalchiuitl, so-called emerald, jadeite and other green semiprecious stones. In the water before the Chalchiuhtlicue 100. — on the tree of the East 78. — on the clothing of the Chalchiuhtlicue 151. — on garments of Chalchiuhtlatonac 116. — on the loincloth of Xochipilli 160. — at the neck of the sun god 117. — of the maize god 148.
chalchiuitl necklace, see cozcatl. — headband of the sun god 185. — of Quetzalcoatl of Tollan 287.
Chalchiuhtlicue, she with the garment of green jewel-stones, goddess of flowing water. Appearance and attire 99. — sixth of the nine lords of the night 99, 100. — denoting the West 111. — regent in the fifth day-sign couatl 148, 149. — of the fifth Tonalamatl section ce acatl 253. — fourth of the four guardians of the fourth Venus period, denoting the West 264, 265. — struck by the spear of the planet Venus, in the first period (the East) 12P. — in the water-vessel under the Tlaloc of the center 284.
Chamá, in the Alta Vera Paz. Painted clay vessel from there 112.
Chantico, goddess of Xochimilco, fire goddess 273. — appearance and attire 275, 221. — regent of the eighteenth Tonalamatl section ce ehecatl 272—278. — chichi... goddess 228. — mistress of the capsicum pepper 273, 276. — the eagle-foot her symbol 34, 55. — ? accompanying image in the first Tonalamatl quarter 15.
chayahuac cozcatl, long-hanging necklace of malinalli of the pulque gods 168.
tzi, (Guatemalan languages) dog 157.
chic (Tzeltal) = Mexican olin 180.
chicauaztli, rattle-board, sign of the earth deities, in the hand of the four guardians of the earth 82—89. — of Cihuacoatl 82, of Cinteotl (both) 88, 88. — of Xipe (?) 28, 175, 267 (blue) 4M, 85. — between the first human pair, denoting fertility 83, 134.
chicchan (Maya), day-sign, = Mexican couatl, first member of the four-membered series significant for the morning star 188.
chicocolli, the throwing-board curved on one side, of the wind god 140.
Chicomecoatl, "Seven Serpent," name of the Mexican maize goddess 20.
chicomecoatl, god of the Vienna manuscript 25, 261.
chicome olin, "Seven Movement," god of the Vienna manuscript 73.
chicome xochitl, "Seven Flower" = Chicomexochitl, "flower festival." Festival of Xochipilli 161. Name of Tonacatecutli 1.
Chicomolotzin, "Seven Ears (of maize)," name of the maize goddess 20.
Chicomoztoc. Seven Caves, place of origin of the tribes, situated in the North. Dwelling place of Iztac Mixcoatl 240.
chictlapanqui, two-colored, black and red, color of the pulque gods 168, 261. — garment and crown of the Tlazolteotl 264, 265.
chicuei acatl, "eight Reed," fourth of the five forms of the Tlazolteotl, denoting the South, [page]. Name of the moon goddess 17, 48.
chicuei mazatl, "eight Deer," Xolotl 201.
Chicunauhapan, the ninefold river, the river of the underworld 157.
chicunauhnepaniuhcan, the ninefold interlinked, the nine heavens. Dwelling place of Xochiquetzal 158. — = Tamoanchan 158, 251.
chicunaui acatl, "nine Reed," name of the Tlazolteotl 17, 18, 313.
chicunaui ehecatl, "nine Wind," name of Quetzalcoatl 287, 293, 294.
chicunaui itzcuintli, "nine Dog," name of the Chantico 2li. Goddess of the hair-cutters 273. — sign of sorcerers 273.
chicunaui tecutli, "nine Lord" (lord of the nine directions), name of the fire god 111.
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Index.
Chi ch'on itza t Maya", ancient city in Yucatan. Serpent columns == caryatids .
Chichimeca, immigrant tribes of the North, do not know Tlazolteotl. — Her god, s. Mixcoatl. — Her consort, s. Itzpapalotl. — Her goddess, denoting the third night-hour and the North.
chichinoa, to scorch, to burn.
chi/ah, pija (Zapotec), day-sign, = Mexican malinalli.
chi/lla (Zapotec), fifth day-sign, Mexican tepatl.
chilli, Capsicum, pepper. Its mistress, Chantico. — Abstention from it, fasting.
chilmolli, red pepper sauce.
Chimalpanecatl, a pulque god.
Chinampaneca, inhabitants of the lagoon of Xochimilco. Their goddesses.
chicuace acatl "six reed," name of the third of the five forms of Tlazolteotl, denoting the West.
Cholollan, city, its god Quetzalcoatl.
Sign of the fan, of the image, signifies human sacrifice — that of a ball of down, signifies conception.
Down-crown, Xipe's, Huitzilopochtli's.
Del Paso y Troncoso. Studies on the Codex Vaticanus.
Thunder, voice of Tlaloc.
Thunderbolt, in the hand of Tlaloc.
Thorn tree, the tree of the North.
Dirt-eater, sinner, s. tlaelpani.
Three, number of the fire priests, for the fire god.
Three Kingdoms, the.
Thirteen times fifty-two Venus periods, the great cycle.
Thirteenth Heaven, dwelling place of the gods of generation, s. Omeyocan.
Thirteen numbers, combined with the twenty signs to form the Tonalamatl.
Dueños de la noche, s. Nine Lords of the Night.
Darkness, general, at the end of the world-ages, our own era included.
Drought, its symbol the deer. — Region of it, the North. — Its house. — Consequence of the spear-throw of the planet Venus in the third period.
oh (Mixtec), day-sign, Mexican malinalli.
ecacozcatl, necklace-jewel of the wind god, his ear ornament (s. epcololli).
ecailacatzcozcatl, the spiral shell-jewel necklace of the wind god, an ear ornament ground from a snail shell — Huaxtec ornament. — Worn by Xolotl.
ce atonatiuh, fourth of the pre-cosmic world periods, begins on the day ce itzcuintli.
cauictli, the hoe of the wind god, his throwing-stick curved at one end.
Echo, in the dance, = Tepeyollotli. — Mountain of the, s. Tepeuenec.
Precious stone, green, s. chalchiuitl.
Jewel chain, s. cozcatl.
ee (Cakchiquel), day-sign, Mexican malinalli.
ecatl, wind, second day-sign. — Its regent Quetzalcoatl. — In Cuicatlan, one of the initial signs of the four years.
Adulterer, s. tetlaximque.
Ehrle, P. F. S. J., studies on the history of the Codex Vaticanus.
Lizard, s. cuetzpalin.
Emigration of the tribes, allegedly by way of the Huaxteca.
ela, gueela (Zapotec), night, day-sign, = Mexican calli "house."
Conception, represented by incense-smoke from above. — By the offering of a cotton ball. — Sacrifice for.
En-face eyes, depicted beside the sun — under the sky.
epcololli, ear-pendant ground from mother-of-pearl, Quetzalcoatl's — Huaxtec ornament. — Worn by Xolotl.
Epileptics, regarded by the Ciuateteo as bewitched.
Boring of new fire, at the beginning of the fifty-two-year period.
Earthquake, tlalolini.
Earth, s. tlalli, tlaltecuhtli, created from the cipactli. — Tepeyollotli. — Its world-period, that of the jaguar sun (ocelotonatiuh). — Its four guardians. — Its direction, the North, as the lower region.
Earth god, s. Xipe Totec — the beast with the pointed snout.
Earth goddess, s. Tlazolteotl. Beheaded. — The first human sacrifice.
Earthquake, reptile (cipactli), serpent. Among the death-lords, Mictlantecuhtli, Mictecacihuatl. — Dug into it. — Devours the star. — Formed in step-meander pattern.
Elucidations, to the Tonalamatl.
Harvest festival, the ochpaniztli festival.
Harvest gods, the pulque gods. — Tlazolteotl.
Shooting with arrows, sacrifice of the earth goddess Itzpapalotl, through Mixcoatl.
First woman, Xochiquetzal. — On the millstone depicted with Xochiquetzal.
First man, Tonacatecuhtli.
First human pair, Piltzintecuhtli and Xochiquetzal. — In the third quarter of the Tonalamatl (West), depicted under the sky goddess. — With Tonacatecuhtli, regent of the first day-sign. — With Tonacatecuhtli, regent of the first section of the Tonalamatl. — With Xochiquetzal. — In the pulque vessel.
Strangler, s. quechnitzcuani.
et cohtlla, snake, s. malinalli.
etznab (Maya), day-sign — Mexican tecpatl, initial sign of the second of the four years.
Owl, s. tecolotl.
euch (Tzeltal), day-sign, s. Mexican malinalli.
Eve, the fallen, s. Ixnextli.
eztli, blood, symbolized by the flower. — By the red snake — s. chalchiuhatl. — By chalchiuhtototl represented. — Depicted with Tlazolteotl. — With Chalchiuhtlicue.
facies Hippocratica.
Falling man, in Ueuecoyotl. — In Itztlacoliuhqui. — In Itzpapalotl.
Fasts, s. nezaualli.
Fast-breaker, Chantico.
Faster, s. mozauani.
Fasting food, unseasoned pepperless tortillas.
Feather serpent, s. quetzalcoatl.
Feather serpents, the four.
Feather crest, in the feather-adornment of the sun god. — Of the pulque goddess. — Tlaloc's.
Guacamayo, s. alo.
gueela, ela (Zapotec), night, day-sign = Mexican calli, house.
Long hair braid, reaching to the ground, Tepeyollotli's.
Hairless dog, = xoloitzcuintli. — s.
Hand, human, ear ornament of the death god. — White, drawing at the mouth, s. motenmatealhuiticac. — Hieroglyph for five.
Manuscripts, Mexican, appearance and condition.
Orphan, s. mailapilli.
Hard, symbol of all that is hard, Itztlacoliuhqui.
Breath, life, basic meaning of the sign ecatl.
House, = calli.
House of Drought.
House of the Earth, s. tecolotl's, cozcacuauhtli's house.
House of Rain.
House of the Sun, s. tonatiuh ichan.
Descending, indicated by the image of the spider. — Of the Ciuateteo. — Of the child. — Of war. — Of the Tzitzimime at the time of a solar eclipse. — To sacrifice, accompanying image in the first quarter of the Tonalamatl. — In the second. — In the fourth.
Plunging downward, uetziliztli, tzontemoc.
Drawing out, of the flower, of the jewel, drawing-out of the heart. — Of the eztli = birth of a child.
Hearthstones, tenamaztli.
---
Herald, s. tecpoyotl.
Lord of the Animals, Tepeyollotli.
Lords of the Night, the nine.
Sky, s. iluicatl.
Sky-bearers, Tezcatlipoca, Huitzilopochtli.
Sky goddess, s. Xochiquetzal, s. Tonacacihuatl.
Cardinal directions, four, five. See "Cardinal directions." — Their meaning. — Represented by the rain god. — Changed beginning.
Himmelsträger, the four, *2. Hl. *ti. — Star-gods, Tzitzimime H5», HO. — their images, the stone caryatids U2, ÜB.
Heaven and earth, love and death ;ux> - -:hi2.
Descending, to the dead. Xolotl iüil
Back-of-head strap, s. « uex«»« hi«-« liimalli.
Back-of-head-cover, ». tla«|uechpanyotl.
Hippocretice, farim IAA
Deer, ». niacatl — of the East and of the North, litt*, mtl.
— dead one, wept over KAuelu-work, abundance of food !K»2.
rttfl.
Deer-antler, mallet for the tortoise-shell drum 221, 222. —
double one on Xolotl's page 2LL
Deer-goddess, * niacat«.*otl.
Cave, OStotl. God of the. See T«*pryo|l«itli.
Cave-temple, »*l TepeyoMotli nt'*, HK.
holcan (Maya) warrior, struck by the spear of the planet Venus, in the fifth period (the lower region tm* oirhwmd).
Honey-pot, with the fire-god of the South Hl», H7.
Huaxteca, tribe, s. huaxteca. — servant of the Tlazolteotl, s. huaxtec. — their costume pieces in the costume of the wind-god 14(1, 141.
Hun ahau (Maya) = Mexican ee xochitl. Name of the death-god 11.
Hun ahpu (Quiché) = mexik. ce xochitl (?), sun-hero 11.
Hun batz (Quiché) mexik. ce xochitl, flute-player, singer, artist, is turned into a monkey IAH, I.V.*.
hun chic chan (Maya) = mexik. ce couatl. Beginning of the visibility of Venus as morning star 21M.
Hun chuen (Quiché), s. mexican ce ozomatli, flute-player, singer, artist, turned into a monkey l.Vt. I.Vl
Dog, s. itzcuintli. — hairless one, s. xoloitzcuintli.
Hun hau, n. Hun ahau.
icneyotl. Poverty, indicated by water, the changeable element. 2-Vi. -tut — indicated by an axe (tepoztli) :t|1, Mg, m
icpatli, chair, denotes tlatocayotl, kingship 2‘W,
icunnan "their Huaxteca", companion of the Tlazolteotl at Ochpaniztli 100, UH
ichcatl, unspun cotton-wool. Ear-plug of the Tlazolteotl 102 and elsewhere. — of the Ciuateteo UliL — of the death-god UM, M — of Patecatl 2(1». Necklace of the dog that accompanies the dead 1, f»7.
ichcaxochitl, head-adornment of unspun cotton, of the Tlazolteotl HU, 102, 172 and elsewhere. — of the Ciuateteo JUL
— of Mayahuel 196. — of Quetzalcoatl of the height :WQ.
ik (Maya), wind, day-sign, mexican ce eecatl UM, lün.
tlamatncutli, and Tonacaciuatl, the sixth region of the sky, denoting the lower region 70. together with Itztac Mixcoatl denoting the middle and the thirteenth day-and-night hour. — depicted at the grinding-stone, with Xochiquetzal PJO.
Ilancueitl, ». Ilamatecutli.
ilhuicac yauh, he who goes to heaven, the soul of the dead warrior 2ÖH, — - maqui, the pleasure-woman, denoting the twelfth night-hour and the upper region 2Ü7. — appearing for Macuilxochitl, the third of the four guardians of the fifth year-period 2»Kt. — ». tonatiuh Ixco yauh.
ilhuicatitlan, temple with the image of the morning star 1H2
Ilhuicatl, heaven, seat of the begetting gods 44. — indicated by the eagle-headed god macuil quauhtli? 74.
ilhuicavi, "lord of heaven", name of the fire-god 111. — of Tonacatecutli's PIO. 240.
ilhuitl, feast, pattern on the mantle of Xochipilli and Macuilxochitl MB, Ißt.
Earthly and heavenly love Hü.
itzcuintepotzotli, hunchbacked, pig-like breed of dog Int».
itzcuintli, the native Mexican dog. Various breeds lnß. — sacrificial and offering animal 157. — given to the dead in the grave l"i7. — the burning animal, denoting fire I.Y7, 27*. — tenth day-sign 12*. IAA. — Its regent Mictlantecutli 1**7. IAA — In its form appears Xolotl 1*1, 2*(l. — the fire-goddess Chantico transformed into it 270. — with the red Tezcatlipoca (representative of Xipe), the representative of the dry season, marked •)-l i;. — in his mask, the planet Venus in the third period (the west) Ml*.
