Codex Fejérváry-Mayer : an old Mexican picture manuscript in the Liverpool Free Public Museums (12014/M)

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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at |http : //books . google . com/| ,-i SI\^ ! f F'5X •'.• / \ f f5X ^ '.- / ^1 \* ^ ' *^ •* *■ • '^B J3^ ■k.r-'U'B * rf«>« 1 *m, F Codex Fejervary- Mayer An Old Mexican Picture Manuscript in the Liverpoo Free Public Museums C^-) Bnblished at the Expense of His Excellency the Bake of Lonbat Foreign Correspondent of the Institute of France Elucidated by Dr. Eduard Seler Fcofessor of American Linguistics, Ethnography, and Archaeology in the University of Berlin BERLIN AND LONDON 1901-1902 (11'-' I i ^ ^ \ I 1 I r r f 1 f w I I J ^^ "^ Vi. I m 1 r *• — '^'^^ F 1 , % Codex Fej6rvary-Mayer An Old Mexican Picture Manuscript A /I i i Codex Fej6rvapy-Mayep An Old Mexican Picture Manuscript in the Liverpool Free Public Museums (^""T) Published at the Expense of His Excellency the Bnke of Lonbat Foreign Correspondent of the Institute of France Elucidated by Dr. Eduard Seler Professor of American Linguistics, Ethnography, and Archaeology in the University of Berlin • •••: • • • • . - • • A. BERLIN AND LONDON . 1901-1902 ENGLISH EDITION BY A. H. KEAlSTE Late Vice-President Anthropological Institute of Great Britain and Ireland V3% • •• Printed by T. and A. Constable, (late) Printers to Her Majeaty, at the Edinburgh University Press i; '/ I \ .J i t To His Excellency Joseph Florimond, Duke of Loubat. Your Excellency! The new and sumptuous facsimile-edition of the Codex Fejervdry- Mayer which, with your wonted munificence, you have distributed to all the large libraries of Europe, both Americas and Japan, is on this occasion accompanied by some personal remarks explaining the standpoint by which Your Excellency has been guided in your more than ten years' continuous and successful efforts to promote American studies. To these remarks you have prefixed the motto : — ' Cherchez et vous trouvei^eZy * Seek and you shall find/ And, in truth, no more suitable watchword could have been found. It is the watchword by which you have been guided and helped to discover the ways and means which are calculated to direct research into those paths along which it may advance to fruitful results. It is the magic word, too, which the young American science itself has to thank for all it has so far accomplished. And the same sentiment encouraged me also, when Your Excellency placed before me the heavy task of writing an exposition of this manuscript. When preparing last year my elucidation of the Tonalamatl of the Aubin collection, also at your request, I had at least some support for my interpretations in the short explanations of the pictures of the Codex Telleriano-Remensis supplied by the clumsy hand of Father Pedro de Rios and some of the other early evangelists. But the present and the other related documents are destitute of any such explanations. As in life, however, so in research the explorer advances from one stepping-stone to another. A careful study of the Tonalamatl, and a search for the corresponding figures in the other pictorial writings, have made it possible accurately to determine a large number of VI figures in those manuscripts also for which no interpretations were extant. And these interpretations served in their turn as starting-points for a further investigation of the other parts of those pictorial representations. For all this an effective support was presented by what I had already some two years ago established regarding the occurrence of the Venus periods in the manuscripts of this group. Thus I advanced, groping from step to step. But such work naturally demands a thorough search in apparently insignificant details. Hence, in the explanatory text, I was unable to dispense with a large number of illustrations. And if the wearisome nature of the inquiry is to some extent betrayed in the exposition itself, I beg of Your Excellency to consider that it was impossible in any other way to supply the evidence for my interpretations. And even so for several of the representations in this manuscript I was unable to do more than determine the actual constituents, that is to say, the number, the kind, and the character of the figures. But for a whole series of others I believe I have succeeded in revealing the deeper significance and the special meaning of the representations. As a fresh acquisition, I may mention to Your Excellency the proof of the occurrence of an intercalation in the manuscripts, which renders possible a correction in the length of the year. Hence if this first attempt at a complete commentary on one of the most important documents concerned with astronomy and astrology is not exempt from the shortcomings, the faults and errors inherent in all human work, and above all in one dealing with such a little cultivated and diflBcult field, I would still hope that Your Excellency will not refuse me the credit of having honourably and earnestly sought and striven to justify the confidence placed in me by Your Excellency when imposing this task on me. Eduard Seler. Steglitz, August 1901. I. f ) History and Nature of the Manuscript. Nothing is known on the origin of the interesting pictorial document which, through the munificence of His Excellency the Duke of Loubat, is now placed at the disposal of the learned in a singularly successful facsimile reproduction. At one time it belonged to the Cabinet of Anti- quities of the Hungarian collector and savant, Oabrid Fy4rvdry, and passed under his name to the well-known collection of reproductions of old Mexican picture-writings published by Lord Kingsborough under the title of Mexican Antiquities, Since the time of Ferdinand i., the Fej6rv4ry family were landed proprietors in KomlcSs Eeresztes, in the Tapoly district of the county of Sdros, in North Hungary. Gahriel Fejirvdry, bom in the year 1780, was the son of Karl Fejirvd/ry, who had also gained some celebrity as an antiquary and collector of medieval records and documents, but died while, relatively speaking, still a young man. As mentioned by his nephew, Franz PvZazky, in his autobiography,* Gabriel Fej^rvAry, after completing his legal studies and obtaining his diploma of Advocate, had made the acquaintance of Baron Josef Brudem, who soon after appointed him his representative, with full powers. With this nobleman he made extensive journeys, and then resided alternately in GyQngyOs and Pest, where Brudem had built a large house, which was for fully ten years the trysting-place of the most intellectual men in Pest At that time Gabriel Fej6rv4ry had already a good library and collection of antiquities. Pulszky mentions amongst the chief objects of the collection a beautiful marble statue of Venus, several bronze statuettes, a choice selection of gems, and some artistic medieval monuments. But at that time he must have also been already in possession of the old Mexican pictorial document which bears his name, since in the volume of the Kingsborough collection, published in the year 1831, the reproduction of this manuscript is specified as ' in the possession of M. de Fej^rvAry, at Pess, in Hungary.' In the year 1829 a rupture took place between Gabriel Fej6rvAry and Baron Brudem. Fej^rvdry removed to Eperies, entering the household of his brother-in-law, father of the above-mentioned Pulszky, and the next year transferred his collection thither. He formed a close friendship with his nephew, who later made a great name as journalist, politician, and connoisseur, was for some time ^ Franz PnlBzky : Meine ZeU, mem Lehen, 4 voIb. Pressbnrg and Leipzig, 1880*1883. The Hungarian edition appeared at Budapest in 1882 under the title of MeUni 6a karom. 2 History and Nature of the Manuscript. Secretary of State in the Hungarian Ministry of Finance, after the October rising got appointed member of the National Defence Committee, and was then sent abroad as representative of revolutionary Hungary. On Fej6rv4ry's death, in the year 1851, his nephew, Franz Pulszky, inherited his collection of antiquities. He had them brought to London, where he was then living in exile, and they attracted much attention when exhibited by him in the rooms of the London Archaeological Society. Not being at the time too well off, and finding the education of his elder children a heavy charge on his resources, Pulszky decided, first of all, to dispose of his majolica collection to an art-dealer in Paris, and then offer for sale his valuable and instructive ivory carvings. The British Museum was out of the question, as it had just a short time before purchased another large ivory collection. But at that time there was living at Liverpool a ' worthy citizen,' as Franz Pulszky calls him, one Joseph Mayer, who had already bought a large Egyptian collection, and was also himself a collector, especially of mediaeval and Renaissance artistic objects, ' and all with the intention of presenting everything to his native city, and thereby enriching the local museum.' To him Pulszky sold his ivory collection, besides some large bronze wheels dug up in the district of the M4tra Mountains in Hungary, together with the present manuscript. Thus it was that this old Mexican book came into the possession of the Liverpool Free Public Museums, to which the Mayer collection was consigned in the year 1867. Although our manuscript is preserved in Liverpool under the name of the Codex Mayer, I thought it right to retain the old name by which this book had been made known to the scientific public, merely adding that of its later possessor, by whom it had been given to the Museum. Strange to say, no allusion is ever made to our manuscript in the whole of Pulszky's Autobio- graphy, despite his frequent references to the Fej^rvAry collection. He does not even mention it in his account of the sale of his collection to Mayer. For Pulszky, whose chief interest lay in the departments of classical archaeology, art history, and the prehistoric period of his native land, our document was merely a curiosity, a qvxintiU rUgligeahle. Unfortunately I have failed anywhere to light upon the catalogue which was at the time prepared by Henszlmann for the exhibition in London. In the hope of gleaning some particulars regarding the former history of this remarkable pictorial manuscript, the Duke of Loubat applied through an agent to Pro- fessor Hampel, son-in-law of the Pulszky who died a few years ago as General Administrator of the Hungarian public museums and libraries. But the only reply was, that perhaps such information might at most be found in the Pulszky diaries ; but that all his papers were now in the libraiy of the Hungarian National Museum, and for the present inaccessible to the public. i J i 1 i History and Nature of the Manuscript. 3 The foundation for the pictures of our manuscript is formed by four strips of a kind of parchment made of deerskin, which are cut to a uniform breadth of 17^ cm., but of varying length, overlapping 2 to 2^ cm., and carefully and firmly pasted together. In the direction from the right to the left end, the ftee surfaces are severally 98|, 100, 99, and 87 cm. long, and the joinings are made at the sixth, twelfth, and seventeenth sheet. The strip has thus a total length of 385 cm., with a breadth of 17J cm., and is folded together in the way shown by the facsimile reproduction. The page has been taken even with the height, i.e. the breadth, of the strip, so that the full strip consists of 22 folded sheets of square form, each of which is 17^ cm. broad and of the same height. Both sides of the sheets are covered with a thin coating of an extremely adhesive paste, on which the paintings are executed on both sides in the usual way — the contours in deep-black, thin lines, the spaces filled in with colours. In all these respects the present manuscript agrees with the picture-writings of the Codex Borgia group, as well as with the great body of Mixtec and Zapotec documents, the pictorial codex in the Vienna Imperial and Royal Library and others. Common to the Codex Borgia group of manu- scripts and to ours is also the delicate and careful execution of the drawings and colouring, and a certain artistic touch. But this is very far from being correctly shown in the only hitherto available reproduction, that of the Kingsborough collection. Judging from this repro- duction one might suppose the Fej^rvdry Codex to be a somewhat carelessly drawn manuscript. But the very opposite is the case, as may be seen by a glance at the present beautiful fac- simile reproduction executed by the Monrocq establishment. It was somewhat difficult to repro- duce the colours, as on several sheets the blue and the green, on others again the green and the yellow, had become almost indistinguishable from the darkening and change of the tints, from the dirt, and perhaps also from the colours running one into another. Here it was impos- sible to distinguish the different shades except by the knowledge derived from a study of the allied manuscripts, showing what colours were appropriate to certain figures and to certain parts of their attire. In these cases the reproduction had naturally to approach somewhat more closely to the original colours, or to those originally intended. But bearing this in mind, I have also carefully compared the reproduction with the original, and do not think a mistake has any- where been made which does not similarly occur in the original. According to its contents our manuscript belongs to the Codex Borgia group, as I have already made evident in one of my first essay s.^ To this group belong, besides the Borgia itself, the Codex Vaticanus B (No. 3773), the Codex Bologna, our manuscript (the Codex Fej^rvdry-Mayer), and the Codex Laud, to which last ours would appear to be most nearly allied. But in some respects it also stands somewhat close to Codex Bologna, and in others again to Vatican B.^ How these documents agree in the details of their contents, I have already shown in a general way in the above-quoted treatise on the manuscripts of the Codex Borgia group published in the year 1887. Like Vatican B and Codex Borgia, our manuscript forms a complete book, both sides of A *The Codex Borgia and the allied Aztec picture-writings.'— Procecd»nsr« of the Berlin Anthrop, Society , Jan. 22, 1887 [Zeitschrift fiir Ethnologie, xix. pp. 106-114]. « To save space I shall quote Codex Vaticanus A for the Vatican Codex No. 3738, and Codex Vaticanus B for the Vatican Codex No. 3773. 4 History and Nature of the Manuscript. the strip from the first to the last sheet being written over. On both sides it is to be read from right to left, and the sheets are numbered accordingly. But our manuscript so far agrees with the unfinished book which is represented by Codex Bologna, that both aides of the strip differ ds regards their contents. One side of the strip, which in the numbering of the sheets is taken as the first, is concerned, as we shall see, exclusively with figures, which from other manuscripts are known as the Gua/irdians of the Night, and with nocturnal eerie things. This I shall indicate as the Night Side. On the other side of the strip such relations occur either not at all or only in a few places. Hence this other side I have called in contradistinction the Day Side. • I I 1^ ' I I i t 1 i \ j ' A. The Night Side of the Manuscript. 1. The Five Regions of the World and their Deities. Sheet 1 ( = Kingsborough 44). The first sheet is perhaps the most interesting, and in any case the most famous of the whole manuscript As indicated in the above heading, it represents the five regions of the world and their deities. But at the same time it also pictures the TonalamaU, the book of good and bad days, the Calendar of 13 x 20 or 260 days, and this in a twofold arrangement and in its division according to the four cardinal points. Lastly, it introduces amongst the deities of the five regions the nine Lords of the night hours, but, strange to say, in a revolving order which is opposed to the true order as indicated by the sequence of the Tonalamatl days, that is, not, like the Tonalamatl days, opposed to, but with, the movement of the dial hand. In the middle of the picture is seen the Fire God. For the same god of the fire that bums on the hearth in the middle of the house also occupies the middle of the world. He is in teteu innan, in tetew inta, in Ualxicco onoc ' The Mother, the Father of the gods who dwells in the navel of the Earth.' ^ Here he is recognised as the Fire God by the red colour of his body, and the painting of his face, which is yellow with the lower half »black, and with a narrow, black cross-stripe at the level of the eye. He wears the fillet with the cotinga bird on his forehead {ch/dchivk'teteUi)? on his head a tiara broadening upwards and painted with the colours of the cotinga {xiuh'toto-aTna- colli), and a jaguar's ear over the temple. On his breast hangs a blue ring adornment, and in one hand he holds a throwing-stick, in the other a bundle of spears. Four streams of blood radiate from him towards the four comers which denote the four cardinal points — East, North, West, South. For, as he is Lord of the Middle, the Fire God is also Lord of the four quarters ; he is not only Tlalxictentica, but also Nauhyo tetuctli. In both of these names he is supplicated by the worshipping traders.* ^ Sahagun 6, chap. 17. 3 Cf. TonaUmatl of the Aubin collection, pp. 74, 75. ' Sahagun 9, chap. 3. 6 The Night Side of the Manuscript. The four streams of blood are continued beyond the square space enclosing the centre to the outer corners of the picture, where the signs acatl/B.eed,' tecpaU, 'Flint/ caUi, * House/ and tochUi, ' Rabbit/ are seen depicted on shields respectively borne by a quetzal bird, an arara, an eagle, and a green 'parrot These are the four signs by which the consecutive years are named with constant reiteration, because they are the signs which fall on the first days of these years, and therefore, since they are exhausted with the number four, have become symbols of the four cardinal points — East, North, West, South. The stream of blood pointing to the sign acail, i,e, to the East (left-hand above), terminates with a hand painted yellow — the hand (ray) of the Sun God? The stream pointing to the sign tecpatl, i.e. to the North (left below), ends with the stump leg of the god Tezcatlipoca, who is the Mictlan tecutli and the Tlacochcalco yaotl} the Lord of the mictlaTnpa, of the North. The stream trending towards the sign caUi, i.e. towards the West (right-hand below), ends in the figure of a chest formed by the vertebrse and adjoining ribs of a skeleton. For the West is the region of the setting (dead) sun. The stream directed towards the sign tochtli, i,e. towards the South, ends in a head in whose hair is stuck a downy feather-ball, and which bears Tezcatlipoca's facial painting — ^yellow and black cross-lines. This god, who is the Tlacochcalco yaotl, the warrior in the spear-house, the god of the North, is also at the same time the Uitznauac yaotly ' the warrior in the South,' and is honoured under this name in the ancient temple hymns.' For this god is originally and above all the god of the Toxcatl feast, the feast which the Mexicans were accustomed to keep at the time when the Sun reached the zenith above their city, in order from that point to take its position for a few weeks in the northern hemisphere. Hence for the Mexicans he symbolised both South and North ; he was the young god, the Sun himself, who had his abode now in the south, now in the north, of the vault of heaven.^ Thus in this way the four quarters or regions of the world are by the four years brought into relation with the four outer corners of our picture, and also (by the streams of blood gushing out beside them and ending in the specified symbols) with the angels of the square forming the centre of the picture. But in a similar manner the four sides of this same central square also are divided amongst the four quarters of the heavens — East, North, West, South. A kind of platform, approached by steps in the middle, is seen above the upper side of the central square, that is to say, to the right of the corner which, owing to the shield with the sign acatl, ' Reed,' we had to regard as the ea^t comer. The steps, like those of the temple pyramids generally, are painted a red colour, and at the level of these steps is shown the image of the Sun. This can obviously be nothing but the kotuse of the Sun, the East. Above the left side of the central square is seen a votive dish, in which are a ^rubber ball (serving for incense or as a burnt offering), an agave-leaf thorn, and a bone whose lower end is supposed to be pointed, hence is a bone dagger. These are the symbols of sacrifice, of self-torture, of blood-letting, voluntarily made in honour of the gods. Hence they seem here to have been brought into connection with the northern quarter of the heavens. It will appear, however, from the figures that on our sheet there has occurred a reversion of the order, or an interchange of North and South. Hence it seems 1 Cf. Veroffentlichungeii aus dem Konigl. Museum fiir Volkerkunde, vol. vi. pp. 128, 129 (Berlin, 1899). * Sahagun, ms. Biblioteca del Palacio B. Capitulo 15, ' De los cantares que decian k honra de los dioees en los templos y fuera dellos.' Hymn 2, Vitznavtic yauU ycuie, ' Veroffentlichungen aus dem Konigl. Museum fiir Volkerkunde, vol. vi. pp. 128, 129, 154 (Berlin 1892). I 1 I i I i IJ 1 li I The Five Regions of the World and their Deities. more probable that the just described symbols are intended to indicate the ' Place of Thorns/ the uitztlampa or uitznariac, the South. Above the lower side of the central square is seen a monster descending from above, i.e, here, from below. ' It would seem to be tolerably certain that this is intended to represent the TzitzimimS, the demons, who symbolise the realm of darkness, the eclipse of the sun. I shall have more fully to explain further on that the TzitzimimS are originally images of the stars, which, merely because at ! ! the solar eclipse the stars become visible in broad daylight, have been made demons of darkness, symbols of the devouring gloom. In any case, here the figure denotes the West, the region of the setting sun, of the light swallowed up by the Earth. Lastly, above the fourth or right side of the central square is seen the wide open throat of a monster hieroglyph of the Earth, which in this form is obviously thought of as the taker of life, the mictlampa, the realm of death, that is, the North. But besides these signs and symbols directly indicating the cardinal points, at the four corners and above the four sides of the central square are depicted other figures and symbols, which give expresston to the notion of destiny, of foreboding, the character of the different quarters of the heavens. At the comers, below the signs of the four years borne by the birds, we find symbols which partly recall what is seen in carefully executed pictures on Sheet 27 of Codex Borgia (= No. 12 of the Kingsborough notation) and on Sheet 69 of Vatican B ( = 28 Kingsborough), concerning the destiny of the four years, of the four sections of the Tonalamatl. On the specified sheets of these manuscripts the acatl years and the Tonalamatl sections beginning with cipactli, which two periods belong to the eastern quarter of the heavens, are indicated as lucky and fruitful. A cloud-laden sky is spread over the Tlaloc of the year. And below him numerous maize ears are sprouting on the cijxictli, the symbol of the fruit-bearing earth. The tecpaU years and the Tonalamatl sections beginning with miquiztli show above the Tlaloc of the year a dry rainless sky. And below him the ground is broken into clods, and winged insects devour the few sprouting ears. The calli years and the Tonalamatl sections beginning with ofomatli, which belong to the West, suffer from a superabundance of water. A densely clouded sky spreads over the Tlaloc, and below him the maize plants are all sodden in the water. Lastly, the tochtli years and the Tonalamatl sections beginning with cozcaquauhtli, which are determined by the South, are again periods of drought and famine. Over the Tlaloc stretches a sky darting down glowing rays. And in the lower section rabbits are figured eating up the ears growing in the parched soil of the Earth. That the signs of the four years borne on shields by the birds in the comers of our Fej6rv4ry Sheet are concerned with the representation of similar notions is shown by the upper right comer, that of the South, where we see pictured a maize plant and a rabbit at its foot. But the representa- tions at the other corners also may be partly explained from the concept to which expression is given on the specified Codex Borgia sheet. In the comer to the right below, which belongs to the West, we see a jewelled chain (chaZchiuitl) which terminates above in a flower, below in a snake's tail I think we may unhesitatingly interpret this figure as denoting abundance of rain. In the left comer below, that of the North, is seen a species of plant, with blossom or fruit hanging down on four sides. On the summit is perched a bird, of what kind it is hard to determine. And round the stem 8 The Night Side of the Manuscript. is twined a vine painted a yellow colour. The meaning of this picture is not quite clear to me. The figure in the upper left or east comer is also obscure. Here we have a plant which may perhaps be a young maize-plant ; or is it a quetzal-feather plant, that is, one of exuberant growth ? And perched on its stalk is a bird, with a yellow disk shown on the tip of its bill. More conspicuous are the scenes which rise above the four sides of the central square. They are, as we see, various kinds of trees springing from the above-described symbols, which give expression to the four cardinal points on the four sides of the central square. The first, which rises above the upper east side, above the picture of the sun enthroned at the level of the steps, is apparently presented simply as a flowering tree, and the bird perched on it is certainly a quetzal bird. Hence we should perhaps denote this tree of the East simply as quetzalquauitl, ' quetzal-bird tree,' or ' quetzal-feather tree.* The second, above the left side of the central square, has ray-shaped blossoms on a bulging stem, which ramifies in the middle, and along its whole length is set with notches or thorns. On it is perched a bird which, from the parallel cases that I shall have presently to quote, is to be taken as an eagle. Hence we must indicate this tree of the North simply as qv/iuhquauitl. The third above the lower side, growing out of the forehead of the tzitzimitl, has a stem set with long upright thorns, and feather-balls instead of flowers at the tips of its branches. On it is perched a bird with bluish plumage and long pointed beak, hence, doubtless, a humming bird. This tree of the West we shall therefore call uitzitzU quauitl. Above the south side, the side to the right of the central square, a tree is growing out of the open jaws of the monster symbolising the Earth; its stem is set with notches (or fruit-pods?) turned downwards, while the branches bear a kind of star-shaped blossom like that of the tree of the North. On it is perched a bird, which from the form of the beak is doubtless to be taken for a parrot. Hence we may denote this tree of the South as tozquauiU, or cochoquauitl, or aZoquauiU, For toztli is the yellowish-green parrot plumage, the parrots themselves being called toznene and cochotl, and the red arara bird alo. As for the previously described representations at the comers of our picture, so also for these figures depicted above the chief sides, parallelisms may be shown in the same manuscripts, Codex Borgia and Vatican B, which according to their contents are in fact related to our Fej^rvAry. On the lower half of Sheets 49-52 ( = Kingsborough 66-63) are exhibited, merged in a single picture, a number of different subjects with their variations according to the cardinal points. On these sheets, to which we shall often return, in the middle above, facing the house which indicates the respective quarter of the heavens, we see offerings being brought by the god corresponding to that quarter. And immediately below these votive representations, the centre of the four sheets is occupied by four trees, obviously regarded as chief figures, each with a bird perched on its top ; and although deviations in details are not lacking, these trees evidently correspond to the four of Sheet 1 of our Fej^rvdry. But in Codex Fejervdry the trees grow out of the symbols which are figured on the four sides of the central square as indications of the four quarters of the heavens, whereas in Codex Borgia the trees spring from the body of a figure of the Earth goddess, who is depicted lying on her back with a skull for her head and death emblems shown on her enagua. The Five Regions of the World and their Deities 9 Similarly we see on Sheets 17, 18 of Codex Vaticanus B, not indeed this whole group of diverse representations, as in Codex Borgia, but four compartments, in each of which are figured a god above, and below a tree with a bird on its top. And, despite discrepancies in the details, obviously these trees again correspond to the four trees of our Fej^rviry Sheet. Here in Vatican B the tree does not grow, as in Codex Boi^a, ^m the body of a figure of the Earth Goddess, but a deity is seated at the foot of each of the four trees, clasping its stem. But this deity is different in all the four compartments. A peculiarity of these Codex Taticanus trees is that, at the tips of each of their (four) branches, on the stem, and to the right of their roots, are pictured two — altc^ether twelve — diversely coloured balls. As an indication of this speciality I take from our Fej4rviry Sheet the little circle on the tree of the left (North) side, which circle we see attached to each of the six radiating flowers of this tree. Fi«. la. Hieroctfph of ChaUo City. Codex Hendoza. „ Fie. 2. Tree of the East. F,g. 1. Tree rf the East *j^^ y^^j^^^ B j. Code:: Borgia 49 ( = K.ngsborough 66), ^ ^ Kingsborough 65). The first of the four trees of Codex Borgia, shown on a sheet, in the centre of which we see a house with an image of the Sun at the door and facing it the Sun God bringing offerings, is by this association indicated as the Tree of the East (Fig. 1). At the end of the two main ramifying boughs, as well as at the tips of its twofold group of four branches, it shows the hieroglyph chaZchiuitl, ' Jewel,' the familiar figure which in the Tribute Roll and in Codex Meudoza is employed , as hieroglyph of the City of Chalco (Fig. Id). Moreover, about this tree are coiled a green and a blue string, which are set with golden bells, and are also obviously to be taken as jewelled strings, one ending in a flower, the other in a disk (eye or pearl). On the top of the tree is seen a quetzal bird, clearly recognised by its green plumage and the feathery crest on its head. On its stem are further pictured the implements of war — shield, bundle of spears, throwing-stick and hand-flags. For the East is the region of war ; in the eastern heaven dwell the souls of the slain, the sacrificed warriors. The Earth Goddess, from whose body springs the tree, differs from what we shall find in the following sections in that, instead of being drawn with a helmet mask, she wears nothing but the priestly fillet, in which are apparently inserted the two ends of rattles {chicauazUi). She is herself painted a yellow colour, but her dress and ornaments are white, i.e. strictly speaking, 8pott.ed white and red. Far less characteristic is the first of the four trees of Codex Vaticanus B (Fig. 2). It has a 10 The Night Side of the Mftnuscript. blue stem and green ray-like flowers, while the twelve balls are yellow. But on the lop is again unmistakably seen the quetzal bird with its green plumi^e, feathery crest, and long, pliant greeu tail-feathers. The stem is clasped by a god, whose body is of a red colour, with face painted length- wise, half blue, half red, and who seems to me identical with a god to be mentioned later on, who is figured looking out from a cipcictli's throat The flower, the jewel, the quetzal bird are all symbols of opulence, of the precious, fructifying moisture. Ye tlagtietzalpaiia ye tUxxoxovia ye xopantla, ' already has it changed to quetzal feathers, already all has become green, already the rainy time is there' — so it runs in the explanation of the second strophe of the Song to Xipe. And in the third strophe of the same song : — yn niyoatzin (that is ovatl) iuhqiiin ckalchiuitl noyollo, ' I the maize bloom, like to a gem is my heart (my core, my inside).' Thus flowers, jewel, quetzal bird are symbols of fertility, of prosperity, like the dpactli which is figured in the acatl years, the east years. Fig. 3. Tree of the North. Fig. 4. Tree of the Nortli. Codex BorgiA 50 ( = Kingsborough 65). Codes Vaticanua B 1 7 ( = Kingaborongh 66). It is evident from the Quetzal tree that on Sheet 1 of our Fej6rvdry, as in the two specified places of Codex Boi^a and Vatican B, the East is looked upon as a region of prosperity, of fruit- fulness, of abundant food supplies. And this we can indeed at once understand. Apart altogether from mythical considerations and ideas, for the Mexicans the East was in fact the region of the tlcUocayotl, of the rain-bearing wind. It was the r^on where the moisture-laden trade-winds constantly generated mists and fogs along the towering border ranges of the central plateau, where numerous streams flowed down to the plains, where the rainy season was productive and permanent, where was consequently situated the TkUocan, the Paradise of the Rain God. The second of the four trees of Codex Borgia, which must symbolise the North (Fig. 3), is, like that of the East, painted half green, half blue; but, like the North tree of Codex Fej^rvary, the stem and boughs are set with thorns along their whole length, bearing small flowers only at the tips of the branches. Instead of a jewelled string, on one side a cloud of darkness, on the other a stream of blood winds upwards. And on the top stands the great bird of prey, the Eagle, painted black and white, with rufiied plumage, and stone knives inserted at the ends of its feathery crest and tail-feathers. The Earth Goddess, from whose body the tree shoots up. wears as a helmet mask The Five Regions of the World and their Deities. 