— a god of Mextitlan IÜ7.
itztlacayan, the place of fresh winds, heaven. Dwelling-place of Xochiquetzal l**t, 2Ät.
Itzpapalotl, obsidian-butterfly, Chichimec goddess in butterfly form, with the whole-body painting of the fire-god 17*. 17U. — establishes at Nequametzin the oldest Chichimec rule 17*. — sacrificed by shooting, by Mimich IP.». — regent of the sixteenth day-sign Cozcaquauhtli 177—170. Regent of the fifteenth Tonalamatl-section ce calli 'AiH. 2lli — depicted with the broken space-tree Tamoanchan 17*. SSL
Itztlacoliuhqui, the curved obsidian knife, god of hard stone lV>1. — of cold 202. 2iiÜ. — of punishing justice 2ÜL — regent of the twelfth Tonalamatl-section ce cuetzpalin 2Ü1—2(M. — mask of Cinteotl, the maize-god born of the Tlazolteotl at Ochpaniztli 2ü2, 2<itl. Constellation in the southern sky 2Ü4, -*!«>. — his form is shown at the tip of the roof of the cave-temple of Tepeyollotli's lnö.
Itztli, obsidian-knife-god, second of the nine Lords of the Night üft, i. — denoting the East 111.
Xiuhtototl, Chichimec prince, remaining behind at Mixcoatl170.
ititopotli, stone axe.
iuitopilli, feather-staff of Chantico 27ö
iuitzoncalli citlallo, star-sky-adorned feather-crown of Tezcatlipoca 2öti.
ix (Maya), day-sign, mexican ocelotl, in Yucatan initial sign of the third of the four years 2HU.
Izcauhqui, the yellow-faced one, name of the fire-god IM.
itztalchtualli, star-face-painting of the morning star — mixitlalhuiticac.
Iznuztli, the abandoned Eve, depicted facing the god Ueuecoyotl 2.'iü.
izquimilli, blindfolded, s. Tezcatlipoca ixquimilli.
— s. Itztlacoliuhqui — with Itzpapalotl depicted in the fifteenth Tonalamatl-section 'Jüt».
iztac tlatlaan, crosswise stripes in yellow color, face-painting of Tezcatlipoca *, 12. 11.* and elsewhere.
Izthiltoc, the little black-face, ...
itcalli, growth, depicted in the eighth day-hour, which belongs to the East äJkl.
Izquitecatl, pulque-god |ÜS.
izpuitl, roasted, burst maize, offering for the Ciuateteo ÄSL
izquixochitl, white blossoms (Plumeria alba) wreath of Xochiquetzal 2I>! and elsewhere. — on the cheek of Xochipilli and of Xochiquetzal, in the seventh day-hour (midday), which belongs to the upper region 22*. 22!)
izquiztli, comb, insignia of Tlazolteotl 1U2.
Iztac ciuatl, snow-mountain UW.
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Index — 343
Iztac Mixcoatl, the cloud-serpent, the primal god, the sky-god. Ancestor of the Chichimecs, dwelling in Chicomoztoc :;»> — attire and dress jg| ML — bears the tobacco-gourd of the priests 14, 21H. — denoting the middle and the thirteenth night- and day-hour 212. !»8—24i».
iztac xochitl, white blossom, name of Tlazolteotl 101.
iztapalli, flat stone Knie 2 Äh.
Iztapaltotec = Xipe 2ÜS.
Jaguar, s. ocelotl; s. tlatlauhqui ocelotl.
Jaguar-skin, on the royal throne 17«».
Jaguar-fur-marking, on the mouth of Tepeyollotli's t«H.
Jaguar-vessel, with Tlaloc, ocelocaxtli (vessel for burnt offerings) iVi
Jaguar-god, m. Tlacaocelotl.
Year. Hieroglyph (ring and beam, trapezoid and beam) Äg, 2SL — on the crown of Tlaloc i:»l. IU7, 1UH. — on that of the rain-god of the South 243.
Beginning of the year, among the Mexicans 2HM.
Year-bearers 2ÜL
Youths' house, ». telpochcalli.
Youth, ». telpochtli.
Cactus-fruits (?), on the tree of the South Hl.
Calendar, ». Tonalamatl, s. xiuhpohualli. xiuhamatl.
Kita. s. evtl — god of, k Itztlacoliuhqui.
Comb-like ornament, ». jwtlxnolli
Kimpieu = to be born lili. h. vucuiali.
Kan (Maya). Day-sign, mexican cuetzpalin 117. — denotes maize 147. — in Yucatan initial sign of the last of the four years
Canal-construction (?), s. tlacatlaolli.
Kan-sign, god with the, ii i. struck by the spear of the planet Venus, in the third period (West) IV-H.
Caryatids Kl
Castration, m-y«>li/tli, netetequizpan
Katchina, dance-gods of the Hopi 1|s
Kautschuk, s. olli.
Rubber-ball, h. oltelolotli.
Rubber-painting, s. motenehuiopineca
Rubber-ball, h. ultelolotli.
Rubber-plaster, on the cheek, s. tlaxapochtli.
kiik (Maya), blood, Kautschuk XI
kik hoban (Maya), "extinguished blood" = Kautschuk !tt.
Child, denoted by a coyotl 23, 24, 21», #1», 2jn. 2iL by a spindle-whorl 211». Conceiving one, through a descending footprint 21, 24. 221.
Childbed, woman who died in it, s. mociuaquetzqui.
Child's-face-painting, s. pilnechiualü.
Child's-cradle, s. conrecuiUatU
Bone-awl, s. omitl.
Button, in the nostrils, with Tepeyollotli and the tribes of the Pacific region IlM. |(fi
Hummingbird, huitzitzilin.
Kings, kingship, = tlatoani, tlatocayotl.
Body-parts and day-signs 2W. 21m.
Coyote, the old, dance-god, s. Huehuecoyotl.
Coyote-skin, worn by the dance-gods of the Hopi llH.
Sick person, s. cocoxqui.
Cross, formed from crossed jade-stones (?), death-symbol yy.
Crossroads, s. ohtlamaxac (?)
War, s. yaoyotl. metaphorical designation, s. atl tlachinolli. — must produce sacrifice 176.
Warrior, s. yaotl, n. quauhtli, quauhtli-ocelotl, s. holcan- one who is sacrificed, s. tonatiuh Ixco yauh, ilhuicac yauh.
Warrior-collar (?), s. izotiucolli, itzotzoloyan.
Warrior-dance-headdress, s. uztaxelli.
Warrior-death, sacrificial death .Vi. 217. 2~>s,
Warrior-death-ornament, with Tlahuizcalpantecutli 2\s. with Tonatiuh.
Crocodile, s. cipactli.
Skull-mask (?), Chichimec, s. cealtzcpontli.
Kukumatz (Quiché) = Quetzalcoatl 2», 1;V»
Kukulcan (Maya) = Quetzalcoatl I3.V
Copper-axe (?), » teputztli.
Gourd-rattle, ayacachtli.
Coastland, s. Anahuac. Anahuatl.
Coast-dwellers, s. Anahuaca.
lam «xapotek "fire" = mexican eecatl, wind HU.
lamat (Maya), day-sign = mexican tochtli, rabbit. Initial sign of the fourth of the four years *->
Lancet (?), with Oxomoco, Cipactonal 227. — with the priest, at the time of midnight 227.
Lapilli, — teciuitl.
Lava, blistered (?), s. teconalli.
Foodstuffs, s. tonacayotl. Lord of, Tonacatecutli 131.
Abundance of food, region of, the East 7H. 2Kt. 11KL Time of, the years of the East ->H->. — indicated by incense and by extinguishing incense 2V».
Life and death 9»b-HOt
Legend (?), s. cmH ueuepalin. ueue uetzpalin. — crawling over the knees, produces fertility 14A
Corpse, micca-quimiloli.
Cremation of the dead, s. tetlatiliztli.
Love-goddess, s. Xochiquetzal.
left, s. opochtli-opu.
Spoonbill (heron), s. tlauhquechol.
Desire, gods of, s. Ahuiatl (?), Xochipilli, Macuilxochitl, Tlazolteotl. their signs.
maana, "spreads itself", figure of speech for birth 2C;.
macuil coçcaquauhtli, "five vultures", second of the five North-gods, denoting the North dllL
macuil cuetzpalin, "five lizards", first of the five South-gods, denoting the East 3U1», 310. — banner-bearer before the sanctuary of Huitzilopochtli's 3111 [illustration :bl8].
macuitl, "the taken hand" = five, represented hieroglyphically by the drawing of a hand JUü
macuil malinalli, "five twisted-grass", fifth of the five South-gods, denoting the lower region :tl1, — maize-god 311. — the sign guarantees wealth 22!i
macuil olin, "five movement" = Chalchiuhtotolin 2Kl, 2U.
macuil quauhtli, "five eagle", eagle-headed god, denotes heaven 74.
macuil tochtli, "five rabbit", third of the five South-gods, denoting the West .'IH>. 'dll [illustration otri], — pulque-god 3LL
macuilxochitl, "five flower," fourth of the five gods of the South, denoting the South, the red god, the god of pleasure and of play 311. — third of the four guardians of the fifth Venus-period, denoting the South 297, 298. — in the golden feather-snake, denoting the South 216, worshipped together with Xochipilli 191. — fire-drill(?) 29, 30. — stone image 47, 48. — entering for Cinteotl in the third Tonalamatl-quarter 41, 17, companion image in the fourth Tonalamatl-quarter 191, presiding over the dice-game patolli 161, 163. Stone images at the ballgame court 161, 162. — appearance and attire 288. — distinguished by the drawing of the white hand at the mouth 161, his facial painting like Xolotl's 181, 161. — stone images 161, 161, 166.
Mazatotl. Xochiquetzal with a rabbit's head upon her head, opposite the dance-god, denoting the third night-hour and the North 217, 218. — opposite the animal-headed prince, denoting the seventh night-hour, midnight, and the lower region, 227.
Mazatepec. Settlement of the Chichimeca migrating out of Chicomoztoc 179.
mazatl, deer, seventh day-sign 128, 129. Its regent Tlaloc, in Cuicatlan. Initial sign of one of the four years 260. Sign of drought 150, 151. Image of the chase, of the harvest 16, 17, 149, 357. — sign of the North 202. — depicted at the sky-bearer of the North 88, 89. — disguise of Xochipilli 112.
machoacotl, upper-arm ring in the bowl before Xochipilli 114.
Ilhuej, agave plant, see metl.
Mahlstein (grindstone), see metlatl.
Mais (maize), blossom see miahuatl. — cob see cintli. — stalk see toctli, ohuatl. — painting on the tree of the West 20.
Maisgott (maize-god), see Cinteotl; see god with the Kan-sign.
Maisgöttinnen (maize-goddesses), see Chicomecoatl, Chicomolotzin.
Maishaus (maize-house), see cincalli.
Maize-bearing earth, on the lower leaf of the West-region 120, 121.
Maler, Teobert, investigations in Chichen Itza 101.
malinalli, "twisted grass," second day-sign 128, 129. — its regent Patecatl 169—170. — in Yucatan one of the initial signs of the four years 260. — in the hand of the Tlazolteotl 351, — of the Cihuacoatl 61. — of the five Ciuateteo 191. — of the five gods of the South in the Codex Vaticanus 3773. — of Xochipilli's 87, 88. — of the sick man 158. — forms the ear-plug of the death-god 198. — the death-rattle of the death-god 94, 108, 189. — of the Cinteotl of the lower region 305. — the striped necklace (chayanic cuzcatl) of the pulque-gods 198. — the breast-ornament of Xolotl 181. — of Itztlacoliuhqui's 201.
mamafouhticac, birth-healing 253.
mamathaaztli, fire-drill, represented by two arrow-shafts 30.
maqui, "those who enter into the ranks," the courtesans, companions of the warriors. Their patroness Xochiquetzal 129, 188, 189, 201. — dancer, denoting the third night-hour and the North 217, 218. — as ilhuica-yauh denoting the twelfth night-hour and the upper region 235.
maquizcoatl, two-headed snake, breast-ornament of the rain-god 197, 198. — of the red rain-god of the South 216. — nose-ornament of the Chalchiuhtlicue 61, 148. — denoting the incense-offering 71.
matlactli oce "ten motion," initial day of the fifth Venus-period 297.
matlactli omei acatl "thirteen reed," birth-year of the sun 189.
matlactli omome cozcacuauhtli "twelve vulture," goddess of the old women 189.
matlactli omome tecpatl "twelve flint-knife," name of the earth-god or death-god 201.
matlalcueye "she who wins with the net," name of a mountain in the region of Tlaxcala 186. — water-goddess 186. — patroness of the sorcerers, second wife of Tlaloc 188. — represented in the west-array among the rain-gods of the center 186.
matlava "lord of harlotry," name of Tonacatecutli 139, 132.
matotoc, bird with hands, represented at the Chalchiuhtlicue 148.
maxahuiqui, legs spread apart, swallow-tail shaped, the breechcloth of Xipe 170, 171. — the wand of Xipe 102, 251.
maxtlatl, breechcloth of the men, worn by the Ciuateteo 307, worn by the Miccacihuatl 291.
mayanaliztli, famine, symbolized by Cihuacoatl 365, 201.
Mayahuel, goddess of the agave plant, inventor of the preparation of pulque 152. — pulque-goddess 169. — entering for the pulque-vessel in the second Tonalamatl-quarter 41, 42. Regent of the eighth day-sign tochtli 152, 153. — of the eighth Tonalamatl-section ce malinalli 249, 253. — fourth of the four guardians of the first Venus-period, denoting the lower region 194. — fifth of the five forms of the Tlazolteotl, denoting the lower region 305, 306. — appearance and attire 152, 169. — sitting on a turtle 18, 152. — suckles a fish 169.
mayiccopa, to the right, name 91.
mecapalli, carrying-band passing over the forehead for back-loads 20.
Michoacan, see Michhuacan.
Conch-shell trumpet, see tecciztli.
Melons, offerings for Quetzalcoatl 143.
mm imayai, day-sign, = Mexican quiauitl, fourth member of the series significant for the morning star 129.
Cannibalism, see tlacacualli.
Human food, see tlacaeuatl.
Human-skin mask of Xipe, see mexxayacatl.
Human sacrifice, see tlacamictiliztli.