11 or disguise (naiudli) a stone knife, that is to say, her face looks out from the open throat of a stone knife furnished with round eyes and rows of teeth to represent a death's-head. Her colour, like that of her robe, is blue, that is, presumably dark. I'he tree figured in the second place in Vatican B resembles the first in its lack of character. The stem is painted a green colour, but at the same time furnished with a black des^ made up of lines and small circles, such as in this manuscript is usually shown on the body and limbs of the Death God ; hence seems in a measure to suggest a bony structure. The flowers are yellow, and the balls surrounding the tree blue. But on the top the et^le, the great bird of prey, is s^ain clearly Fig. 5. Tree of the Wert. Codes Borgia 51 ( = KingaborODgh 64). Vig. bb. Stellar Eye or Radial Eje. (a) Vienna mb. (b) Wall Painting at Mitla. (c) Codex Fejirviry 25. drawn, with its ruffled plum^e, and stone knives at the tips of the feathers. The stem of the tree is embraced by a god, whose bodily and facial colour — white striped in red — and the deep black, half mask-like painting about the eye, which in Sah^un's chapter on the Costumes of the Gods is described as the painting of night and the stars — in ipan ixayac mixcitlalkuiticac moteneva tlayovalli — show him to be the deity of the Morning Star, or else CaTrMXtli-Mixeovatl, God of the Northern Hunting-Tribes. Hence by this tree of the North the region of the North is indicated as a r^ion of thorny plants, of unproductive rock, of the bird of prey, of war and the chase. This also is intelligible apart from mythological considerations, since for the Mexicans in the North lay the steppes, the cactus and mezquite wastes, the home of the Chichimecs, of the predatory tribes living on the hunt, war, and plunder. In the third quarter of the heavens we meet with some variants. The third of the four 12 The Night Side of the Manuscript. trees, symbolising the West, is painted a yellow colour with a linear design meeting in the right corner, which is doubtless intended to reproduce the angular facial painting by which the Maize God is indicated in this manuscript (c/. below, Fig. 26). At the tips of the branches are seen leaves and the male inflorescence of the maize shooting up from a kind of calyx. The stem bears another peculiar figure (Fig. 5a), which recalls the figures (Fig. 56) designated by me as 'Stellar Eye* or 'Radial Eye,' but in which the shooting rays of the stellar eye are replaced by a kind of shooting flower. On the top is perched a bird, which is certainly painted a blue colour like the humming-bird on the west tree of our FejervAry, but has its head drawn almost like an eagle's. Although this is perhaps merely a conventional bird sign, still it makes one hesitate to identify this animal directly with the humming-bird of the Fej^rvary. The Earth Goddess, from whose body the third tree of Codex Borgia shoots up, wears a jaguar's head as a helmet-mask or nauaUi ; that is to say, her face looks out from the open jaws of a jaguar. She is herself painted a yellow colour, her attire and ornaments brown. The latter colour, how- ever, is doubtless to be taken as a degraded shade of yellow. The third tree of Codex Vaticanus B (Fig. 6) is itself somewhat lacking in character. The stem is striped white and red; at the ends of the branches it carries a kind of round flower, and the surrounding balls are red. But on the top is again distinctly seen the same bird with the blue plumage and pointed beak as on the West tree of Fej^rvdry, a bird which we may presumably explain as a humming-bird. The stem of the tree is clasped by a god, whose body is painted a blue colour, but otherwise presents no distinctive mark. Perhaps he may be the Moon God, who in this manuscript is figured as an old god with his body also painted a blue, that is, a dark shade. The Codex Borgia tree, with its yellow stem showing the facial painting of the Maize God, and with the maize bloom at the ends, doubtless finds its explanation in the fact that the West is the region of the women, and, as we shall see in another place, the Maize deity is in fact brought into relation with this quarter of the heavens. MicUan (the Realm of the Dead, the North), Tonatiuh ichan (the House of the Sun), TlaZocan (the Realm of the Rain God), and Cincalco (the Maize house) are also designated as the four' entrances to the Earth in a relation still extant in the Sahagun Manuscript;^ and as the Cincalco, the Maize house, is sought in caverns at Chapultepec, it is evident that this relation also assumes the Maize house to be in the West.* As, moreover, this * Earthly Paradise ' is at the same time described as a place full of all needful food supplies, we may infer that the tradition recorded in our pictorial document also assumes the western quarter of the heavens to be a region of copious rains and of super- abundant vegetation. Geographical facts seem here to be of less account than the already men- tioned mythological considerations, which regard the West as the region of the women, the kingdom of the Earth Goddess, and also the house of the Maize Corn. That the humming-bird appears as the characteristic bird of this quarter is explained by the simple fact that it was supposed in a sense to make its appearance with the young maize, that in the dry season it hangs with its bill from a tree dead, dried, and featherless, but in the rainy season awakens to new life, again puts on feathers, and again flits from flower to flower.^ Lastly, the radial eye on ^ Sahagun, Book xii. chap. 9. ' Saliagun, Book ii. chap. 2, § 7. ^ Tezozomoc, Crdnica Mexicdna, chap. 103. The Five Regions of the World aad their Deities. 13 the stem of the Codex Borgia tree may presumably here be taken as the star of the West, the Evenii^ Star. But the artist may also perhaps have wished to recall Citlaliciie, the ' Goddess of the Starry Robe,' that is Tonacacivatl, who is identified with Xochiquetzal, and has her home in the West. The only question is, how these notions are to bo brought into harmony with the fact that here in the Codex Fej^rv&ry the tree of the West bears feather balls and bands at the tips of its branches. I surest that here we have to think of flocks of cotton, and to remember that the Earth Goddess is normally represented with feather-balls plastered on her arms and legs; but, above all, I recall the fact that in the picture-writings the hmnming-bird's head is somewhat regularly drawn, set ronnd with feather-balls. The fourth tree of Codes Borgia, which indicates the South (Fig. 7), is, like that of the North, studded on stem and branches with thorns, but is painted a red colour, while on its surface a kind of Fig. 7. Tree of the South. Fig. 8. Tree of the South. Codex Bor^ S2 (=Eiiig3borough 63) Codex Vaticanus B 18 ( = King3borough 66). tongues are shown, which are perhaps intended to indicate fire or smoke, but perhaps also thorns or teeth. On various parts of its stem the tree bears small flowers, and on the main boughs lai^e round terminal flowers which are furnished with a crown of thorns, and on their surface show the sign chalckiuitl, 'Jewel' As with the North tree, a cloud of darkness and a stream of blood wind up the' stem. On the top stands a bird, which by its red colour, the waxy skin about its eye, and the long red feathers ending in a blue tip, is indicated as an arara. The Earth God- dess, from whose body this tree grows up, wears as a helmet-mask an eagle's head, and she herself, her dress and ornaments, have all a red colour. The last tree of Vatican B (Fig. 8) has a different shape from the others. It is doubtless intended for a feathery palm, with long bunches of fruit hanging out. On it is also seated a difierent animal, not a parrot, but a Jf^^ar or some other beast of prey. The God clasping the tree below is indicated as Tezcatlipoca by his black body, the black and yellow bands across his face, and the forked heron-feather ornament in his hair. To me all this seems to show that the quarter of the South is intended to be denoted as the region of fire, of the fire bird, and of the Tierra Caliente ; hence 1 am not indisposed to explain as cacao pods the remarkable red pods which in our picture. Sheet 1 of Codex Fej^rviry, hang 14 The Night Side of the Hanuacript. down from the stem of the South tree, these being known to spring directly from the thick stem of the plant. That gloving heat, palms, parrots, cacao should be associated with the southern quarter has no doubt its explanation partly in the fact that throughout the greater part of the year the sun stands in the South. But the common experience that the traveller going southwards along the Pacific seaboard came to the home of palms, parrots, and cacao, has certainly its part in the development of these notions. The four lai^e sheets, 49-52, of Codex Borgia ( = Kingsborough 66-63), from the middle of which were taken the four trees (Figs. 1, 3, 5, 7), are followed on Sheet 63 ( = Kingsborough 62) by the group, Fig. 9, which, as we see, is composed in quite a similar way to the Figs. 1, 3, 5, 7, indicating the four cardinal points. As with those, here also is seen in Fig. 9 a tree shooting up from the body of the Earth Goddess, with a bird on the top. The goddess again wears as helmet- mask or disguise a death's - head, that is to say, her dead features look out from the open throat of a second death's-head. But she now lies on a field which is drawn with the colour, the design, and the row of spines of a cipactli, a crocodile, the 'fish of which the earth was made,' the symbol of the fertile earth. The stem of the tree rises from a disk which consists of water, and can scarcely indicate anything but the anauatl, the world-encompassing sea. And to the left and right of it are seen two gods — Quetzalcoiuitl and Macuikmchitl — with Fig. 9. Tree of the Centre. (jg^g dwKers drawinfir blood from them- Codex BorgU 5.3 ( = Kingsborough 82). ^* « . j - ,_ selves, which, flowmg round with a great bend within the disk, fertilises the womb of the goddess. It is not therefore surprising that close to the foot s>{ the tree two large maize ears are seen sprouting up, that the tree itself bears maize ears at the end of its stem and branches, and that the bird on the top is again a quetzal. The whole scene is obviously a representation of the fifth region of the world, which is here indicated as the region of abundant food supplies, of wealth, and prosperity, evidently because it is the kingdom of the Fire God, who is the principle of life. No corresponding representation occurs in Codex Vaticanus B. Nevertheless here is seen immediately before the sheets on which are pictured the trees of Figs. 2, 4, 6, 8, another very remarkable group, which obviously exhibits the five regions of the world, or rather the two fifth quarters, the House of the Earth, and the Cloud-house of the firmament. In Fig. 10 I reproduce this group. But to simplify matters and save explanations, instead of the pictures of the day-signs, I have at once inserted their names. In the centre is seen the day-sign cipactli, the symbol of The Five Regions of the World Mid their Deities. the fruitful earth, surrounded by the four s^ns that follow it. From this central square run right and left two series, each of nine day-s^;ns. The left series is immediately connected with the fourth of the four signs grouped round the sign cipactli, and ends with the sign ocelotl, 'Jaguar,' which stands just at the threshold of a house which is built of bones, enveloped in Doctumal darkness (black with eyes), and decorated on the ridge of the roof with skulls, hearts, and stone knives. This house, which is en- circled by a centipede, and has an owl inside, is undoubtedly the Dark-house of the Earth, the lower region. For it the day-sign ocelotl, 'Jaguar,' is determinative, because, as I have elsewhere explained,' for the Mexicans the Jaguar symbolised the solar eclipse, hence loss of the Sun, complete darkness. At the four comers •8 of this house are repeated the four day- signs following ocelotl. | On the right side of the central square •< the series of day-signs begins unsystemati- I cally, in fact with a jump to the sign J maliTtalli, because this series of nine signs had to end with the sign xockitl, ' Flower,' " which is indicative of the house built on ^ the right side. That is to say, this house on the right presents itself as a richly de- corated temple with a ehakhiuitl, 'Jewel,' as a ridge above the straw roof, and is further ortuimented with a row of jewels at the same place. Round it winds a dragon, and in the interior is seen the turkey, the bird of the Rain God.^ It re- presents beyond doubt the Cloud-house of Heaven, the upper region. At the four ' The Tonalamatl of the Aubin collection, Berlin 1900, LondoD 1901, p. 48. [The pAgea run uniformly in the German and English editions.] ' i&,, p. 33. 16 The Night Side of the Haouscript. comers of this house, as well as of that to the left, are again produced the four days following xochitl. The same two houses, but with a somewhat different grouping of day-signs, are also represented on the preceding Sheets of Vatican B 13, 14 ( = King8borough 61, 62). On these W"^^ aJP;aOD Fig. 11. Allor-piece of the Cross Temple 11. Palcnque. two latter sheets the siga cipactli seems intended to be the determinant of the house with the owl, and the sign din for that of the turkey. Now yet another parallelism is called up by the trees symbolising the four, or, say, five quarters of the heavens, with the birds rocking on their summits, .is they are displayed in these I ' I I I I I i The Five Regions of the World and their Deities. 17 concordant representations of the Codex Borgia group of manuscripts. With the trees on Sheet 1 of our manuscript, and no less with those of Codex Borgia here reproduced (Figs. 1, 3, 5, 7), we are at once struck by the horizontal position of both main boughs branching off from the stem. When a third is associated with these two boughs lengthwise with the stem — as is the case both with the trees of Vatican B, Figs. 2, 4, 6, as also, for instance, with all those introduced in the hieroglyphs of the towns in Codex Mendoza — then we get in quite a natural way the form of a Cross, the occurrence of which on Central American buildings seemed such a wonderful mystery to the Conquerors. And then we are of course reminded of the two famous so-called crosses on the Palenque altar-pieces, and this all the more since a bird of rich plumage is poised on the top of both of these crosses. And, truth to say, if there might still be some doubt about the cross on the altar-piece of the Palenque Cross-temple i. (Fig. 12), such a doubt is no longer possible with that of the altar-piece of the Cross-temple ii. (Fig. 11) — 'the foliated cross,' as it is called by Maudslay. Even observers little familiar with the forms of these monuments cannot fail at once to recognise this as a tree. While in other respects closely related, the two Palenque altar-pieces deviate from the stelse at Copan, Quirigud, and the other ruins of those regions, in that the dates inscribed on them are not reckoned from an initial date set back some 3000 or 4000 years, but from another much more recent, on one of the slabs only a little over 754 years, but anyhow an initial date bearing the same name. Hence one might perhaps doubt whether here there is question of the same relations as undoubtedly present themselves in the case of the related stelae of Copan and Quirigud, that is to say, whether those of Palenque denoted the beginning of a katun or period of 20 x 360 days, or the beginning of one of the four katunic quarters, and were erected at the beginning of such a period.^ It is not inconceivable that with the Palenque altar-pieces the date inscribed at the top of the hieroglyphic series was merely intended to serve in a sense as the name of some particular deity, in whose honour this slab was carved, and in whose honour the temple was erected, in the cella of which the altar-piece was guarded. In fact, to me this seems to have been undoubtedly the case as regards the third of the altar-pieces, that of the so-called Sun temple.^ At the same time, in that case both altar- pieces, which in the centre show the cross, that is, the conventional tree with the bird of rich plumage on top, the emblem of a distinct quarter of the heavens would have to be regarded as dedicated to two of the deities, who are the guardians of the four (or five) regions of the world. And if we find not four (or five) but two only, or, including that of the Sun-temple, three of such slabs, the reason must simply be that the people who built those edifices there had no longer the time to carry out the projected scheme in its entirety. As shown by a glance at the plan given by Holmes in The Ancient Cities of Mexico, and by Maudslay in his well-known work, the three temples with the altar-pieces are really disposed cruciform, and about coinciding with the four cardinal points, so far as was compatible with the inequalities of ^ The proof of this I have advanced for the stelae of Copan and Quirigud, the Cedrela wooden plaques of Tikal and some other monuments. Cf. Verhandl. d. Berliner Anthropol. Oesellschaft, 15 November 1899 [Zeitschrift fiir Ethnologie, xxxi. 1899), pp. 670-238]; 17 March 1900 [Zeitschrift fiir Ethnologie, xxxii. (1900), pp. 188-227] und Zeitschrift fur Ethnologie, xxxiii. (1901), p. 101. ^ Gf. Seler, Die alten Ansiedelnngen von ChacuH. Berlin (Dietrich Reimer), 1901, p. 94. C 18 The Night Side of the Manuscript. the ground. The Cross-temple il, that of the so-called 'fohated cross '(Fig. 11), corresponds with the East, the Cross-temple i. (Fig. 12) with the North, and the so-called Sun-temple with the West. On all these slabs the figures and symbols, which occupy the central part, are disposed in mV-y^tJ^^.^^ ;:#Sl; ar"' ^IJ^^^ !E3:^Miis Fig. 12. Altar-Piece of the Cross-Temple I., Palenque. an absolutely similar way. We see to the right and left two worshipping figures — one a little taller, with a string of lai^e beads thrown round his neck, and girdled round the loins either with cloths or with artistically worked chains; the other, the shorter, with his neck wrapped in a thick cloth which hangs down behind in a broad pleat, and wearing round his loins a wide The Five Regions of the World and their Deities. 18 girdle of cloths knotted together, which reaches up to his breast and seems to imitate the ribbed sides of a skeleton. The former is to be regarded as a priest of the Water God. In Fig. 11 he stands on a head which has on its brow the elements of the sign cauac, the rain, thunderstorm, and lightning sign, and is composed of four heads of the Water God, though in this view, of course, three only are visible, one full-faced and two in profile. To him apparently corresponds the hieroglyph on the altar-piece of the Sun-temple (Fig. 13a), which denotes the Ah bolon t^acah, the Water God. The smaller figure is to be taken as a priest of the God of the West, of the Setting Sun. In Fig. II he stands on a snail's shell in which the Water God is concealed. And to him apparently corresponds the hieroglyph (Fig. 13i) on the altar-piece of the Sun-temple, which denotes the Uuc ekd ahau, the ' Lord of the Seven Blacks,' the God of the West, who also seems to be the War God.* The . crosses, that is, the conventional trees which stand between these two persons, rise above a monster's head. In Fig. 11 — the altar- piece of the Cross-temple No. ir,, which, as shown by the plan, corresponds to the East — his head has large eyes like those of the Sun God, and bears on his brow the hieroglyph of the Morning Star. On the other hand, in Fig. 12 — the altar- piece of the Cross-temple i., which, as shown by the plan, corresponds to the North — this- monster's head is drawn like a skull, with fleshless, bony lower jaw, and bears on its forehead a hieroglyph which is remarkably like that of the element kin, ' Sun,* and may no doubt be confidently identified with it. Above rises a triple group of elements, which in this connection occur not un- frequently with the figures and in the hieroglyphs of pj jg^ pj„ ^^ the monuments above the face of the Sun God, but which I cannot yet venture to interpret with certainty. For the rest, the whole of this monster's head, with the A:m-sign on its brow, and above it the triple group of elements, is also to be seen in quite a similar manner on the stele J of Copan. Here it forms the helmet-mask of the god who is figured on the front side of this stele. Kinck ahau, the Sun God, also indicates the Northern quarter of the heavens both in the Dresden manuscript, and in the uayeyab feasts described by Landa. The tree itself, the Cross, is developed in Fig. 11 in foliar designs, whose side branchlets envelop the god with the kan sign, who is presumably to be regarded as the symbol of the maize fruit and the God of Fecundity. On the other hand, on the uneven central branch, aa well as on both sides of the foot of the tree, we seem ^ain to meet the face of the Sun God. In Fig. 12 the tree ends off in each of its side branches in a kind of dragon's head, which is distinguished by a snout bent back at an angle upwards, and corresponds to the Xiuhcouatl, the blue Snake, of the Mexicans.* A chain of jewelled beads, presenting partly the form of real pearls, partly that of the hieroglyph yax, 'green,' hangs down over the anns of the cross, ending on both sides in a conventional snake's throat. ' S«ler, Die «ll«n AiuiedelnDgen TOD Chaculi. Berlin, 1901, p. 95. Zeitecbrift fUr Ethaologie, iLxxii. (1901),pp. 104, 105. 20 The Night Side of the Manuscript. The birds, which on both of these altar-pieces are seen on top of the cross, resemble each other in their general design. The head of the bird in Fig. 11, which represents the tree of the East, bears the features of the Water God. That of the bird in Fig. 12, which denotes the tree of the North, has a beak curved downwards, and would sefem to be treated skeleton-fashion. After this digression, caused by the consideration of the trees which in the picture-writings of the Codex Borgia group are employed to symbolise the four cardinal points, I return to Sheet 1 of our Codex Fej^rvAry. It was above seen that the four sides and the four comers of the picture are distributed amongst the four quarters of the heavens in such a way that always one side with the adjacent left angle belongs to one quarter, and that, contrary to the revolution of the dial hand, the sequence of the quarters is East, North, West, South. But further, on these same lateral and angular sections of our picture thus co-ordinated with the four quarters, the 20x13 days of the Tonalamatl are also distributed, and this in such a way that always exactly a fourth of the Tonalamatl days is disposed in the space appropriated to one quarter of the heavens. These are the trapeze figures which are delineated above the sides of the central square, and the elongated horseshoes extended above the corners, which taken together represent a St. Andrew's Cross with intermediate arms, which are the bearers of the Tonalamatl days. And so the series begins, as is natural, each time at the foot of the right side of the trapeze. The trapeze figures themselves are painted in different colours in the different quarters of the heavens :— red, yellow, blue, green, in the East, North, West, and South quarters respectively. One of the lengthened horseshoes forming the intermediate arms — that of the right upper corner — is likewise painted, and indeed a yellow colour. The colour sequence for the four quarters is by no means the same in the different parts of the documents and amongst different tribes. We saw higher up, with the Earth Goddesses from whose bodies spring the four trees of Codex Borgia, that in their case the colours, white, blue, yellow, red, are employed for the respective East, North, West, and South quarters. With the Zuni Pueblos it is white, yellow, blue, red. Naturally the limited space on our sheet did not allow of all the Tonalamatl days with their ciphers and signs being transcribed in full on these trapeze figures and horseshoes. Hence the ciphers have been entirely omitted, and the signs of those days alone inscribed which are the first of the twenty consecutive series of thirteen. The intervening days the scribe was fain to indicate with dots alone. The series begins for the East with the sign cipactli, 'Crocodile,' which we see exhibited at the foot of the right side of the red trapeze delineated above the upper side of the central square. For the North the series begins with Tniquiztli, * Death,' which stands at the foot of the right side of the yellow trapeze delineated above the left side of the central square. For the West with ogoTnAtli, ' Ape,' which is given at the foot of the right side of the blue trapeze delineated above the lower side of the central square. And for the South with cozcaquavMliy * Vulture,' which stands at the foot of the right side of the green trapeze delineated above the right side of the central square. All four signs are, of course, to be provided with the cipher ' one,' hence to be read as ce cipactli, ce miquiztli, ce ofomdtli, ce cozquauhtli. And these are in fact the initial days of the four quarters of the Tonalamatl. Each Tonalamatl quarter numbers 5x13 days. The twelve days still belonging to the first series of thirteens of the Tonalamatl The Five Regions of the World and their Deities. 21 quarter are indicated by twelve dots on the right side of the trapeze, and are thus connected with the signs cipdctli, miquiztli, ofOTndtli, cozcaquauhtli. The second series of thirteens are indicated on the upper side of the trapeze figures by the signs of the initial days standing on the right : — ocdotl, ' Jaguar/ quiauitl, * Rain/ (yaetzpalin, ' Lizard/ aU, * Water/ together with the twelve dots connected with them on the left. The third series of thirteens on the left side of the trapeze figures are shown by the signs of the initial days depicted at their upper end: — mofatl, ' Dear/ iruilinalli, ' Twisted/ olin, ' Rolling Motion/ eecatly * Wind/ — together with the twelve dots following them in the downward direction. Similarly the fourth series of thirteens on the adjacent looped figures to the right by the signs of the initial days given at their feet: — xockitl, * Flower/ couatl, * Snake/ itzcuintli, * Dog/ quavMliy * Eagle/ together with the twelve dots follow- ing them higher up. Lastly, the fifth series of thirteens by the signs dcatl, ' Reed,' tecpatl, * Flint,' calli, ' House,' tochtli, * Rabbit,' standing at the corners of the picture on the bend of the curved figures, together with the twelve dots following along the left halves of the looped figures, the signs themselves being those of the initial days of these thirteens. These initial signs of the fifth series of thirteens of the Tonalamatl quarters are here presented to the observer at the corners of the picture on special shields borne by four birds, the reason being that they at the same time supply the names for the consecutively following years co-ordinated with the four cardinal points. Thus are the 260 days of the Tonalamatl accurately and completely inscribed on the four trapeze figures and the four elongated horseshoes. It was customary, however, to dispose the Tonalamatl in still another way. The observation that only five of the twenty day-signs fell on the initial days of the Venus periods, whose length was known to the Mexicans, seems to have given rise to the arrangement of the whole Tonalamatl in columns of five signs each. Thus were obtained fifty-two columns, which were disposed in four groups of thirteen each. Of these four groups the initial days are : 1. cipactli, 1. ocdotl, 1. Tnagatl, 1. xochitl ; and the whole series of columns which came thus to stand at the beginning of the four quarters of the Tonalamatl arranged in this way, and which, like their initial days, were naturally brought into relation with the four quarters of the heavens, are accordingly as under : — 1. cipactli 1. ocelotl 1. mafatl 1. xochitl 1. dcatl 1. miquiztli 1. quiauitl 1. Toalinalli 1. couatl 1. tecpatl 1. o^omatli 1. cuetzpalin 1. olin 1. itzcuintli 1. colli 1. cozcaquauhtli 1. atl 1. eecatl 1. quauhtli 1. tochtli These four columns we see exactly displayed on our picture by the respective signs at the left side of the elongated horseshoes precisely in this order (to be read from within outwards). They show plainly to the observer how in this second special arrangement the Tonalamatl is disposed to the four cardinal points. There now remain still to be described the deities who are depicted about the four arms of the St. Andrew's Cross, i.e. within the spaces enclosed by the trapezes above the four sides of the central square. In the central square itself we saw pictured the Fire God, indicating the region of the Centre. He belongs to the Centre, because, as I have already stated above, he is the representative of the hearth-fire which bums in the middle of the house. On the other hand, at each of the four arms of the St. Andrew's Cross we find two figures, so that 22 The Night Side of the Manuscript. altogether nine figures are here represented as deities of the five regions of the world. This number nine must at once suggest the question whether these deities of the five regions should not be regarded as answering to the sacral series of nine deities, who in various Tonalamatls are found accompanying the series of the consecutive days, who are known under the name of the ' Seliores de la Noche,' and * Acompailados de la Ifoche,* and regarding whom I think I may assume that they stand for the guardian deities of the nine hours of the night.^ Their names are the following: — I. Xiuhtecutli, . . The Fire God. II. Itztli, .... The Stone Knife God. III. ToTiatiuh'Piltzintecutliy The Sun God. IV. Cinteotl, . . . The Maize God. V. Mictlantecutli, VI. Chalchiuhtlicue, VII. Tlagolteotl, . VIII. TepeyoUotli, . IX. TUdoc, . ^. The Death God. . Goddess of Flowing Water. . Goddess of Dirt, of Sin, the Old Earth Goddess. . The Heart of the Mountains, the Voice of the Jaguar in the Mountains. . The Rain God. Now the mere consideration that the god whom we see represented as ruler of the Centre on the Fej^rvAry sheet, and with whom we must nevertheless naturally begin (or close) the series of the tutelar deities of the five regions of the world, is at the same time the first of the nine lords, this consideration, I say, already forces upon us the a priori assumption that the deities figured on Sheet 1 of Codex Fej^rvary are to be identified with these nine lords. And the same assumption will be all the more strongly suggested by the fact that in our manu- script, following immediately after this first sheet, the nine lords of the night are again specially pictured. What might have been inferred from the first is in fact confirmed by a searching study of these figures, and confirmed despite their small size and the few details given in the drawings, and although the identification is made more difficult by a special circumstance which I have already mentioned at the outset. That is to say, the remaining eight of the nine lords are seen to be all represented on the arms of the St. Andrew's Cross, but in reversed sequence. They follow, not in the order that iis required by the series of the Tonalamatl days, that is in the opposite direction to that of the dial-hand, but in the same direction. South and North change places. Of these remaining eight of the nine lords II. Itztli, the Stone Knife God, and III. ToTiatiuh, the Sun God, are figured at the upper arm corresponding to the East; but IV. Cinteotl the Maize God, V. MictlanteoU, the Death God, at the right arm, which properly corresponds to the South; VI. Chalchitihtlicue, the Water Goddess, VII. Tla^olteotl, the Earth Goddess, at the lower arm corresponding to the West; and VIII. TepeyoUotli, the Voice of the Jaguar in the Mountains, and IX. Tlaloc, the Rain God, at the left arm, which denotes the North. At first I thought that this reversed sequence was intentional, and fancied that perhaps it was thereby meant to express the idea that this series of gods was intended to denote, not the normal path traversed by the Sun during the day, but the course which it describes in the reversed direction from evening to morning, from West to East. Now, however, I have given up this assumption. For in Codex Vaticanus B on the same sheets on which are shown the trees, corresponding to those of our Codex Fej^rvdry sheet and denoting the four regions of the » The Tonalamatl of the Aubin Collection, pp. 21-26. The Five Regions of the World and their Deities. 