Flayer of men, see tlacaxipehualiztli.
metl, agave plant, yields pulque 152. — its goddess Mayahuel 152. — entering for Mayahuel 42—43, 169.
metlapilli, hand-roller for the grindstone 19.
metlatl, grindstone 19.
metztli, moon. Its hieroglyph 190. — indicated at the Tlazolteotl 119, 194. — indicated at the night-hours of the moon 217, 218, 229, 226, 231. — its god, see Tecciztecatl. — its sign, see ce miquiztli. — birth after that of the sun 189, its six phases, its periods 189, 190, 291. — image sacrificed as netonatiuhqualli 186.
Mexica, the last immigrants 179.
mintotl, double agave 152.
menayacatl, thigh-skin mask, worn by Cinteotl-Itztlacoliuhqui at the Ochpaniztli 202, 203.
mixayacatlahuiztli, war-device 202.
miyotl, rosette, four on Tlaloc's headdress 191. — back-device of the Chantico 213.
Miztitlan, region on the borders of the Huaxteca. Day-sign list 127, 128. — deities 166, 167.
miquiztli, death, sixth day-sign 148—149. — its regent Tecciztecatl 149, 150.
Mitla, region on the border of San Salvador, inhabited by the Pipil 186.
mitl-chimalli, shield and spear, sign of war, in the temple of the fire-god 94. — before Tzontemoc, the sky-bearer of the West 84, 85. — with Xiuhcoatl 208. — at Tepeyollotl 250. — at Yohualteuctli 252. — at the red and the black Tezcatlipoca 326.
mitotiani, macehuani, dancer, represented at the Xochiquetzal 218. — in the third night-hour, the North 217, 218. — in the fifth night-hour, the South 222, 223. — see dance-gods, see Huehuecoyotl.
Noon, see nepantla tonatiuh. — Noon and midnight = South and North 77, 214.
Center, fifth world-region, represented by the fire-god 110, 111. — seventh world-region represented by Iztac Mixcoatl, Ilancueye 212, 216.
Midnight, see youalnepantla.
mitzontli, tlacochtzontli, spear-crest wig of the fire-god 96.
Mixcoatl "cloud-serpent," god of the Chichimeca and of the hunt. Appearance and attire 116, 206, 207. — face-painting of the morning star 116, 258. — bears a deer as back-device 151. — fire-drill 29. — one of the Tzitzimime 90, 91. — second of the four forms of the deity of the planet Venus, denoting the North 115, 116. — guardian of the second Venus-period, denoting the North 288. — second of the four guardians of the fifth Venus-period, denoting the South 206, 207. — on the leaf of the North 79. — at the Tlazolteotl the deer-hoof 193.
mixcitlalhuiticac, star face-painting of the morning star 258. — at Mixcoatl 116.
michictlapoticac, two-colored, black-and-red face-painting of the pulque-gods 169.
mizzatl, cloud, image of the cloud 148.
Olmeca, in Sahagún's usage = Olmeca 101.
mizzoll, cloud, image of the cloud 108.
mizcitlahchiuh, star face-painting of the morning star 258.
Months, twelve, represented in the sixth Tonalamatl-section 89.
Moon, see metztli.
Moon-god, see Tecciztecatl.
Morning star, period of its visibility 291—294. — among the Huichol 89.
Motecuhzoma sends Cortés the costumes of the four gods 158.
motamaepuhtotiqua, those who dance with a human hand, sorcerer-rogues 307.
motenmacpalhuiticac, drawing of a white hand at the mouth, of Macuilxochitl's and of the five gods of the South 191, 207, 208, 208—211. — at Xolotl's 181.
motenmaxaloticae, open mouth of Xipe's 205.
motenzopinticac, black rubber (caoutchouc) painting around the mouth, of the fire-god 91. — of the Tlazolteotl 82, 92, 172.
motlatlauana, she stretches herself out, birth-posture 251.
motlauaotac, red body-painting of the fire-god 91.
Motocoyatzin, the one who acts by his own will, name of Tezcatlipoca's 171.
muluc (Maya), day-sign = Mexican atl, water, in Yucatan initial sign of the second of the four years 261.
False bundle, for the dead warrior 167.
Pinched moon-corner (mouth), of old people, representation in the Codex Borgia 130, 149.
Muñoz Camargo, Diego, Tlaxcalan historiographer 106.
Conch-horn, see tecciztli. — time of blowing = midnight, see tlatlapitzalizpan.
Music, gods of, in the fifth hour of the night, the south
221, 222.
naked* gods, Mixcoatl 116, 906. 207. — the [Kegnngnti?] of the
lower region 244. — Tlazolteotl 101.
nacochtli, ear-plug 5H, VI. — blue a. xiuhnacochtli.
Night, Nine Lords of the 91 111.
Nachtstunden (hours of the night), thirteen 211—242.
Night-bird, image of Tezcatlipoca 2£j.
Manacatitzatzin (?), god of Meztitlan 167.
Nanahuatzin, the syphilitic god, becomes the sun 1BS.
nahualli, sorcerer-jaguar 96.
Nahualpilli, god of the stone-cutters of Xochimilco, a pulque
god 168.
Nahuatlaca 179.
nauhyotecuhtli (?), lord of the four directions, the fire god 111.
nahui atl "four water," sign of Almiatuih (?) 185.
nahui coatl "four snake," god of the Vienna Codex 287, 288.
nahui cuetzpalin "four lizard," beginning of the Tonalamatl
division into two groups of 9×9 and two groups of
7×7 days 6.
nahui ehecatl "four wind," sign of ehecatonatiuh 186.
nahui ocelotl "four jaguar," sign of ocelotonatiuh 185.
nahui ollin "four movement," day of the disappearance of the
morning star in the rays of the sun 299. — sign
of the sun 180. — sign of olintonatiuh, the current
world period 184. — day of the netonatiuh-nahualli
186. — depicted with Xolotl 211. — god of the Vienna
Codex designated by this name 991.
nahui quiahuitl "four rain," sign of quiauhtonatiuh 186.
nahui tecpatl "four flint-stones," second of the five forms
of Tlazolteotl, denoting the north 5LL.
nezahualcalli, fasting-hut of Quetzalcoatl 9-Hl.
nezahualli, fasting 17. — depicted with Tonatiuh 185. — with
Chantico 276, 277.
nezahuatl(?), penance, bloodletting in honor of the gods
88, 98, 69. — depicted with the "tbulchiuhtntulin" (?) 181, 212.
— illustrated by the scorpion 226, 227.
Nemcatacoa (Chibcha), maize god of the Chibcha 118.
nanacaztequiliztli, cutting notches into the ear (for
bloodletting) 58, 59.
nepantlatonatiuh, midday, time of the Iluc[?]-nings 228, 229.
nequametl (?), wild agave 129.
Nequametocan (?), first royal seat of the Chichimeca of
Quauhtitlan 178.
netataquizpan (?), time when one cuts oneself, does penance
= midnight 2211.
netatatiliztli (?), to throw oneself into the fire 50, U0.
netonatiuhnezahualiztli(?), fasting in honor of the sun, on the day nahui
ollin 186.
Nine Lords of the hours of the night 5, 95—111.
North, see mictlampa. Space of the, see quauhquiahuitl.
Nut, sky-goddess of the Egyptians II.
44
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Index.
946
upper region, see ilhuicatl.
oc i Maya (?), day-sign = Mexican itzcuintli. second member
of the four-part series significant for the morning star
189.
ocpatli, pulque-root(?), narcotic roots 1<M. — their
inventor Papaztac K58.
octecomatl, pulque-vessel, accompanying image in the second
quarter of the Tonalamatl, 41, 42. — depicted with
Mayahuel 152, 255. — with Itztlacoliuhqui 261. — form, see
oyoalli. — hieroglyph for octli 230.
octli, pulque, intoxicating drink obtained from the sap of the
agave 1.72. — hieroglyph 290. — drink of the
old men (?)
ocelocopilli, cone-shaped cap covered with jaguar skin,
[belonging to] Quetzalcoatl 87, K1D.
ocelocuauhtli (?), jaguar skin, on the royal throne.
ocelotepcalli(?), jaguar-skin seat [tzitzimitl?]
oceloquahuitl, tree of the south [south's space] Hl.
ocelotl, jaguar, veneration among the Indians of Alta Vera
Paz 105. — howling in the mountains, ominous portent
KW. — the animal that devours the sun, symbol
of darkness KM, 172. — standing in for the cave 57, 5H.
— — Tepeyollotli, god of caves KW, 172. — at the
crossroads before Tezcatlipoca 96. — on the tree of the
south Hl. — depicted with the pulque god, biting the
warriors in two 260. — fourteenth day-sign 128, 172. —
Its regent Tlazolteotl 172, 179. — standing in for Mixcoatl, the
second of the four forms of the deity of the planet Venus
125. — standing for the house of drought 76. —
struck by the spear of the planet Venus, in the
second or fifth period (corresponding to the north or the
lower region) 328.
ocelotonatiuh, jaguar-sun, second of the four pre-cosmic
world periods, world-gate of the earth 12, 185.
oceloyatoztli (?), jaguar-paw-skin bag for incense, in the
hand of Iztac Mixcoatl 232. — depicted with Tlaloc,
signifying abundance of food 254, 255.
ozomatli, monkey, clothed in malinalli 159. — signifies dance,
play, art, like xochitl (flower) KW, 150, KM. — depicted with the
black Tezcatlipoca, denoting the rainy season 326. — depicted
with its features as the sick man 158.
— eleventh day-sign 128, 159, KM. — Its regent Xochi-
pilli 159—KB.
ochpaniztli "sweeping-away, cleansing," festival of Tlazolteotl, celebrated
in autumn 101. — harvest festival 173. — festival of the
hardened maize 202, 263 (cf. Itztlacoliuhqui),
Open moon of Xipe, see motenmaxaloticac(?).
Ear-pendant of Quetzalcoatl, see epcololli. — of the dance-gods,
see oyoualli.
Ear-plug, see nacochtli, xiuhnacochtli, xiuhteyolnacochtli.
Ear-plate, square, with diagonal grooves, on Tlaloc HM,
WX — on the pulque gods 168. — on Tepeyollotli KM.
Ollin, movement, seventeenth day-sign 128, 179, 1HU. —
Its regent Xolotl 181—189. — starting sign of the fifth
Venus period 192, 315. — in Cuicatlan the starting sign
of one of the four years 280.
ollin, rolling movement, also said of earthquakes(?)
179, 1HU. — see tlalolini.
olintonatiuh, earthquake-sun(?), the present world period
186.
ollamaxalli(?), offering of rubber 1MS, 42.
olli, rubber, from which the ball for the ball-game is made 179.
— depicted with Xochiquetzal 278.
Olmac, name of the Olmeca G3, 249.
Olmeca Uixtotin, inhabitants of the southern Vera Cruz coast
101, 143, 179. — worship Tlazolteotl 101.
olpiauhqui (?), sprinkled with rubber, garment and ornament
of the rain god KM, 109, 212.
ollololli, ball of rubber, offering 30, 42, and elsewhere. — on
the bundle of firewood among the nine lords of the night
1M. — playing-ball assigned to Macuilxochitl 311. — with
Xochiquetzal 278.
omaxac, crossing, see otlimaxac.
ome acatl "two reed," on it heaven was created 278.
ome itzcuintli "two dog," old god of the Vienna Codex
carries the priests' tobacco-gourd 14.
ome quammamalitli (?), two wooden drills, the fire-drill, in
the headdress of the fire god 95, 250. — of Chal-
chiuhtlicue 100.
ome quetzalli, two feather-crests, on the crown of Xochi-
quetzal 189, UM, 195, 217. — of Chalchiuhtlicue 2tM. —
signifies two children? 219, 230.
ome quipilli (?), two rubber-drops, on the cheek of Tzapotlan
tenan 99.
Omeacatl, Ome[te]cuhtli(?), procreation gods, dwelling in the
thirteenth heaven 4t, 181.
ometochcueitl (?), two-colored skirt of Tlazolteotl 172.
ometochchimalli, shield of the pulque gods 168.
ometochtilmatli(?), mantle with the pattern of the pulque gods 42,
167, 168.
ometochtlahuiztli(?), device of the pulque gods, warrior insignia
41, 42, 167, KM.
ome tochtli "two rabbit," name of the pulque god 168.
— god of Meztitlan, killed by Tezcatlipoca, but
reviving again 167.
Omeyocan, place of duality, seat of the procreation gods, the
uppermost heaven 23, 44, 131.
omitl, bone dagger, instrument of penance, indicated at the ear of
the priest 229. — as a peg in the wings of the nose
-122.
omitl-huitztli, bone dagger and agave-thorn point, instruments
of penance, in the headdress of Quetzalcoatl 7,
87, 140 and elsewhere. — of Xolotl 27n. — of the bat
god 114. — in the hand of Itzpapalotl(?) 232. — of Tona-
catecuhtli 218. — of the Cihuateteo and the five gods of
the south 304, 310. — indicated with Tlaloc 2,'M. — denoting
the south 111.
Offering, for the birth of a child 233, 234. — in the form
of a combat, see sacrificio gladiatorio.
Offering-blood-bowl, see quauhxicalli.
Offering-teeth(?), see amapantli(?).
Offerings, see tlamanalli.
Offering-priest, see tlenamacac, see temictiani.
Offering-... (?), see aztamecatl.
Offering-place, = techcatl.
Death by sacrifice, in the lower row of the fourth quarter of the
Tonalamatl, depicted opposite Tonatiuh 11. — = warrior's
death.
opochcopa, left, = south 91.
Opochtli, the left one, i.e. the south-god 91.
Orchestra, the Indian 221, 222.
East, see tlapcopa. Tree of the, see quetzalquahuitl.
otli "road," denoting the earth 230. — on the cheek of the
earth goddess 313. — on the garment of the earth goddess 50, 51.
otlimaxac, crossroads, cult-site of the death god 98. —
of Tezcatlipoca 66. — of Tlazolteotl 102. — of the Cihuateteo
18. — depicted before the Cihuateotl of the north 304.
otlimanca Ciuapipiltin manca (?), the women who lie in wait
at the crossroads = Cihuateteo 105.
Otomi, people 179. — their god Yeuecoyotl(?) 148.
ozitl(?), maize stalk, represented by the sacrificed warrior 2>I8.
ozitl, turpentine ointment, invented by Tzapotlan tenan 99.
Oxomoco Cipactonal, the wise elders who created the
calendar 179. — in Tamoanchan, denoting the sixth hour of the night
and the upper region 224.
oyoalli(?), pointed, jingling ring of shell, breast-
Digitized by Google
Index.
347
ornament and ear-pendant of the dance-gods 222. — of Ueue-
coyotl 202. — of Tecutecatl 190.
oztoticpac, the god upon the cave 87, 38.
oztotl, cave, hieroglyphic representation 17, 57, 144. —
represented by Tepeyollotli 17. — represented by the jaguar
57, 58.
Pamal(?), the swift one, forerunner of Huitzilopochtli, bears the
facial paint of the morning star 258.
Painbaxa (?), see quauhcoyolli.
pantlaza(?) "where one crosses over the water" 142.
Panquetzaliztli, festival of Huitzilopochtli 91.