23 world, we find pictured above them not indeed the same eight gods, but four of them. Thus: III. Tonatiuh, V. Mictlantecutli, VII. TlagolteotL, IX. Tlaloc, and these not in the reverse order of our Fej^rvdry sheet, but in the proper sequence, the first corresponding with the East, the second with the North, the third with the West, the fourth with the South. Hence I now believe we have rather to assume a carelessness of the scribe on our Fej^rvAry sheet. And after all in another place also a slight irregularity is to be noticed. Were the sequence rigidly and logically adhered to, the two female .figures should exchange places at the lower arm, in the compartment answering to the quarter of the West. Indeed carelessness and inaccuracies also occur elsewhere in the manuscripts. Thus I have already above shown, in connection with the symbols figured immediately above the sides of the square occupying the middle of the picture, that a transposition of Norl'i and South is to be assumed. On the other hand, the four trees, and in any case the bird» observed on them, appear to correspond to the cardinal points in their proper sequence. It will now be recognised without difficulty that most of the figures on our Fej^rvdry sheet really indicate in the above given sequence the nine Seilores de la Noche. That the god II. depicted on the right side in the upper (red) trapeze is Itztli, the Stone Knife God, is evident from the stone knife which forms his helmet-mask, his disguise (nauaUi). As facial painting this god should obviously have had the yellow and black cross stripes of Tezcatlipoca. This is the god, as we shall see, who is as a rule to be certainly identified with the Stone Knife God. The god facing him has a red bodily and facial colour, a white design fringed at the edge on his mouth, and fiery red hair. Hence he deviates from the representation of the Sun God and of the . third of the nine lords, which is elsewhere usual in this manuscript. We shall again meet the same peculiar facial painting with the figure of a god further on in our manuscript, where the parallel places show that this figure is meant to represent the god Xochipilli, or Ce xochitl. But all said and done, this god is nothing more than a variant, a spscial conception of the Sun God. And thus it appears not at all unreasonable that this god should here take the place of III. Tonatmh, or Piltzintecutli, the Sun God. In the right (green) trapeze the god depicted on the right side of this compartment is clearly distinguished as IV. Cinteotl, the Maize God, by the yellow colour of his body and face and the maize ear on his head. And his opposite is with equal clearness recognised as V. Mictlantecutliy the Death God, by the skull which he wears on his . head. In the lower (blue) trapeze are shown two goddesses. That to the left (seen from within outwards) is deter- mined as VI. ChalchiuhUictLe, the Water Goddess, by the blue spot on her enagua, and her step-like blue nasal ornament. But she should, strictly speaking, have stood on the opposite side, the right side (seen from within) of the trapeze figure. The other goddess, facing her is with equal certainty designated as VII. Tlagolteotl, the Earth Goddess, by the black caoutchouc painting about her mouth, her yellow crescent-shaped nose ornament, the spindle in her hair, and the cross-bones on her enagua. In the left (yellow) trapeze the god on the left side must be VIII. TepeyoUotliy the 'Voice of the Jaguar in the Mountains.' He has in fact the same red, painting of Tezcatlipoca, the large eyebrows, the long beard, the same peculiar nose orna- ment, and wears on his temple the same disk or ring-shaped adornment with the pleated hair that we shall meet in our manuscript associated with TepeyoUotliy the eighth of the nine lords 24 The Night Side of the MonuacripL The figure facing him is at once recognised as IX. TUUoc, the Rtun God, by the familiar peculi- arities^ring round the eye, involuted bands above the lips, and the long teeth. This first sheet of Codex Fej^rvAry is the most famous of all, not only on account of its really most interesting contents, as we see, but also because this sheet for the first time renders possible a parallehsm between a sheet of a Ueiican and one of a Maya manuscript.' There is, however, yet another parallelism, in several respects of a highly interestii^ nature, in a Pig. 14. The Goda of the Foar Eegioos of the World. Codex lAud I. (Riogiborough Notation.} Mexican manuscript, the Codex Laud, which is closely related to our Fej^rvary Codex. It is the last sheet of this document, Sheet 1 of the Eingsborough notation, that I here reproduce in Fig. 14. We see at the first glance that the subject here pictured in the group comprised between two bands of cipacUi jaws must also be connected with the five r^ons of the world and their deities, and further that the signs of the initial days of the four Tonslamatl quarters — cipactli, Tnujuiztli, o^omdtli, cozcaquauhtli — are here also employed to denote the four cardinal points of the heavens and their sequence. But a first peculiarity is that, by the little circles or points ' Cynu Tbomu, Not«8 on certaia Msyk and Mexican Manoaoripta (Third AnntuI Report of the BnreaD of Btbnology, WaahiogtoD, 1884, pp. 31-36). The Five Regions of the World and their Deities. 25 above these signs, the 64 days lying between the days 1. cipactli, 1. miquiztli, 1. ofomdtli, 1. cozcaquauhtli, i.e, the initial days of the four Tonalamatl quarters, are not given in regular order, as might strictly speaking be expected, and as they appear on sheet 1 of our Codex Fej^rvdry. The scribe would seem rather to have dealt with a double Tonalamatl, each arranged in columns of five members. The 2X52 = 104 columns thus obtained were then divided into four sections, each of 26 columns, and co-ordinated with the four quarters of the heavens; but at the head of these sections were placed, not the day-signs really belonging to the beginning of these sections, but the four above-mentioned day-signs, which are the initial days of the simple Tonalamatl quarters, so that in this way, with each of these signs, the intermediate days are marked by twenty-five little circles. Respecting the figures, here again we have nine chief persons, one of whom, as central point of a small group, takes his place in the centre, while the others are distributed in couples at the four comers. The central figure is painted a red colour on the body, red on the upper, and yellow on the lower half of the face, and is seated in a solar disk, whose rays, however, strange to say, are given, not as elsewhere in the number of four or eight, but in the number of twelve, while the disk itself is enclosed by a ring of blood. This solar disk is in a sense borne in the beak of a flying bird with variegated plumage, while a skeleton brings a human heart as an offering to the god seated in the disk. From the mouth of this skeleton a dark cloud rolls out, partly enveloping the front part of the solar disk. At first this god seated in the solar disk will naturally be taken for the Sun God, and it may be so. But I still think his position here in the middle of the sheet justifies us in bringing him into relation with the Fire God, who occupies the middle of Sheet 1 of our Fej^rvAry Codex. If this comparison be admitted, then comes the question whether we may not also assume a parallelism between the four couples disposed in the corners, and the four pairs of gods on the Fej^rvdry sheet. It will then be seen that in the first place the sequence of these deities, that is, their distribution towards the four cardinal points, is decidedly different, that also a number of new figures are introduced; but that, on the other hand, several of the figures represented on Sheet 1 of Fej^rvdry, and even a whole pair, return in quite a similar way. If we assume, as we are justified, and even obliged to do, that the four initials of the Tonalamatl, the day-signs cipactli, Tniquiztli, ofomdtliy cozcaquauhtli, are intended to denote the four cardinal points, East, North, West, South, the eight deities would be distributed in the following way, if we suppose that the two figures standing at one comer always belong to one quarter, and then number the members of the pairs distributed to the four comers of the picture always from the centre: — In the East : II. A god who appears to be indicated as Mioccovxitl, God of the Hunt, by the throwing-stick which he holds in his hand and a painting round his eye, which, however, is not correctly executed. III. Tlaloc, the Rain God. In the North : IV. Itztli, the Stone Eaiife God. V. Ce xochitl or XockipiUi, God of Flowers, Dance and Music, who is here, as in the Fej^rvdry sheet, the representative of the Sun God. In the West : VI. A god figured with the attributes of Tezcatlipoca, and also with his torn foot, but white (or with red stripes). VII. Q\ietzal(xmatly the Wind God. D 26 The Night Side of the Manuscript. In the South : VIII. A red god figured with the attributes of TezcaUipoca, and also with his rent foot, seems to be distinguished as Mdciiil xochitl^ God of Sport and revels, by a feather-comb on his head. IX. Xipe Totec, * Our Lord, the Flayed.' But to me it seems more probable that the two outer and the two inner members of a series are always to be taken together, which indeed is already suggested by their position facing each other, and by the similarity of the two inner members. On this assumption their distribution to the cardinal points would be dififerent, in fact the following, which may be described as decidedly the more natural. In the East : II. Tlaloc, the Rain God. III. Ce xochitl, or Xochipilli, God of Flowers and food supplies, here, as on the Fej^rviry sheet, personating the Sun God. In the North : IV. MixcouaU, God of the Hunt. V. Itztli, the Stone Knife God. In the West : VI. Quetzalcouatl, the Wind God. VII. Xipe Totec, ' Our Lord, the Flayed.' In the South : VIII. The god figured with the attributes of TezcaMipoca, and also with his rent foot, but white (or with red stripes). IX. The red god figured with the attributes of TezcaUipoca, and also with his rent foot, who is indicated as MacuUxochiU, God of Sport and revels, by a feather-comb on his head In the same Codex Laud, but in another place, Sheet 16-9 of the Kingsborough notation, is further seen a second list of eight (not nine) guardians of the four (not the five) regions of the world. These also agree in all essentials with the gods pictured on Sheet 1 of our manuscript, and are likewise figured under trees, but singly and seated, but are again disposed in quite a different way in relation to the cardinal points. The disposition towards the cardinal points is here made, not in such a way as to be depicted at the arms of a St. Andrew's Cross, or at all grouped round a centre; but the scribe has simply entered beside them the first and ninth columns of the four quarters of the TonalaTinatl disposed in columns of five divisions, thus assigning them in pairs to the East, North, West, and South. This series is as under : — f 11. Xochipilli, God of Flowers. ' K III. Tlagolteotl, Earth Goddess. -- , f IV. TonativJi, Sun God. North .J V. Itztli, Stone Knife God. VI. Tlaloc, Rain God. VII. Mictlantecutli'QuetzalcoiLatl, Death God. ( VIII. Cinteotl, Maize God. South . . ' West . . I I IX. Mayaud, Goddess of the Agave Plant. We see that, despite the totally difierent arrangement, this series agrees completely with the last eight of the nine lords, if for Mayauel, Goddess of the Agave plant, which yields pulque The Five Regions of the World and their Deities. 27 we substitute ChxdahiuhtiicvtSy Goddess of Water, and for Xochipilli, the Flower God, TepeyolloUif the Heart of the Mountains. Unfortunately I cannot here enter into a detailed description of these figures, which are extremely interesting and remarkable. On them I must confine myself to the following brief remarks : — II. XochipUli or Ce xochitl, seated on a bejewelled jaguar skin beneath a flowering tree, the stone dagger in his hand. Before him Tamalea, viands (meat), pulque, feather ornaments (cf. below. Fig 51). III. Tlofolteotl, seated on a bundle of rushes at the crossways under a tree, which is painted the colour of earth or fire (black and yellow), and beset with strings, stone knives, eyes, and weapons. She holds in her hand the blood-stained broom, and before her are offerings — a heart, bones, and stone knives. IV. Tonatiuh, seated on a chair carved in the form of a cipactli, painted the colour of the cotinga (blue), and set with gems; before him a solar disk, and above him a flowering tree also painted the blue colour of the cotinga. In his hand a bone dagger and before him the same offerings as with 11. V. Itztli, seated on a bench of blood and hearts, under a tree formed of smoke clouds, from which fiery tongues break through, and which is set with stone knives, feather balls, cords, and weapons. In his hand he holds a shield and throwing-stick, before him a decapitated head, and stone knives in a dish as offerings. VI. Tlaloc, seated on a carved chair before a tlauhquechol (the red spoonbill, Platalea ajaja), under a cloud-tree, from which fire bursts out, and which is surrounded by drops of rain. In his hand he holds the bone dagger, and before him are the same offerings as with II. and IV. VII. Mictlantecutli'Quetzcdcoiiatl, a double figure of a skeleton and an ape, seated on a backbone under a tree made of nocturnal darkness, and beset with skulls, bones, hearts, and eyes. In one hand he holds a heart, in the other a stone knife. Before him bones, hearts, agave-leaf spines, as offerings. VIII. CinteoUy seated on a carved wooden chair, before a parrot, under a flowering tree beset with gold and jewels ; on his head a maize ear, in his hand a bone dagger ; before him offerings of gems and plumes, besides viands and pulque. IX. Mayauel, seated on a turtle borne by a dragon, under a blooming agave plant, which is set round with a flaming footprint, a copper hatchet, and a thorny weapon; holds in her hand a green dish with flowers and gems ; before her offerings of pulque and tamales, both of which are decked with heron-feathers. With nearly all these eight figures is further given a burnt-offering of firewood and rubber ball, which with Itztli alone is replaced by a bundle of spears set up in a black dish. Thereby a relation is really established between these eight figures and the nine lords, as may be seen by what is adduced at the end of the following section. The sixth of this series, the double figure of the skeleton and ape, which corresponds to Mictlantecutli, fifth of the nine lords, is interesting as offering a parallel to the large double figures of MicUantecutli'QuetzalcoTiatL, which are seen depicted in Codex Boi^ia and in the corresponding place of Vatican B, From the whole group above briefly described we learn that most of these figures bore in themselves no special relation to any special cardinal point, but that they were 28 The Night Side of the Manuecript. associated now with one now with another of the quarters in accordance with the considerations which from time to time had the greatest weight with the projector of these pictures, I have now still to consider the other parallel case to which this Fej^rvdry sheet owes its fame — that of Sheet 41, 42 of Codex Cortes, the Maya manuscript forming one of the chief treasures of the Museo Nacional of Madrid. In Fig. 15 I give a picture of these two sheets, and in Fig. 15a an Fig. 16. Codes Cortes 41, 42. explanatory plate, and in doing so I have at once made a necessary correction in some of the day- signs therein pictured. We see at a glance that in its general arrangement this sheet is an exact copy of the Fej^rvAry Codex. Thus we have here also a central square, above the sides of which are disposed four trapeze figures outlined with dark dots, and above the comers four narrow bands also formed with dots, the whole collectively forming a St. Andrew's Cross with intermediate arms. Only The Five B«gioiia of the World and their Deities. here the quadrilateral is much lai^er, and ia further enclosed by a belt in which are inscribed twenty day-signs. The trapezes are shifted in one direction, whereby is effected a revolution opposed to the movement of the dial-hand. And the narrow band beloi^ing to a given trapeze is connected with it by cross rows of dots and by angular objects filled in with a black colour. Lastly, the .^- <^^» ' •■ «. • • • m III®. Hill &"(p «^ <§^ ^* Fig. 16a. whole sheet is placed upside down when compared with the FeJ^rv^. The sign imix, answering to the Mexican cipactli, stands, not at the foot of the right side of the trapeze erected above the upper side of the central square, but at the corresponding part of the trapeze erected above the lower side. Hence to the cardinal points East, North, West, South belong, not, as in the Fej6rv6ry, 30 The Night Side of the Manuscript. the upper, left, right, and lower sides and the corresponding adjacent angles on the left, but the lower, right, upper, left sides and the corresponding adjacent angles on the left. In other respects the distribution of the day-signs is exactly the same as on the Fejdrv&ry sheet. At the foot of the right side of the trapeze figures stand the Maya day-signs iTnix, cimi, clinen, cib, answering to the Mexican cipactli, miquiztli, ofomdtli, cozcaquauhtli. At the outer corners of the narrow dotted bands the signs been, e'tznab, akbal, lamat, answering to the Mexican year-counts acatl, tecpatl, colli, tochtli. Between these the other day-signs and the rows of twelve dots are shown exactly in the same places as on the Fej^rvdry sheet. Only, thanks to the employment of a red with a black colour, and to the greater compactness allowable to the Maya hieroglyphic style of writing, it was found possible to figure on the Maya sheet the corresponding Tonalamatl days not only by their signs, but also by the pertinent ciphers. A novelty, however, on this sheet are the day-signs inscribed on the belt enclosing the central square. As above stated, a correction has here to be made. The sign eb, which stands at the left corner of the upper side, is to change places with the sign caban, the third on the right side. Moreover, the first two signs of the left, as well as of the right side, have also to shift places one with the other. But this correction once introduced, we have on the upper side, reading from right to left, the signs iTnix, chicchan, muluc, been, caban, answering to the Mexican cipactli, couatl, atl, acatl, olin. And these are precisely the signs which are represented on the Codex Borgia sheets 53, 54 ( = Kings- borough 62, 61), the Vatican B 80-84 ( = Kingsborough 17-13), Codex Bologna 9-11, that is to say, the signs on which fall the initial days of the Venus periods, when the first period begins with the initial sign of the Tonalamatl, with cipactli (imix)} The five day-signs inscribed on the left side of the central square of the Codex Cortes sheet give correspondingly the initial days of the Venus periods, when the first period would begin with the second Tonalamatl day, the sign ^^ ( = Mexican eecatl). Those on the lower side of the central square denote the initial days of the Venus periods, when the first period would begin with the initial day of the third Tonalamatl day, with akbal ( = Mexican calli). Lastly, those on the right side denote the initial days of the Venus periods, when the first period would begin with the initial day of the fourth Tonalamatl day, with A^aTi ( = Mexican cuetzpalin). This introduction of the initial days of the Venus periods in the summary sheet of the Tonalamatl, disposed according to the cardinal points, corresponds strikingly with the higher calendric knowledge, or the more developed calendric and astronomic system of the Maya peoples. Coming now to the figures and symbols themselves, we see in the central square, seated in a double house, the lords of the Centre, a divine couple, the old god and the old goddess, and before them the sign ik = ' wind,' ' breath,' the symbol of life. Herein the Maya sheet agrees with the Mexican, at least in the fundamental concept. For the Fire God of the Mexicans is also the ueueteotl, the 'Old God,' in his essence identical with the male member of the divine couple, Tonacatecutli, Tonacaciuatl, lords of life, lords of procreation. And, on the other hand, the old god of the Maya tribes, to whom applies the name ItzaTnnd, as I have already shown in one of my first essays,^ is honoured in Yucatan with fire ceremonies, which fully recall the worship dedicated to the Fire God in Mexico. 1 Cf. my treatise *Die Venusperiode in den Bilderschriften der Codex Borgia-Gruppe.' Verhandlungen der Berliner Anthropolog. GeaeUschaft, 16th July 1898 (Zeitschrift fiir Ethnologie, xxx. p. 364 8q,). « ' The Names of the Maya Gods figured in the Dresden Manuscript.' Verhandl. der Berliner Anthropolog. Gesellschafc, 19th March 1887 (Zeitschrift f. Ethnologie, xix. pp. 224-231). The Nine Lords of the Night Hours. 31 In the four side-compartments the nature of the four celestial quarters is not expressed by such complicated symbols as on the Mexican sheet. Indeed, this would in a measure have been super- fluous. The Mayas had distinct hieroglyphs for the four cardinal points. Hence it sufficed to inscribe these, as in fact has been done by the artist. The four hieroglyphs standing at the arms of the St. Andrew's Cross, which I have reproduced in the explanatory sheet, Fig. 15a, were for the Mayas the emblems of the four quarters — likin, East ; xaman, North ; chikin, West ; nokol, South — and it is precisely the occurrence of these hieroglyphs on this sheet that places their phonetic value beyond all doubt. But in fact the nature of the celestial quarters is expressed not only by these hieroglyphs, but also by a few symbols which partly remind us of what I have adduced from the Mexican manuscripts — the East denoted by the sign kan, meaning maize, crowned by two obsidian knives ; the North by a human sacrifice ; the West by the symbol of the maize fruit which the gods figured in this compartment hold in their hands; lastly, the South by the corded mummy- pack covered with a mask. But owing to the unfortunately very sketchy and but little characteristic execution of this manuscript, it is difficult to say whether the pairs of deities figured in the four quarters correspond to the divine pairs of the Fej6rv&ry sheet and to the eight last of the nine lords. In some places one fancies, indeed, that the agreement may be detected. Thus in the second division the Death God, and in the third the figure of the goddess, present a decided identity. In other places, however, one's patience is exhausted in the endeavour to clearly establish the existence or non-existence of such identities. And, in truth, I think it wisest for the present to leave it a moot question. II. The Nine Lords of the Night Hours. Sheet 2-4 ( = KiNGSBOROUGH 43-41). In immediate sequence with the first sheet, which displays the five regions of the world with the distribution in them of the nine deities known as the Seiiorea de la Noche, or Acompafiadoa de la Noche, follows on sheet 2-4 of our manuscript yet another and more special representation of these nine lords. The figures are larger, better executed, and accompanied by all manner of symbols, while, at the same time, beside them are given the first nine of the twenty day-signs to be taken in a sense as the numerals 1-9. This representation recurs in quite a similar way in two other manuscripts of the Codex Borgia group — on Sheet 14 of Codex Borgia ( = BLingsborough 25), and on the lower half of Sheets 19-23 of Vatican B (=Kingsborough 67-71). In the latter place it is met in connection with the four above-described trees, which present a parallelism with the trees figured on Sheet 1 of our manuscript as symbolising the four cardinal points. These nine gods I have dealt with on pp. 21-26 of my explanatory text to the Tonalamatl of the Aubin collection, where I have also on pp. 23 and 24 given pictures, although only of their heads, that is, as they 3a The Night Side of the Haouscript. are found depicted in Codes Telleriano Remensis and Vatican A, in the Codex Bologna Tonalamatl, in that of Borbonicus, and in the Aubin Tanaiamatl, in consecutive series beside the Tonalamatl day characters. The names of these nine lords I have already given above at p. 22. The series begins on the right side of Sheet 2 of our manuscript, where beside the first day -sign, cijMctli, we see the first of the nine lords, Xiuhtecutli, the Fire God. In our manuscript the coloration in places is somewhat defective. In the parallel parts of Codex Borgia and Vatican B this god is distinctly pictured with red bodily and facial colour, lower half of the face deep black, and narrow, black cross-bands at the level of the eye (Fig. 16), and also in a similar way in the central square of sheet 1 of our manuscript, as above seen, whereas here the artist has obviously forgotten to colour the body red. Here, however, the god should perhaps be painted, not red but yellow, as IxcofavJiqui, as he appears in Codex Telleriano Remensis, in the Codex Borbonicus Calendar of Feasts, in the manuscript in the Florentine Biblioteca Nazionale, and in the Sahagun manuscripts. And I think this is the reason why in our manuscript the lower half of the face is coloured red instead of black. For a red painting about the mouth is shown both by the Ixco^uhqui of Telleriano Remensis and Vatican B, and also of Sheet 77 of the pictorial document in the Floren- tine Biblioteca Nazionale. Nor are the garb and symbols so accurately drawn in our manuscripts as in the two other Codices of this group. In our manuscript, as at Fig. 13, the cotinga at the temple side of the fillet is Fig. 16. Z»«A(w««i, the Fire God. .,,,,, ^ ,.„„.,,, , . , Fiistof the Nine Lords. ^till clearly shown. But this fillet itseli, the technical Coden Borgia 14 ( = King8borough 25). name of which is ckalckiuhtetelli, 'jewel heap,'' can no longer be recognised. Similarly, it can only be conjectured that &om his hair at the sides of the tiara the artist meant the ends of two arrow-shafts to project, which, as in Fig. 16 and in other pictures of the Fire God, symbolise the -mitzontli, tlacochtzontli, the 'arrow- wig,' ' spear- wig,' and are the emblems of the two reeds, of the two sticks, quaTn/mamalitli, with which fire is obtained by drilling.^ The breastplate has a cross, four-angled form, as in Fig. 16. But from it are here suspended three thongs painted the colour of the jewel (chalchiuitl) and ending in disks or bells. While most of the nine lords of Codex Borgia, as also those of Vatican B, bring a burnt-offering of fagots and rubber balls, here in Codex Fej4rvdry the Fire God, as well as the following three of the nine lords, is seen holding in one hand a bundle of spears, in the other a kind of receptacle formed of feathers or plastered with feathers, in which are stuck an arara plume and a bunch of quetzal feathers. The first of the nine lords of Codex Borgia and Vatican B stand before a temple, in which, in the Borgian, a structure consisting of a bundle of firewood, sticks placed upright, and a rubber ball ' TonalamaU of the Aubin oollection, pp. 'i " Aubin Tonalamatl, pp. 74, 76. The Nine lords of th« Night Hours. 33 adorned with a quetzal feather, is seen burning, whereas in Vatican B the emblems of war — shield, bundles of spears, and throwing-stick — lie at the threshold of the temple. Here in Codex FejM'ary we see at the feet of the Fire God — as in like manner will be seen further on with the Sun God, third of the nine lords — a mountain which, however, has been transformed to the figure of a head with open throat and yawning upper jaw, almost recalling the conventional birds' heads which are much used ia the old Mexican ceramic art, as a central motive for the bottom of dishes, on earthenware punclieons, and the like. This mountain is here the bearer of the bumt- oHering, which likewise consists of a bundle of fi^ts, and a rubber ball adorned with a single quetzal feather. But while Codex Borgia and Vatican B confined themselves to the chief figure and the above- mentioned temple, in Fej4rv4ry with the first of the nine lords, as also with the following figures of this series, are shown yet another couple of symbols illustrating the character of the god. These are, here with the Fire God, a smoking, burning heart, with its aortic end turned downwards. This doubtless indicates the offerings broughj, to the Fire God, human beings cast alive into the fire. Further, in an en- closed space, a captive with arms tied together, and on his mouth the sign which we above met on Sheet 1 with the God of Flowers, Ce xochitl here representing the Sun God. To me it seems not inconceivable that by this picture it was intended to express the notion that the God of Fire becomes active when the sun is shut up in the chest, in the earth, that is, at night. p-,g ^^ itMi-Tezcatlipoca, the Stone Knife God, In the middle of Sheet 2, under the second day-sign, eecatl, wind, Codeit Boroia 14 follows the second of the nine lords — Itztli, the Stone Knife God. ( = Kingsborough 25). In Vatican B he ia figured as Yayauhqui Tezcatlipoca, as 'black Tescatlipoca' with a stone knife as helmet-mask or disguise, this stone knife being transformed to a kind of dead face or skull, from whose open throat the face of the god looks out. In Codex Borgia (Fig. 17) we have simply a black Tezcatlipoca with the warrior's headdresa and the smoking mirror at the temple, and represented, as usual, as ' one-legged ' — as Hurakan, as he is called in the Quich4 myths preserved in the Popol Vuh — that is, with rended foot and smoking stump. But here the stump, instead of being enveloped In a mirror, is plunged in quite a large water vessel And, moreover, in the place in Codex Borgia, Tezcatlipoca has also lost his second foot, which is stuck in a stone knife from which green and yellow plumes hang down. With the Stone Knife God in the middle of the Fej^rvfiry sheet 2 the artist seems to have again foi^otten the colour of the body. It is, however, conceivable that this colour is meant to be white, or white with red stripes. The facial painting is peculiar, deviating altogether from Tezcatlipoca's usual painting. It reminds one most of that of the Tezcatlipoca-itztlacolivJiqui, who denotes the northern quarter in the lower half of Sheet 50 of Codex Borgia ( = Kingsborough 65). Head and neck of our Fejerv&ry figure are wrapped in a cloth which is fringed round the hem and, properly speaking, imagined as decked with feather balls on the surface, just as in precisely the same way it hangs down over head and neck of the red Teztathpoca, who in Codex Borgia 11 ( = Kii^borougb 28) 34 The Night Side of the Manuscript. is figured as personating Xipe, On his breast our Fej^rvAry figure wears the anauatl, the white ring, Tezcatlipoca's breast ornament. From all this it is clear that the Stone Knife God, the second of the nine . lords, is also conceived as Tezcatlipoca in our manuscript The foot, however, of our Fej^rvdry figure is not rended in the same way as the right foot of the Tezcatlipoca of Fig. 17, and replaced by a smoking stump, but, like the left foot of the figure shown at Fig. 17, is stuck in a stone knife, which, however, here lies at a crossvxiy. For the crossway (omcKcoc, oUimxiocac) belonged, as we shall presently see, to Tezcatlipoca, who was indeed the great wizard. To Tezcatlipoca — nouiian quitlaXUia yn ichial, in mumuztli, in utlica, in umaaxic, nouiian chialoia — 'everywhere were erected reception-places, altars; on the roads, at the crossways, everywhere he was waited upon,' So here also a crossway is specially given with our Stone Knife God in all three manuscripts either before or below the god. In Codex Borgia the crossway is painted in four different colours and indicated as a road by the familiar black character, the imprint of a naked human foot. In our manuscript it is painted in two colours only, red and blue. In Codex Borgia, on the crossway lies a bundle of firewood, on which are a green bush and yellow or brown feathers or flames in an upward position, but no rubber ball. In our manuscript the treatment is similar — a bundle of firewood, two erect feathers, but instead of the green bush two agave-leaf spikes. But beside it is further to be seen a strange-looking black animal apparently gnawing at or else bearing the bundle of firewood. In Codex Vaticanus B, at the crossway fronting the Stone Knife God, a jaguar is crouching; and thrusting a spear through his ear, hence is performing the customary ceremonial blood-letting. The jaguar is the animal of the solar eclipse and of darkness, the animal into which the magicians change themselves when they go abroad in the night to work evil. Some such notion may have been in the mind of the author of our manuscript when picturing the black beast crouching at the crossway. Lastly, in our manuscript alone, and in the lowest place, is figured a human sacrifice, a man with open bleeding breast The stone knife is the sacrificial knife, and its god is the god of human sacrifice. On the left side of Sheet 2 of our manuscript is exhibited under the third day-sign, calli, ' House,' the third of the nine lords, the Sun God, Tonatiuh, or, as he is always called in enumerating the nine lords, Piltzintecutli, the 'God of Princes' (or *the Young Prince' ?). In Codex Borgia (Fig. 18) this god is depicted in the style of a red Tezcatlipoca, with a chieftain's headdress, with yellow upper and red lower half of the face, and with a suggestion of angularly bent lines surrounding the posterior comer of the eye, in short, with the true painting of the' Sun God. Only on his cheek he has not, as elsewhere, a small red disk, but the four-cornered small shield painted red and white, which is the facial painting of Tonacatecutli, of Xochipilli, and also of this Maize deity. In Codex Vaticanus B his body and face are simply painted red. But he wears (Fig. 19) the characteristic fillet of the Sun God, with the conventional bird's head on his brow, while on his head lies a kind of temalli'fesLtheT adornment, from which hang out two long bands, hairy on one side as if made of pelt, and this is again a special mark of the Sun God. In our manuscript the Sun God is painted yellow. The fillet with the conventional bird's head and the feather ornament with the long hairy bands hanging out are all clearly seen. The breast ornament resembles that which I have described with the Fire God, first of the nine lords of our manuscript And like The Nine Lords of the Night Hours. 35 the Fire God, the Sun tiod here also holds a bundle of spears in one hand, a receptacle with feathers in the other. In Codex Borgia and in Vatican fi, before the Sun God, as before the Fire God, is pictured a temple, and in Vatican B inside it is seen a man tmnging an inceoBe ball. Instead of this, in our manuscript is figured, before the feet of the Sun God, as bearer of a bumt-offering, the mountain which is formed to the shape of a head with yawning jaws, and which I have above described with the Fire God, the first of the nine lords. Moreover, in our manuscript the nature of the Sun God is further illustrated by a few special symbols : a bundle of fagots, a heart with the aortic side turned down- wards, irom which emails a dragon, similar to the one figured with the Fire God, and lastly, a house, which is erected on a high pyramid, and at the base of which are shown quetzal feathers and gold ornaments. At the threshold is seated a warrior, but the roof is drawn as if it had fallen in, while Fig. 18. Toaaiivh-PilttinUetUli, Fig. 1». TtmatitA-FiitMnUmtii, the Fig. 20. Cmttotl, the Maize God, the Sun God, Third of the Nme Lords. Sun God, Thirf of the Nine Fourth of the Nine Lords. Codex Borgia 14 ( = Kingsborough 25). Lords. Code* Vaticanua B 20 Codex Boigia 14 (=Kingsborough 68). ( = Kingsborough 25). below, at the base of the pyramid, protrudes the tail end of a dr^on. This house with fallen roof is doubtless to be likened to those Codex Mendoza temples with fallen roof, from beneath which flames burst out. In that codex such temples, depicted beside the hieroglyph of a city, indicate to the observer the conquest of that city by the specified Mexican king. Now follows on the right side of Sheet 3 of our manuscript, below the fourth day-sign, euetzpalin, • Lizard,' the fourth of the nine lords, Cinteotl, the Maize God. Here, as in fact everywhere in the Codex Bo^ia group of manuscripts, he is represented as a male God. He is clearly enough indicated in Codex Boi^ia (Fig. 20) and in Vatican B by his yellow body and face painting, with two peculiar black hnes drawn at an angle lengthwise on the face, and further in the Borgian by the maize ears and maize bloom which he bears on his head. In Borgia he wears on his brow a fillet with con- ventional bird's head, exactly like that which I have described with the Sun God. In Vatican B he has a notched crown similar to that seen on the stone eflSgies of the Mexican Maize Goddess. T.'/^ '^'^»n. ;;«% xut vh'/.'i ^-i'.yzit^ai 'if ihe ^A, a in Vatican B pamied ajtemateK a )-';!;>» «-'i ^T^en ':h'.i",T. Id wiT L'laiiiviTifit, Ujhi. tbe Uaize God is paioted s Te;;<j»' cc-VjUF. au'l %'M> wears tb^ -Smd Gods i^jA, and is a'fyz^tber strikingly like the Sun fiod of our M>iai-Af:r.\iK in bi^ vL'iie asp^:t, in dnss and ddctt. But on his head he wears, not the fealb*T >/l'inmtfuX wiib lb* l'*ii2 Mrip of pell ban:rinc oui, but a bloouinz maize plaoi tied ro-itjfi «;tb a I'fyp at iu hat^. In Oxi*:! IJi/nHa, op[A»ii« the Maize God, rise* a high tpe« tearing Sovers, and at lis stem is B'>;n a hinit''/ri':r,iii! »ith a b';ii';h of ytU'tfj; feathers. In Vatican B, before the founh of the nine lor'ii;. <m a ^^md the d'i'^i'ji of which can no lonaer be ciearlr recognised, we see a Tlaioc-head. v^rias titi top a maize plant in bloom. In our manuscript, at the feet of the Maize God, is hkewise depicted a fiower- ryjP^ 1 ^^ }fi^^^ irig tree, which, like the mountain ficfured with tbe first and ^^C~_ '•^-^ GitSt^Kii^vi third of the nine lords, is changed to the form of a bead or face, an eye being shown near its root end, and this root end itself is pictured as a kind of throat, with the opening turned groundwards. This root end serves as a support for the bumtK>frering, the bundle of firewood, and rubWr ball, beside which is also seen figured a bone or bone d^ger broken in two. Moreover, in our manuscript, and in this alone, the character of tbe Maize God, fourth of the nine lords, is further specially indicated by a man eating, a vessel with a bundle of (agots, a rubber ball, and two agave- leaf Viii. 21. Tlie I>»aih tiod. Spikes, and lastly a tree, in appearance like the Xorth tree ■n* Dr».Jrn M»»« Ofci Kw ; W,. of Sheet 1. This tree, however, is broken, and on the surface of the wound are stuck, doubtless as a sjrmbol of the blood Howiug froiji the wound, two agave-leaf spikes, the familiar bearers of the blood, which devotees flrew from themselves at the religious practices. In the Tonalamatl of Codex Telleriano Remensis of f>»dex Borbfjnicus, of the Aubin manuscript, and also in the Codei Borgia group of manuscripts, this broken tree is shown beside the ItzpajxUoU. the obsidian butterfly, ruler of the sixteenth day and of the fifteenth week,' and in these places denotes the Tamoanc}Mn, the forsaken primeval home, the West, the house of the Earth Goddess, which no doubt is also thought of as the house of maize,^ Here abo the broken tree has the same meaning; here also it undoubtedly indicates the CiiicaUi, the land where the maize plant was created. In the middle of the third sheet, under the fifth day-sign, couatl, 'Snake,' is figured the fifth of the nine lords, MklUinlecoMi. the Death God, lord of the under world. In all the manuscripts he apiwars with a skull for his head, but in our manuscript this skull looks out of a reptile's open jaws, which are furnished with long rows of teeth. This is one of the points • Tonalamail -if the Anhin <xAh<:ti;ii. pp. 104- lOS. ' Cf. titjrra, p. V2. The Nine Lords of the Night Uoure. :17 where to rae it seems th&t a contact is made evident between our manuscript and the Maya documents. For in the Dresden manuscripts (Fig. 21), as well as on the Maya monuments, the Death God is very frequently represented in such a helmet-mask.* In Codex Boi^a the body and limbs of Mictlantecuili are painted a bone colour, but in Vatican 6 yellow filled in with black, whereby, as seems to me, it was intended to give a bony character to the limbs, in contrast to the yellow colour of living fiesh, almost invariably filled in with red, as, for instance, with Cinteotl and female deities. In our manuscript the limbs are simply painted brown. In hoth of the other manuscripts we see bumt-oflferings, consisting of firewood and rubber balls, presented to the Death God, as to the other nine lords, whereas in ours he holds in one hand a gouged eye, in the other a tended heart, and above them is introduced what seems to be a sacrificial knife suspended by s string. In Codex Boi^ia and Vatican B, opposite the Death God, is seen a crossway. Before it stands a vessel which in Codex fiorgia is painted black, with white cross-strokes and white crosses (symbol of death) in the middle of the black square fields. On this vessel lies a bundle of firewood, and other similar bundles are leaning against the vessel, as if got ready for a funeral pile. Lastly, on top of the whole structure stands an owl set round with three, or say twice three, paper bannerets. It was usual to stick bannerets about the dead bodies packed in bundles, and the whole apparatus is obviously intended to express notions associated with death and cremation. In our manuscript are pictured the same objects somewhat more simply, without being grouped together. Thus we have the vessel, in which are here further stuck a few agave-leaf spikes, the bundle of fagots with rubber bull on top, and the crossway with the owl Fig. 22. Chahhiuhtliair. the Water Goddess, On the left side of Sheet 3, under the sixth day-sign miquistli, Si^th of the Nine Lortls, 'Death,' follows ChalchiuliUi icue, 'She of the Jewelled Robe,' the ( = KinBsboroiiah25). Waier Goddess, the Lady of Flowing Water, In Codex Boi^ia (Fig, 22) she is depicted with blue, step-shaped, nasal plate, and looking out of the yawning jaw of a snake, hence with a snake as helmet-maak. In our Fej^rvAry manuscript is further seen a jaguar's ear behind the snake's eye. In other pictures of the Water Goddess of our manuscript the same jaguar's ear is also shown with the snake-like helmet-mask. On her breast the goddess of Codex Borgia wears suspended to a jewelled band a large golden disk {teocuitla-comxiUi). Her robe, the en^ua {cu^itl), is furnished with a broad hem, in which the colours green, red, and a white fringe reproduce the elements of the hieroglyph ckalchiuitl (cf. Fig. la above, p. 9), and with them the name of the goddess, 'Jewels {ckalchiuhtli) are her robe {i-cvZ).' The same purpose is served by a large disk which is painted blue, that is, the colour of the blue jewel which we meet with in the middle of the Water Goddess's enagua both in Codex Borgia and here in Sheet 3 of Fej^rvary, the same disk, in fact, that we have already raet on the robe of Chalchiuktlicue in the lower (western) ' Verhandliingen dcr Berliuer Aiithropologiaclicn (k-scllatliaft, 17th March 1903 [ZeitHchritl fiir Etbnologiu, >[xxii. ■'W The Night Side of the Manuscript. (Hvisioa of Sheet 1 of our manuscript. In Codex Borgia and in Vatican B Chalchiuhtlicue, Uke the other eight gods, holds in her hand a burnt-oflering consisting of firewood and rubber ball. In our manuscript she holds in one band a receptacle made of feathers, or plastered with feathers, similar to the one I have described with the Fire God, the first of the nine lords. But in it is here stuck, beside the bunch of quetzal feathers, not an arara plume, as with the first four of the nine lords (Fire, Stone Knife, Sun, and Maize Gods), but a blue-and-white coloured plume (an eagle's or turkey's ?), such as is also seen inserted in the feather headdress of the goddess on our sheet. In her other hand she has the bone dagger and agave-leaf spike, the implements which served for the ceremonial blood-letting. Lastly, on our sheet the goddess is depicted standing in water with a curling (foamir^) and eddying surface. And here on this water is borne the burnt- offering (firewood and rubber ball), which in the other manuscripts is presented by the goddess herself. As before the Fire God and Sun God a temple is figured, before the Maize God a flowering Fig. Sa quelB^cowUl, the Dragon. Codex Vaticaniu B 81 { = Eingsborough 69). Fig. 24a. qaetiolctniatl, the Feather Snake. Codex Borgia 67 ( = Kiagsborougb 48). Fig. 24A. qntlaaleouaU, the Feather Snake. Codex Vaticanus B 62 ( — Kingsborough 35). tree, before the Stone Knife God and the Death God a crossway, so in Codex Borgia before the Water Goddess is shown a water-vessel, whose sides are painted the colour of jewels, and which is filled with a fluid, in which we i^ain meet with the picture of a jewelled ornament. On its curling (foaming) surface this fluid bears a bumt-offering of firewood and rubber ball. In Codex VaticaDus B two whole sides of the square enclosure set apart for this sixth of the nine lords are covered with water. In this water is seen a large feather-snake (Fig. 23), which has a red body, and is set along his back with curling feathers. In other respects — form and coloration — he is exactly like the feather-snake which, in the Codex Vaticanus B and Codex Boi^a Tonaiamatl, is reproduced with Xipe, ruler of the fourteenth week (Fig. 24), but which here, with the Water Goddess, sixth of the nine lords (Fig. 23), is seen with its open mouth swallowing the bumt-offering (firewood and rubber ball) floating on the surface of the water. In our manuscript, as I have already stated, the goddess herself stands in the water, which bears a bumt-offering on its surface. But below are further pictured three different objects : — The Nine Lords of the Night Hours. 39 1. The tail end of a red snake (dragon), which is held by a human hand and on which is shown a footstep, the imprint of a naked human foot, in a yellow colour. 2. A heart pierced by an arrow-head. 3. A water vessel, in which is seen the upper half of a human figure with red body and yellow face, the latter bearing on the frontal side of its fillet a blue bird (cotinga), and accordingly to be explained as the symbol of the Fire God. In one hand the figure in the water holds a burnt-offering, in the other a green bunch. The representation in Codex Borgia is at once intelligible. The dragon also of Vatican B signifies presumably nothing more than what is expressed by the hieroglyph * Jewel ' in the fluid fiUing the vessel of Codex Borgia ; that is to say, the dragon, like the hieroglyph, serves to express the costliness of this liquid element. The three objects, however, which are shown in our manu- script below the Water Goddess, must have still some special significance. In the section of the TonalamaU, whose ruler is Chxdchiuhtlicue, we see her figured in a stream of water which is sweeping away a coffer with a string of jewels, a man with shield and bundle of spears, and a woman. And this is explained by the interpreters as loss of property, as death in war, and selling into bondage.^ For the Mexicans the flowing, moving element was precisely an emblem of the iravra pel, of the atocoua, ' all will be carried away by the water,' as the Mexicans expressed it — an emblem of the fleeting and changing nature of earthly being. May not, perhaps, the three above more fully described objects of our manuscript have also the same meaning? By the tail end of the red snake with the yellow-coloured footstep on it the artist may have wished to indicate a fiery way or a track of fire. And when we see this snake held by a hand, the thought may suggest itself that herein is to be detected a trace of fire made by the hand or produced artificially, that is, an imprinted brand mark. This, as we know, was a European custom, and a practice introduced by the Spaniards to distinguish those reduced to slavery, but is nowhere mentioned as known in old Indian times. It would be more in accordance with Indian notions to conceive the hand and the dragon and the footstep, so to say, as an expression of the te-tlepa^i- quetza, ' putting one in the fire.' And this was an expression meaning *to kill one by witchcraft,' because one form of the magic art, when harbouring evil designs against a living person, was to prepare an artificial pack like that of a corpse and set it on fire, at the same time taking care in some way to engage the intended victim in the ceremony, getting him to eat of the presented offerings, or some such proceeding.* Still, I cannot decide this question. On the other hand, the second of the objects here in our manuscript shown with the Water Goddess, the heart pierced by an arrow-head, may without any straining be explained as death in war. Lastly, as regards the third of these symbols, the Fire God in the water vessel, we have presumably to reflect that for the Mexicans the Fire God was an emblem of worldly power, of wealth, of high office in the State, of royalty. Those who hold authority in the State are said to be seated on the left side of the Mother of the God, of the Father of the God, who dwells in the navel of the Earth, of the old God, of the Fire God.* Hence the picture here showing us the Fire God in the water, sinking ' ToHcUamatl of the Aubin collection, p. 57. ^ Veruflentlichungen aus dem Konigl. Museum f. Volkcrkunde, vol. vi. (ISIH)), pp. 48, 40. ^ Sahagun vi. chap. xvii. 40 The Nlgbt Side of the Manuscript. in the water, may be explained as the wreck of worldly sway, as poverty, as hidigevce. And in this way, with those pictures, we should arrive at much the same line of thought as that which I gave expression to with the Water Goddess of the TonaUimall — the ' ups and downs of life,' the mutability and evanescence of earthly conditions. The representatioQ, however, of the .Water Goddess herself in this Codex Borgia group of docu- ments, with the snake's jaws from which the face of the goddess looks out, deviates in a remarkable way from the usual presentation of CAoIcAiuAtiicite in Codex Borbonicus, in the Aubin Tonalamatl, and the other distinctly Mexican manuscripts, as well as from the stone effigies found in this region Tig. 25. Stone Effigy of the Water Goddess Chalchiwhtiicnt. Uhde Collection. Royal Museum for Ethnology, Berlin. (cf. Fig. 25). On the other hand, it agrees with some stone figures of a goddess holding a vessel (lience, doubtless, a water deity) which I found amongst the Tlalhttica people in the neighbour- hood of the famous Xockicalco ruins, as well as with smaller figures made of a liiie-grained stone which may be seen in the Trocadero, and in the Vienna Museum. The right-hand third section of the fourth sheet of our manuscript is occupied by the seventh (lay-sign, mafatl, ' Deer,' and the picture of the seventh of the nine lords, Tlafolteotl, Goddess of Dirt, the old Earth Goddess of the Huaxtecans. tn Codex Borgia (Fig. 27) she is depicted as a naked woman with wrinkled paunch. This trait is doubtless intended to represent the condition immediately after confinement. For we see depicted in the same way the CiuapipUfin, that is, the souls of women dying in childbirth, who dwell in the West and form the attendants on the Earth Goddess. The Nine Lords of the N^ht Hours. 41 The colour of the body of the goddess is yellow ; she has a deep-black painting about her mouth, which, according to Sahagun's description, ia effected with fluid caoutchouc, and in the nasal septum wears the yellow (golden), crescent-shaped, Huaxtec ornament {yaea-metztii). Further, a fan-like feather adorn- ment on her neck, her hair bound round with a band of unspun cotton {ichca^xockitl), in which is stuck a spindle and a hollow ear-pit^, from which also hangs out a strand of unspun wool Lastly, her whole Fig. 27. Tla^ttMll, the Earth Goddess, SeveaUi of the Nine Lords. Codex Bo^ia 14 ( = Eingsborough 2&). Fig. se. Fig- 88- TlofUteoa. Stone Effigy of Miftcatlan. Codex VaticanuB B 22 ( = KingBborough 70). figure is entwined by a red snake, whose tail end hangs down behind and between the 1^. In quite a similar way is pictured the same goddess in Vatican B (Fig. 28), only the colour of her body is white with longitudinal yellow stripes. Yellow or red longitudinal striping is always to be taken merely as a variant for a white colour. Here the black caoutchouc painting is missing; and in her nose, instead of the Huaxtec crescent, she wears a rod with swallow-tail-like endings, which recalls the Xipe attire, just as the narrow slit eye of the goddess exactly reproduces the Xipe eye. Xipe and Tla^olteotl are 42 The Night Side of the Manuscript. closely related figures. For there can be no doubt that in her fundamental conception Xipe is to be taken as an Earth deity.^ Round her loins the Tlofolteotl of Codex Vaticanus B is wrapped in a short cloth, on which lies a large red-coloured cross (symbol of the crossway ?). In our manuscript the goddess is far less characteristically figured. The colour of the body should doubtless be white, for yellow or white are the colours of this goddess. In the hymn to Teteo innan, seventh of the ' Cantares que decian k honra de los dioses en los temples y fuera dellos/ ^ the goddess is invoked sometimes under the name of cofauic xochiUa, 'yellow flower/ sometimes as iztcx xochitla, * white flower.' A caoutchouc painting about the mouth is not shown with the Tlofolteotl on Sheet 4 of our manuscript. The crescent-shaped nasal plate ends below in some processes which give it the resemblance of a butterfly figure. The fillet and the band inserted in the ear-hole should doubtless be made of unspun cotton, but they have simply been left white, without the crotchets and strings with which elsewhere in the pictorial writings the objects made of this material are filled, in order to indicate the flu%, globular nature of cotton. The feather ornament does not differ greatly from that of the other figures. The upper part of the body is naked, but wrapped round the hips with a cloth which forms a short skirt. She is coiled round, not by one snake only, but by two, whose tail ends form a kind of girdle about the waist of the goddess, while the head of one of them projects before her mouth, and that of the other comes out between her legs. Unlike the figures in the two other manuscripts, she holds a bunch of yellow feathers, and that not merely in one, but in both hands. For this Huaxtec goddess such objects are altogether characteristic. In the description of the adornment of this goddess the bunches are designated as (oyaU, ' palm [leaf] strips,'' and they are doubtless intended as brooms, that is, the well-known emblem and implement of this goddess. As before the Stone Knife God and the Death God, so also before the Earth Goddess, a crossway is figured. On it in Codex Borgia is seen a black vessel, on which are a bundle of firewood and a packed corpse decked for cremation with flags, and beside it, presumably as an offering, a green tuft (moZiTioUi-grass). After all, it is in the earth that are buried the ashes of the dead ; hence these symbols have their legitimate place in association with the Earth goddess. In our manuscript are also to be seen the black vessel, the bundle of firewood, and the green bunch of malinaUi-grsiSs, but a heart is shown instead of the corpse-pack. This heart, however, is meant to embody the same conception, that of the destruction of life. Moreover, in our manuscript, below the goddess, are further to be seen a heart with a flower, and a temple pyramid with a burnt-offering at its foot. But here the temple pyramid, unlike others elsewhere, shows no sanctuary, that is, a properly roofed nave or cella, but only an upright wall, on which lies a green bunch (moZinaZZi-grass, i.e. a broom ?), while an owl stands at the foot of this wall, that is, as it were, at the threshold of the building. Possibly this is intended to represent the peculiar style of the temple erected to this Huaxtec goddess, which con- sisted essentially of a wooden scaffolding. The owl is, of course, thoroughly appropriate to this goddess, who symbolises the dark interior of the earth, and was called TlaUi iyoUo, * Heart (Interior) of the Earth.' ^ Cf. VeruffentHchungen aus dem Konigl. Mnseum fUr Vdlkerkonde, vol. vi. (1899), pp. 88-91. ' Sahagun, M8. Biblioteca del Palacio. ' Tonalamatl of the Aubin coUeotion, p. 96. The Nine Lords of the Night Hours. 43 Iq the middle of the fourth sheet, under the eighth day-sign, tocktli, ' Babbit,' follows the eighth of the nine lords. TepeyoUotU, the ' Heart of the Mountains.' This is the remarkable deity, who appears in the TonaZainatl as a jaguar, or as TezcatHpoca in jaguar form, and by the interpreters is explained OS 'Echo' — doubtless properly the voice that reverberates from the mountain — and as the 'Earth.' In him would aeem to be combined the concepts of a cave god, of an alien barbaric god, perhaps identical with the god whom the Maya tribes of Chiapas called Uotan, ' Heart,' a spook regarded as an uncanny portent and as the apparition of Tezcatlipoca^ In Codex Boi^a (Fig. 29) this god is painted in dark colours, green and black, the colours of Tlaloc. The face shows on its posterior half Tezcatlipoca's fecial painting, the ixtlam tlatkum. alternating yellow and black cross-bands. The anterior half, that is, the middle of the face, is yellow, and the r^ion of the mouth is painted with the markings of a j^uars skin. A wild bestial look is imparted to the face by a Fig. 29. Fig. 30. TtpeyoUotl, the Eighth of the Nice Lords. Ckf Veaae] in the form of a Jaguar, Codex Boigia 14 ( = Kingaboniugh S6). Royal Museum for Ethnologie, Berlin. beard enframing the cheeks and chin, and a prominent superciliary ridge which is painted a blue colour, and with its involuted ends corresponds exactly with those seen on the earthenware jaguar figures of the Zapotec region (Fig. 30). An ornament of a blue colour quite clearly inserted, not in the nasal septum, but in the nostrils, seems to me to indicate a stud which I have often seen inserted in the nostrils of clay figures from Chiapas and Guatemala, and which seems also shown in the head with which, in the tribute roll and in Codex Mendoza, is hieroglyphically represented the city of Xochltlan, the present Juchitaa, not far from Tehuantepec on the low-lying Pacific coast. On its nape the Codex Borgia figure wears a fan-like feather adornment, while above the frontal band the hair projects high up in two strands knotted together at the base. Perhaps this again represents some local peculiarity. I would recall the fact that, as we are told by the interpreters of Codex Vaticanus A, the Zapotecs wore their hair loi^ and pleated in tresses, binding it up above the forehead with a strip of paper, that is, ' Ct. on this dettj the Tonalamall of the Aubiu collectioii, pp. 4S-S1. 44 The Night Side of the Mtmuscript. of bast, I should observe, however, that this same peculiarity of two tresses worn on the crown is also seen on certain figures which are obviously associated with the rain gods, even the pulque gods, but are pictured with QweUalcowitl's facial painting. They are depicted to the number of four, in various colours, answering to the four cardinal points, beside the Ckichicomecoua, the four Maize goddesses, in the large picture by which in Codex Borbonicus the ceremonies of the Ockpaniztli feast are illustrated (Fig. 31). Lastly, I would remark that this same headdress is also evidently shown on the TepeyoUotli heads of the Ttmalamatl of the Aubin collection. The Codex Borgia TepeyoUotli, eighth of the nine lords, like the rest of the nine lords, presents with one hand a burnt-offering of firewood and rubber ball. But with his other hand the god seems to be holding the conch, which he has placed to his mouth and is blowing, and which doubtless indicates the weird voice described by Sahagun, in his Mlh. book, as the first of the evil omens: — Y\g. 32. TepeyoOoai. Tooalamatl of the Aubin Manuscript. Fig. 31. Teptyollotii (1). Codex Borbonicus 30. Fig. 33. TepeyoUotli. Codes Vaticanus B 22 ( = Eingsborough 70). in teqva/ai choca : [when] the jaguar roars, tegtiani ipan choca : [a voice] like a j^uar roars, in iuhqui tecciztli quipitza : as when a shell trumpet is blown, tepetl quinaTiquilia : the mountains answer (re-echo), tehcuiva tlavcUania : they howl, iithquin ilamapiU choca : as an old woman bawls. In Codex Vaticanus B the eighth of the nine lords (Fig. 33) is painted a red colour. But on the face the parts about the mouth and a cross-band above the eye are yellow. It thus appears that here also it was intended to give the facial painting of Tezcatlijyoca, but that of the red Tezcatli^}oca. The part above the eye is indistinct. According to the drawii^ in .Kingsborough, there was here too a superciliary ridge, or an eyebrow of a blue colour. On the other hand the long beard is clear, and blue studs also seem to be shown in the nostrils. The hair stands high up, and from it project three thongs painted the colours of the jewel and ending in bells, while a long tress dravm through a ring hangs down behind. The mouth is open as if about to shout, tmd he wears the conch as an ornament on his breast. In one hand he holds a bone dagger and an agave-leaf spike, and in the other apparently a bunch of meUinaUi grass. With the TepeyoUotli of our manuscript the colour of the body seems to be again forgotten. The face is painted red, but here also a yellow cross-stripe is distinctly shown above the eye, so that The Nine Lords of the Night Hours. 45 here again we have presumably to assume the TescaUipoca facial painting. The chin-beard and the blue ridge over the eye are clearly drawn, but in the nose is stuck a rod, which ends off outwardly in a kind of flower. Exactly the same nasal ornament is also worn by the TepeyoUoUi of Sheet 1 of our manuscript. Above the white fillet the hair stands stra^ht up, while through a ring at the tffirvple ia drawn a long treaa, ending off in bands and falling nearly down to the ground, so that the god is obliged to hold it up with his left hand, as one m^ht hold a train trailing behind. At the occiput a bunch of bright feathers projects sharply upwards, and on the crown lies a white forked ornament obviously like the aztaxdli, with which Tezcatlipoca and also his associated Mexican warriors deck themselves when in their dancing array. Lastly, in his free right hand the god holds a rubber ball (incense ball). In Codez Borgia, &cing the e^hth of the nine lords, is depicted a temple which is very peculiar, aod, in fact, unique of its kind (Fig. 34a). It has, as we see, a pointed straw roof, topped ap- parently by a peculiarly arranged decoration. Pointed straw roofs are also occasionally met elsewhere in the picture-writings on houses and temples (Fig. Sib). Koo& of a steep, pointed form, thatched with palm leaves, are even now still common in the rainy tierra caliente of the Atlantic slope. But the singularity of Fig. 34a lies in the fact that its threshold is formed by a large reptile's throat. Such reptiles' throats are in the manuscripts a familiar conventional indication of a cavern. Hence this picture also must doubtless be taken for a cave or under- . , , , , , Pig- 34"- Cave Temple. Fig. 346. Calti, ' House.' ground temple. As with the other temples of Codex Borgia u Codex Borgia 10 this sheet, before the threshold lies a bundle of * = Kingaborough 25). ( = Kingsborough 92). wood, a burnt-offering. Similarly in Codex Yaticanus B, opposite TepeyoUotli, is also figured a temple, which, however, presents no further peculiarity. At the threshold lies a conch. In our manuscript the temple facing TepeyoUotli, as well as that of Codex Borgia, has a round pointed roof, with an ornamented point. But here the point is curved backwards, and set with notches in the style of the ItzUacoliuhqui, the hat of the Stone God, of Cold, and of Punishment.^ Perhaps in the drawing in our manuscript also the artist had, in fact, this comparison in his mind. For, as with the itztlacoliuhqui, here also is seen an arrow stuck in the roof just below the terminal point. In other respects this temple also presents no further peculiarity, and at the threshold lies the same burnt-offering. In our manuscript, below the whole group, is depicted yet another temple with roof of ordinary appearance, in which is likewise stuck an arrow. In the interior is seen a high vessel, set with spikes and ornamented with cords. Amongst Mexican antiquities proper such spiked vases are scarcely known to me. But on the frontiers of Chiapas and Guatemala I have Tanalamatl of the Aubln oolleotion, p. 92. 46 The Night Side of the Manuscript. found in caves an abundance of lai^e ^ure-vases aad smaller Teasels, which on the surface and at the handles are thickly set with projecting spikes.^ Lastly, on the left side of Sheet 4, below the ninth day-sign atl, ' Water,' is seen the ninth of the nine lords, Tlaloc, the Rain God. In Codex Borgia (Fig. 35) he is depicted in the style usual to this manuscript, with green (or else black) bodily colour, anterior face half black, posterior yellow, blue ring round his round eye, blue baod above the lip involuted at the end, and long teeth protruding downwards — peculiarities which represent a remnant of features originally formed by two snakes coiled together.