Pantitlan, whirlpool in the lagoon of Mexico, sacrificial site
of Tlaloc 110.
Pantla or Pamtla — land of the Huaxteca 142.
pahitoyahualli(?), bent paper-banner, corpse-ornament, at the
neck of Mictlantecutli 98, 1lm, 300.
Pamtla, see Pantla.
papalotl, butterfly, homologue of the flower, image of
the flame 228, 274. — on the mantle of Macuilxochitl 162.
— white design around the mouth of Xochipilli 159, 195,
328.
papalotlaxcalli(?), tortilla in butterfly-form, offering for the
Cihuateteo 306.
Papaloxaual(?), adorned with a butterfly, name of the
Chantico 271.
Papantla, in the Huaxteca land, ancient cultural center 115.
Papaztac, a pulque god 168.
Patecatl, pulque god, inventor of the pulque seasoning (ocpatli), 168.
— Regent of the twelfth day-sign malinalli 168—170.
— — of the eleventh Tonalamatl section ce ozomatli 259
to 261.
patolli, dice game, its god Macuilxochitl 161, 165, 511.
patzactli(?), comb-like feather ornament, see quetzalpatzactli. —
of white feathers, see aztapatzactli. — of black
feathers, with the moon god 306. — of black feathers
with white end-tuft, with Tlahuizcalpantecuhtli 258, 517.
Drum, see tlalpanhuehuetl.
peco zelao (Zapotec), hairless dog 156, 182.
pecopichijla (Zapotec), crocodile 130.
pek (Maya), dog 156.
Peel(?), its sign the lizard (cuetzpalin) 145, 298, 528.
Necklace, see cozcatl.
Pepper, red, see chilli.
Arrow, see mitl, see tlacochtli.
Plaster, round, on the cheek, see tlaxapochtli.
piaztli(?), sucking-tube, for the offering-blood-bowl 216.
pichijla poco (Zapotec), crocodile 180.
pia or chija (Zapotec), the twisted one, day-sign, = Mexican
malinalli 165.
pilxochihuatli(?), child's facial paint, yellow cross-stripes, of Tez-
catlipoca and Huitzilopochtli 69, 95.
Pilon de Azucar(?), in the district of Misantla, cult-site of the
rain god 118.
Piltzintecuhtli, first man, beloved of Xochiquetzal 155,
174. — sun god, third of the nine lords of the night
96, 97.
Pipil, Mexican tribes of Guatemala and San Sal-
vador, their gods Quetzalcoatl and Itzcuey(?) 138.
pitao (Zapotec), the great one, god. designation of the
initial position of the Tonalamatl quarters 281.
pitao xoo (Zapotec), earthquake god 181.
pochotl, Bombax ceiba, fruits at the branch-ends of the
tree of the west 80.
Popoeatopott, the smoking mountain, «1er volcano 106.
popotl, broom, badge «1er Tlaculteotl 102. — fought with him at
Oelipaulxtli 263 (see vücalil.
poy aham chö iQu'ichei, figures carved «from wood», first
creation of mankind 114.
Poyauhtlan - Tlalocan, mountain between Texcoco and Uecotxinco
106
Priest, s. tlamacazqui, quacuilli. — incense priest s.
tlenamarnc.
Pulque, intoxicating drink from the sap of the agave
plant s. octli.
Pulque vessel, s. oct«icomatl.
Pulque goddess, in the Codex Borgia ruler of the eleventh Tonal-
amatl section c« ocomätli 259, 26».
Pulque gods, s. Ceutzontotoclitln, Päterat), Gnietochtli,
Macuiltochtli — as god of death, «second of the four guardians of
the third Venus period, denoting the north 191», 20«.
Pulque drinkers, slain «with the cudgel 262.
quacuilli, priest 45. — s. tecizquacuiUi.
quachichiquilti, crest feather-comb of Macuil xochitl and the
disguised gods 208, 511.
quauhcalli, eagle house, the west of the west region 122.
quauhcoyolli, palm, tree of the south 4W.
quauhcivatl, eagle-hen, or yaociuatl, woman warrior = Ciua-
coatl 173. — = Tonacaciuatl opposite Tlacaocelotl, the
fourth day-sign and denoting the west 220, 221.
quauhiuitl, eagle feathers, war ornament 174.
quauhfiochiU, heart of the sacrificed one 173.
quauhpachiuhqui chimalli, shield with the eagle foot, belongs
to the tlepapalotlauiztli 54, 35, 271. — worn by the Chantico
and the other goddesses of the Chinampaneca
275.
qvauhpotlatl ocolopethtl, an office held by a person of warrior
rank 175.
quauhpilli, person of warrior rank 173.
quauhquaurtt, tree of the north 79.
quauhtlachcayoll, eagle down, war ornament 171
quauhttäth, military commander 175.
quauhttouafiitl, the rising eagle, the sun 98, 173.
quauhtomaHi, tuft of eagle feathers, on the crown of the
sun god «1» 97, 185, 198. of the Quetzalcoatl of Tollan
287, 288. — of the Xochiquetzal 210.
quauhtli, eagle, depicted surrounded by stone knives 117. —
devouring blood and hearts, = sun 64, 55. — denotes
the warrior 173, 522, 325. — on the tree of the north
79. — fourth of the four forms of the deity of the planet
Venus, denoting the south 116, 117, 125. — fif-
teenth day sign 128, 173. — Its regent Xipe Totec
174-176
quauhtli ocototl, eagle and jaguar, designation of the warrior
54, 35, 173. — depicted with the pulque god of the eleventh Tonal-
amatl section 260.
quauhtzoacalH, eagle-feather crown, worn by the pulque
goddess 260.
quauhziculco, treasure chest of the king, at n«'tonati(div»«iullilH6.
quauhzicalh, sacrificial vessel 22, 26, 27, 173.
quauhyott, warriorhood, struck by the spear of the planet Venus,
in the fifth period 523.
Quazolctl, the two-headed goddess, name of the Chantico 273. —
= Xochiquetzal, the twins born to her 219.
Quecholli, among the Tlaxcaltecs, festival of the Xochiquetzal and
the Xochitecatl 189. — s. tlauhquechol.
quetzalapanocayotl, feather headdress of Quetzalcoatl, east-
erly of the fire god 158.
quetzalcomitl, quetzal-feather vessel, belonging to the Te«utli|Mx-a'sltt>.
quetzalcoatl, the feathered serpent, in the water before the
Chalchiuhtlicue 106. — opposite Xipe Totec, depicted, the
renewal of vegetation denoting 176, 177, 268, 289.
— opposite the eagle, the fourth form of the deity
of the planet Venus 116, 117. — enclosing the figure of Tlaloc,
denoting the west 291.
Quetzalcoatl, the wind god. Appearance and dress 87, 139
to 140. — clothed in huaxtec garments
Digitized by Google
846
Index.
140, 141. — Lord of Tollan 131. — the merchant, the
Toltec 90, 21. — god of Cholollan 134, 135. — the
Pipil 135. — the Maya peoples 135. — god of the west,
lord of life, creator of mankind 135, 136. — Wrestling
with the death god dniyeololH 800 008.
standing in for Tlaculteotl, the birth-giver 251. — the penitent,
the burdened one, the priest, inventor of the mortifications 19, 90,
21, 44, 45, 136, 232. — transforms himself into the morning
star 118, 119, 104. — one of the Tzitzimime 90. - Regent
of the first Tonalamatl quarter, the region of the east 7.
— His representation of the east 87, 88. — his caryatid
found in the city of Mexico 93. — Regent of the second
day sign Mecatl 134-144. — of the second Tonalamatl-
section ce ocelotl 248, 249. — first of the four guardians
of the fourth Venus period, denoting the west 202.
in the blue feathered serpent of the west 297. — rain
god of the west 243.
Quetzalcoatl, the precious twin 220. — his ornament
is worn by Xolotl, the god of the twins 270. — with the
maize-cob at the temple = xolotl 220.
Quetzalcoatl of Tollan, guardian of the first Venus period, denoting
the east 287, 288. — first of the four guardians of the
second Venus period, denoting the east 197.
quetzalcoicotth, s. coxcoxlli.
quetzalli, tail feather of the quetzaltototl 135. — denotes
preciousness 116. — denotes abundance of water and
vegetation, s. tlaquetzalpatia. — denotes a child 23, 219.
quetzalmanalli, fan-shaped feather ornament, worn by the Cuexteca
on the sides of the head 141.
quetzalpatzactli, comb-shaped ornament of quetzal feathers,
of the Anahuaca Tzapoteca, the inhabitants of the pacific
coast (Ayotlan), come to Mexico under Ahuitzotl
266. — ornament of Xipe 265.
quetzalquauill, tree of the east 78.
quetzaltototl, Pharomachrus mocinno, bird with gleaming
green long tail feathers. On the tree of the
east 78. — helmet mask of Xochiquetzal 189, 219. —
standing in for Xochipilli, the third of the four forms of the deity
of the planet Venus 195. — drinking from the shell,
s. descending to the sacrifice. — drinking from the
offered shell, symbol of sexual union
925. — dancing, denoting the eleventh night hour and
the south 235.
quij (Zapotec), fire, day sign, = Mexican eecatl
"wind" 104.
quiouhtonatiuh, fire-rain sun, third of the four primeval
world periods 151, 172, 186.
qviauitl, rain, denoted by serpents 31, 39, 45, 46,
18. — the four kinds 295. — nineteenth day sign
128, 184. — means fire-rain 175. — its regent
Tonatiuh 185.
Quilaztli, s. Ciuacouatl.
Quincaux, hieroglyph of Venus 193. — face painting
of the deity of the planet Venus 316.
Rattle, s. ayacachtli.
Rattle board, s. chicauaztii
Rattling pendants, s. oyounlli, s. citlaleueitl.
Smoking mirror, at the temple and the torn-off
foot of Tezcatlipoca, denoted as tlachinolli, i.e. war
7, 95, 96.
Censers, s. tlecuillL
Incense spoon, s. tlemuitl.
Incense offering, s. tlapopochuilli.
Incense priest, s. tlenamacac.
Incense ware, s. tlapopochuilli.
Incense pouch, s. copalxiquipilli oceloyatartli.
rawa, ra warnt i fliliclinl), star in the west 89.
Right, s. mayecvopu.
Rain, s. quiauitl. — house of, house of the turkey 75, 76.
— struck by the spear of the planet Venus, in the second period
Rain god, s. Tlaloc — the six rain gods 243-244.
Drought 31, 32, 33.
Rain serpents, in the third Tonalamatl quarter 45, 48.
Difference of direction 297, 298, iUKt- iVrl
ring-shaped appendage, under the upper lip, in the Codex
Borgia representing the pinched corner of the mouth of old gods
34, t-n s. 119.
Reed, s. acatl.
tube-shaped nose ornament, on the Mixcouatl of the Codex
Fejervary 207. — ear plug, s. xiuhcoyolnacochtli.
Rosettes, on the headdress of Tlaloc, s. meyotli. — on the
sides of the head of the Macuilxochitl images 908.
red, color of the fire god 91. — of the sun god 96, 185.
— of Xochipilli and Macuilxochitl 160, 907. — of Xipe
905. — of Tepeyollotli and the bat god of the
Vaticanus 104.
red spot, at the temple, badge of the priests 7, 11.
red serpent, = tlapalcouatl.
red cloth, on the head of the Chantico 215.
red and white, colors of Xipe 85. — of the Chantico 274.
Round, garments and temple of Quetzalcoatl 140.
Sacrificio gladiatorio at the festival of Xipe 176, 177.
Singing = nourishing the gods with blood 192.
Suction tube, s. piaztli.
Skull, s. tzontecomatl.
Skull rack, s. tzompantli.
Loincloth, s. maxtlatl.
Treasure chest, breast ornament of Tonacatecutli 941.
Shadow ring?, in the hand of Tepeyollotli 105. — of the animal
with the pointed snout 153.
shooting god, Tlauizcalpantecutli 987, 318, 361.
Turtle, s. ayotl, s. aac. — four among the Mandan Indians,
make it rain 184.
Flaying, of the victims, at the festival of Xipe 173. — of Tlazolteotl
176, 269.
Serpent, s. coatl. — feathered serpent, s. quetzalcouatl. —
fire serpent, s. xiuhcoatl. — red or blood serpent,
s. tlapalcouatl. — at the cult sites of the rain god
148. — figure, under the eye of Tlauizcalpantecutli 317.
— helmet mask of Chalchiuhtlicue 99. — of Quetzal-
coatl of Tollan 197. — of the god Naui coatl 91.
Serpent head, Cipactli 129, 130.
Serpent's maw, god with this, denotes the east 72, 73.
Butterfly, s. papalotl.
Snail shells, bell-shaped, on the garment of Mayahuel
190. — of the Chantico and belonging to her cult 273, 973.
— necklace made of them, s. acuecheozcatl. — large ones, of the
sea, s. teccitztli.
swallow-tail-like cut-out (?) ends of the loincloth
and the nose rod of Xipe, s. maxaliuhquitl.
black feather tuft, the patzactli of the moon god 206. — with
white tip, the patzactli of Tlauizcalpantecutli
258, 231.
black shell, at the neck of the Ciuateteo and the five
gods of the south 301, 302.
black and red, color of the pulque gods and of Tlazol-
teotl, s. chictlapanqui.
black face = cipactli 129, 130.
Sword-club-sword, used as a weapon in the case of Tepe-
yollotli 934. — in the case of Ueuecoyotl 239. — in the
case of the pulque gods 251. — in the case of Tlauizcalpantecutli 85. —
in the case of the Tlazolteotl 311.
Six rain gods 242-244.
Six directions, gods of the 65-70. — another list 70-74.
— underlying the twenty-five pairs of gods 212.
Digitized by Google
Index.
345
Señores de la Noche, s. Nine Lords of the Hours of the Night.
Visibility of the planet Venus as morning star 291-294.
Seven world regions, denoted by the twenty-five pairs of gods
212.
Flood, ends the atonatiuh 185.
Skeleton, s. Mictlantecutli. — with a captive s. temani.
Skink, aphrodisiac 145.
Slavery, s. tlanamictilixtli.
Centipede, in the house of drought 75, 76. — before the Ciuateotl
of the north 304.
Scorpion, = colotl. — the four 327.
Sun, its position in the tropics 77. — its path, distinguished
by 180. — its creation, receives life through
sacrifice 186.
Solar eclipse, s. tonatiuh qualo.
Sun god, s. Tonatiuh.
Solar year, its course 278.
Sun disk, neck collar of the sun god 185. — at the
neck of the sun god 188.
Spear, s. tlacochtli. — of the planet Venus, strikes various
classes of people. Mexican manuscripts 321 to
322. — Dresden Maya manuscript 323, 324.
Spider, s. tocatl.
pointed-angled figures, painted with, s. iluitzcopintli.
Stone, s. tetl, iztapatli, itztlacoliuhqui.