^ Above hie Fig. 3&. Tlaloc, the Raia God. Codex Borgia 14 , Fig. 36. Tlaloc, tlie Rain God, Ninth of the Nine Lords. ( = Kingsboiongh 25). Codex Vaticantu fi 32 <=Kiiigsbon)ugfa 80). forehead he wears a bandage ending on both sides in two projecting spurs, and painted in two colours — green and olpiT/av,ac (white, with rubber spots) — and above it the heron-feather crown (aztatzontti), from which hang out two large rosettes, with tassels painted the same colours (green and olpiyauac). In Codex Vaticanus B {Fig. 36) Tlaloc is drawn on a much lai^er scale than the preceding figures, because the representations accompanying the nine lords, and occupying the upper half of Sheets 19-22, close on Sheet 23 with a picture which occupies only a small space. In Vatican B the Rain God is as a rule depicted with a lai^e beard below the long protruding teeth, and in this he deviates from the Borgian pictures, but closely resembles the Tlaloc figures of Codex Laud and the Vienna Manuscript, And the other end of the strip, involuted at the ends and placed above the lip, but not exactly shown in the profile view, is seen before and above the mouth in the form of an > Seler, Die alten Aniledelnngen von ChacuU. Berlin {Dietrich Reimer), 1901, pp. l&a-lSS, 166-178, IB1-1S3. " TonaiamaU of the Aubin collection, p. 64. The Nine Lords of the Night Hours. 47 enlarged and ornamentally executed volute, which may again be seen treated in exactly the same way with the Tlaloc figures of the Viennese document. In the Vatican B figure the headdress consists of a thong embellished with jewelled disks, and bearing on the frontal side a conventional bird's head, which is properly the special head adornment of the Sim God (see Fig. 25, supra, p. 34). Hence, like the Sun God, the Vatican B Tlaloc also wears on his head a bunch of feathers (temaZli), with long strips of skin hanging out From the mouth of the figure protrudes a stone knife, and behind it a broad strip painted yellow, which is doubtless meant to denote fire, consequently lightning. In most details the Tlaloc figure of our Fej6rv4ry sheet resembles the above-described Vatican B Tlaloc. Only the design is simpler, and the colours seem to have been again forgotten both on the body and face. In other respects here also, besides the blue ring about the eye, the blue band above the lip involuted at the end, and the long teeth, is seen the other strictly speaking invisible end of the lip band hanging out below and before the nose in the form of an ornamentally executed volute, which is here even developed to a sort of snake's throat, an eye being shown at the posterior side. As in Vatican B, the hair is tied up with the thong of the Sun God set with jewelled disk, which at the frontal side shows a conventional bird's head. And here also from his mouth flows a yellow stream, here and there bent at an angle and beset with objects which must denote fire and lightning, but here passes into the mouth of a crocodile lying in the water below the god, exactly as with the sixth of a series of six large Tlaloc figures which we see depicted in Codex Vaticanus B 43-48 ( = Kingsborough 91-96). Lastly, while the Codex Borgia and Vatican B Tlaloc figures present with their hands only a burnt-offering, like the other eight of the nine lords, our figure grasps with one hand the fiery stream coming from his mouth, and with the other wields the stone or copper Ijatchet, which is indeed the appropriate weapon of the god who slays with light- ning. Here also we have again a resemblance between our figure and the large Tlaloc figures pictured in Vatican B on Sheets 43-48 ( = Kingsborough 91-96). For these also hold before them a snake with outstretched arm, while with the other hand they grasp a hatchet in the act of striking. Opposite the Rain God in Codex Borgia and Vatican B, two sides of the compartment (the whole of the lower comer) are filled with water, in which fishes and snails are swimming. In the Borgian the water bears a burnt-offering, while in that of Vatican B a hand is visible stretched towards the burnt-offering presented to the god. On our sheet the same objects are displayed in simple form quite below in the section assigned to the ninth of the nine lords. But above them is still seen a spiked vase, which in its shape recalls the spiked vessels of Lake Amatitlan. In it lies, between the sacrificial knife and bone dagger, a heart surmounted by a maize ear. Such is the series of the nine lords as depicted on special sheets in these manuscripts of the Codex Borgia group. But in the Tonalamatl of Codex Bologna, and in the Tonalamatl representa- tions disposed in consecutive series on twenty sheets, both of Telleriano Remensis and of Vatican B, as well as of Codex Borbonicus and of the Tonalamatl of the Aubin collection, they are found pictured as small figures or heads accompanying the several days of the Tonalamatl, and on the interesting Sheets 21, 22 of Codex Borbonicus, even with the initial days of the 52 years' cycle. On the last-mentioned sheets students have been able to certify that here it is not the pictures of 48 The Night Side of the Manuscript. the nine lords that appear beside the initial days of the years which, with a further count beyond the consecutive Tonalamatla, would fall on these initial days of the year, but once for all those that in the normal Tonalarruitl, beginning with 1. cvpacUi and the first of the nine lords, are combined with the names of the respective initial days of the year. From this it results that these nine lords do not serve for a real chronology, a continuous day count. On the other hand we learn from Sheet 1 of our manuscript that they were regarded as guardians of the five regions of the world. And these have been again and again repeated on the several sheets devoted to the representation of the Tonalarruitly precisely because they were thought of as the guardians of constsmtly returning dementary periods of time. In my elucidation of the TonalamaU of the Aubin collection, I have endeavoured to prove that they were held to be the guardians of the nine night hov/i*8, and that therefore they were designated by the interpreters as Seflorea de la n^oche, or AcompafUidos de la noche. And it is in full accord with this notion and this designation that, in all the three manuscripts that we have considered, we always find the figures of the nine lords depicted with a burnt-offering, with firewood and rubber ball in their hand, and mostly also a burnt-offering shown in front of them. We know that in ancient Mexico piles of wood flared up at night on all the temples, that one of the priests' chief duties was to feed these fires, and a chief function of the young men, the bachelor warriors assembled in the telpochcalli, to gather the great quantities of fuel needed for these fires. When a young man wished to withdraw from the brotherhood and take a wife, the acceptance of a woodman's axe was the symbol that the president of the bachelor warriors' club gave his consent.^ Hence in my opinion there cam be no doubt that the bundle of firewood which the nine gods appear to be offering, or which stands ready in front of them surmounted by a rubber or pitch ball decorated with a quetzal feather, denotes the fire which had to be renewed at certain hours of the night, which blazed up for the guardians of the night, the Youaltetecuhtin, who in turn watched over their people at the different hours of the night. And thus the question of itself arises whether we have not to recognise in these nine lords of the night hours the lords of the starry sky^ that is, nine stars, I will not venture to say the nine planets. The inference makes more and more headway that the observation of the starry firmament and of its changes must have been the starting-point for the great body of mythical notions and for numerous religious practices of the Mexican and Central American peoples, especially for everything associated with the Tonalamatl. Unfortunately we know next to nothing about the astronomy of the Mexicans. Still, we may perhaps hope that some day some lucky find may come to our aid, and bring clearness where we are now fain to confess our ignorance. 1 Sahegun, book vi. chap. xxvi. A Ghanged List of Gvfardians of the Five Regions of the World. 49 III. A Changed List of Guardians of the Five Regions of the World. Sheets 6-14 ( = Kingsborough 40-31). t On Sheet 14 of Codex Borgia, where were shown the pictures of the nine lords figured on Sheets 2-4 of our manuscript, and whom I have just discussed, there follows on Sheets 15-17 of Codex Borgia a series of remarkable representations, which, like the sheets with the nine lords, has its parallels both in Vatican B and in our manuscript. But unlike Codex Borgia, in our manuscript these representations do not follow directly on the Sheets 2-4 just dealt with, but occur much later at the beginning of the other side of the painted strip forming our manuscript, where they occupy the upper halves of Sheets 23-29 ( = Kingsborough 22-16). Between them, filling the rest of the first side of the strip, are inserted a number of sheets which are covered partly with figures, partly with whole rows of numerals. Apart from all other considerations, these numerals are at once remarkable in that they are entered not in the Mexican way, but according to the Maya arithmetic system; that is to say, they do not follow the Mexican plan, in which all the ciphers are given, each separately by dots or lines, but the Maya, which denotes the units 1 to 4 alone by the corresponding number of dots, and the fives by a bar. The position here assigned to these sheets, in immediate sequence to Sheets 2-4, and before the representations which in Codex Borgia follow the sheet with the nine lords, suggests that on these sheets it was intended to picture something associated with the nine lords. And support is lent to this suggestion by the fact that, at least in the first half of these sheets, before the figures depicted on them, as before the nine lords, is always given a burnt offering, a large bundle of wood from which flames shoot up, and which is surmounted by a rubber ball. Of these eighteen sheets the first ten, 5-14 of our manuscript (= Kingsborough 40-31) form a special group. And for this group we have at the same time an undoubted parallel instance, despite deviations in the details. This is a series depicted by another hand on the reverse side of the blank sheets of Codex Bologna, a manuscript, which was evidently left in an unfinished state. This remarkable series, of which hitherto little could be made, I am now inclined to consider from the above standpoint. I think I am justified in regarding the eleven figures comprised in the series as a new variant series of the nine lords, who are assigned to the five regions in the same way as the members of the ordinary series and those of the two special series of Codex Laud, which are above discussed in the first section ; only here two other figures have been introduced as indications of a sixth and a seventh quarter, the upward and downward quarter. I should hke first of all to discuss this series parallel to Sheets 5-14 of our manuscript, because in several respects it is simpler and will facilitate the understanding of the representations in our manuscript. From the way the representations are usually arranged in these books, consisting of strips folded together, and also from the orientation of the figures, it follows that on this side of the Bolognese manuscript we have to begin the reading at the right side of the strip and then proceed towards the left. That is to say, we begin with Sheet 21 of the facsimile edition of the Codex Bologna G 60 The Night Side of the MaoUBCript. prepared by the Duke of Loubat, which sheet is the lost of the Kii^borough notation. Thie first sheet ahowB us a figure (Fig. 37), in which we have to recognise the Fire God XiuktecvMi. For it has not only the red colour of body and drese and the facial painting of this god, but also wears the xiuktotoamacalli} which broadens upwards, is painted the colours of the cotinga, blue, red, yellow, and shows the two bunches of feathers, the tnitzontli, tlacochtzontli, the two arrow-shafts which symbolise the fire-drill. The only deviation is the cross-band at the level of the eye, which is painted yellow instead of black, a deviation which seems intentional, and made for the purpose of at the same time distinguishing the god as the red Tezcatlipoca. Lastly, the whole figure is pictured in a blazing fire, and also shows the flame as a distinctive mark on its attire. Like most figures of this series the god is equipped with throwing-stick and spear in position for throwing, and in his left hand, beside the bundle of spears and feather banner, he holds a square shield painted the colours of the cotinga — blue, red, and yellow. Before the god is seen a Fig. 37. Ce toehtli, ' 1 Rabbit' Fig. 3a Ce aeatl, ' 1 Reed.' Codex Bologna 21. Codex Bologna 22. sacrificed warrior with breast cut open, from which blood gushes out on both sides. Lastly, after the manner of the Mixtec-Zapoteo picture-writings, beside the head of the god is shown the day ce tocktU, ' I Rabbit,' which in a sense is to be taken as his name. This is the day with which begins the twentieth of the thirteen-series of the Tonalamatl. And this is in fact the week of the Fire God. Hence the sign is regarded, both by the interpreters and by Sahagun,* as ensuring wealth, abundance of food supplies, long life. The Fire God is followed on Sheet 22 ( = Kingsborough 23) by Fig. 38, a Tezcatlipoca with the facial painting of the black (yayaukqui) Tezcatlipoca, and his mirror at the temple, but with two- coloured {chictlapaiujui) garb, half black, half red-striped {i.e. half white). Above the brow are two locks rising upwards, and in the hair the warrior's headdress (aztaxelli), consisting of two heron- ' Tonaiamail of the Aubin collection, pp. 74, 15. 1 SahaguD iv. chap. xxxviiL Cf, TotuUanall of the Aubin coIlectioD, p. 126. A Changed List of Guardians of the Five Regions of the World. 51 feathers, and in his right hand he holds the throwing-stick, in his left a bundle of spears and a round shield, which, however, is likewise painted the colours of the cotinga. One might suppose that here the usual series of the nine -lords is being repeated, that is to say, that here the Fire God is followed by Tezccdlvpoca, who indeed in other places also personates the Stone Knife God, second of the nine lords. But this is at variance with the hieroglyph of his name, the date which is shown beside the head of this god : to wit, Ge acatl, ' 1 Reed,' hieroglyph of the Morning Star. And in truth this god is already distinguished as the Morning Star by the two lambent locks (cf infra, Figs. 58, 59) above his forehead. In the Ton^alaTnatl the Morning Star is shown facing the Fire Grod.^ We must therefore conclude that here also the two-coloured Tezcatlipoca called Ce acatl is thought of only as the associate of the Fire God, and jointly with him symbolises the Middle, or else the Below- Above. In point of fact the figures which now follow correspond to the four pairs of the last eight of the nine lords. But strange to say, the sequence of the cardinal points is exactly reversed, going, not from East by North and West to South, but from South by West and North to East. That is to say, on Sheet 23 ( = Kingsborough 22) of Codex Bologna, the first of the two now to be taken consecutively, there follows the last of the nine lords, Tkdoc, the Rain God, who in his facial aspect resembles the pictures of Vatican B, is clothed in black garb, and holds in one hand a hatchet, in the other a shield and bundle of spears with a dragon, the lightning snake. The latter closely resembles the stream which, in the Tlaloc picture of Sheet 4 of our manuscript, we saw flowing from the mouth of the god to that of the crocodile, that is, from the welkin to the earth, but is here further specially provided with a snake's head. Beside the god is shown the day Chicunaui ocdotl, * 9 Jaguar,' as his hieroglyph. Associated with this god, that is, following him on Sheet 24 ( = Kingsborough 21), is here seen, not the eighth of the nine lords, Tepeyollotliy in the characteristic form with which we are now familiar, but a peculiar deity painted in two colours, blue and red, with lambent locks above the forehead, in fact in a style such as is of rare occurrence in the Borgian group of pictorial writings. As the hieroglyph of his name, beside him is shown the day Ce din, '1 Rolling Motion.' Olin is the seventeenth sign, and in the picture-writings is indicated by a god named Xolotl, who is called Quetzalcouatla* twin brother,^ and was the god of the game of ball.* As a rule this god is figured with a dog's head, and with distorted limbs, as the god of monstrosities. But his original meaning is not monstrosity, but twins, this being the meaning of the name Xolotl. And it is highly probable that the god here pictured in human form, but in two colours, blue and red, merely represents another, though at bottom equally justified, conception of the god Xolotl. Now, should the justification of the parallelism with the series of the nine lords seem doubtful in the case of the latter figure, the following two sheets will accord better, inasmuch as both of them show two female deities answering to the seventh and sixth of the nine lords, and this, as I assume, to indicate the West. Only their sequence, compared with the order adopted in the series of the nine lords, seems reversed, since the Tlofolteotl, who should be expected to come first, follows only after the other, that is, in the place which corresponds to the sixth of the nine lords. The goddesses are both depicted above an open throat (chasm) of the earth. Tla^olteotl, second of the pair, is at once ^ Tonalamatl of the Aubin collection, p. 78 aq. ^ MS. Biblioteca Nazionale, Florence, f. 21, verso. ^ ToncUamatl of the Aubin collection, pp. 108-112. 52 The Night Side of the Manuscript. recognised as such by her facial painting (yellow, with black caoutchouc application about the mouth), the crescent-shaped nasal plate, and the spindle in her hair. In one hand she holds a throwing-stick, in the other shield and bundle of spears, and for banneret a reed-stalk with a tuft of unspun cotton. Beside her, as the hieroglyph of her name, is shown the day Chicwnuui acatl, ' 9 Reed.' This is in fact a day which is mentioned by Sahagun as the day consecrated to the goddess TlagoUeotl} The second figure again deviates from the second in the list of the nine lords who is shown in this quarter of the heavens. From her facial painting and distinctive mark it is clear that here there can be no question of the Water Goddess. We see a face painted yellow in the upper half, red in the lower, the hair in tangled locks, as with TlagoUeotl, and also, as with this goddess, in the pierced ear-lobe a band which is apparently intended for unspun cotton. Noteworthy as a special distinction is a wreath of flowers in her hair. In one hand she holds a throwing-stick, on which is placed a spindle as a spear, in the other shield and bundle of spears. Beside her, as the hieroglyph of her name, stands the day Chicuei acatl, '8 Reed/ On the significance of this day I have hitherto nowhere found any direct statement. But it is the eighth day of the sixth week which begins with Ce miquiztli, ' 1 Death.' And everywhere in the Tonalamatl this sixth sign is indicated by the picture of the moon. I think we must infer that here it was intended to represent the deity of the moon, which indeed we find pictured as a female figure in one place in Codex Borgia. And for this conjecture I find a confirmation in the fact that this very floral wreath in the hair, as here worn by the goddess, is in several places of the picture-writings a special and characteristic mark of the Moon God. On the two following sheets, 27, 28 ( = Kingsborough 18, 17), should have been pictured Mictlan- tecutli and Cinteotl, that is, those of the nine lords who correspond with the North. In point of fact on Sheet 27 we see the Death God, but in female form as Mictecaciuatl, in her right hand holding a hatchet, in her left a bundle of spears and a shield, which shows on a red field cross-bones as emblem. As hieroglyph, beside her appears to be given the day Chicunaui cipactli, ' 9 Crocodile.' But on Sheet 28, where we expected to meet the fourth of the nine lords, Cinteotl, the Maize God, we find a figure of Tezcatlipoca. And Tezcatlipoca figures are also represented on the following two sheets, which should have indicated the East, and on the supernumerary last sheet, which again should indicate the Middle. All hold in their right hand a throwing-stick with a spear lying on it (Fig. 39), and have their head covered with the cloth decorated with a fringed hem and feather balls fastened to it, such as we have also met with the Tezcatlipoca picture on Sheet 2 of our Fej6rv4ry manuscript. But if these four figures, pictured on the last four sheets, 28-31, of Codex Bologna, may almost be described as alike in the design, still they differ in the coloration. The first, who on my assumption should have corresponded with the fourth of the nine lords, the Maize God, is certainly pictured with yellow face and black cross-bands, i,e. Tezcatlipoca' s usual facial painting, but his attire is entirely white, or else white with vertical red stripes, and I should accordingly indicate him as Iztac Tezcatlipoca, the white Tezcatlipoca, As the hieroglyph of his name, beside him is shown the day Ce eecatl, ' 1 Wind.' The second, who on my assumption must correspond with the Sun God, third of the nine lords, is a red Tezcatlipoca, a Tlatlanhqui Tezcatlipoca. As his hieroglyphical name, beside him ^ Book iv. chap. xx. A GhoDgect list of Guardutns of the Five Regiona of the World. 53 Btauda the day Ce ocdotl, ' 1 J^uar,' which is the initial day of the thirteen-series, whose fourth day is the day iiaui olin, ' 4 Motion,' the day and the symbol of the now existing sun, the historical sun. On this day, ce ocelotl, was begun the netovativJi^ualiztli, the fast kept in honour of the Sun God worshipped on the day navA. olin} The third of these last four figures, who must correspond with the Stone God, Itztli, is a black (Yayaukgui) Tezcatlipoca. As his hieroglyphical name, beside him stands the day Otuc acatl, ' 2 Reed,' which is the day of the fire-drill, the beginning of a new period,* and by Sahagun is expressly mentioned as the day and sign of TezcaUipoca? The last of these figures (Fig. 39), which must ^ain denote the Middle and correspond to the Fire God, first of the nine lords, is, like the figure following the Fire God on the second sheet of this series, pictured with half white (red striped), half black attire, a Ckictlapanqui Tezcatlipoca. Only the face, which with that god was painted with black and yellow cross- bands, is here painted with white (red striped) and yellow cross-bands. As hieroglyph of his name, beside him appears to be shown the day Ckicome acatl, ' 1 Reed,' which, like the day Ce acatl (the day of the Ckictlapanqui Tezcatlipoca on Sheet 22 of this series), was celebrated in Cholula as the feast of Quetzalayuatl, and r^arded as the birthday of this god.* It will be admitted that my paral- lelism of these eleven figures with the nine lords of the night hours, as here Fig. 39. Ckicome acaU, ' 7 Reed,' Codex Bologna 31. set forth, has its justification. For it is self-evident that the red and the black TezcatUpoca can be classed with the Sun God and the Stone Knife God, who is elsewhere represented in the figure of Tezcatlipoca; and this is still more convincingly proved by the relations established by the dates placed beside these figures as their hiert^lyphs. Nor can it be denied that the two-coloured Tezcatlipoca of the last and of the second sheets of this series, i.e. the Ckicome acatl and the Ce acatl, the Quetzalcouatl identified with the Morning Star, may in a measure stand for the Fire God. All this is in fact obvious enough from the popular tales current about this god, from the association of the Morning Star with the Fire God in the ToTvala-matl, and from the fact that the Fire God also was the god of the gloaming, who was before the Sun was bom. ' Sahkgun II. , Appendix : ' aynnabaD cnatro diu por hourft del sol ; ale Bfuao ae bacia de doacientos en doadantoa y trea dUa,' i.e. from the 200th to the 203rd Ai,j of the Tonalamall, t.c. from the day a oaioU to the day naui Mn. '* 'Hiatoria de loi Mexicanoa por ana pintanu' (Garcia Icazbalceta, ' Nueva Colecoioa de Docameatoa para U Hiatoria de Mexico,' III. p. 234). > Sahagnn iv. chap. xv. : ' decian qae eata (caaa) era bien af ortunada, puea que era de TtxeaUipoca, porque tenia la cam pintada eomo I> imagen de eate dioa.' * Codex Tellerianc Remenaia, Sheet 10 ( = Eingaborongh ii. 5), Secood Interpreter (Pedro de Rioe). 54 The Night Side of the Manuscript. Of course deviations occur also in the other quarters. The displacement of TepeyoUotli by XoloU, of Chalchiuhtlicue by the Moon Goddess, of the Maize God by the white Tezcatlipoca, and the transposition of the two female deities belonging to the West, are undoubtedly discrepancies which have to be considered. The most striking deviation is the displacement of the Maize deity, Cinteotl, by the white (Iztac) TezcaUipoca. I might conjecture that this white Tezcatlipoca is the repre- sentative of the white Mxxcouatly whose acquaintance we shall make further on, and who is assuredly only a form of Tcmacatecutli, the old lord of food supplies. We shall see further on that in our manuscript this white Mixcouatl is in fact distinguished by the name of Ce eecatl, ' 1 Wind.' And on the other hand it certainly seems reasonable that a god who may be classed with the ' lord of food supplies ' should be introduced in the place of Cinteotly the Maize deity. In the subjoined table I once more give a general view of the two lists, indicating by an arrow the order in which they are set forth : — I. The Nine Lords of the Night. (Usual List.) Middle I. Xiuhtecutli, The Fire God. II. Codex Bologna 21-31. East North West South II. Itztli, The Stone Knife God, III. Tonatiuh, The Sun God. IV. Cinteotly The Maize God. V. Mictlantecutli, The Death God. VI. CJialchiuhtli icue, The Water Goddess. VII. Tlagolteotly The Earth Goddess. 'VIII. TepeyoUotli, Voice of the Jaguar in the Mountains. IX. Tlalocy The Rain God. chicome acatl Seven Reed. ome acatl Two Reed. ce ocelotl One Jaguar. Middle (Below- Above) % Chictlapanqui Tezcatlipoca . chicome acatl ^ The Two-Coloured T. Yayauhqui Tezcatlipoca . . The Black T. Tlatlauhqui Tezcatlipoca . . The Red T. Iztac Tezcatlipoca ce eecatl The White T. One Wind. MictecoAiiuatl chicunaui cipactli The Lady of the Realm of the Dead Nine Crocodile. TUtgolteotl chicunaui acatl The Earth Goddess Nine Reed. (to be transposed with the following). Metztli chicuei acatl The Moon Goddess Eight Reed. Xolotl ce olin The God of Twins One Motion. 4^ Tlaloc chicunxiui ocelotl The Rain God Nine Jaguar. Chictlapanqui Tezcatlipoca . ce acatl The Two-Coloured T. One Reed. Xiuhtecutli ce tochtli The Fire God One Rabbit. From the reversed order of the quarters which is followed in the enumeration of these eleven lords of Codex Bologna, it may be at once inferred that with this count something special is meant, that not merely the gods of the five, or else seven quarters, not merely the guardians of the night hours, are intended to be named, but that these guardians are to be taken in some special A Changed List of OuArdians of the Five BegioDs of the World. 55 application, perhaps as they bad to be used and invoked by the wizard, or as objects of some special esoteric doctrine. The same may also be inferred from the accessories which, besides the eleven figures already described, we further meet on these eleven sheets. That is to say, as elsewhere the divine figures depicted in these books are accompanied by series of day-signs, mostly members of the Tonalamatl disposed in columns of five sections, whereby, being arranged in a definite manner, they become by their position determinants for certain sections of the Tonaicvmatl, or for other great periods of time, so here also we see these figures accompanied by columns of 4, 5, or 6 pictures, which however have quite a different, an occult, or esoteric significance. C_) ^mi^ ^ Ckxlex Bologna 21. dOK Fig. 43. Codex Bologna 23. Fig. 43. Codex Bologna 24. ^ Fig. 44. Codex Bol^^na 2 On the first sheet, 21 of Codex Bologna, we see, beside the Fire God, the so-called column of the day and night signs, that is. Spider, Winged iTisect, Scorpion, Snake in the Hole, Jaguar in the Mowntain Gave (Fig. 40). Naturally this can only have some uncanny meaning. But I would at the same time remind the reader that amongst the accessories of various sheets of Codex Borbonicus (Fig. 41) the Spider also occurs, and indeed with such deities as Tlauizcalpantecutli, Nam eecatl, TepeyoUotli (Tezcatlipoca), ChalchivMotolin, Mictlantecutli, Tla^oUeotl, ItzpapaloU, XockiquetzaX, Mayauel — deities whose names are mentioned in sundry places in the lists of the Tzitzimim^, i.e. of the demons descending from heaven. It is also to be remembered that by these Tzitzimim^ we have, strictly spealdng, to understand Stellar divinities, who in the imagination of the 56 The Night Side of the Manuscript. Mexicans become demons of darkness, merely because the stars become visible in the fearful time of the solar eclipse, a time otherwise of bright daylight. I further recall the fact that a constellation of the Scorpio was seen in the heavens by all the old Mexican and Central American tribes, and that by the Maya manuscripts and Maya documents it is placed beyond doubt that conspicuous constellations were also distinguished by the names of the Snake and the Jaguar. On the second sheet, 22 of Codex Bologna, are seen beside the two-coloured Tezcatlipoca the same three objects — Spider, Winged Insect, Scorpion — ^but differently arranged, and instead of the Snake and Jaguar two arrow-shafts and two jaguar-claws (Fig. 42). Lastly, on the third and fourth sheets we see figured, beside Tlaloc and his associates. Spider, Scorpion, and two Fig. 45, Codex Bologna 25. Fig. 46. Codex Bologna 28. Fig. 47. Codex Bologna 27. Fig. 48. Codex Bologna 29. Winged Insects, together with an arrow and the curious object Fig. 43, which perhaps represents two teeth (?). On the fifth and sixth sheets, Codex Bologna 25, 26, on which are figured the two goddesses symbolising the West, the signs undergo a change. No longer spider, winged insect, and scorpion, but Snail (the one hidden in his shell), and Orub, he who dwells in the earth, and with them four other signs (Fig. 44), about the exact meaning of which I have nothing to say, and will merely remark that the first (third of the series) has no colour, while the next and the last are painted half green half yellow, the last but one black and white. Opposite them is seen the same enigmatic sign of the two teeth, which I have already reproduced in Fig. 43. But beside it are two others, one of which looks like nebulous balls, the other like a green vessel made of pleated rings, out of which flows some fibrous or ramifying substance (Fig. 45). The snail is the symbol of the Moon. A Changed List of Guardians of the Five Regions of the World. 