Stone axe, s. itztopolli.
Stoning, of adulterers 262.
Stone knife, s. itztli, s. tecpatl.
Stone cutter, s. tesecqni.
Ray-eye, neck ornament of Tlauizcalpantecutli 261, 317.
Step-pattern, on the headband of Quetzalcoatl 139. —
outline of the temple 58, 58, 83, 84, 208.
Hours, thirteen of the day and of the night 241-242.
stylized bird head, on the front of the headband of the
sun god 91, 185, 187. — of the fire god 96, Xochi-
pilli 116, 150. — of Quetzalcoatl 130. — of Tonacatecutli
130. — of Quetzalcoatl of Tollan 287. — of Tlaloc 100,
110. — of the pulque gods 210 — of Mayahuel 152.
South, s. uitztlampa. — Tree tk*, ». quauhcoyolli, occlu-
quauitl, cochotpiauiU, aloquauill.
South and North 77, 210.
Stade, cuitliitl. UaaML
Sin-fall, with Ueuecoyotl 148, 252, 253. — with Ixtlacoliuhqui
2UL — with llxpnpalotl 27(1
Stader, s. tlaclipMni.
Tobacco gourd vessel, « yetaoomatL
Day-signs, the twenty, their names 127, 128. — their
patron deities 199—IM - and body-parts gjg ttt,
Day-hours, thirteen 211 — 242.
Tamoanchan, "House of the Descending," the mythical West,
home of the Tlazolteotl, birthplace of the Maize god, 101,
165. — Original home of the tribes 142, 170. — Paradise of
the Fall 148. — depicted with the Itzpapalotl 178,
170, 268, 270 — Chicunauhnepaniuhcan, dwelling place of the
Xochiquetzal 188. — denotes the sixth night-hour and-
and the upper region 223, 224.
Tamouan ichan = Tamoanchan 188.
Tamtoc, in the Huaxteca land, stone image from there 140.
Dancer, s. mitotiani, maccuani. — quetzal bird 231 —
Sorcerer 278. — s. tetzacpalitotique.
Rain gods, appearance and attire 221, 222. — denoting the
South 68, 69. — Ueuecoyotl 147.
Taxxan, s. cuezcomatl. [uncertain — likely OCR garble for a storage-bin term]
Taxalscht [uncertain OCR], with Ueuecoyotl 147.
Tataceada [uncertain], god of the Otomi, Ueuecoyotl 117.
teatlauiani, the drowner, the water-god *.
Teccirtccatl [Tecciztecatl], he of the sea-shell vessel, the moon-
god. Created after the sun 183. — old god 253.
— appearance and attire 150. — regent of the eighth
day-sign atl (water) 149, 150. — of the sixth Tonal-
amatl section ce miquiztli 253, 254. — first of the four
guardians of the fifth Venus period (standing in for
Xochipilli as sun-god), denoting the South 306. —
musician, denoting the fifth night-hour and the South
221, 222. — opposite Xolotl, in the East 67.
tecciztli, sea-shell vessel, blown by the priests, wake-
call to penance, s. tlatlapitzalixpan. blown by
the fasting one 185. — with Tepeyollotli (denoting the hollow interior) 104. — with Quetzalcoatl, the creator of
mankind, denoting the mother's womb 251. — signifies
the shut-in-ness of water 40, 56, 77.
tecolotl, the owl, depicted in the fourth Tonalamatl quarter,
death-symbol 55. — in the house of drought 75, 76. — mask
of the Tlauizcalpantecutli of the second period, denoting
the North 318.
tecolotl ichan, house of the owl, the dark house of the earth, with
the Tlazolteotl 178. — = house of drought 75, 76.
tecpantlinca inteuh, god of the people who dwell in the palaces
of the lords, Xochipilli and Macuilxochitl 161.
tecpatl, flint knife, sacrificial knife, in the hand of Tonaca-
tecutli 25, 248. — of the Cihuateteo and the five gods
of the South 301, 310. — between the first human
pair (in place of the chicahuaztli) 134. — in the upper-arm ring
of Quetzalcoatl of Tollan 288. — eighteenth day-
sign 128, 183. — its regent Chalchiuhtotolin 183,
184. — initial sign of the second of the four years 279,
280.
tecpatl bundle, before the mouth of Quetzalcoatl of Tollan
288. — in the Codex Vaticanus, before the mouth of the five
gods of the South (in place of the drawing of the white hand) 310.
Tecpaxoch, goddess of Meztitlan 166.
tecpayotl, herald 248.
teuctli, lord, king, hieroglyphically denoted by the xiuhuitzolli 131.
teciuitl, hailstone, lapilli. Arising in the quiauhtonatiuh
186.
tecuacuilli [tecuacuilcohuacuilli], priest clothed in the skin of the sacrificial victim,
representing the Tlazolteotl 262.
tetl, glassy lava-stone, arising in the quiauhtonatiuh 186.
techcatl, sacrificial stone, depicted with Tonatiuh 188.
techichi, ordinary breed of dog 156.
telpochcalli, house of young men 84. — its lord Tezcatli-
poca 38.
telpochtli, young men, young warriors. Struck by the spear of
the planet Venus, in the fifth period 325.
tematacatl, round stone, of the gladiatorial sacrifice 177.
temani, he who has taken a captive, represented by a skeleton
holding a captured head. Accompanying figures
in the Tonalamatl arranged in five-part columns
26, 27, 37, 48, 52, 58, 60.
temicamatl, dream-book, created by the ancient sages in Tamoan-
chan 178, 328.
temictiliztli, human sacrifice, s. tlacamictiliztli.
temmacpalli, drawing of a hand at the mouth, s. motetama-
macpalhuitkac.
tenamaxtli, hearth-stones, present in the number of three 216.
Tentetemic, a god of Meztitlan 167.
tecatl "true water" = spear-throwing 186. — with the rain-god
of the North 243.
teoatl tlachinolli - atl tlachinolli.
Teoca, in Nicaragua, day-sign list 127, 128.
teocuitlacomalli, gold disc, breast-ornament of the sun-god
87. — of the maize god 88. — Xochipilli's 116, 160. — of the
Chalchiuhtlicue 84. — Xipe's 276. — of the bat-
god 111.
teocuitlatl, gold, hieroglyph 276.
Teochichimeca, true Chichimeca, the Tlaxcalteca 172.
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Index.
teoicpalli, royal seat, sign of judicial power 159, 171.
— struck by the spear of the planet Venus, in the fifth
period 321, 322.
teomomochtli [uncertain], the one painted with thigh-skin,
= Tlazolteotl 101.
Teotitlan del Camino, place on the borders of the Zapotec
land, inhabited by the descendants of Xelhua 329. — Wor-
shippers of the morning star 192. — Painted clay image of Xochi-
pilli 190, 191.
Teotihuacan, prehistoric cultural center, assembly of the gods
188.
Teotlamiqui, so-called [statue] in Mexico, colossal image of the Coa-
tlicue 10.
teotlalli, lord of the steppe, name of Tonacatecutli 130, 132.
Teotlacan, place on the borders of the Zapotec land, inhabited
by the descendants of Xelhua 329. — worshippers
of the morning star 192.
Tepeilhuitl, feast of the mountain gods, celebrated by the
Tlalhuica for the Xochiquetzal 187, 189.
Tepenonoc [uncertain], "mountain of the echo," on which Itzpapalotl was sacrificed 179.
Tepenanita [uncertain], in the district of Tuxpan, stone image from there 141, 142.
tepetl, lord of the mountains, name of Tonacatecutli 130, 132.
Tepeu Gucumatz (Quiché), creator god = Quetzalcoatl 38,
186.
Tepeyollotli, heart of the mountains, appearing in jaguar form 108,
144, 256. — image of Tezcatlipoca 255. — god of caves
104, 144. — standing in for the hieroglyph "cave" 17. —
appearance and attire 104. — with the garment-color and
the ear-ornament of the rain god 104. — eighth of the nine
lords of the hours of the night 102—103. — denoting
the South 111. — regent of the third day-sign calli
144, 145. — of the third Tonalamatl section ce mazatl
250, 251. — one of the faces of the Janus-head of the
Quaxolotl 219, 220.
Tepoztecatl, a pulque god 168.
topoztli [tepoztli], copper axe, in the hand of the sun god 11,
of Tlaloc 202. — on its edge the sky rests 27.
— sign of punishment 171, 201. — signifies poverty 311,
312.
teqiuchmocauiani [tequihmocauiani?], the "warrior," the pulque god 200. — accompanying
figure in the Tonalamatl arranged in five-part
columns 29, 30, 31, 35, 36, 41, 42.
tequiua, war-chief, hairstyle s. tzotzocolueyac.
Totoo innan [Toci innan?], mother of the gods, = Tlazolteotl 101.
totoyauitl, papers spattered with rubber, at the pulque-jar 152.
totl [uncertain], sign of barrenness 1?, 1?1.
totlalaquiliztli, burial. Accompanying figure in the fourth Tonalamatl-
quarter 55. — at the death-feast 158.
Tetlanman [uncertain], temple of the Chantico 273.
tetlatilztli [tletlatiliztli?], cremation. Depicted with the god of death
149, 158.
tetlazolinqui [tlazolinqui?], adulterers, go to the priests of the Tlazol-
teotl to confess 100, 101. — caught ones, stoned 201. — the
days of the Cihuateteo their signs 301. — atoning 18, 19.
tirati Itsakami (Huichol), southern grandfather, star, world-
guardian of the South 89.
tirati toami (Huichol), northern grandfather, star, world-guardian
of the North 91.
tomolotl, a stone club rounded at both ends,
182.
tezcacuitlapilli, mirror worn on the back [lit. cross-mirror], has the shape of a coxcox tli,
with Xochipilli 160. — with Chalchiuhtlatonac 149, among others,
in the shape of a turtle-shell with Xochiquetzal
189, 210.
Tezcatlipoca, appearing as red and black 176, 325.
— appearance and attire 8, 91. — wears the starry-sky
feather crown 256. — god of the Toxcatl feast 9. — the
warrior in the north-house and the warrior in the south-house 77,
210. — at the tree of the South 81. — together with Huitzilopochtli
denoting the upper region or the sky 89. — one of the Tzitzimime 90. — = Ursa Major 189. — fire-
drill 38. — the seeing, all-knowing one 96. — sorcerer
96. — his image Tepeyollotli 249, 250 — his image
Chalchiuhtotolin 271. — his image the vulture (?) 265. —
standing in for Xochiquetzal 40, 41. — with the arrow in the
eye 47, 61. — regent of the second Tonalamatl quarter,
the region of the North 8. — = Itztli, second of the nine
lords of the hours of the night, in the East 95, 96. — with
bandaged eyes, god of punitive justice,
regent of the thirteenth day-sign acatl 171. — opposite
Itztlacoliuhqui, regent of the twelfth Tonal-
amatl section ce cuetzpalin 261. — with bandaged
eyes, third of the four guardians of the third Venus period,
denoting the North 300, 301. — struck by the spear of the
planet Venus, in the second period (that of the
North) 320. — kills Ometochtli 167. — with the mask
of the wind-god, companion of Quetzalcoatl in the under-
world 119. — birth-helper 234, 235.
Tezcatzonatl, a pulque god 168.
Beast with the pointed snout, god of the lower region 71.
— depicted with the beheaded earth goddess 72. — with the
black Tezcatlipoca 326. — its mask is worn by the
priest who denotes the seventh night-hour (midnight) and
the lower region 227. — Making music with Mayauel 153. — The bringer of the years in the
Dresden Maya manuscript 72, 153.
tizatl, white earth, body-paint of the rain-god 221, 222, 252.
tlacacozcaquauhtli, vulture-person, denotes the third day-
hour and the North 218.
tlacaeuatl, human skin, worn by Xipe as garment 27,
28, 86. — worn by the Tlazolteotl 264.
tlacamictiliztli, human sacrifice 16. — with the Tlazolteotl of
the South 312, 313. — symbolic representations 192.
tlacazcuzalli, hammered gold, forms the ornaments on the
head-band of Xipe 265, 267.
Tlacaocelotl, god in jaguar form (with jaguar helmet-mask)
= Tonacatecutli, denotes the fourth day-hour and the
West 220, 221. — the sixth night-hour and the
upper region 221.
Tlacapillachihualoya, where the children of men are made
= Tamoanchan 101, 165.
tlacatlaolli, dish of human flesh and maize, brought in the third
Tonalamatl quarter by the quacuilli 44, 45. in the
fourth Tonalamatl quarter depicted 54, 55. — with Xolotl
183. — denoted by a pot with broken bottom,
214.
Tlacatzinacantli, bat-god, appearance and attire 113 to
115. — costumed as Quetzalcoatl 114. — first of the four
forms of the deity of the planet Venus, denoting the East
112—115. — in the xochicalli, which denotes the North of the
region of the evening star 125. — descending, with
Mayauel, the fifth of the five forms of the
Tlazolteotl, denoting the lower region 312, 313.
tlacaxipeualiztli, flaying of men, feast of Xipe 175. — feast
of the sowing, serving the renewal of vegetation 267.
tlacochcalco yaotl, the warrior in the spear-house, in the north-temple
= Tezcatlipoca 210.
tlacochtli, arrow, spear, signifies death in war 312, 313. —
drawn on the blue feather-serpent, next to the blue throwing-
board 291. — with Tlauizcalpantecutli, denoting him as
the shooting god 317—319.
tlacuilolli, picture-writing, Toltec cultural possession 112, 329.
tlacuiltonauiztli [uncertain], the many-colored rain 46.
Tlazolteotl, the goddess of filth, the earth goddess. Other
names 100, 101. — native to the Atlantic coast
101. — thought of as native to Tamoanchan 101, 165. —
appearance and attire 101, 102, 172, 198, 250, 264, 268. —
equipped with garment-pieces of Xipe 102. — her temple,
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*. Tocititlon. — her festival, s. Ochpanixtli. — her five forms 311f., 316f. — designating the interior of the earth 102, 149f. — Harvest goddess 123. — her image flayed 176. — Representative of women and of the vice of women, protects adulterers[?], 100, 101. — Child-bearing 23, 198, 199 — bears the Mataguol[?] in Tamoanchan 101, 169f. — Warrior-woman, because she has borne a child 2., 231. — pairs at Ochpanistli with Itzt[la]coliuhqui, the hard flint 262, 292f. — represented by Quetzalcouatl, the human-sacrifice-god[?] 251. — Patroness of medicine 173. — designating the north together with Mictlantecutli 67. — designating the west 73. — standing in the west in the row of the nine lords, 111. — designating the north in the red feathered serpent (blood serpent) 297. — designating the sixth hour of the day and the lower region 225. — Regent of the fourteenth day-sign ocelotl 172, 173. — of the thirteenth Tonalamatl section ce ocelotl 264, 265. — depicted opposite Tepeyollotli, the regent of the third sign 144. — the same, opposite the regent of the third Tonalamatl section, 231. — fourth of the four guardians of the second Venus period, designating the east 118, 119.
tlazolnochtli, headband made of frayed cloth, of Chantico 275.
tlazopilli, prince of royal blood 173. — Name of Xochipilli 149, 161.
tlachitlooi[?], weapon of Tezcatlipoca 96.
tlachinoa, to scorch, to burn, l.c., note.
tlachiaotli, see tlacidnolli.
tlachipauhtli[?], pulque-manufacture, invented by Mayauel 152.
tlachtli, ball game and ball-game court, its god Xolotl 181, 183. Represented by soehltl[?] 15, 168, etc. Xochiquetzal—represented 278. — heavenly [ballcourt], with the figure of Tonacatecutli 119.
tlazolli, filth, refuse — sin 144.
tlazolmiqui[?], filth-eater, sinner. Represented by Tezcatlipoca as ixquimilli 170, 171. — Name and hieroglyph of Tlacolteotl 100, 144.
tlaitzcopetlalli, see tlaitzcopintli.
tlaitzcopintli, painted with sharp-angled papers, the sacrificial papers 132, 153. — the staff of Chantico 273.
tlalchi tonatiuh, the sun near the earth, depicted with Xolotl 270, 271.