57 For the Moon is the object concealed in the shell, which does not shine with full brightness like the Sun, which has its phases, and only at the time of full Moon emerges completely from the shell. Hence, precisely for this reason, he is called by the Mexicans Tecciztecatl, ' he of the sea-snail,' and as a rule is figured with a snail's shell on his forehead. The grub seems to me introduced here as a picture appropriate to the Earth Goddess. The other objects have reference, perhaps, to weaving or other female pursuits. On the following two sheets — Codex Bologna 27, 28 — real day-signs appear, but present the peculiarity that all of them have behind them the figure of a human heart, on which, as it were, they are seated. On Sheet 28 we have the series. Fig. 46. At top stands a sign, which is perhaps TnaliTiaZli. After it follow a turtle, a dog, and lastly a deer and a rabbit. If we assume, as we are fully justified in doing,^ that here the turtle (ayotl) stands for the sign atl, ' Water,' then 4, 5, 2, 3 give the signs Tnagatl, ' Deer,' tochtli, ' Rabbit,' atl, * Water,' itzcuintli, * Dog,' and these are the four signs in the consecutive series of the day-signs which follow the sign Tiiiquiztli, 'Death.' Here we have again an indication of the ominous, and in any case of witchcraft. For Ce miquiztliy * 1 Death,' is in fact the sign of Tezcatlipoca and the chief sign of the magicians, a point to which I shall have to return further on. And that here the scribe has this relation in his mind is clearly shown by the last three sheets, Codex Bologna 29-31, since in them, and indeed in all three, we find pictured the same four day-signs, ^n -v,<><^ always differently disposed, but beside them also the day-sign couatl, * Snake ' (Fig. 48), that is to say, we have here the four signs following miquiztli, 'Death,' and the sign preceding this miquiztli sign. A peculiarity, of which I have no explanation to offer, is further shown Codex Bologna 27. by Sheet 27, where (cf. Fig. 47) instead of the sign itzcuintli, * Dog,' is shown a bird's head (parrot ?). Beside it are again to be seen on sheet 27 the two objects at Fig. 49 (the lower painted half green, half white), and on all the sheets before the chief personages the three objects at Fig. 45. Lastly, beside the fifth of the chief figures (Sheet 25), as well as beside the eleventh and last (Sheet 31) is again shown a footstep, the imprint of a human foot, probably as a distinctive mark. Now, if in all these things lie hid any occult nonsense, magic foolery, or — possibly — unintelligent copying of certain texts embodying a higher esoteric astronomic lore, in the style, for instance, of the second half of the Dresden Maya Codex, then we should also be able to judge of such lore from the numerical series which occupy the entire lower half of the sheets below the eleven chief figures. It is, in the first place, remarkable that, like the series inscribed on Sheets 5-22 of our manuscript, these numerals are written in the style of the Maya numbers, that is, the cipher five is indicated by a bar. The series consist of a varying number of groups, but are always formed by the same cipher : now an eleven, now a nine, and again a seven, a six, or an eight. At the same time, on each sheet the chief series are always enclosed by four smaller rows distributed at the four corners, and consisting of only two groups each. For totting up the numerals no law can be discovered. I also think the prototype for these numerical documents is to be sought rather in the decomposi- tion which, starting from the fourth sign cuetzpalin, 'Lizard' ( = Maya kan)y is effected by the ^ In the list of day-signs in the Cr6nica Franciscana of Guatemala the sign quiauitl, * Rain,* stands as a synonym beside atl, * Water,.' and quiauitl itself is replaced by at/atl, 'Turtle.* H 58 The Night Side of the Manuscript. diacritical mark of a footprint in the Tonalamatl disposed in columns of five members on the first sheets of Codex Borgia and of Codex Bologna, whereby the whole Tonalamatl of 260 days is decomposed into 9-9 + 7-7 + 9-9 + 7-7 days. In the following table are brought together the numeral series inscribed on sheets 21-31 of Codex Bologna: — Codex Bologna In the Middle Sheet 21, 9- 11 + 9-11 + 9.11 „ 22, 10- 11 + 1111 4- 10-11 „ 23, 9.7+9.7^9.7 „ 24, 9.7+9.7+9.7 „ 25, 9. 8 „ 26, . 9. 6 ., 27, 9.9 + 9.9 „ 28. 9. 9 ,. 29, 11. 11 „ 30, 9. 9 „ 31, 7. 7 At the Four Corners 2 2 2 2 2 2 2 2 2 2 2 .11 2- 11 2 ■11—2. . 11 2 . 11 2 • n 2. .11 2- 11 — 2. 11 2. .11 2- 11 2. 11 2. 8-2- . 8 2. 8 2. . 6 2 . 6 2 . 6 2. . 9 2 9 2. 9 2. . 9 2 . 9 2. 9 2. .11 2 11 2 . 11 2. . 9 2 9 2 . 9 2. . 7 2- . 7 2. 7 2. 11 11 11 11 8 6 9 9 11 9 7 The very pith and essence of these numeral series I find in the relation to the cardinal points. This relation is, in the first place, revealed in the distinction between the main groups in the middle and the smaller uniform groups distributed to the four comers, and then also in the numerals themselves. For seven is Middle, East, North, West, South, Below, Above. Nine is Middle, twice East, twice North, twice West, twice South. Eleven is Middle, twice East, twice North, twice West, twice South, Below, Above. Similarly the sixes may be taken as East, North, West, South, Below, Above ; the eights as twice East, twice North, twice West, twice South. One is tempted to ascribe a real significance to the sums on the first two sheets. Here we are concerned with nocturnal protecting deities, perhaps even with the tutelar deities of nightly practices, witchcraft, and the like. In that case we must think before all of the night orb, the Moon, and next to it, perhaps, of the Evening Star. Now ten sjniodic months actually give the sum 295, that is, two days less than 3 x (9-11). And twelve synodic months make 354 days, ix. thirteen days more than 10 • 11 + 11 • 11 + 10 • 11. The number 9 • 8, which is given on Sheet 25 beside the Moon Goddess, would, multiplied by three, give 216, that is, ten days more than seven synodic months. Lastly, the 7-7 of the last sheet multiplied thrice would give 147, which is almost exactly five sjniodic months. A second and more probable explanation, applicable to the second of the groups here mentioned: 10 • 11 + 11 • 11 + 10« 11, 1 shall adduce further on when discussing the parallel series of our manuscript. Another relation may be presented on Sheet 29, the sheet with the red Tezcatlipocay who, as we have seen, here represents the Sun God. The number 11-11 which we meet on this sheet, taken three times, would give the sum 363, which again approximates to the length of the solar year. ^ But even supposing such a relation really to exist with one or other of these numerals, still the whole of the numerical groups seem to me a mere jugglery with numbers which, according to one or another conception, are brought into connection with the cardinal points. Eleven is dominant A Changed List of Guardians of the Five Regions of the World. 59 in the fifth region with the Fire God and his associate, the two-coloured Tezcatlipoca, who is indicated by the hieroglyph of the name of the Morning Star. It denotes, perhaps, the expanse above the nine lower heavens, the celestial region. In the South, with the Rain God, stands the number seven. The eleven in the corners I hold to be merely miswritten. Seven is the number of the Maize Goddess,^ who is called the Chicome couatl, * 7 Snake,* or tiho Chicomolotl, ' 7 Maize Ears.'* Hence, in general, seven was considered a lucky number, ensuring abundance of food supplies. On the following two sheets with the Ladies of the West we find even numbers, the eights and sixes ; and we shall see below that eight is also the dominant number in the series of our Fej^rvdry Codex corresponding to these sheets of Codex Bologna. It is not clear to me what special kind of prevailing relation this may imply. But it is a fact that the even numerals are also taken into consideration in the cult of the Earth Goddess in the capital Mexico, as described to us in the works of Sahagun. On the broom feast Ochpaniztli, the feast of the Earth Goddess, the neTaatlaxo, a dance executed by a to-and-fro motion of the hands, lasts eight days, and four days are devoted to the gonecali, the war game of the women, and immediately afterwards the effigy of the goddess is immolated in the night. On the seventh and eighth sheets of Codex Bologna, showing the region of the North, nine is dominant. For nine is the number of the underworld,^ and nine is also the number propitious to the magicians.* The realm of the dead was assigned to the North. The number 11 • 11 on the following or ninth sheet, where the Tlatlauhqui TezcaUipoca stands as representative of the Sun God, has perhaps the above-indicated special relation to the solar year. After all, the Sun God belongs also, in other respects, to the celestial region, and this may be the reason why the eleven has here been placed. The number nine again appears on the tenth sheet, which belongs to the Stone Knife God, who is here, as in other places, represented by the Yayauhqui TezcaUipoca. For this god denotes ' Death,' and is the wizard in a pre-eminent sense. And if the number seven is again introduced on the eleventh sheet with the two-coloured (Chictlapanqui) TezcaUipoca, the reason may be that this god again indicates the fifth region, while the deity personating the Fire God is here thought of as the Lord of food supplies (Ton,acatecuUi\ that is, as Maize God. Incidentally, I may further remark that the grouping of the numerals, which I have above adduced from Codex Bologna, seems also to explain certain puzzling ritual numbers. Motolinia tells us that at the great feast celebrated by the Tlaxcaltecs in the spring in honour of their god CamaxUi, the priests began a rigorous fast 160 days before. After sacrifices were offered to the Rain Gods on Mount MaUaUueye, and the required number of obsidian knives struck off by experts in this handi- craft amid fasting and strict ceremonial observances, and a large number of little sticks the thickness of a finger cut to the proper size, the priests pierced their tongues and passed a prescribed number of the sticks through the hole, all amid h3rmns and songs to the gods. Of such sticks the high-priest drew no less than 405 through his pierced tongue. And after solemn offerings were made to the ' Son of the Sun,' at the feast proper other captives to the number of 405 were likewise immolated in Ocotelolco, capital of the confederate clans. This number 405 cannot be brought into agreement ^ Sahagun iv. chap. xiii. 2 Verofifentlichungen aus dem KonigL Museum ftir Volkerkunde, vol. vi. (Berlin, 1900), pp. 109, 112, 113. 3 Tonalamatl of the Aubin collection, p. 19. * Sahagun iv. chap. xxxi. 60 The Night Side of the Manuscript. with the usual sacred numbers composed with the ciphers four or twenty, or represented by a five, nor yet with the calendric numbers. But it is readily decomposed into 5x9-9, that is, nine times nine, the group which is introduced with the gods of the North and with the Stone Knife God of Codex Bologna, the number of the nine lords, of the gods of the five quarters, potentially repeated in each of the five quarters. After this digression, if we now return to Sheets 5-14 of our Fej^rvdry manuscript, a cursory survey alone will at once suffice to show that in these sheets we have to recognise a parallel to Codex Bologna 21-31. It is not merely that on them we find depicted in a similar way the figures of gods, and series of numerals inscribed in the Maya manner, but the first sheet begins exactly with that remarkable column of day- or rather night-signs which is shown on Sheet 21 of Codex Bologna — Spider, Scorpion, Winged Insect, Snake in the Hole, Jaguar in the Mountain Cave (cf. Fig. 40 above, p. 55). Only here the spider is pictured almost like the winged insect, merely in a white instead of a black colour. The jaguar in the mountain cave is shut out of the series, and shown behind the god depicted on Sheet 5, while in the series are further given as accessory figures a prickly plant (tziuactli) and a cactus {nopcdli). But still the series of representations, as shown on Sheets 5-14 of our manuscript, again deviates very markedly from the parallel series of Codex Bologna in that it con- tains, not eleven, but ten members, and that the chief figures of the groups, the deities, are mostly different, so that beside them are also shown different dates as the hieroglyphs of their names. Other discrepancies are the tzitzimiU pictures, spider, scorpion, winged insects, and so on, which occur on the first sheet alone, the absence of the other remarkable objects at Figs. 44, 45, 49, as well as of the day- signs at Figs. 46-48, and lastly the numerical groups themselves, which also differ, although the principle of their formation is undoubtedly the same. Nevertheless, in these representations also we shall be able to assume the same fundamental thought in the arrangement which has distinctly resulted from the investigation of the parallel series of Codex Bologna. In other words, we shall be able to assume that here also the representations corre- spond in pairs to the five quarters, these pairs of guardians of the quarters being already shown to be thought of as lords of the night hours, and that in a special way on the sheets of our manuscript by the large piles of burning wood with the rubber ball on top. It will, however, further appear that the sequence in which the quarters and the guardians of the night are here displayed is reversed, that the sequence is not Middle, East, North, West, South, but Middle (above and below), South, West, North, East. I now enter on the discussion of the several groups. The first pair on Sheets 5 and 6 must correspond to the middle or the below-above direction. On the first sheet b seen, on a seat covered with a jaguar-skin {ocelocopaUi), a god somewhat of the appearance of the Sun or else of the Fire God, with red body and decked with the Sun God's jewelled fillet with the conventional bird's head on the frontal side, but showing about his mouth the sign' of a bone, which contrasts by its yellow colour with the rest of the face, painted red. In one hand he holds a bone dagger, in the other a cord and a sacrificial stone knife fixed in a handle. Beside him is shown the day Ce miquiztli, * 1 Death,' as the hieroglyph of his name. Miquiztli, * Death,' is the sixth in the series of day-signs, and at the same time also the beginning of the sixth week of the TonalamatL As its patron or its symbol is seen in the picture-writings, not A Changed List of Guardians of the Five Regions of the World. 61 the Death God, but the Moon God.^ But, according to Sahagun,* Miquiztli was the sign of Tezcatlipoca, and was worshipped with much awe by the kings and the rich, the magnates of the world, because this was the god who was supposed capriciously to humble the great and raise the poor and the slaves from the dust. Hence on this day the slaves were allowed full freedom, were feasted and honoured as ' the beloved sons of Tezcatlipoca/ And children bom on this day received the names of Miquiz or Yaotl, * warrior,' Ce yaotl, * 1 warrior/ Necoc yaotl, ' on both sides foe,' Chico yax)tl, * on one side foe ' (or * the two-coloured Taotl ' ?), YaoTnauitl, ' the dreaded warrior,' names all of which were thought of as names of Tezcatlipoca, As sign of the Moon and sign of TezcaUipocay Ce TYiiqvAztli was naturally al^o a sign favourable to magicians, seems indeed to have been their chief sign, and is as such unanimously explained by all interpreters. And of those bom on this day, says Sahagun,* nobody could hate or wish them dead, that is, nobody could bewitch them. We have accordingly the option of taking this god figured on Sheet 5 of our manuscript either as the Moon Ood or Tezcatlipoca. Certainly no characteristic marks are present which should compel us to pronounce for one or the other ; yet the relation to one of the two is presumably beyond question. Possibly we have to conceive this god in the narrower sense as Ood of the Wizards, and we accordingly see him here figured in this peculiar manner, with the picture of a bone about his mouth. And perhaps we have especially to think of Tezcatlipoca as the god of whom it is said that, nouiyan ineraiya Tnictlan tlcUtiopac ilhuicaCy * he dwells (or roams) everywhere in the underworld, on the earth, in heaven.* Hence this is the god whom we recognise in this place, which after all is intended to exhibit the guardian of the fifth quarter of the Below and Above.' On Sheet 6 follows an old white-haired god painted a yellow colour, depicted thin and with wrinkly skin, his face looking out of the open throat of a bird, which has a feather crest curling up and a variegated rosette on its beak. Like the foregoing god, he is seated on a jaguar-skin stool, below which, however, is here spread a mat, obviously a mark of the higher rank of the personage seated above.^ In one hand he holds a bone dagger, in the other a staflf tied round with a white-fringed cloth. As hieroglyph is shown beside him the day Ce eecatl, '1 Wind.' The day-signs which are further to be seen on the left side of the upper border — olin, 'Rolling Motion,' tecpatl, 'Flint' — are presumably to be supplemented by ciphers, to denote other dates to be also taken as expressions of the nature or of the name of the figure here depicted. Facing the god is a turkey with bowed head. In the picture-writings the turkey appears as a symbol of the eighteenth day-sign tecpatl, ' Stone Knife,' and as patron of the seven- teenth week. There he is called chaZchivJitotolin, 'Jewel Fowl,' and interpreted as an image of Tezcatlipoca, Beside him are pictured the nocturnal mortifications, the blood-letting, and it seems that he was intended to symbolise the trickling blood. Here the bird further wears on his breast a white-spotted disk, which presumably denotes copaL See the pictures of copal which I have brought together in Fig. 50. In any case, on Sheet 26 (Kingsborough's notation of Codex Laud) the turkey, somewhat as on our sheet, is combined with spur and copal (cf. Fig. 50a). With copal and incense I also connect the yellow cuitlatl']ik.Q objects which are further to be ^ TonalamcUl of the Aubm collection, p. 58. ^ Book IV. chap. iz. ' Sahagun i. chap. iii. * Amongst the Maya peoples ah -pop, the * Lord of the Mat,' is the proper word for * king.' 62 The Night Side of the Manuscript. seen on the upper border of the picture. Similarly, the jaguar's claw shown by their side is also to be regarded as an incense-pouch.^ Lastly, behind the god, and also forming a series at the lower border of the picture, are further seen downy feather balls and white feathers, of which, for reasons presently to be advanced, we may say that they are probably intended to represent heron feathers. The sign eecatl, 'Wind,' should properly denote the Wind God, QuetzalcouatL In Codex Bologna we met it as the hieroglyph of the name of the white TezcaUipocay who there personates the Maize Go^ In Sahagun Ce eecatl is mentioned as a sign of the magicians,^ chiefly perhaps because the day Chicunaui itzcuintliy '9 Dog,' belongs to the thirteen-group, beginning with ' 1 Wind,' this day being one of the chief days of the magicians. In a later section of this book, the fifth, on the other side of the manuscript, we shall have to speak of an old god, who, like the god of our Fej6rvAry Sheet 6, is pictured in Codex Borgia with white hair and beard, but consisting of heron feathers (cf. below, Figs. 169, 170). He also holds in his hand a ^^^m^ :•.;:••.. v///////<r I Vjiiiio'^L Fig. 50a. * canastillo de copale bianco refinado.' Codex Mendoza 38, si. 50&. * pellas de copale para refinar, ennieltas las pellas en hojas de palmas.' Codex Mendoza 38, 85 ; 39, 88. 50c. Codex Laud 25, 26 (Kingsborough Notation). 60d. Codex Fej^rvdry 20 ( = Kingsborough 25). 60«. Codex Laud 26 (Kingsborough Notation). >» j> »j a staff, but one bent in the form of a heron's head and neck; and we shall have to identify him with the god of Chicomoztoc, with the white cloud-snake Iztac Mixcouatl, the patriarch of the tribes and father of QuetzalcouatL With this god, who is figured as a priest with the tobacco calabash (yetecomatl) on his back, or holding in his hand the tobacco or incense-pouch made of the skin of a jaguar's foot, we shall doubtless have to class the god of our Sheet 6, distinguished by the name Ce eecatl. For this god also has the white hair made of feathers and the white beard. The staff tied round with white-fringed cloth is certainly a homologue of the white heron staff. And with this god also we see the incense-pouch made of the skin of a jaguar's foot, the copal, and the white heron feathers. This Iztac Mixcouatl is identified on the one hand with CitlaUatonaCy God of the Starry Sky, of the Milky Way, of the Zenith. But on the other there can scarcely be a doubt that we have to class him with the old God of Procreation, Tonacatecutliy lord of food supplies, who again, in a sense, coincides with the old god Ueueteotl, the Fire God, but is also in a sense regarded as the Maize God, maize being ^ ToneUamaU of the Aubin collection, p. 66. of side B of the manuscript. ^ Book IV. chap. xxxi. ' TonalamcUl of the Aubin collection, p. 116. Cf. also what I state below, pp. 159-161, with the old god at section v. A Changed List of Gimrdiana of the Five Regions of the World. 63 in fact the chief alimeDtary substance. This god has his abode in the uppermost thirteenth heaven. Hence he represents the upper region less doubtfully than any of the other mythical beings. And, as will be seen further on, the numerical groups also make it evident that here, in the god denoted as Ce eccatl, ' 1 Wind,' it was intended to represent the deity of the thirteenth heaven. On the following two sheets, 7 and 8, of our manuscript, which, on my hypothesis, must correspond to the South, the chief figures are a god and a goddess. On the first sheet we see a god on a jaguar-skin seat, below which is ^ain spread a mat, the mark of royal state. He is painted yellow, but on body and limbs further decorated with jewelled disks, wears the jewelled fillet of the Sun God with the conventional bird's head on the frontal side, and is enclosed before V Fig. r.2. XochipiUi. Symhol uf the Xochiiktiill, the Feast kept on the Day thicomx xoAill, ' 7 Flower.' Fig. 61. XochipUli. (Pictorinl Codex of the Florentine Codex Laud 16 (KiDgsborough Notation). Biblioteca Nazionale.) and behind by two flowers. As his hieroglyph, beside him stands the day Ce xochitl, ' 1 Flower,' and also further on the dates Ce cipactli, '1 Crocodile,' and Ckicunaui eecatl, '9 Wind.' Facing him, seated on another mat, is an old goddess in white attire, and beside her, as her hieroglyph, stands the day Ce qv.iau.itl, ' 1 Bain.' Between the two, on the mat occupied by the goddess, is seen the burnt-offering. This, however, is here erected on a seat covered by a j^uar-skin, and is not a simple bundle of wood, but looks like a very lai^e flower bound up with bark paper and surmounted with the usual rubber ball. This god is sumptuously, regally equipped, deco- rated on his body with jewels, enclosed by flowers, distinguished hieroglyphically by the sign ' 1 Flower,' and also faced by the burnt-offering built up m the shape of a flower. Hence he can naturally be no other than the god whom in Codex Laud. Sheet 16 (Kingsborough notation), we like- wise saw seated under a flowering tree on a rug, but one made of jaguar-skin (Fig. 51). He was the god whom the Mexicans honoured on the day chicome xochitl, ' 7 Flower," and on the day Ce xochitl, ' 1 Flower,' the xochilhuitl, the ' Flower Feast,' and whom they represented in the disguise of a bird 64 The Night Side of the Maouscript. with variegated plum^e and comb-shaped feather crest (Fig. 52), and holding a rod with a heart {yoUo-topilli) in his hand. With him they associated all things floral, or pertaining to the decorative aide of life — colour and art, music and dance, superabundance of food supplies, wealth, kingly state, gaiety, pleasure, sport, wantonness, and indulgence in sexual excesses, venereal diseases, and the like. Hence also on the Uei teev/Uhuiil, the ' Feast of the Great Lords,' the eighth of the eighteen annual feasts, he was carried about on a Utter decorated with flowers and maize (Fig. 53), as XockipiUi, ' Flower Prince,' or Tlofopilli, ' Noble Prince.' ' On Sheet 8 of our manuscript with this god is associated as his consort a goddess who, like some others following on the next sheets, is decorated with white enagua ornamented with a jewelled Fig. 53. XoehipUli. Picture of the Eighth Annual Feast J7«t UcuUkuUl. (Pictorial Codex of the Florentine Biblloteca Nazionale.) disk, a white tippet-like quechquem/itl, and a frontal band painted the colour of the chalchiv/iii jewel, ending on both sides with a jewelled rosette. But, as a special distinction, she shows a chain of gems which hangs down from the rosette attached to the loins, the so-called euiUatezcatl, the ' back mirror.' To all this is added a feather headdress, which terminates in two long bands with tassels. This style of ornament points to the goddess Xockiquetzal, the Goddess of Flowers, patroness of female artistic work, tutelar goddess of the twentieth day-sign {xochitl, ' Flower'), and of the nine- teenth week. In the Calendars she is usually represented with two feather bunches on her head, and often with a cipactli's jaws as helmet-mask (Fig. 54). It is noteworthy that before the mouth of this goddess, and with her alone in the whole series of Sheets 5-14, is shown the little tongue, ' MS. Biblioteca Nazionile, Florence, f. 3S. A Changed List of Guardians of the Five Regions of the World. 65 symbol of discourse, and that to this little toi^e is superadded a lai^e, decorated tongue, formed as if of breath and feathers. We must look upon this, as well as the lai^e ornamental tongue before the mouth of the musiciaos on Sheet 4 of Codex Borbooicus (Fig. 55), and the similar one in the hieroglyph of the city of CwicaUan (Fig. 66), as symbols of soi^, and assume that here Xockiqvstzal is thought of as goddess of song, as patroness of musicians and dancers. In point of fact, a dancer (masked dancer ?) is seen with the picture of this goddess figured on Sheet 62 of Codex Borgia ( = Eii^borough 53), where she is the symbol of the nineteenth week of the Tonalamatl. At the side of this goddess on Sheet 8 of our manuscript is shown the day Ce atl, ' 1 Water,* as hien^lyph of her name, and further, the two dates Ce cuetzpaZin, ' I Lizard,' and Ge cipactli, ' 1 Crocodile.' The latter date, which is also shown as a second date with the male god. on the adjoin- ii^ Sheet 7, is the hieroglyph of the heavenly couple, Tonacatecutli, Tonacaoiwiii, ' the Lord and Pig. 56, cutcotl, 'Song.' Codex Borbonicua 4. Fig. 54. Xochiqiutial. Fig. 66. Hieroglyph of Cvicallan. Codex Borgia (=Kii]gsbon)ugh 03). Codex Mendoza 45. 11. Lady of food supplies,' the two gods of procreation, and we know that by the interpreters TcmacacivAiU is universally identified with Xockiqiietzal, or plainly depicted as Xochiquetzal. Ce cttetzpalin, ' 1 Lizard,' is the fourth of the twenty day-signs, the sign of Ueiiecoyotl, the old Coyote, who is the god of music and feastings, and in Codex Borbonicus is pictured swinging the rattle and facing a musician. This also,' as we have seen, accords with the character of our goddess. Lastly, the first date, Ce atl, ' 1 Water,' is the symbol of war, as will be more fully explained in another place farther on. Here it seems to be introduced because Xochigtietzal is the associate of the warriors, the patroness of the maqui, the ' entremetidas,' of those joining the ranks, that is, of the courtesans who accompanied the bachelor warriors to the field,' and were their companions in the telpochcaUi (young warriors' house). In Codex Bor^a, and the correspondii^ part of Vatican B, with XockiqTietzal, Lady of the ' Torqnemada, Uonarqnia indjaiia, x. chap. xxxt. Of. T(niatamiUt of the Aabin coll«ction, p. 119. 66 The Night Side of the Manuscript. twentieth day-sign, is figured the old goddess, Tonacatecutli's associate, as the first woman busy at the grinding-stone. Here in our manuscript we see the same old goddess, shown, not indeed with Xochiqvstzal herself, but with her associate, the XochipiUi of Sheet 7 ; she is distinguished by the date Ce quiauitly ' 1 Rain,' the eighteenth sign, which is properly the sign of the goddess ChanticOy who, however, is undoubtedly nearly related to Xochiquetzal. The burnt-oflfering, which is pictured with the goddess of Sheet 8, has a peculiar appearance. It seems to consist entirely of liquid caoutchouc, or some other inflammable, resinous substance, and a jug of water is pouring out over the rubber ball, which here also, as on the other sheets, is shown on top of the pile of wood. It is not quite clear to me what kind of special relation is meant to be expressed by this motive. Nor do I quite understand the meaning of all the objects which are further to be seen under the groups of numerals on both Sheets 7 and 8. Some seem intended to represent flowers, others feathers. Thus here on both of these sheets, which on my assumption must correspond with the southern cardinal point, we find depicted the god XochipiUi^ god of flowers and revelry, together with the goddess Xochiquetzal, who is of a kindred nature. This is a deviation in contrast with the parallel series of Codex Bologna, but is otherwise intelligible, because for the Mexicans the South was the Tierra Caliente, the land of flowers — xiUaminacan huitztlan hmtznahuaUalpan amilpan Q^ochitlalpan, ' ye shall shoot in the South, in the land of the watered fields ' — as we read at the beginning of the fragment which has been preserved by the Anales de Quauhtitlan. And, again, in a later passage, aTnilpampa xochitlolpan^ * Land of the watered fields, land of the flowers,' occurs alone to indicate the cardinal point of the South. We cannot identify quite so confidently the deities who are pictured on both of the following sheets of our manuscript, which on my assumption must correspond to the West. On Sheet 9 is again seen a god with the general aspect of the Sun God or of the Maize God, with body and face painted yellow, and holding the bone knife in his hand. On his head the god wears a peculiar attribute — a figure painted half red, half white — which, however, I am unable to explain. As the hieroglyph of his name, beside him is shown the day Chicome colli, ' 7 House,' and with it the addi- tional dates, Matlactli omei xochitl, ' 13 Flower,' and Chicvmaui eecatl, ' 9 Wind.' The burnt-offering has the form of an ordinary bundle of firewood, with the rubber ball on top. As determining and chief date is doubtless to be taken the day Chicome colli, ' 7 House,' which stands immediately beside the figure, and this is the seventh day of the thirteenth week of the ToTialamatl, whose tutelar deity is the old Earth Goddess Tla^lteotL Hence one might conjecture that the god figured on this sheet is intended for the male counterpart of Tla^olteotl, the CinteoU mentioned in the description of the Mexican Ochpaniztli feast, the son of Teteo innan or TUigolteotl Although I cannot reject this conjecture, I still think that for the explanation of this figure in this place something else comes also into consideration, and this is supplied by the day Chicome colli, * 7 House.' As Sahagun tells us in his ninth book, this day, like the corresponding day Ce colli, ' 1 House,' was regarded by the traders as the propitious day for the homeword jov/mey. When the traders returned from their expeditions they entered their house, not by day, but by night And for this they waited for a favourable omen. Such was considered one of the two specified dsi,yB — quihtouoyo co ye ic cencoloqni in icococouh in tloqne nouaque in tlolticpaque iyoualli in ehecotl — ' they said that along with it A Changed List of Guardians of the Five Regions of the World. 67 into the house went the gift of the god, the Lord of the Earth who is Night and Wind/ ' decian que . las cosas que traian entraban en casa de tal manera que alii habian de perseverar por ser cosas de Dios.' ^ Obviously, in the idea of returning on the day-sign ' 1 ' or * 7 House,' the chief part was played by the notion of the house as something closed, secured. And the return was made by night because the merchandise was brought secretly into the house, and because ' night * and ' house ' were equivalent concepts, as is clearly expressed in the name of the third day-sign.^ Thus here also is pictured the god distinguished by the name Chicome colli, since this very sheet, like the following, represents the region of the West, the dark House of the Earth, into which the Sun enters in the evening. What is thus yielded by the analysis of the day figured with the god on Sheet 9 seems to be likewise confirmed with the goddess of the following (tenth) sheet. The outward aspect of this goddess is somewhat similar to that of the Xochiquetzal of Sheet 8 ; only the head-dress lacks the two long bands ending in tassels. From the disk attached to the loins hangs down a band of simple design. And we also miss the decorated tongue before her mouth, which, as we have seen, symbolises with Xochiquetzal, the song, music, and dance, whose patroness she is. As hieroglyph of her name, with this goddess of the tenth sheet is shown the day yei cuetzpalin, * 3 Lizard.' This is the third day of the eighteenth week of the Tonalamatl, whose patroness is the goddess Chantico, the Goddess of Fire, the goddess of Xochimilco. We should perhaps assume that this goddess is here intended to be represented. For it seems that three, the number of the hearthstone {tenamaztli '), must also .have been contained in the names of the days which served as the days of the Fire God, as the hieroglyph of his name. Thus in Codex Telleriano Remensis Yei itzcuintli, the third day of the twentieth week, whose patron is the Fire God, is expressly mentioned as the feast or the name of this god. And so Yei cuetzpalin, ' 3 Lizard,' the third day of the week beginning with ce eecatl, * 1 Wind,' whose patroness is Chantico, Goddess of Fire, must similarly be the feast and the name of this goddess. . If this be so, the picture of this goddess finds its appropriate place here on these sheets, which are meant to symbolise the West. For Chantico is, in fact, called ' in the House.' And, as reported by Duran, her idol was kept shut up in the TliUan, the ' Place of Blackness,' an imlit, dark house. In conclusion, this ' shut up in the house ' was, in point of fact, also symbblised in Codex Bologna with the two goddesses who are there represented in the West ; for TUxfolteotl is the ' Heart of the Earth,' * the dark interior of the Earth,' while the Moon is the ' Hidden in the Shell,' and is likened to the snail, because he does not shine with full brightness like the sun, or because he has his phases, and only at the time of full moon emerges entirely out of his shell. Hence we saw the snail pictured in Codex Bologna on both sheets of the West as the initial of one series of day-signs. But if ' shut up in the house,' ' hidden in the house,' is really the concept intended to be expressed by the figure of the deities pictured on Sheets 9 and 10 of our manuscript, then we may also perhaps understand the smaller objects which are further depicted on these sheets below, or else beside the ^ Sahagun ix. chap. vi. 3 Tonalamatl of the Aubin collection, p. 10. 