Tlalhuica, people in the south of the highland valley of Mexico. Festival of Xochiquetzal 187, 189.
Tlalli, earth, represented by reptile-dragons[?] 74 and elsewhere. — designated by a path 230 (see there). — its deity, see Tlazolteotl. — designated by the four colors 61.
Tlalli iyollo, heart of the earth, name of Tlazolteotl 101, 172.
Tlaloc, mountain of this name, see Tlaloc — meaning of the name 106. — another explanation 230. — Rain god, his first wife Xochiquetzal, his second Matlalcueye 188. — God of the quiauhtonatiuh, the fire-rain 131. — dwelling on the mountains of middle height 106. — stone image on the mountain Tlalocan 106. — at home in the east 199. — Appearance and attire 107—109, 151. — his face formed from two serpents 107, 108. — carries the hieroglyph of the year on his crown 151. — the turkey his disguise 183. — the earth goddess depicted with his head 10. — Tepeyollotli wears his colors 108. — designating the four directions 261. — dwelling in four chambers 293. — ninth of the nine lords, standing in the south 81, 106—111. — Regent of the seventh day-sign mazatl 151. — of the seventh Tonalamatl section ce quiauitl 234, 235. — second of the four guardians of the second Venus period, designating the east 197. — Guardian of the fourth Venus period, designating the south 222. — in the green feathered serpent, designating the east 206. — his image, with the helmet-mask of the signs of the four directions, designates the four years 281—281.
Tlalocan, the realm of the rain god, the middle heights of the mountains 106. — the east 198. — a mountain between Tetzcoco and Huexotzinco with an image of the god made of white stone 106.
tlalocayotl, east wind 199.
tlalollin, earthquake 181.
Tlalpanhuehuetl, skin drum 221, 222, 232.
Tlaltecayotl[?], pulque god 168.
Tlaltecuhtli, the god of the earth, created from the cipactli 130. — see Animal with the pointed snout.
Tlaltotoeuia[?], one of the four old wise men who create the calendar in Tamoanchan 179.
Tlalticpaque, Lord of the earth's surface, the fire god 111. — Tonacatecutli 130.
tlamacazqui, priest, black, with a red spot at the temple 7. — in the fasting enclosure, doing penance 184. — designating the seventh hour of the night and the lower region 227. — opposite the Chichimec fire goddess, designating the eighth hour of the night and the east 228, 229. — with Chalchiuhtlicue 233. — of the rain god 62. — punished one, with the rain god 233. — of the rain god, standing in for Quetzalcouatl, the regent of the first Tonalamatl quarter 8. — = Piltzintecutli or Xochipilli, in the series of the twenty-five pairs of gods 241—242.
tlamamalli, back-load, traveling-bundle, of the wandering gods 87.
tlamanalli, offerings. Accompanying images in the Tonalamatl arranged in five-membered columns 16, 17, 31, 33, 44, 45, 46, 67.
tlamatiliztli, science, Toltec cultural possession 142, 329.
tlamatinime amoxoaque[?], the wise men, the book-owners, the mythical Toltecs 142, 321.
tlatzin[?], below, fifth region of the world 83, 84.
tlatz-acc[?], below, above, indicated in the tenth Tonalamatl section with Mictlantecutli-Tonatiuh 259.
tlacanacayotitzli[?], sale into slavery, with Chalchiuhtlicue, sign of the changeability of water, her —, 112, 113.
tlaolli, maize kernels, see tlacatlaolli.
tlapalcoatl, the red coral snake, signifies blood 19. — Accompanying image in the first Tonalamatl quarter 14. — indicated with the fire-drill 272. — with the priest, with the bone dagger at the ear 229. — with Quetzalcouatl 143. — in the house of rain 75, 76. — with Tlazolteotl 101 and elsewhere. — with the Ciuateotl of the south 189. — forming the feathered serpent of the north, enclosing the Tlazolteotl 297. — with Tonacatecutli 218. — in the mouth of Couecoyotl[?] 147. — connecting Xochiquetzal and the tlamacazqui, in the ninth hour of the night (north) 231.
tlapapalli, the four colors, on the cloak of Macuilxochitl 162, 163. — on the face and the hip-cloth of the sun god 96, 97. — on the cheek of Xochipilli 159. — on the face and the treasure chest of Tonacatecutli 217, 218. — on the cheek of Tlazolteotl 172. — with Xolotl, designating the four directions, i.e. the knees 271.
Tlapcopa, region of dawning, the east, designated by Xolotl and Xochiquetzal 67. — by Tonatiuh 79. — by Itztli and Tonatiuh 111. — by the god with the serpent-jaws 72, 73. — by the priest Quetzalcouatl 7. — by the bat god 113. — by the green feathered serpent and Tlaloc 296. — by the Quetzalcouatl of Tollan 61. — by the white deer 302. — designates abundance of food 78, 302. — its years fruitful 282.
tlapitzalli, flutes, i.e. music, Toltec cultural possession 142, 329.
tlapopochhuilli[?], incense, offered to the sun god 31, 97, 228. — illustrated by the white deer of the east 302. — by the two-headed serpent 235.
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tlapoyaua, evening darkness, illustrated by half sun-disk and night, designates the hours of the night 91. — indicated with Itztli-Mixcouatl 191. — with Quetzalcouatl 219. — with Xochipilli, the third form of the deity of the planet Venus designating the west 116. — with Mayauel 255.
Tlappapalo, she with the red butterfly. Name of Chantico 273.
tlacuatzin, opossum, eases childbirth 219.
tlacuechpanyotl, occipital knot of the rain gods, indicated with Cinteotl 108.
tlapuetzalpatia[?], it has changed into quetzal feathers, has become green 268.
tlatataquilistli[?], digging, the gods in the three realms 74. — the Ciunconatl[?] with chicahuaztli, uitztli, malinalli on the teomilli 82, 88.
tlatecpio[?], stone-cutter, jewelers, originating from Xochimilco, their goddess Chantico 273.
Tlatelolco, sister city of Mexico. Merchants ... Ayotlan, the coast of the pass[?], and bring from there the quetzalpalucztli[?] 266.
tlatepotzca, those behind (the mountains), Tlaxcalteca, Chololteca and their neighbors, worship Quetzalcouatl 154, 155.
tolbpitzalizpan[?], when one blows the shell-horns — midnight 226.
tlatlatiliztli, burning, accompanying image in the fourth Tonalamatl quarter 63. — depicted with Mictlantecutli 67, 158.
tlatlatilpiauhtzontli[?], bundle of firewood, fire offering with the nine hours of the night 194. — with the pair of gods that designate the ninth hour of the day and the north 252.
tlatlatlaqualiztli, nourishing of the gods with blood, illustrated by nursing goddesses 192.
Tlatlauhqui Tezcatlipoca, the red Tezcatlipoca, opposite the black Tezcatlipoca on the ball-game court 176. — standing in for the black Tezcatlipoca as regent of the second Tonalamatl quarter 9. — opposite Xochiquetzal, designating the second hour of the night and the east 215. — representing the red earth-god Xipe Totec and the god of the Yopi 175, 207, 526[?]. — as such ruling the fifteenth day-sign quauhtli and the fourteenth Tonalamatl section ce itzcuintli 175, 176. — as such, opposite the black Tezcatlipoca, signifying the dry season 526[?].
Tlalloyan[?], the place where Quetzalcouatl mounts the funeral pyre 65, 187, 257.
tlatocayotl, kingship, illustrated by the teoicpalli, depicted with the fire god 256, 257. — struck by the spear of the planet Venus, in the fourth period, the south 521, 522.
tlatovani, the speaker, the king 173, 222.
tlauanani, the drinker, depicted with Mayauel 255.
tlauhquechol, the red spoonbill, supplies the feathers for the ornament of Xipe 28, 174, 265.
tlauhquecholtzontli, feather-crown of Xipe 261, 261.
tlauitequiliztli, lightning, accompanying image in the Tonalamatl arranged in five-membered columns 22, 31, 39, 40, 49, 61, 62.
Tlauizcalpantecutli, the lord in the house of dawning, the god of the planet Venus, of the evening and morning star. Appearance and attire 85. — Two different facial forms: as morning star 251. — this was also worn by Mixcouatl, the god of the Chichimecs and of the hunt 115. — and as evening star, with the Quintini[?], the hieroglyph of the planet Venus 198. — inauspicious god 191, 288, 313, 512[?]. — one of the Tzitzimime 90. — sky-bearer of the west 84, 85. — in the Codex Borgia standing in for Xochipilli, as third of the four forms of the deity of the planet Venus 116. — depicted in the quauhcalli, the west of the western region 122. — opposite Xiuhtecutli, the regent of the ninth Tonalamatl section ce couatl 257, 258. — second of the four guardians of the fourth Venus period, corresponding to the west 292, 300. — Representative of the thirteen-times-five Venus periods 315 to 318.
tlaxapichtli, plaster, round disk made of rubber, on the cheek of Tlazolteotl 102. — on the cheek of the sun god 259. — of Xochiquetzal 210. — of Huitzilopochtli, the sky-bearer of the south 86.
Tlaxcallan, region, caryatids from there 93.
tlecuilli, fire vessel, incense vessel, unpainted stepped vessels 30, 81. — Accompanying image in the third Tonalamatl quarter 46, 48. — in the temple of the sun god 97. — before Chantico 277. — before the five southern gods 310.
tlemaitl, incense spoon, in the hand of Xochiquetzal 232.
tlemamani[?], fire-drillers, standing in for Xiuhtecutli 28. — Tezcatlipoca 88.
tlenamaliztli[?], fire-drilling, at the beginning of the fifty-two-year period 91. — the fire god on the xiuhcoatl 28. — in the xiuhcoatl-vessel[?] on the body of the fire goddess 123.
tlenamacac, incense priest, carries the incense pouch oceloyataztli cuechtli[?], made of jaguar-paw skin 255.
tlepapalotl, the fire butterfly, the flame 29. — at the end of the tlachinolli symbol, see atl tlachinolli. — with Tecciztecatl and Tonatiuh 220.
tlepapalotlauiztli[?], war ornament, tribute of the Chinampaneca 84.
224.
tlepilli, torch, with Tonatiuh 2-59.
tlepiauitl, fire drill, standing in for Xiuhtecutli 28. — indicated with the Tlazolteotl of the North 312, 318.
tlepiauitl = tlepiauhtonatiuh 157.
tlepiauitl, fire-rain, ends the period of the tlepiauhtonatiuh 186.
— illustrated by Tlaloc 151, 249.
tletl, fire. Accompanying image in the Tonalamatl arranged in five-membered columns 16, 17, 26, 37, 61, 62. — illustrated by a speech-scroll 16, 17, 26, 37. — illustrated by a dog 16, 17, 157. — indicated with Tlazolteotl 151. — with Tonacatecutli 218.
tlezachtli, flame, illustrated by a flower 62. before the mouth of the Sun-god 259.
Tlilhua, a pulque-god 168.
Tlillan, the house of Chantico 273.
Tlillan tlapallan, the land of black and red color, the land of writing, the land situated in the east, whither the Toltecs wander and where Quetzalcoatl dies 137, 142, 249, 257, 258.
tlilli tlapalli, the black and the red color, writing 142.
tloque nauaque, the lord of the near and of the by, of the immediate neighborhood, of the center, the fire-god 111. Tonacatecutli 130. — Itzlacoliuhqui 210.
To (Chibcha), fish-god of the Chibcha 148.
tocatl, spider, denotes the downward direction 70.
toctli, maize plant, before the maize-god 98. — before the rain-god of the East and of the North 243. — in the hand of the Tlaloc figures that denote the cardinal directions 245.
Toci, our grandmother, name of Tlazolteotl 101.
Tocitillan, temple of Tlazolteotl 73, 74.
tocoznauaz, the watching one, the rising maize plant 16, 90.
tozoztontli, and huei tozoztli, the small and the great watching, the feast of the maize goddess 90.
Death, see miquiztli.
Death in war, see yaomiquiztli.
Tochpan, in the Huaxteca land, ancient center of culture 148.
tochtli, rabbit, the animal of the moon, denotes the earth 214. — denotes the pulque-gods, see Centzontotochtin. — in the jaws of the feathered serpent, with Xipe 117, 176, 177. — Xilhui in the moon 143, 254 (see meztli). eighth day-sign
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158, 158. — its rain, the maguey 156, 421. — beginning sign of the fourth of the four years 279. — in its mask the planet Venus in the fourth period, the South 199.
Tollan, prehistoric center of culture, caryatids from there 43.
Toltecs, mythical people of culture, see tlamatinime amoxoaque. — their god Quetzalcoatl 131.
Meshica, historical, inhabitants of Xocotitlan and Tollan 179.
Toltecatl, a pulque-god 168.
tonaca, in hieroglyphs = maize 131.
Tonacaciuatl, consort of Tonacatecutli, Xochiquetzal, denoting the first day-hour and the upper region 214. — and Huemactecutli, denoting the lower region 70.
Tonacatecutli, "Lord of our flesh," creator-god, lord of generation, god of foodstuffs, first man, god of the beginning 180—182. — dwelling in the highest heaven, = Citlallatonac 131. — one of the Tzitzimime 90. — appearance and attire 130, regent of the first day-sign cipactli 180—181. — of the first Tonalamatl section ce cipactli 24, 25. — denoting the fourth day-goddess and the West 220, 221. — = Xochipilli 132. — accompanying image in the Tonalamatl 24, 25, 44.
tonacayotl, foodstuff, maize 131, 224.
Tonalamatl, calendar of the Mexicans, book of fate, book of divination, its foundations and its origin 3, 4. — created by the ancient sages in Tamoanchan 179, 329. — the one arranged in twenty thirteen-day sections and its deities 245—279. — the one arranged in five-membered columns according to the four cardinal directions and its accompanying images 4—65, 327. — the one arranged in four-membered columns according to the five world-regions 292. — division into two groups of 7×7 and two groups of 9×9 days 5.
tonallo, sun-sign on the mantle of Macuilxochitl 192, 194. — on his shield and his banner 194.
tonaltopamitl, banner of Macuilxochitl 208.
tonametl, the burning one, = tonatiuh, the sun 97, 173.
Tonan, our mother, see Tlazolteotl.
tonan teomechchaui, our mother painted on the thigh, goddess = Teteoinnan 191.
tonatiuh, sun and sun-god. Denotes the day-hours 211—240. — accompanying image in the Tonalamatl 26, 27, 45, 60. — indicated with the Tlazolteotl of the South 312, 313. — appearance and attire 11, 90, 97, 185, 197, 198, 253, 258. — his facial painting with the Xochipilli of the South 295, 296. — regent of the fourth Tonalamatl quarter ce xochitl, the region of the South 11. — third of the nine lords of the hours of the night, standing in the East 79, 96, 97, 111. Regent of the nineteenth day-sign quiauitl 186. — opposite Teoyaotlatohua, represented in the sixth Tonalamatl section 253, 254. — opposite Mictlantecutli, represented in the tenth Tonalamatl section 258. — third of the four guardians of the second Venus period, denoting the East 197, 198. — denoting the upper region 197, 198. — born in the year matlactli omei acatl 186. — his sign the day nahui olin 186. — his image sacrificed on this day 186.
tonatiuh ichan, the house of the sun, heaven, whither the sacrificed warriors and the women dead in childbed come, see ilhuicac yauh and mociuaquetzque.
tonatiuh icalaquiyan, in the face of the sun, direction toward the East, goal of the Toltec migration 136.
tonatiuh iixco yauh, see ilhuicac yauh.
tonatiuh iixco yauhque = Toltecs 197.
tonatiuh qualo, eclipse of the sun, devoured by the jaguar 172. — in it the Tzitzimime appear 90 and note. — to the sun dwarfs are sacrificed 181.
tonoami ilhuicatl, the singer, the morning star 89.
Pot, with broken bottom, tlacatlaolli 214.
Mex. Codex Vaticanus No. 3773
Topiltzin, "our son," name of Quetzalcoatl 131.
Tota, our father, name of the fire-god 141.
Fire-cult 157.
Totoltecatl, a pulque-god 168.
Totonaque, inhabitants of the Atlantic gulf coast, neighbors of the Huaxteca 143.
touoro = Huaxteca 143.
Toxcatl, fifth year-feast, feast of Tezcatlipoca 9.
Trapeze and ray, abbreviation of the sun-image, ear-ornament of the fire-god 278, 279. — of Tepeyollotli 250. — of Ueueyotl 147, of Chantico and of Coyolxauhqui 276. — sign of the year, on the crown of Tlaloc 282.
Dream-house, see temicaxcatl.
Drinker, see tlauanani.
Wine-vessel, see nexolotl, Chalchiuhtotolin.
Turquoise plate, headdress of the fire-god 95, 278, 279. — of Huitzilopochtli, the sky-bearer of the South 86, 87.
Tuxpan, see Tochpan.
Tlapocuintli, garment of Xipe made of fig-tree leaves 8, 85, 207.
Tzapoteca Anauaca, people of the Pacific coast, their god Xipe 210. — conquered in the time of Ahuitzotl 260.
Tzapotlan, city on the lagoon of Xochimilco 99.
Tzapotlan tonan, mother of Tzapotlan, goddess 99.
tz'i or tzi (in Guatemalan languages), dog 157.
tzicoliuhqui nacochtli, the thorn-curved ear-ornament of Quetzalcoatl (= epcololli) 139.
Tzitzimime, sky-bearers, star-deities, demons of darkness 90.
tzitzimitl, one of the Tzitzimime, something monstrous, terrible 90. — denoting the West (the setting sun) 111. — the center, denoting the downward direction 254.
Tzihuactlan, mythical place 129.
tzihuactli, thorny plant, kind of agave 129.
tzompantli, skull-rack 158.
tzontecomatl, skull = miquiztli "death," sixth day-sign 128, 149. — mask of the planet Venus, in the fifth, lower-region-denoting period 218.
tzontemoc, the one falling downward, accompanying image in the Tonalamatl arranged in five-membered columns 25, 26, 45. — indicated with the Itzpapalotl 260. — the fifth cardinal direction, denoting downward movement 83, 84. — one of the Tzitzimime 90.
tzotzocolli, see tzotzocol ueyac.
tzotzocol ueyac, warrior's hairstyle, with Tezcatlipoca 8, 9, 216. — with the sun-god 90. — with the Cihuateotl of the East 191.
Uei topatli, the great sacrificial knife, a god of Metztitlan 167.
Uei tecuilhuitl, the great lords' feast, the eighth year-feast of the Mexicans, feast of Xochipilli 161.
Uei tozoztli, the great watching, the fourth year-feast, feast of the maize goddess 189.
Uei tonantzin, our great mother, goddess of the province of Metztitlan 167, 172.
ueuetzitzin, the falling one, indicated with Ueuecoyotl 148, 251. — with Itztlacoliuhqui 261.
Ueuecoyotl, the old coyote, dance-god, god of the Otomi, regent of the fourth day-sign cuetzpalin 147, 148. — of the fourth Tonalamatl section ce xochitl 281—283. — the dance-god, opposite the deer-goddess who denotes the third hour of the night and the North 217, 218.
Ueueteotl, the old god, the fire-god 141.
ueuetl or tlalpanhuehuetl, the skin-drum 221, 222.
uexolotl, turkey, bird of Tlaloc, denotes water 75, 76 note, 183.
uictli, hoe for working the soil, see ecauctli.
uitoncatl, wings(?), neck ornament of Macuilxochitl 208,
45
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354
Index.
Huitzilopochtli, sky-bearer of the South 87. — fire-god 141. — fire-god of the South 122. — one of the Tzitzimime 90. — with Tezcatlipoca denoting the upper region, heaven 90.
uitzitzillin, hummingbird, appearing in the rainy season 141 note. on the tree of the West 110. — in its disguise Quetzalcoatl, who represents the fifth of the forms of the deity of the planet Venus 125.
uitzitziltecpanecatl, tree of the West 110.
uitznauac tecutli, the warrior in the South-house, Tezcatlipoca 210.
uitzoli, headband, with triangular rising frontlet. Of monkey-skin, with a monkey-head, with Patecatl 160. — see xiuhuitzolli.
uitznauac, region of thorns, the South, to it belongs the fourth Tonalamatl quarter, its regent Tonatiuh 11. — and the five gods of the Macuilxochitl series 213. — represented by the yellow bone-serpent that encircles Macuilxochitl. — in the series of the nine lords represented by Tepeyollotli and Tlaloc 81, 111. — in the series of the forms of the deity of Venus by eagle and feathered serpent 116, 117, by Xochipilli 71. — by the dance-gods 68, 69. — its years signify infertility and mouse-plague 261. — denotes the left side of the world 31.
uitztli, thorn, agave-leaf point, with which one smeared oneself with blood during penance, see omitl uitztli. — stuck in the grass ball 226, 227.
Uixtoti, see Olmeca.
ungespunnene Baumwolle (unspun cotton), = ichcatl.
down, fifth direction, see dam.
Position of unworthiness 211.
uotan (Tzeltal), heart, innermost being, day-sign, = Mexican calli, house 141.
Primal home of the tribes, see Chicomoztoc, Tamoanchan.
Ursa Major = Tezcatlipoca 9.
Primeval age, time of piety 241.
Venus, planet, worshipped by the people of Teohuacan, Cozcatlan, Teotitlan del Camino 192. — its visibility as morning star 831, 89. — its mythology 96—187. — identified with the god Quetzalcoatl 101. — its deity, see Tlahuizcalpantecutli. — the four forms of its deity 112—118. — its hieroglyph, the Five arranged according to the five world-regions, the quincunx 133.
Venus period, the synodic period of revolution of the planet, represented in the Dresden Maya manuscript and in the manuscripts of the Codex Borgia group 131. — its length decisive for the construction of the Tonalamatl 4. — its beginning determinative for the beginning of the Tonalamatl 286, 316. — the five periods and their guardians 285—290. — the four-times-five guardians of the periods 193—210. — the great cycle of thirteen-times-five periods 311, 324.
Changeableness, of being, illustrated by the element of water 253, 254.
Burning, see tlatiliztli. — of the xiuhcoatl at the Panquetzaliztli 141.
Bound eyes, ixtlamimilli.
Transience, its symbol the sign malinalli 149, 157.
Displacement, of the gods of the Tonalamatl sections as against those of the day-signs 245, 246.
Closedness, of the water 96, 97.
Via di San Giacomo, Milky Way, = Tonacatecutli 131.
Animal, Flower, the symbols of the cardinal directions, 76–81.
quadrangular field of different colors. See tlapapalli.
quadrangular ear plate, Tlaloc's, the pulque gods', and Tepeyollotli's, 168.
four ends, of heaven, and those of the earth, 81–84.
four feathered serpents, 235
Four cardinal directions, 76–81.
four years, 281–285.
four times five bearers of the Venus periods, 190–210.
four rosettes, on Tlaloc's headdress, 106, 137, 138.
four scorpions, 327.
nauhilhuitl, man, = name of the number twenty, 127.
volcanic ash, see xaltetl.
Waking, hieroglyphic representation of, 15.
Wax, see xicotli. — feathers in the ornament of Tlazolteotl, 102.
woodpecker feathers, in the neck ornament of Quetzalcoatl, 148.
Wandering gods, 145.
Wandering priest, 14.
Water, see atl. — painting on the garment of the Mayauel, see atlacuilolli — cult site of the rain god, 110.
water vessel, sealed, 33.
Water deity, of the Maya see Ah bolon tz'acab. — of the Mexicans see Chalchiuhtlicue.
path, see otli.
weaver-god, see teteoinnan.
incense, drinking of, by the gods, 38.
candles, color of the incense vessels, 30, 31. — with yellow spots or red dots, bone color, 168, 284, 299. — or white and red striped, color of Tlahuizcalpantecutli, 29, 316. — Mixcoatl's, 115. — Tlazolteotl's (actually Ciuacoatl's?), 102. — the Ciuateteo's, 107. — Mayauel's, 136, 137.
white feathered pieces, on the headband of Tlahuizcalpantecutli, 358, 315.
white blossom, see izquixochitl. — iztac xochitl, name of Tlazolteotl, 101.
West, see ciuatlampa — tree of the, see uitzitzilquauitl.
Game (wild animal), see cecatl.
Wind god, see quetzalcouatl.
Wind storms, put an end to the sun of the Fourth Age, 186.
Clouds, their images, the battlements, 108. — the jagged crown of Tlaloc, 108.
Cloud house, of heaven, see House of Rain.
Cloud-sky, in the years of the East and the West, 282, 283. — above the eight rain gods, 242, 243.
Cloud serpent, see Mixcoatl.
Lust, the gods of, and their signs, 200, 328.
Xacupancalqui, one of the Tzitzimime, 30.
xaltetl, volcanic ash, arose from Xiuhquiauhteuctli, 186.
Xolhua, ancestor of the people of Teohuacan, Cozcatlan, Teotitlan del Camino, 329.
licaa pitao mani, Zapotec, the animal of the blood offering, the red serpent, 114.
Xipe Totec, "our lord the Flayed One," god of the Zapotecs, 229. — of the Yopi, 173. — of the goldsmiths, 205. — appearance and attire, 91, 265–267. — as Tlatlauhqui Tezcatlipoca at the same time, 171, 267, 321. — earth god, 89, 175, 176, 278. — related to Tlazolteotl, 102. — receives the firstfruits of the field, 261. — and his share of the harvest, 268. — at his feast the offerings are flayed, 175. — god of the gladiatorial sacrifice, 176, 177. — regent of the fifteenth day sign quauhtli, 174–177. — of the fourteenth Tonalamatl section ce itzcuintli, 265–268. — together with the fire god, regent of the twentieth Tonalamatl section ce tochtli, 278, 279. — guardian of the third Venus period, corresponding to the West, 208. — third of the four guardians of the fourth Venus period, which belongs to the West, 211, 301. — direction-god of the West, 85. — accompanying image in the first Tonalamatl quarter, 27, 28.
Xippilli, the turquoise prince, the young fire god, name of the sun, 175.
xiuhpohualli, year-count, the fifty-two-year period, created by the four old sages in Tamoanchan, 179, 330.
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Index. 355
Xiuhamalli = xiuhpohualli.
xiuhatlatl, the blue spear-thrower, the spear-thrower inlaid with turquoise mosaic in the hand of the fire god, 154, 209. — belonging to the costume of Quetzalcoatl, actually of the fire god, 149. — attached to the blue feathered serpent of the West, 210.
xiuhcoacalli, the house of the fire serpents, the South of the region of the evening star, 122, 123.
xiuhcoanaualli, the fire-serpent disguise, worn by the fire god, Huitzilopochtli, and Tezcatlipoca, 91, 256, 257.
xiuhcouatl, the blue feathered serpent, the feathered serpent of the West, including Quetzalcoatl, 297.
xiuhcouatl, the blue serpent, the turquoise serpent, the fire serpent, helmet-mask or disguise of the fire god, of Huitzilopochtli and Tezcatlipoca, 91, 256, 257. — of the fire goddess, 91. — shown with the jaguar, the second of the four forms of the deity of the planet Venus, 125. — on it Xiuhtecutli kindles fire, 28, 29. — burned at the feast of Huitzilopochtli, 91. — signifies famine, 268, 269.
xiuhcouatlacatl, the turquoise-serpent mask, belonging to the costume of Quetzalcoatl, actually of the fire god, 149.
xiuhcoyolnacochtli, tubular ear plug with a broad rim encrusted with turquoise mosaic. Worn by Xochipilli, 159, among others.
xiuhnacochtli, wedge-shaped blue ear plug, warrior's death ornament, 258.
Xiuhnel, Chichimec prince, remains in Ixtepec, 179.
xiuhpilli, the turquoise prince, the young fire god, name of the sun god, 175.
xiuhpiltontli = xiuhpilli, 98.