3 Cf. tenamaztin * piedras sobre que ponen la olla al fuego ' und ' tres criaturas nacidas juntas de un vientre ' (Diccionario de Molina)— ^ tmac in XiuhtetUli in HuehueteoU xiquiUalican inpicucque eyntin MixcocUl Tozpan Ihuitl in totoca in Unama/zlli quitemo — * put it in the hand of the Fire God, of the old God, that it be kept by the three, MixcocUl, Tozpan, luiU they are called, they who sought the hearthstone ' (Anales de Quauhtitlan). 68 The Night Side of the Manuscript. groups of numerals. These evidently represent a little bag which is tied up, and to which is attached, as a determinant, a blue disk, a jewelled disk. Obviously this can scarcely mean anything else but valuables carefully looked after — a bag of jewels. Now the next two sheets of our manuscript must be meant to place before the observer the North and its divinities. Here we see in reversed order a female deity on the first sheet, a male on the second, the first being in her coloration, design, and equipment somewhat similar to the two previously described goddesses, Xochiquetzal and Chantico, But her enagua and her quechquemitl are red. And on her cheek is seen, as a distinctive mark, a small rectangular field painted in two Colours, red and white. This mark, which indicates a maize-field, or the facial painting of the Maize God, is shown on the clay effigies of the god of Teotitlan del Camino,^ in Codex Borgia with the pictures of this same god, who is to be identified as XochipUli, and also with Tonacatecutli and with the Maize God, in Codex Bologna exclusively on the face of the latter. For all three specified deities are in a sense Maize Gods, and are plainly indicated as Cinteotl. Hence we must also accordingly infer that this goddess of Sheet 11 of our manuscript is just intended to personate the Maize Qoddess, And indeed with this view the red robe is in accord ; for red is the characteristic colour of the Maize Goddess. With red features and red garb she is everywhere depicted in the Mexican pictorial writings proper, and traces of a red pigment can almost always be detected on the stone images representing this goddess. With her is shown, as hieroglyph of her name, the day Ce olin, ' 1 Rolling Motion.' This is the thirteenth of the twenty day-signs, and has decidedly nothing to do with the Maize Groddess. I believe that this sign has here been placed with reference to the neighbouring figure, the god of the following Sheet 12. For this is the same half-blue, half-red god whom we have already come across in Codex Bologna 24 (cf. above, p. 61), where beside him stands this very sign Ce olin, and whom I therefore considered we should identify as Xolotl, god of the game of ball, god of twins and monstrosities, twin brother of QuetzalcouatL Here on Sheet 12 of our manuscript he is still more clearly distinguished as QuetzalcovxiiVa twin brother, consequently as Xolotl, by QaetzaUouatCa half- blue, half-red, wedge-shaped cap, the Huaxtec copilli, and by QuetzalcovMVs implements of mortifica- tion, the bone dagger and the agave-leaf spike inserted beside it. In other respects he too wears the jewelled fillet with the conventional bird's head on his brow, like most of the remaining male deities of this series. With him is shown, as hieroglyph of his name, not the day Ce olin itself, but the day Chicvmaui cotuitl, * 9 Snake,' the ninth day of the thirteen-group beginning the sign Ce olin, that is, the most powerful magic day of this week. For the days composed with 'nine' are in truth all favourable to the magicians, as we are told by Sahagun. Beside it are further seen the days Chicome cuetzpalin, ' 7 Lizard,' Chicome eecatl, ' 7 Wind,' and Chicvmaui acatl, ' 9 Reed.' The first is perhaps a parallel with Ce cuetzpalin, ' 1 Lizard,' the feast-day of the god UeuecoyotL Chicome eecatl is the seventh day of the sixteenth week beginning with Ce cozcaquauhtli, * 1 King Vulture,' this week standing like the seventeenth day-sign, under the protection of XoloU, and being represented by him.* Chicunaui acatl I have already above mentioned as the day of the goddess Tlafolteotl. ^ Cf. Seler, Wandmalereien von Mltla. Berlin, 1895. Plate xiii. ^ TonalamcUl of the Aubin collection, pp. 108-112, A Changed List of Guardians of the Five Regions of the World. 69 Where Xolotl is introduced in the Tonalamatl as patron of the sixteenth week, beside him is figured the Tlalchi tonatiuh, the ' Noar-the-earth Sun,' the sun entering the chasm of the earth. Perhaps to this has reference the earth's throat which we see here figured just below the burnt- offering of his female associate pictured on Sheet 11, and that beside it is repeated the tied-up bf^ with the determinant ' Jewel ' which we met on the two previous sheets as the expression of the concepts which were to be explained by the western quarter, the dark house of the earth. But possibly also, and this is even more probable, the jaws of earth stand here, as in the right section of Sheet 1, to iadicate the interior of the earth, the realm of the dead, the North, On Sheet 12 of our manuscript, beside Xolotl himself, are further to be seen a turquoise disk on a carved wooden stool under a kind of lid of the same material, a large chalchiuitl and a string of jewels. This is perhaps meant to indicate the costly objects which constituted the stakes and the winnings at Fig. 57. The Bed and the Black TactUlipoca in the Tennis Court. Codex Borgia 21 ( = Eiugsborough 18). the game of which this god was patron. With the bumt-offerii^ pictured close by, the rubber ball is not surmounted, as with the other figures, by a quetzal feather, but by a green bail, a jewel balL Possibly this also has reference to the game of ball which, as I have shown in the description of the corresponding section of the Tonalamatl, constituted the special function of this deity. The Maize Goddess we also found assigned to the North in the series of the nine lords. But in the parallel series of C3odex Borgia Xolotl stands in directly reversed order beside the Bain God in the southern quarter. This striking discrepancy we shall have to exphiin by the fact that Xdoil is precisely the God of the NoHk and the South ^mt as TezcaUipoca is of the tlacoch- catcall and of the uitznauacatl of the warriors m the North temple and in the South temple,' For Xolotl the two-coloured, the 'Double,' must after all have been nothing more, or explained as nothing more, than the Tlatlauhqui and Tayauhqui Tezcatlipoca, the red and the black god whom we saw on the beautiful Sheet 21 of Codex Boi^a [ = Kingsborough 18] throwing the rubber ball in the tennis court. > Ver{lfrentlichDi]g«D aus dem Kgl. Muieum fiir Viilkerkunde, vol. vj. (Berlin, 1899), pp. 128, 129. 70 The Night Side of the U&nuscript. On the last two sheets of this series, 13 and 14 of our maDuscript, which must correspond with the East, we meet a pair of new figures. On Sheet 13 is seen a god with dark (bla^k) complexion, who besides a large white patch on his nose, has a quincunx of five dots on the aide of his face, and arrests attention by a fiery yellow wig with three lambent disk-shaped locks above his forehead, ending in white disks, and a white headband set with small shells. In one hand this god holds a throwing-stick, in the other shield and hand-flag. With him, as the hieroglyph of his name, ia shown the day, Naui acatl, ' 4 Reed.' Here the burnt-offering stands on a high steep pjTamid, and the rubber or resinous ball surmounting it has no quetzal-feather attachment. Three other bundles of firewood, each with a rubber ball also without quetzal feathers, are further pictured by its side. Fig. 66. TlauuealpanUeiitli, Deity of the Planet Veniu. Codex Borgiu 1 9 ( = Kingaborough 20). The dark colour of his body and the quincunx of white spots on his face, together with the three lambent locks above his forehead enable us to recognise this god as one of the two forms in which THE DEITT OF THE PLANET Venus, Ttauizcalpan teoutli, appears in the pictorial writings. I adduce for comparison {Fig. 58) the picture of this god from the upper half of Sheet 19 of Codex Boi^a ( = Kingsborough 20), and with it I give in Fig. 59 a drawing of the face of this personi^e, as it must have looked from the front view. We see that with the figure of Sheet 13 of our manuscript the quincunx of white dots, which with the figure of Codex Borgia could be clearly seen only in a front view, is already shown in the profile, but that the artist has left in its place the white dot on the nose, which with the Codex Borgia figure occupies a central place in the quincunx. That the figure of Codex Borgia (Fig. 58) really denotes the deity of the planet Venus I have already shown in my essay on the Venus periods in the pictorial writings of the Codex Borgia group.' I have there pointed out that this quincunx of white dots appears to represent the hieroglyph of the planet Venus which Fcirstemann has discovered in the Maya manuscripts (cf. Figs. 60-62). Where the five consecutive Venus periods are represented in the picture-writings,' we see the deity of this star with throwing-stick > Verbuidluiigen der Berliaer ADthropologiichen Geselbchafl, 16th J«lj 1S9$ (Zeitach rift fur Ethuologie, vol. xix. pp. 346-383). « CodexBorgia53, 54( = KiiigBborongh62, 61); Vntic»nui B 80-84 ( = Kingsborough 17-13); Codex Bologna 9-11. A Changed List of Giurdiftna of the Five Regions of the World. 71 and bundle of spears in his hand, or else with the spear poised on the stick in the act of throwing. And in fact of him also it is said in the Anales de Qiiauhtitlan that : — auk yn iuk quimatia yn iquac huaJme^iuh yn tleyn ypan tonalii cecentlamantin ynpan miyotia, qv/inmina qv,intlakuUia — ' and as they (the old people, the forefathers) were informed when he (the star) shines out, according to each sign in which he (rises), he strikes various classes of people with his ra3'8, throws his light on them.' Therefore we see the god of Sheet 13 of our manuscript here also figured with the throwing- stick in his hand. For the same reason, the other form of the planet Venus deity, the one where he is figured with a deep-black, halfmasklike painting edged with Uttle white circles about his eye, represents the God perhaps as the Morning Star. This form is also everywhere identified with the god of the hunt and of the hunting tribes, the Mixcouatl and the Tlaxcaltec god Cavnaxtli, since these gods, too. Fig. 60. Hieroglyph of Venus. Dresden Maya Manuscript 46- &0. Fig. 61. Hieroglyph of Venus, in Celestial Shields of tlie Dresden Manuscript. Fig. &9. Facial Painting of TlattueaipanUeuUi, Deity of the Planet Venos. Fig. 62. Hieroglyph of Venua. Copan. Altar R. combine the same deep-black, halfmasklike punting edged with little white circles round the eye. with white, or else white and red striped body and face painting. Nay more, this identity of the Morning Star with the god of the hunt may even still be verified amongst the few tribes who have preserved the old heathen traditions. Tabatsi, ' our elder brother,' is the name of the Morning Star amongst the Cora people. This is the same word as the Huichol word TaToats, which in this tribe, who are akin to the Coras, is current as the name of a god who is undoubtedly the God of the Morning Star, although regarded as the patron of the hunt.* Hence the date Naui acatl, ' 4 Reed,' which here on Sheet 13 of our manuscript stands beside the head of the god as the hieroglyph of his name, might also be referred to the Morning Star, as the spear-throwing, the shooting god. For Naui acatl, ' 4 Reed,' may also be understood in the sense of ' all kinds of darts,* just as Naui olin, ' 4 Rolling Motion,' stands as symbol of the Sun God evidently for ' all kinds of rolling motion,' and Kaai aU, as symbol of the epoch of the deluge, certainly stands for 'nothing but water.' In Xaui acatl, however, yet another relation may be ' Cf. my Report on ' The Hnichol Indiana of the State of Jaliaoo in Mexico ' (Mittheilnngen der Anthropologiachen Gesell- ■chaft, Vienna, I90I, part iif.). 72 The Night Side of the Manuscript. contained. From the Annals of Chimalpain we know that this was the day on which the new fire was kindled by the drill.^ But in the myths the pre-eminent fire-driller, fire-twirler, is always Mixccmatl, who, as I have pointed out, has the colour and the face painting of the Morning Star, and anyhow is fundamentally identical with that god. That this relation is here implied, that the god of Sheet 13 of our manuscript was intended to be represented as the Fire-twirler, the god of the fire feast, who kindled many and great fires,^ seems to me plainly indicated by the three burnt-offerings, the bundle of firewood surmounted by the rubber ball, which, besides the large burnt-ofi'ering, are further pictured on the left side of the sheet. In the lay to Macuilxochitl, nineteenth of the ' Cantares que decian k honra de los dioses en los temples y fuera dellos,' preserved in the Sahagun manuscript, the fourth strophe runs : — Tezcatzonco moyolcan ayyaquetl yya tochi In the temple of the Pulque God the Rabbit has come to life qui yocuxquia noteuh my God created it niquiya Uagaz niquiya maTnaliz I will bring it down (the fire-drill), I will drill it (the fire) mixcoatepetl colhoacan on the mountain of Mixcoatl in Colhuacan. The Commentator explains : — TezcatzoTico moyolcan q. n. — T. m., that is tezcatzonco, oyul, in tochtli ynic yaz — in the temple of the Pulque God the Rabbit has become alive, so that it goes about oquiyocvAC, oquipic, y noteuh — it has made it (that is), it has created it, my God. oquito — he spoke : nictlofaz nicmaTnaZiz, in mixcoatepetl colhoacan I will bring it down, I will drill it on the mountain of Mixcoatl in Colhuacan id eat, nictopevaz — that is to say, I will make fire. Thus in this strophe, and again in greater detail in the following strophe, the fire-drilling, the fire-twirling, is brought into association with pulque, the freshly made intoxicating drink, with which the feast is to be solemnised. For tochtli, the rabbit, he is the pulque, or the pulque intoxication the Pulque God. And it is evident enough that with the fire-drill begins the feast, and the feast ^ 8 aeatl =A,T}. 1487 (the first year of the reign of AuitzoU when the newly built temple was dedicated) : — auh ytlemamcUque yn tlectMhuUl quitlazque, Mexica yn ypan cemilhuitlapokucUli nahui aecUl 'and the Mexicans drilled fire, brought down the firewood on the day 4 Reed'; — 2 acatl=A,J>. 1507: — ypan in tosciuhmolpili HuixachteccUl yn ycpac hvjttz tUcucUiuitl . . . huel icpctc in HuixachtecatepeU Ytztapalapan . . . tlemamalque ypan cemilhuitonaili nahui a^atl * that was the beginning of the new period. On the HuixachtecaU the firewood came down. On the mountain HxUxachttcaU (by) Ytztapaiapan , . . they drilled the fire on the day 4 Reed.' ^ Cf. Historia de los Mexicanoe por sns pinturas (Garcia Icazbalceta, Nueva Ck>leccion de Documentos para la Historia de Mexico, Tomo III.) — '. . . y en el segundo afto despues del diluvio, que era ouMtl [i.e. in the year oTne acatl, <2 Reed'] Tezcatlipoca dej6 el nombre y se le mud6 en Mixcoatl, . . . y quizo en este afio hacer fiesta k los dioses, y para eso sac6 lumbre de los palos que lo acostumbran sacar, y fud el principio de saoar fuego de los pedemales, que son unos palos que tienen cora9on y sacado el fuego, fu^ la fiesta hazer muchos y grandes fuegos.' A Changed Liat of Guardiajia of the Five Regions of the World. 73 can only be kept when the material is there, when a sufficient quantity of the intoxicating drink is ready, as this alone can bring about the proper frame of mind. The same association is here also implied on Sheets 13, 14 of our manuscript. For the Morning Star of Sheet 13, who, as we have seen, is the Mixcouatl, hence also the fire-driller, is associated on Sheet 14 with a god whom I must explain as the Pvlque God ; ' for his face is two-coloured, black and white, Uke that of all pulque gods. But he has another Huaztec article of dress, the copiUi, QuetzcUcouatl'B two-coloured wedge-shaped cap, exactly like the Pulque God, who is shown on Sheet 90 of Codex Yaticanus B ( = Kingsborough 7) as representative of the twelfth day-sign malinalli (Fig. 63). And like him also, and Uke the corresponding figures of Codex Borgia 13 ( = Kingsborough 26) and Vatican B 31 ( = Kingsborough 79), Figs. 64, 65, he wears a fillet, which shows as an ornament a human head on the frontal side. The breast ornament also, consisting of Fig. 63. The Pulque God. Fig. 64. PatetaU, llie Pulque God. Codes Vaticanus B 90 Codex fior^ 13 ( = Kingsborough 7). ( = Kingsborough 26). ( = a stone knife, is common both to the god of our Fej^rvdry sheet and the Pulque God (Fig. 63) of Sheet 90 of Codex Vaticanus B. As a speciaUty is here also to be noted with the god of our manuscript, the large tongue consisting of nocturnal darkness, and set with eyes (stars), this tongue being no doubt intended to symbolise the obscure confused speech, the muddled intellect of the toper. In his hand this god holds bone dagger and agave-leaf spike, the implements of blood-letting, of mortification, QuetzalcouaWa set of instruments, but which here — perhaps — symbolise the 'sharp' pulque. As the hieroglyph of his name, with him is shown the day Naui cipactli, ' 4 Crocodile,' which is the fourth of the tenth thirteen-group (beginning with c.e tecpatl, ' 1 Flint '), the week of the Death God. On my hypothesis Sheets 13 and 14 of out manuscript are intended to denote the East. This will now be found justified, since on the first of these two sheets the deity of the planet Venus is figured as the chief deity. But that the Pulque God is shown in this quarter may also be allowed to pass, when it is known that the Pulque God belongs to the twilight hours, that beside him are ' Ct. TonaJamatl ot the Aubin collection, pp. ST -90. 74 The Night Side of the Manuscript. in most places to be seen the half-sun and the half-night, the gloaming, the symbol of the parting of day and night Nor is perhaps the idea to be altogether excluded that the locating of these gods on the Atlantic coast, in the Huaxtec country, has also had its influence in introducing them here in the East Now I have still to deal with the numeral series which stand below the personages on Sheets 5-14 of our manuscript As I have already stated, they are written, like those of the parallel series of Codex Boigia, in the Maya style, and also composed in a similar way, but not like them every- where. Moreover, here in the Fejervary are lacking the small groups distributed to the four comers, and uniformly in all four, groups which in Codex Bologna we had to distinguish from the chief groups. Subjoined I give a juxtaposition of these numerals, as they are inscribed on our sheets : — Codex Fejervary Sheet 5 . . . • 10. 11 + 10. 11 + 11 . 11 1 • 1 10. 5+10- 5+10- 5 1 ,, 6 . . . 8 . 8+ 8 . 8+8-8 =3x(10 13) 1 8. 6 „ 4 ... { 10. 11 + 10. 11 + 10. 11 + 11 } .. J< . . . 10. 10+10. lC + 10. 10 .. 9 . . . •{ 9 . 9+ 9 . [2-8+7+2 8+9-7 - 8+7+3 . 8] } = 3x(9-8)+[9-8-2] ,. 10 . . . 9 . 8+ 9 . 8+9.8 „ 11 11 . 11 + 11 . 11 + 11 . 11 ., 12 . . . 11 . 11 + 11 . 11 + 11 - 11 ..13 9- 7+9. 7+97 „ 14 . 9. 7+9. 7+9.7 The numeral group given on Sheets 5-7, beside the magician TezccUlipoca and Xochipilli, is like the one which in the parallel series of Codex Bologna is shown beside the two-coloured Tezcatlipoca, who is indicated by the hieroglyph of the name of the Morning Star, i. j. the date Ce cLcatl, ' 1 Reed.' The group 2x(10.11)+ll'll is remarkable, and it might in fact be conjectured that this sum, which amounts to 341, has some definite meaning. We shall feel all the more inclined to make this assumption, since the 341 stands here with the first god of the series, the Wizard, while the other god also with whom the same number is given is brought into direct connection with witchcraft, if not in his own person, still in that of the female figure corresponding to him and associated with him. What I above advanced as somewhat pertinent, viz. that the 341 might be taken as the number of days, less 13. which make up twelve synodic months, is after all not very satisfactory. There is perhaps more to say for another hypothesis. In a paper on the planet Venus, which unfortunately is not yet published. Father Motolinia holds that for the Indians the Tonalamatl of 260 days signified the time that the planet Yenus was visible in the sky as the Evening Star (in eastern elongation), and that as Morning Star (in western elongation) it remains 273 days above the horizon, which together A Changed List of Guardians of the Five Regions of the World. 75 makes a period of 533 days.^ Here 273 and 533 are doubtless to be corrected to 243 and 503. For, in point of fact, with us 243 are as a rule taken as the duration of its visibility as the Morning Star. Then, on Motolinia's assumption that TonoZama^^-duration and visibility period as Evening Star coincide, there would be left 81 days for the time of the planet's invisibility in the lower and upper conjunction; and this also is not very far from the reality, since with us about -89 to 92 days are to be calculated for this period.- Now 341 is 260 + 81, hence denotes the time when no Morning Star is visible, when the Tlauizcalpan tecutli remains in the evening sky or else is not visible at all. If the Morning Star be the symbol of daybreak, then this number would denote the opposite. The 11-11, which in the parallel series of Codex Borgia we met with the red Tezcatlipoca personating the Sun God, is here shown with the gods of the North, with the Maize Goddess, and the two-coloured god of twins and of ball-playing. I there assumed that the sum 3 x (11-11) or 363 might be considered as a number approximating to the real length of the solar year. But the subject here depicted is not very favourable to this view. An apparent deviation is shown by the numeral groups which appear with the old god on Sheet 6 of our manuscript. But it is easily seen that by the lowest row of 8-6 the 3x(8-8) are increased to 3 x (10-8), and that then the 3 x(10-5)+3x (10-8) yield a sum of 3 x (1013), composed in quite a similar way to the groups of the other sheets. Hence here the essential determining number is the thirteen, and this is presumably given in order to indicate the god dwelling in the uppermost thirteenth heaven, the old God of Procreation and Creation, the source of life. With the Xochiquetzal of Sheet 8, which still belongs to the South, the even number ten makes its appearance ; and this is followed by the even number eight with the two personages on the sheets of the West, Sheets 9 and 10. For the sum 9-9 + 9-8+9-7 is doubtless to be resolved into 3x(9-8). The numbers seen below, consisting only of rows of dots, seem to have been added afterwards. Even numbers (eight and six) we met also with the goddesses, who in the parallel series of Codex Bologna represent the West. For this there must be some special reason, although I have no idea what line of thought was here followed. Lastly, we have in the East in our manuscript three series of 9-7 — the same series that we met in Codex Borgia on the sheets of the South with Tlaloc and XoloU. I have there assumed a relation to the Maize Goddess, and to the significance of the number seven as foretelling wealth and abundance. Such a notion, however, will scarcely be suggested by the figures of our manuscript. ^ Chavtro in the Analea del Musto Nacional de Mixico, ii. p. 343. ^ Cf. C. Forstemann, ErUiuterungen zur Maya-Handsohrift der Konigliohen offentlichen Bibliothek zu Dresden, pp. 66, 67. Dresden, 1886. 76 The Night Side of the Manuscript. IV. Death by Witchcraft and other Deaths. Sheets 15-18 ( = Kingsborough 30-27). On the preceding sheets we met a series of ten figures of gods, lords of the night, who are assigned to the five quarters of the world in a peculiar way, in a sequence opposed to the normaL At their head we found a god whom, from his aspect and because he bore the date Ge raiquiztli, * 1 Death/ as the hieroglyph of his name, we had to indicate as a Magic God ; and we saw him accompanied by a series made up of spider, scorpion, winged insect, snake in the hole, jaguar in the mountain cave, thorny growths and cactus. These I was inclined to look upon as symbols of the tzitzimime, those peculiar forms which were originally constellations, but for the Mexicans had become demons of the night, of the devouring darkness. Lastly, we were able with some probability to show, with respect to the numerical series lO-11 + lO-ll + ll-ll given with this god and with the third of the series, as well as with the second god of the parallel series of Codex Bologna, that these numbers indicated the time when no Morning Star was visible in the sky, when the god shone in the evening twilight^ when he consequently denoted the approaching darkness — nightfall. From all this it results that this series had a foreboding significance, that it was intended to introduce the lords of night, the guardians of the five quarters, as the patrons of witchcraft and of nightly practices. And here the large numeral series appear to be mainly nothing more than copies of astronomic picture-writings, which, embodying a dark mystic lore accessible to few and by few understood, must naturally have been regarded as specially potent in witchcraft. Hence it cannot be surprising that the parallel series of Codex Bologna on the last sheets is plainly an illustration of the sign viiquiztli, * Death.' With this corresponds the fact that in our manuscript, where we do not find the series of day-signs (see above, p. 56) which include the sign rriiquiztli, 'Death,' there at once follow a number of sheets, which give direct expression to the various kinds of death in figures and symbols. As, however, these sheets are to be taken as in a measure a continuation, a supplement, or elucidation of the preceding, here also to the figures and symbols are added similar groups of numerals written in the Maya style, sometimes filling the whole sheet, and even suggesting the idea whether they may not be meant to exhibit the main substance of these sheets. On the first sheet of this series. Sheet 15 of our manuscript, at the top is given the date ce itzcuintli, '1 Dog.* But the dog is not pictured in full figure, or shown as a head, but merely suggested by the ear, which is painted a red colour, and drawn with yellow, mangled, upper edge, i.e. the torn lip of a wound, hence intended to be figured as a cropped ear, one the tip of which is torn or cut off, a treatment which the Mexicans appear to have practised with their dogs. The dog is the tenth in the series of the day-signs, and in Codex Borgia 13 and at the corre- sponding places of Vatican B is symbolised by the picture of the Death God accompanied by the figure of a sick person, a body tied up in a bundle above an open throat of the earth, and a stack of firewood with a paper flag, emblems of cremation. We shall venture to assume that also on Sheet 15 of our manuscript the date Ce itzcuintli is meant to denote death, all the more since the same notion is awakened by the cross shown beside it and formed with cross-bones, a symbol also current amongst the Mexicans, and by the bunch of white feathers, a familiar sacri- Deatii by Witchcraft and other Deaths. 77 ficial decoration. But it is probably not merely deatb alone that is here intended to be repre- sented. As suggested by the figures pictured on the left border of the sheet, here death by witchcraft is meant For these objects — a heart between two dogs, one dead, the other gnashing his teeth — may be plainly indicated as hierM;lyphs for teyoUoqualiztli, 'to eat one's heart,' that is, death through witchcraft; for the dog is the biting animal. In the Maya tongues from the same root {chi, tz'i) have been evolved the words for ' to bite ' and ' dog.' And in fact, on Sheet 2 of Codex Vaticanus A, the teyolloqualoyan, 'where one's heart is devoured,' one of the nine Fig.ee. ' Where banners wave.' ' Where people are shot with arrows.' Teyolloqualoyan, 'Where one's heart ia eaten.' (Three of the Nine Places in the Underworld.) Fig. 67. Muuniiy-p«ck prepared for Dead Warriors, and Sacrificial Papers. Codex Vaticanus A, ¥'\^. S. Manuscript in the Florentine Biblioteca Nazionale, Sheet 60. regions of the underworld (cf. Fig. 66), is indicated in precisely the same way, by the picture of a heart and a dog's head. Corresponding with this notion there follow on Sheet 16 a number of figures and day- characters, which presumably are collectively to be regarded as the pictures or the hieroglyphs of the names of gods proficient in magic and practising the art. The turkey is the emblem of Tezcatlipoca, and by the interpreters is expressly described as such.^ Ome tochtli, '2 Rabbit,' is one of the names of the Pulque God, who would seem in a special way to indicate the teix- cuepani, the conjurer who acts by suggestion, the m^ician who generates delusive and frightful forms, hallucinations, and visions. Ce xochitl, ' 1 Flower,' Chicome xochitl, ' 7 Flower,' are the signs of Xochipilli and of Xochiquetzal, the goddess skilled in art and in art lore, and therefore also in magic lore, facing whom, in the Tonalamatl, are depicted the night animals or the dancing wizard.* Chicome colli, ' 7 House,' was met above on Sheet 9 as the hieroglyphic name > Codex Telleriano RemenaiB, f. 30 verBo( = Eingsborough ii. 26). < TonalamaU of the Anbin colloctioii, p. 121. 78 The Night Side of the Manuscript. of one of the two deities assigned to the region of the West. It is the seventh day of the thirteenth week, whose mistress is the old £arth Goddess, patroness of physicians and sooth- sayers, of the maize-corn strewers, of the knotters of threads, and other consulters of the fates.* On these two sheets now follows on Sheet 17 a second pair of illustrations. On the right side is seen a group which again brings unmistakably before our eyes the image of death — above the open jaws of earth a corpse bundled up. and corded round, and surmounted by an artificial head, whose eyes however are closed. Beside it papers tied up at several places, just like the papers which on Sheet 60 of the pictorial document of the Florentine Biblioteca Nazionale are seen spread before the false mummy-pack set up for the commemorative feast of the dead (Fig. 67), and in the way they are tied round seem to simulate the vertebral column of a skeleton. But a dart is seen flying at the mummy-pack here figured on Sheet 17 of our manuscript. And above it is shown the date ce ail, ' 1 Water.* The flying dart denotes the temiTninaliztli, the * shooting with arrows,' which corresponds to the temiminaloyan — the second of the three of the nine places of the underworld reproduced above at Fig. 66. And Ce ail, ' 1 Water,' ninth of the twenty day-signs, denotes atl tlachinolli, * Water (spear-throwing) and Conflagrations,* i.e. war; hence in the pictorial document it is explained by the image of the Fire God, and of Tlauizcalpan tecwtli, the Morning Star, who faces the Fire God, and is the symbol of the eastern quarter, of the abode of the warriors fallen in battle or slain on the sacrificial stone.^ Thus the whole group here figured on the right side of Sheet 17 denotes death in war. In full agreement with this we see figured on the left side of this sheet the old Earth Goddess Teteo innan, * Mother of the Gods,* or Tlagolteotl, the ' Goddess of Dirt.' She is pictured as a naked woman, with the half-crescent-shaped, Huaxtec, nasal ornament (yacametztli)^ with the fillet of unspun cotton (ichcaxochitl), with the strands of the same material in her ear, and with two spindles in her hair. In her hand she grasps a red dragon, and what is a remarkable parallelism with the Walpurgis-night witches, she rides on a broom, the handle of which is wrapped in paper and sprinkled with drops of blood. Here also beside the goddess is to be seen the date Chicimawi acatl, '9 Reed,' which is mentioned in Sahagun* as her sign, and which we also found given with the Tlagolteotl of Codex Bologna 26. By Duran Teteo innan is called ' madre de la discordia,* that is. Mother of Strife. Doubtless from the fact that the fertilising of the fields with human blood was the chief incentive to human sacrifice, while the material for human sacrifices was obtained by war, the Earth Goddess presents herself to the Mexicans in war- like form. In the legends she is the first who made captives in war. In the Tonalamatl she is pictured with spear and shield in her right hand, and with her left presenting a fettered captive to the god in jaguar form.