Xiuhtecutli, the fire god. Other names, 154. — appearance and attire, 94, 95, 154. — bears the tobacco gourd of the priests, 14. — his facial painting, in the case of Chantico, 273, 274. — in the case of Itzpapalotl, 178. — first of the nine lords of the night, the lord of the center, 94, 95, 110, 111. — regent of the ninth day sign atl, 154–156. — of the ninth Tonalamatl section ce cuetzpalin, 256–258. — together with Xipe Totec, regent of the twentieth Tonalamatl section ce tochtli, 278, 279. — the day "3 Dog" (yei itzcuintli) his special feast, 278. — accompanying image in the first Tonalamatl quarter, 28, 29.
xiuhtotoamacatl, tiara of the fire god, 95.
xiuhtototl, turquoise bird, the blue cotinga, on the forehead band of the fire god, 95, 256. — Huitzilopochtli's, the sky-bearer of the South, 84, 87.
xiuhuitzolli, headband of turquoise mosaic with a triangular forehead plate, royal crown, hieroglyph for teuctli, 131. — warrior's death ornament, 258.
xiuhyacamitl, nose rod of Tezcatlipoca, 146.
xocoicxtlamatlaoualli, a food made of maize dough, an offering for the Ciuateteo, 300.
Xocotl huetzi, "the descent of Xocotl," tenth year-feast of the Mexicans, fire feast, 273.
xochicalli, flower house, the North of the region of the evening star, 121.
Xochicauacan, one of the four old sages who created the calendar in Tamoanchan, 179.
xochilhuitl, flower feast, feast of Xochipilli and Xochiquetzal, 161, 190.
Xochimilco, on the shore of the freshwater lagoon, city of the Chinampaneca, home of the stonecutters, city of the fire goddess Chantico, 274.
Xochipilli, the flower prince, god of flowers and of food, counterpart to Xochiquetzal, 159. — god of the flower feast (xochilhuitl), 161, of the great lords' feast (huei tecuilhuitl), the eighth year-feast of the Mexicans, 161. — invoked in songs as Cinteotl, 164, 165. — confused with the true Cinteotl in the Codex Fejérváry, 194. — appearance and attire, 116, 159, 161. — appearing in the coxcoxtli helmet mask, 161. — painted clay image from Teotitlan del Camino, 160, 161. — stone image in Mexico, 161, 163. — regent of the eleventh day sign ozomatli, 159–163. — in the Codex Vaticanus substituting for Xochiquetzal, the regent of the twentieth day sign xochitl, 189, 190. — third of the four forms of the deity of the planet Venus, denoting the West, 116. — (the blue one) second of the four guardians of the first Venus period, corresponding to the lower region, 194. — (the yellow one) third of the four guardians of the first Venus period, corresponding to the lower region, 195. — (with the facial painting of the sun god) first of the four guardians of the fifth Venus period, corresponding to the South, 206, 209. — direction-god of the East, 88. — together with Xochiquetzal, standing for the West, 68. — first of the six in the temple, denoting the South, 71. embracing the tree of the West, 81. — opposite Xochiquetzal, in the middle of the twenty-five god-pairs, 211–242. — accompanying image in the Tonalamatl arranged in columns of five, 37, 38, 41, 42, 49, 50, 51, 52, 53, 59, 60, 62, 63. — his signs, 328.
Xochiquetzal, goddess of flowers and of artistic skill, princess, dwelling in the ninth heaven, in Tamoanchan, 188. — originally a water goddess, Tlaloc's wife, but abducted by Tezcatlipoca and made into a goddess of love, 186, 188. — beloved of the sun god, his first wife, 133, 134. — identified with Tonacaciuatl, 278. — depicted as a sky goddess, 13, 44. — goddess of love, patroness of courtesans, 188, 189, 237. — appearance and attire, 134, 189. — celebrated by the Tlalhuica at Tepeilhuitl, by the Tlaxcalteca at Quecholli, in Mexico at xochilhuitl, 186, 189, 190. — regent of the twentieth day sign xochitl, 186. — of the nineteenth Tonalamatl section ce quauhtli, 279. — in the Codex Borgia, second of the four guardians of the first, lower-region Venus period, 194. — fourth of the four guardians of the fifth Venus period, corresponding to the South, 210. together with Xochipilli, denoting the West, 68. — depicted in the xochicalli, in the North of the region of the evening star, 125. her manifestations in the twenty-five god-pairs, 211–242. — accompanying image in the Tonalamatl arranged in columns of five, 18, 19, 37, 40, 41, 43, 44, 59, 60, 62, 63. — substituting for Macuilxochitl, 60, 61.
Xochitocatl, daughter of Xochiquetzal, at the feast celebrated at Quecholli by the Tlaxcalteca, 189.
xochitl "flower," twentieth day sign, 128, 186. — its regent Xochiquetzal, 186–190. — in meaning agreeing with the sign ozomatli, 159, 163. — denoting the House of Rain, 76. — signifies the heart, 192, 218. — signifies flame, 62. — symbolic designation of blood, 7, 22, 58, 59, 114, 217, and elsewhere.
Xochitlachpan, a goddess of the region of Meztitlan, 166.
xochitlalpan, "in the land of flowers," = South, 222.
Xochitlan, city on the Pacific coastal plain. Hieroglyph, 104, 105.
xochitl icacan, "where the flowers stand," = Tamoanchan, the paradise of the West, 101, 165.
xolocozcatl, image of a blue dog, hung about the mummy bundle of the dead warrior, 157, 258.
xoloitzcuintli, hairless dog, 156, 182.
Xolotl, twin, monstrous birth, palace slave, 157, 181, 182. — god of the ballgame, of twins and of monstrous births, 181, 182. — depicted with the facial painting of Macuilxochitl, 181, 183. — depicted as a dog, 181, 278. — regent of the seventeenth day sign olin, 181–183. — the sixteenth Tonalamatl section ce cozcaquauhtli,
271. — opposite the moon god, denoting the East, 67. — accompanying image in the first Tonalamatl quarter, 15.
xonecuilli, S-shaped curved loaves of bread (images of lightning), offering for the Ciuateteo, 300.
xoxe (Zapotec), mighty, earthquake, day sign — Mexican olin, 199.
Xopancalqui = Xiuhpancalqui, one of the Tzitzimime, 30.
yacamaxtli, crescent-shaped nose plate of the pulque gods, 168, 210. — of Macuiltochtli, 167. — of Mayauel, 136. — on the ometochchimalli, ometochtilmatli, ometochtlantiztli, 167, 168. — on the garment of Tlazolteotl, 101. — on the surface of the pulque, 230. — worn by Tlazolteotl, 102, 172. — of the earth goddess, the regent of the third Tonalamatl quarter, 10. — of the Ciuateteo, 300. — of Itztlacoliuhqui, 261. — of Mictlantecutli, 79.
yacapapalotl, blue nose plate of Xochiquetzal, step-shaped or butterfly-like, 189. — worn by Mayauel, 132.
Yacatecutli, god of the merchants, one of the Tzitzimime, 189.
yacaxtli, pale bead in the nostrils, warrior's death ornament, 208, 209, 258. — worn by Xolotl, 181, 278. — of Tepeyollotli, the image of Tezcatlipoca, 78.
Yaociuatl, the female warrior, name of Ciuacoatl, 189.
yaomiquiztli, death in war, represented by water, 253.
— illustrated by an arrow 312, 313.
yaoyotl. War, provides the sacrifices for the Sun 2 H t. — represented by shield and bundle of spears, s. mitl chimalli. — metaphorically by water and fire, s. atl tlachinolli.
Companion figure in the Tonalamatl arranged in five-membered columns 24, .V», 61, 62.
yaquê. the emigrants, those who moved eastward, the Toltecs US.
yaqui nnak <Quiché>. the Mexican, the Toltec 142.
Yauhtecatl. a pulque god 168.
Yayauhqui Tezcatlipoca, the black Tezcatlipoca, the true Tezcatlipoca. s. Tezcatlipoca. — opposite the red Tezcatlipoca on the ball-court 176. — opposite the red Tezcatlipoca (the representative of Xipe), denoting the dark time, the rainy season 32t 1. taking the place of Itztli, the stone-knife god, the second of the nine Lords of the Night, appearing 95, 96 — in the Codex Vaticanus taking the place of the fourth of the five gods of the South, Macuilxochitl, the true god of the South. Confusion with the god of the North '/ 311.
/«cm. dotted kil 2ihl.
yecoa to complete 263.
yei eecatl "three Wind". Name of the monkey 2HL
/»/ itzcuintli "three Dog", sign and name of the fire god l.VJ. 2 ia.
yetecomatl, tobacco gourd, insignia of the priests 1 1, 236. — worn by the self-mortifying penitent 184. — of Iztac Mixcoatl 238, 239. of the fire god, marking food-vessels '-V»
yollotopilli. the staff with the heart, insignia of Xochipilli and Macuilxochitl 161. — in the case of the drinker, set against Mayahuel 2öö, 2jü
Ytzpi, a people related to the Zapotecs, worship Toteo Tlatlauhqui Tezcatlipoca 17».
Yopico. Temple of Xipe in Mexico 17,7.
yopitzontli. pointed cap of Xipe 28. — its shape is also that of Xipe's nose-plate Hö. 175, 265.
yohualnepantla, midnight, denoted by an eye surrounded by darkness 226, 227. — denoted by a scorpion 226, 227.
Youaltecutli, Lord of the Night, the sun god in the night UH, — one of the Tzitzimime INI.
Yucatan, other initial signs of the years 2S<i.
Zacata del carbonero, a kind of grass, plaited into straw ropes and sacks — malinalli 166.
Zackengefäss (toothed vessel), incense vessel ;wi, 31.
Zackenkamm (toothed comb), on the cap of Itztlacoliuhqui, denotes the notching of the struck stone 262.
Zackenkranz (toothed crown), of the rain gods — battlements. Images of the clouds US.
Numeral system, vigesimal, of the Mexicans 127.
Zapotecs, s. Tzapoteca.
Sorcerer, — nauulli — dancing before Xochiquetzal 27s
The Broken One, the Old One 190.
Gods of generation, s. Ometecutli, s. Tonacatecutli.
Battlements (imixxotl, mixxotl), images of the clouds ltW.
twenty sections, of thirteen days each, of the Tonalamatl, their deities 245 jlk.
twenty day-signs, their names 127, 128. — combined with thirteen numbers to form the Tonalamatl 3. — their deities 127-UW.
two-colored painting, s. chictlapanqui.
two antlers, borne by the deer, on the Xolotl leaf 271
two braids of hair, rising up on the crown of the head, sd Tepeyollotl. HM.
two feather tufts, on the crown of the head [of Xochiquetzal] s. ome quetzalli.
two-headed serpent, s. maquizcoatl.
two arrow-shafts, denote the fire-drill 83. — in the crown of the fire god s. ome quammomitl. — in the case of the first human pair UW.
two arrows, on the back, facial painting of Chalchiuhtlicue IW.
fifty-two-year period, 2?J—285. — created by the four old sages in Tamoanchan 17U.33U. — (s. Xiuhpohualli, xiuhamatl). — at its beginning new fire is drilled Ul.
Dwarves, sacrificed to the sun at solar eclipses 183
Twins, — cmuitl, s. xolotl. — born of Xochiquetzal. Denote the fourth hour of the night and the West 21U.
Printed by Gebr. Kagor in Berlin, Beniburger Str. 10.
Digitized by Google
The Tonalamatl arranged in five-membered columns.
Digitized
First quarter of the Tonalamatl, ce cipactli "one Crocodile", region of the East.
Second quarter of the Tonalamatl, ce ocelotl "one Jaguar", region of the North.
Five-membered columns arranged Tonalamatl.
Five-membered columns arranged Tonalamatl
Fourth quarter of the Tonalamatl, ce xochitl "one Flower", region of the South.
The gods of the six directions.
The gods of the six directions. 4. The three realms.
Digitized by Google
Another list of gods of the six directions.
A. Front of the manuscript (reading from left to right).
Digitized by Google
Front of the manuscript (reading from left to right).
A. Front of the manuscript (reading from left to right).
A. Front of the manuscript (reading from left to right).
Digitized by Google
I. Xiuhtecutli, the fire god II. Itztli, the stone-knife god III. Tonatiuh-Piltzintecutli, the sun god IV. Cinteotl, the maize god
A. Front of the manuscript (reading from left to right).
w
o
fl
w
Digitized by Google
Front of the manuscript (reading from left to right).
Front of the manuscript (reading from left to right).
Second quarter of the Tonalamatl. Third quarter of the Tonalamatl.
The four forms of the deity of the planet Venus. 10. The twenty day-signs and their deities.
10. The twenty death-signs and their deities.
10. The twenty day-signs and their deities.
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Front of the manuscript (reading in the upper half from left to right, in the lower half from right to left).
11. The four times five guardians of the Venus periods.
The four times five guardians of the Venus periods.
12. The twenty-five pairs of gods.
Front of the manuscript (reading in the upper half from left to right, in the lower half from right to left).
12. The twenty-five pairs of gods.
11. The four times five guardians of the Venus periods.
12. The twenty-five pairs of gods.
The twenty-five pairs of gods.
Front of the manuscript (reading from left to right).
1. The rain god of the East. 2. The rain god of the North.
Front of the manuscript (reading from left to right).
3. The rain god of the South. 4. Quetzalcoatl, the rain god of the West.
Front of the manuscript (reading from left to right).
5. The rain god of the upper region. 6. The rain god of the lower region.
14. The Tonalamatl arranged in twenty thirteen-day sections.
B. Reverse of the manuscript (reading from right to left).
14. The Tonalamatl arranged in twenty thirteen-day sections.
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the moon-god
14. The Tonalamatl arranged in twenty thirteen-day sections.
14. The Tonalamatl arranged in twenty thirteen-day sections.
plunging into the water the sun god, Quetzalcoatl, kingship
14. The Tonalamatl arranged in twenty thirteen-day sections.
14. The Tonalamatl arranged in twenty thirteen-day sections.
14. The Tonalamatl arranged in twenty thirteen-day sections.
Reverse of the manuscript (reading from right to left).
14. The Tonalamatl arranged in twenty thirteen-day sections.
14. The Tonalamatl arranged in twenty thirteen-day sections.
14. The Tonalamatl arranged in twenty thirteen-day sections.
14. The Tonalamatl arranged in twenty thirteen-day sections.
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Digitized by Google
16. The five Venus periods. 15. The Tonalamatl and the fifty-two-year period.
our lord, the flayed one, the earth god, Xipetotec
17. The planet Venus in its visibility as morning star.
18. The four feathered serpents.
B. Reverse of the manuscript (reading from right to left).
22. The five goddesses of the West and the five gods of the South. 21. The deer of the East and the deer of the North.
Fourth quarter of the Tonalamatl = South. Second quarter of the Tonalamatl = North.
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The thirteen times five Venus periods. 22. The five goddesses of the West and the five gods of the South.
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Third quarter of the Tonalamatl = West
23. The thirteen times five Venus periods.
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23. The thirteen times five Venus periods.
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Digitized by
24. The red and the black Tezcatlipoca.
Digitized
Otomatli, the
25. Once more the twenty day-signs and their regents.
B. Reverse of the manuscript (reading from right to left).
in Uatzmixcoatl
I held in quetzal feathers
Digitized by
B. Reverse of the manuscript (reading from right to left).
Digitized by Google
B. Reverse of the manuscript (reading from right to left).
Uncharted Knowledge
Wisdom From Previous Realities
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