* On her feast she was honoured with war games. With such games the wretched woman was cheered up, who, as personating the goddess, was to be immolated to her.* Wherever the goddess appears, she is always preceded by a combat. And the special form of the sacrifice to the Earth Goddess is a tlacdcali, a ' vanquishing of the people,' a temiminaliztli, a 'shooting with darts.* The very day which here and in other places ^ SahagUD i. chap. viii. Cf. Verofifentlichungen aus dem Konigl. Museum fur Volkerkunde, vol. vi. p. 30. Berlio, 1900. ^ Cf. TonalamcUl of the Aubin collection, pp. 71-82. ' Book iv. chap. xx. * Tonalamatl of the Aubin collection, p. 51. ' Sahagun i. chap. viii. Death by Witchcraft and other Deaths. 79 occurs as the hieroglyph of her name, is the ninth day of the ninth week, when the gods of the day atl, the Fire God and the Morning Star, the gods of war, are potent. Lastly, this form of the Earth Goddess was considered as the chieftain of the iniociuaquetzqMS, the women dying in child- birth, the female counterparts of the warriors fallen in battle or slain on the sacrificial stone. With the Mexicans death in war meant to be slain as a sacrifice to the gods. For all the wars which were waged by them had for their object far less the killing of the enemy, or putting them hora de combat, than the capturing of prisoners, who could be sacrificed to the ever-bloodthirsty gods. Hence here also beside the goddess we see figured, not the deadly implements of war, but a series of objects, all of which, apparently, symbolise various kinds of human sacrifice. First, above comes the snake, which means ' casting alive to the flames ' ; below it the heart, i,e. cutting open the breast and tearing the heart out ; then the tangled cord, presumably the entangling in nets, as was practised by the Matlatzincas ; then the stone knife, the cutting up or quartering the body into five pieces, as was customary with traitors to their country ; lastly, the flower, perhaps the victim's blood generally. The following sheet (18) places before our eyes the king of the realm of the dead himself, Mict- lantecutli, and with him the third kind of death, by sickness. The god is figured as a skeleton, with a human hand in his ear, and with paper flags, i,e, the decoration of corpses and funeral piles. In his right hand he holds a club in the act of striking. At his left arm hang spear-bundle, shield, and hand-flag, while the left band itself holds a blazing fire in a handle. As king (tecutli = tldtovuni, * Speaker ') he is shown with the little tongue of discourse before his mouth. But here this object takes the form of fire or smoke, and shield, darts, and teeth are attached to the margin. Beside the god, as the hieroglyph of his name, stands the day Naui caMi, * 4 House," which here presumably denotes ' house on all sides,' * shut in on all sides,* — the opochquiauayoean, atU calocan, the place where all doors shut on the left, i,e, the wrong way, the land whence no paths lead to human abodes.^ In accordance with this, on the left half of the same sheet, we see figured the date chicunaui cipactli, ' 9 Crocodile.' In Codex Bologna 27 this sign stands, as her hieroglyphic name, beside Mictecacivxitl, Queen of the Underworld, Consort of the Lord of the Dead, who dwells with him in the Cidcunaui mictlan, the ninth, the deepest, Hades, the very place whither those dying of sickness go to their eternal rest. With the numeral series, which are introduced on these sheets below the figures and symbols, it is made still more evident than with those of the preceding sheets that they are mere arithmetic jugglery, destitute of any real significance. They occupy the largest space on the first two sheets, 15 and 16, where they fill nearly the whole surface. With sheets such as these, which symbolise death through sorcery, it was manifestly indispensable to endow them with a specially erudite, a specially occult character. Subjoined I give a tabulated survey of the numerals that can be determined on these sheets : — Codex Fej^rviry Sheet 15 . 5+6+7+8+9 10. 11 + 10. 11 + 10. 11 10. 13 + 10. 13+10. 13 10. U + 10 . 14+10. 14 * Sahagun iii., Appendix, chap. i. The Night Side of the Manuscript. Codex Fej6rvilry Sheet 16 Sheet IV right „ 17 left . „ 18 riglit, „ 18 left . 5 5 2 • 6+3- 7+4 . 8+5 21 + 18+19 9 -9 + 10. 10 9- 13+10 10 22+14+8- 10 9- 10+4 16+4 14 9+6 . 10+7 11+8 12+9 -13 + 10 14 nil nil im nil nil ini niiiiini Fig. 63. Codex Lniid 26 (Kingsborough Notation). On Sheet 16 the topmost 5 5 is doubtless to be decomposed into 1 5 + 4 5, and the numerals then arranged in the following two series : — 1 6 + 2 6 + 3 . 7 + 4 - 8 + 5 9 + 6 - 10 + 7 11 + 8 12 + 9 13+10 14 18+19 + 20 + 21. Thus the last three rows of Sheet 15 and the first row of Sheet 16 end with the number 14, that is 2 - 7 ; the second row of Sheet 16 in 21, that is 3 7 ; and the row of Sheet 15 yields 35, that is 5 7. On the right side of Sheet 17, which symbolised the warrior's death, we have the number 9 9, which in Codex Bologna stood beside the Yayauhqui Tezcatlipoca personating the Stone Knife God. On the left aide of Sheet 17, which shows the picture of a female deity, Tla^olteotl, Death by Witchcraft and other Deaths. 81 the essential number is again even, the number 12. Similarly, on the left side of Sheet 18, which shows the hieroglyphic nante of the female half of the rulers of the underworld, the distinctive numbers are even : 10, 16, 14, and the multiplier, 4. In the suras a law can nowhere be detected. As we were able to show in Codex Bologna a parallel for Sheets 5-14 of our manuscript, so also for the just-described Sheets 15-18 we have a parallel in another manuscript, one, however, which becomes intelligible only by a comparison with these just-described sheets, This is Codei Laud 26, 25 (Kii^borough notation), which, as ® 0«© f is easily recognised by a closer inspec- tion, exhibits the same three kinds of death in a summary form. Thus the first sheet (cf. Fig 68) shows in the upper half the sign ce itzcuintli, ' 1 Dog,' which means 'death,' and is here depicted even in the same way as on the first sheet (15) of the parallel series of our manuscript. Be- side it is seen the large and distinct picture of a dog, which here stands for the two dogs with the heart be- tween them, i.e. for the teyoUoqualiztli, for witchcraft, or death by witchcraft. Below and facing it are figured the gods who practise magic. On the left is the turltey, who is the sym^ipl of Tezcatlipoca ; and on the right an old goddess, who beside and above her head displays the date Chicuei ma^atl, ' 8 Deer' The deer is not indicated by the figure or the head of this animal, but only by his foot with its cloven hoof. Ckicuei magatl is the eighth of the fourth week beginning with Ce xochitl, ' 1 Flower,' and like the sign Ce xockitl itself, doubtless denotes the goddess Xockiquetzal, whom on Sheet 16 of our manuscript we found indicated by the two dates Ce xockitl and Chicome xockitl. Perhaps the flower also, which is seen before the turkey on the Codex Laud sheet (Fig. 68), is by an added ' one ' to be connected with the date Ce xochitl. The old goddess is piercing her ear with a bone dagger, and the blood flows on to a burnt-oftering, a stack of firewood with the rubber ball tsontemoc, which falls 'with head downwards' into a cave formed by the jaws of Earth. From this cave a track leads out, ending just at the date Ckicuei magatl, '8 Deer,' the name of the goddess. This goddess is thereby doubtless indiciited as she who comes up out of the earth, or else who comes out of the West, the Tamoiinckan, the house of descent. 111! III! Ilil lilt Fig. 69. Codex Lftud 2& (Einesborough Notation). 82 The Night Side of the Manuscript. Now if this upper half of Sheet 26 of Codex Laud (Fig. 68) agrees completely with the contents of Sheets 15, 16 of our manuscript, that is, with what the figures and symbols on these two sheets are meant to denote, the date Ce atl, ' 1 Water,* in the lower half of the same sheet, 26 of Codex Laud, gives in a nutshell what Sheet 17 of our manuscript sets forth in two separate repre- sentations. For this date, the ninth of the twenty day-signs in point of fact indicates, as we have seen, ail tlachiTiolli, ' Water (spear-throwing) and Conflagration,* i.e. war, consequently also death by war, the warrior's death, the sacrificial death. But then the second sheet, 25 (Kingsborough notation) of Codex Laud, Fig. 69, also indicates, though by quite a differently arranged exposition, the same notion that is expressed on the two halves of Sheet 18 of our manuscript. Here are figured, not the lords of the underworld, of the region to which those go who die of maladies, but the funeral pile on which the bodies of the departed are cremated. And as after the burning of the body the priests conducting the service quench the glowing heat by pouring out water from jugs,^ so here too we see a goddess, indicated by the accompanying hieroglyph as Chicuei atl, * 8 Water,* quenching the fierce heat of the funeral pile with water from a jug. That this goddess is identical with Chantico, Goddess of Fire, is shown by the same day-sign, * 8 Water,* which belongs to the eighteenth week, over which Chantico presides. Of numerals only a few series are here given. To the first picture, that of death by sorcery, the first row, 8 x 10, of the sheet at Fig. 68 should doubtless be referred ; to the second picture, that of death in war, the second row of the same sheet, 9 x 10. With the third representation. Fig. 69, we have again 8 x 10, but above it is further inscribed 5 x 10, perhaps by a later hand. Here the ten obviously dominates, this number being, indeed, also employed on all the sheets in the parallel series of our manuscript. I consider it quite possible that this application has its motive in the fact that the t€7ith sign (itzcuintU, ' Dog*) is the sign of death. V. The Gods of Pleasure. Sheets 19-22 ( = Kingsborough 26-23). On this A side of the folded strip, occupied with the paintings of our manuscript, there still remain the four last-pictured sheets, which obviously form a coherent representation, and regarding which there is an a priori probability that from the nature of their contents they will form a con- secutive series with the preceding sheets. For they also are, for the most part, inscribed with numerals written in the Maya manner. And here too are to be seen structures consisting of a bundle of firewood and a rubber or copal ball, such as on the preceding sheets we found indicative of the fire blazing up in honour of the Guardians of the Night. But, whereas even on the very last of the preceding series at least individual personages were still depicted in full figure, here, on the ' Sahaguii iii., Ap|>«iidix, chap. i. The GodB of Pleasure. 83 contrary, beside certain symbols nothing is any longer given except dates, which are intended to express the names of certain deities in hieroglyphic form. On the first, the nineteenth, sheet stands the date Macuil xochitl, * 5 Flower,' about the meaning of which there is absolutely no doubt. It indicates the remarkable god whom the Mexicans also called Auiatl, and who for them was the god of merriment, of feasts, 6f sports, but also of sexual acts and sexual excesses. The next sheet (20) is divided by a longitudinal line into two halves.. In the right half, going from right to left, are seen the following objects :— 1. The date Ge acatly * 1 Reed,* the hieroglyph of the Morning Star. 2. The date Ome tochtli, * 2 Rabbit/ which yields the name of a Pulque God, and is at the same time the name of the conductor of the temple music. 3. The sign quiauitl, ' Rain,' below which lies a cross. I might suppose that the latter stands for the number four, so that we should have to read the two taken together, as Naui quiauitl, *4 Rain.' This is a date which belongs to the same week, ce cozcaquauhtli, '1 King Vulture,' to which also belongs the day macuU xochitl, * 5 Flower,' and which precisely denotes the day preceding the day macuil xochitL On the left half of Sheet 20 are inscribed in the top row, going from right to left, five dates as under : — 1. MacuU xochitl, ' 5 Flower,' the name of the God of Pleasure, 2. Ce cipactli, *1 Crocodile,* which is the sign of the gods of procreation, the lords of life, Tovucatecutli, Tona^aciuatL But this sign we have also met above, on Sheets 7, 8 of our Tnanuscript, with the gods Ce xochitl, Xochiquetzal, It is well known that by the interpreters the goddess XochiqiLetzal is very generally identified with Tonacaciuath 3. The cipher one in combination with an eye thrust out of its socket. This I think is a some- what rare representation of the sign Ce mxilinaUi, * one twisted * (gouged out ?), referable, perhaps, to some occult processes. And in fact, in this group of manuscripts a lower jaw occurs in combination with such an eye thrust out of its socket, as denoting the sign rnalinaUi. Ce malinaUi is the initial sign of one of the five weeks to which belong the gods who are named from a day composed with the number ' five ' — the gods of feasts, of the dance and music, of merry-making generally, gods whose prototype is Ma^uU xochitl. 4. The cipher one combined with a deer's antlers. This must doubtless denote the date Ce magatl, *1 Deer.' The day-sign 'Deer* is Tlaloc's sign, and this indeed presumably, because for the priestly theorists Tlaloc was the god of the fiery rain, of one of the four prehistoric ages.^ But Ce magatl is also the first of the five days which form the first of the third quarter assigned to the West in the TonaZarruitl disposed in columns of five members. Hence these were regarded as the days when the CiuateteS, the ghostly women, the cortege of the Earth Goddess, the souls of women dying in childbirth, who dwell in the West, in the ciuatlampa, and swoop down on the earth, striking children with epilepsy, and beguiling men to deeds of lust and sin. Ce magatl is at the same time the first of the week to which belongs the day Ome tochtli, '2 Babbit,' the chief symbol of the Pulque Ood. ^ On this see TonalamcUl of the Aubin oollection, p. 63. 84 The Night Side of the Manuscript. 5. Ce ail, * 1 Water/ The sign ail is the sign of the Fire God and of the Morning Star, since ail means not only water, but also spear-throwing, and that perhaps in its original sense, hence is the symbol of the War God and his associates. We have above met the date Ce atl on Sheet 8 of our manuscript, but also with XochiquetzaL The following sheet (21) likewise contains two special groups, although here the scribe has omitted to mark the division by a line. In the first half we find the just-described date Ce mafatl, * 1 Deer * ; on the left apparently again the date Ce cipactli, * 1 Crocodile.' The last sheet (22) is also divided lengthwise into two halves. On the right side stands the date Ce cuetzpalin, ' 1 Lizard.' The day-sign Lizard is the symbol of Ueuecoyotl, the old Coyote, the Dance God. But ce cuetzpcdin is also, like ce xochitl, ce malinalli, ce cozcaqvxivJttli, ce tochtli, the initial day of one of the weeks to which belong the gods of feasts and of merry-making generally, who are indicated by the number five and a day-sign, i.e, Macuil xochitl and his boon companions. Lastly, on the left half of the same sheet is again given, although somewhat smudged, still clearly enough, the date ce cipactli, * 1 Crocodile,' the symbol of the divine couple Tonacatecutli'Tonacaciuatl and of the goddess XochiquetzaL Thus the most prominent figures that we find indicated on these four sheets are Macuil xochitl, the God of Pleasure; Ce a^atl, the Morning Star; OTne tochtli, the Pulque God; Ce cipactli ( = 7Vna- caciuatl), Goddess of Procreation ; Ce mofatl, a name which presumably here denotes the women, the Ciuateted ; Ce atl, perhaps here standing for the goddess Xochiquetzal, who is known as the patroness of the courtesans; and lastly, Ce malinalli and Ce cuetzpalin, by whom presumably are meant Macuil xochiiVs associates. Thus we are here dealing with a series of deities whose special signifi- cance is still partly obscure, who perhaps stand in some relation to astronomic forms, but are here obviously meant for tutelar deities of nightly feastings and nightly revels nay, even of nightly excesses. Of any further symbols that might perhaps serve to clear up obscure points but few are extant. On the first sheet with Macuil xochitl we meet turkey, heart, and flower, and a few others which I do not venture to explain with certainty. Similarly I would refrain from a decision respecting the figures which are further seen beside the specified dates on the left side of Sheet 20. On the right half of Sheet 21, beside ce nia^tl, we may detect a siream of water descending from above. It is certainly uncoloured, but still in outline closely resembles the water pouring out from the jug on Sheet 8 of our manuscript. Lastly, on the right half of Sheet 22 is seen on the left side an ornament which reproduces the swallow-tail-like ends of Xipes loin-cloth, besides trees, water, and what looks like water-drops falUng. Lastly, in most of the sections we find depicted in a dish a burnt-oflFering consisting of bundles of firewood and rubber or copal balls. On Sheet 19 we see the flames shooting up from this object. Differently from what we observed in the preceding series, in the last five sections, a copal ball instead of a rubber ball surmounts the structure. In both halves of Sheet 22 the bumt-oflering is set upside down in the vessel, and above each of them is seen an animal, apparently a dog and a frog, with open breast, from which blood gushes over the burnt-oflering. I here subjoin a juxtaposition of the numerals inscribed on these sheets: — The Gods of Plraeiire. Codex Fej^rvary Sheet 19, upper half. 19, lower „ 20, right „ 20, left 21, right „ 21. left 22, right „ 22, left 3 X (10 6) 1«0 13x(l 5) + 16- 276 22 X (4 5) 440 3x(4 5) 60 2x(4 5) + 9- 49 3x(4 5) + 12- 72 4. 5 + 16 36 2x(4 5> + 16. 66 From the separate numerical groups 1 have been uuahle to extract any meaning. The sum yields the number 1169, which is exactly a double Venus period, with one over. I have, however, no idea whether we have here merely an accidental t^reement, or whether this Q approximation corresponds with some actual relation. Hitherto I have not yet found any direct parallel to this remarkable and obscure series, but for comparison is certainly to be adduced the representa- tion which is presented on Sheet 3 (Kingsborough notation) of the closely related Codex Laud (Fig. 70). Here is seen an upright throat of the earth, to which is attached the date ce oceloil, ' 1 J^uar,' or perhaps only a jaguar's ear, as with the serpentine helmet-mask of the Water Goddess (cf. above, p. 37). To this throat of the earth a rubber ball is being presented by a personage who cannot be quite confidently identified, at least from the reproduction in Kingsborough, but is doubtless meant for T&icatli'poca. And above him is seen a man with a dart stuck in his eye, who is perhaps to be likened to the Kinchil Coba of the Chilam Balam books, i.e. the Maya god Itzamnd. Alongside of this whole group stand four dates, each accompanied by a bundle of firewood and a numeral written in the Maya way, which are to be read upwards : — Codex Laud 3 (Kingsborough Notetion). 1. Ghicunaui acatl, ' 9 Reed " (bundle of firewood), 2. Ckicaei acatl, ' 8 Reed ' 3. MacuH xochitl, ' 5 Flower ' „ 4. Ce avail. ' 1 Reed ' 26 S5 Tlie Ni^t Side of the JUnuscript. Thus ve hare here the ccnxibiiuitioii of MocvlU xochitt, God of Feasts, and Ce aratl, deitr of the H<frmnf^ Star, aad beside him the hi^xp^d jph of the goddess vho is speeiallj indicated as TlatolteoiL (j'Mldem of Dirt, and TUu^wini, the Eater of Filth, the Sinner; we have the bundles of firewood, j^ymbol c^ the fire flaming up to the lords of night, and we have the numerals written in the Mava way, though certainly much smaller. But here on Sheet 3 of Codex Laud a relation to astronomic conditions seems clearer, for Ce a/xitl is the Morning Star, and above, in Codex Bologna, we have already recognised Chicvuti a/xUl as the hieroglyph or name of the Moon Groddess. It might, no doubt, be supposed that here the moon stands simply as companion of Tla^teotl, with whom it in in fact frequently pictured in the form of a familiar symbol, which will be more fully described below. But the moon has still a natural and original significance of its own. For the other two dates, one of which denotes Macuil xochitl, God of Pleasure, the other chicunau i €trnU^ a familiar name of the old Earth Goddess Tdeoinnan, already met scTeral times above, certainly no astronomic relation has hitherto been pointed out. Still it is but probable that an astronomic significMice was attributed to them, and especially to Maeuil xochitl. And this for two reasons : first, because we have to assume almost positively that both of these deities came from the Atl^itic side of Mexico, perhaps from the seaboard itself; and further, because the special centre particularly of the ctdt of McuniU xochitl, the region inhabited by the descendants of Xelhua. appears to have been the district of Tehuacan, Cozcatlan, and Teotitlan del camino, which are known as seats of astronomic lore, and also at the same time as chief centres of the worship paid to the Morning Star.^ For the numerals given with these dates or deities I have again no particular clues u> offer Their sum, 83 multiplied by seven, gives 581, of which, however, I can make nothing, ami must here again conf^ my ignorance > Cf. 8eler, Wa;ndmaUreien, z<m MiOa, p. 35. Berlin, 1895. B. The Day Side of the Manuscript. I. The Four Times Five Guardians of the Venus Periods. Sheets 23-29 ( = Kingsborough 22-16). Upper Halves. With Sheet 22 we reached the end of one side of the folded strip which is covered with the paintings of our manuscript. As we have seen, this side was entirely devoted to the Guardians of the Night, or of nocturnal practices. The other side of the strip, with which Sheet 23 now begins, should be directed towards the bright side of existence, should be occupied with the powers who operate by day, and are to be considered in connection with the norraal conditions of human activities. As a matter of fact, the very first series of representations which we here meet on the upper halves of the strip, and which extend to seven consecutive sheets, is devoted to the orb which ushers in the day, the morning, to the Morning Star. Of the Mexican (Aztec) tribes settled on the frontiers of the Zapotecs and Mixtecs in Tehuacan, Cozcatlan, Teotitlan del camino, the Augustinian monk, P. Gerdnimo Ramon y Zamora, relates that they held the Morning Star in great honour, and kept careful records of its appearances. ' Such accurate account did they keep of the day when it appeared and when it set, that they never erred' [y tan gran cuenta tenian con el dia que aparecia y quando se escondia, que nunca erravan].^ The length of the Toncdamatly the period of 260 days, which was the foundation and starting-point of the whole astrological science of the Mexicans, is determined by this writer as the time during which the planet Venus is visible in the sky as the Evening Star.* A similar statement occurs in a chapter devoted to this planet which is introduced in a manu- script that belonged to the late Joaquin Garcia Icazbalceta, at the end of the first part of P. Motolinia*s Hiatoria? and from which Pater Ramon presumably took his materials. What these historians are able to state regarding the accuracy with which the ancient ^ Fr. Jerdnimo Ranion y Zamora. Repilblicas de las Indias, Idolatrias y Gobiemo en el M<^xico y Peiii (1575), book i. chap. XV. (Colecciou de librns raros 6 curiosos que tratan de America. Tome xiv. Madrid, 1897, vol. i. p. 170.) * lUid. book I. chap. x. (1. c. vol. i. p. 128). ^ Anales del Museo Nacional de Mexico, ii. p. 339. 88 The Day Side of the Manuscript. Mexicans observed the appearance and reappearance of the planet Venus has recently found a surprising confirmation in Forstemann's investigation of the Maya manuscript in the Dresden Royal Public Library. As Forstemann pointed out in his commentaries on this document, published in the year 1886, on the remarkable Sheelis 46-60, the apparent course of Venus, which comprises 584 days (exactly 583 days 22 hours), is represented five times over, and indeed each time divided into 90, 250, 8, and 236 days. On each of the sheets these 90, 250, 8, and 236 days are given partly by days which are named after the Tonalamatl system, and which have these intervals between them, partly by uinaZ (so-called monthly) dates, and lastly by series of ciphers which proceed at these intervals. Similarly, in a treatise published in the year 1898,^ I have shown that this same period of 584 days lies at the foundation of a number of various representations which are in like manner repeated in the Codex Borgia group of manuscripts. In the number of 584 days, comprising the apparent course of Venus, the Tonalamatl of 260 days is contained twice, with 64 days over. From this it results that when one Venus period begins on the first of the 20 day-signs, the initials of the following periods fall on the fifth, ninth, thirteenth, seventeenth signs, and the initial day of the sixth Venus period is again named with the same sign as that of the first. Only the cipher combined with the sign changes. In other words, only five of the twenty signs forming the foundation of the Tonalainatl coincide with the initial days of the consecutive Venus periods. This important fact seems to me at once to explain the well-known arrangement of the Tonalamatl in columns of five signs each. We see this arrangement fully carried out in the Tonalam^atly with which Codex Borgia, Vatican B, and Codex Bologna all begin in the same way. And it is implicitly presented on many other sheets of the Codex Borgia group, and with the great majority of the representations in the Maya documents. But this important fact explains above all hovi jive consecutive Venus periods were grasped as one unit, as happens on Sheets 46-50 of the Dresden manuscript. And in the face of this fact, it must to some extent be regarded merely as a coincidence that this epoch of five Venus periods was also exactly equal to eight solar years, each solar year being reckoned as 365 days. And if on the same sheets, 46-50 of the Dresden document, this epoch of five Venus periods is repeated thirteen times, this also is quite consistent, and in my opinion solely to be explained by the system of day-naming as presented by the Tonalamatl, The great epoch which was thus obtained, and comprised the 13 X 5 Venus periods, had this property, that after its expiration the Venus period again took the same sign and the same cipher. This great epoch thus essentially corresponded to the cycle of 52 solar years, which possessed the same property. And it is again to some extent to be regarded merely as a coincidence that this cycle of 13x5 Venus periods was likewise equal to 13x8 or 2x52 solar years. An epoch of five Venus periods, if not fully calculated, is still clearly indicated on Sheet 25 ( = Kingsborough 14) of Codex Borgia, and on Sheet 70 ( = Kingsborough 27) of Vatican B. In the four comers of the sheet we see pictured four large figures of deities, and beside them the twenty ^ * Die VeDUsperiocle in den Bilderschriften der C<)dex Borgia-Gruppe. ' Verhandlungen der Berliner An thropologischen GesellBchaft. Meeting of 16th July 1898. [Zeitsohrift fiir Ethnologie, vol. xxx. pp. 34G-383.] The Four Times Fire Guardians of the Venus Periods. day-signs disposed in a peculiar way, by which ia prescribed a reTolving movement in the opposite direction to that of the dial hand. In the centre of the sheet is shown on a large scale, and enframed in a special four-cornered space, the seventh day-sign oUn, ' Rolling Uotion,' and beside it twice five dots, which together represent the cipher ten. MadacUi olin, ' 10 Motion,' is the very Fig. 71. Deity of the Planet Venus. Fig. 78. Deity of the Pkinet Venns, Codex Vaticanus B 80 ( = Kingsborough 17). Codei Boigia 63 ( = Kingsborough 62). Fig. 73. Deity of the Planet Venna. Codex Bologna 9. day with which the fifth 584-day period must begin, when the first began with the initial day of the ToncdoTnatl, i.e, ce cipactli, ' 1 Crocodile.' On the other hand, the great Venus period, which comprises 13 x 5 periods of 584 days, is inscribed on Sheets 53, 54 ( = Kingsborough 62, 61) of Codei Borgia, 80-84 { = Kingsborough 17-13) of Vatican B, and 9-11 of Codex Bologna. Here the deity of the Evening Star is figured in five aections 90 The Day Side of the Manuscript. in a more or less uniform way, in fact hurling the spear against a deity who changes in the five sections. Each of the sections is surrounded on two sides by the day-signs cipactli, * Crocodile/ couatl, * Snake/ atl, * Water/ acatl, * Reed/ olin, ' Motion/ the initial signs of the consecutive Venus periods, which being repeated thirteen times, and combined with the ciphers 1-13, indicate the initials of the 13 X 5 periods of the great Venus cycle (cf. Figs. 71-73). Moreover, in each section are shown the three day-signs which lead from one of the five initial signs to the following. For instance, at Fig. 71, in the first section, are the signs eecatl, 'Wind,* calli, * House,' imetzpalin, 'Lizard,' which lie between cijpactli, the initial sign of the first, and couatl, the initial sign of the second period. . For the just-described two representations of the five and of the 13x5 Venus periods, there occurs no parallel in our Codex Fej6rv&ry manuscript. But the twenty pictures which are presented in the upper halves of Sheets 23-29, and to which correspond Sheets 15, 16, and the upper halves of Sheet 17 ( = Kingsborough 24-22) in Codex Borgia, and the upper halves of Sheets 39-42 ( = Kings- borough 81-90) in Vatican B, are unquestionably also devoted to the representation of Venus periods. This is inferred with certainty from the fact that under these pictures the signs dpacUiy couatl, atl, acatly olin, the initial signs of the consecutive Venus periods, recur in regular sequence, always combined by three dots, which give the number of the intervening signs. But it is not merely 5, nor even 13x5 periods that are here exhibited by these signs, but 4 x 5, or 20, hence a higher unity in another (the normal) sense, which corresponds in fact to the vigesimal numeral system current amongst these tribes. The periods themselves are not symbolised, as with the above-described presentation of the great cycle, by pictures of the god of the Morning or Evening Star, repeated in a more or less uniform manner, but, like the first-described representation of the five periods, by various deities, whom we have accordingly in a way to regard as guardians of the consecutive periods, and at the same time as guardians of the five regions of the world. But these guardians are not figured with throwing-stick and spear, as if 'shooting,' as are figured the deity of the Morning Star itself, and the guardians of the first four periods shown on Sheet 25 of Codex Borgia, and 70 of Vatican B, but, as is obvious, exclusively functioning as priests. In the first row of five pictures are seen the gods with a bone sharpened, at one end, a bone dagger, gouging out the eye, in Codex Borgia, of a naked human figure standing before them with closed lids, in Vatican B and in our manuscript of a human head, which in Vatican B is also shown with closed lids, but in our manuscript with open eye. As I have already pointed out in one of my first essays,^ this is a symbol of priestly mortification, of mutilations and blood-letting, the offering of blood, which among the Mexicans and the other Central American peoples was one of the com- monest religious functions, and indispensable as a preparation for all serious business. That the eye-gouging had this meaning is clearly shown by the groups of Figs. 74, 75, which in Codex Borgia 10, as also in Vatican B 93, are depicted beside Chalchiuhtotolin, ruler of the eighteenth day-sign, and show us the priest in an enclosure of plaited rushes, with a pointed bone gouging out his own eye. That is to say, to these groups of Figs. 74, 75 corresponds Fig. 76 on Sheet 64 ( = Kingsborough 1 Verhandlungen der Berliner Anthropologischen Gesellschaft, 19th March 1887 (Zeitschrift fiir Ethnologie, xix. p. 232). The Four Times Five Ouardiana of the Venue Periods. 91 61) of Codex Borgia, and Fig. 77 in Codex Telleriano Remensis (f. 21 recto = King8borough, part ii. Lam. 27), which ia there to be seen beside the same OhalchiuktotoUn, ruler of the seventeenth week, and flhowB us a priest with copal pouch in his right hand, and with a sharp bone piercing his ear, so that the blood streams out. And analogous, if not homologous, with this is Fig. 78, which in Codex Pig; 74. ntfoiiili, 'Mortification,' Fig. 78. nepofwrt*, Mortification. Mid chalchiuh-ati, ' the Precious Water (of Mortifioatbn).' Codei Vnticanus B 93 Codex Botpa 10 ( = Kingsborough 29). ( = Kingsborough 4). Fig. 76. dudchiuh-iiUt-atl, Fig. 77. Fig. 7B. The Penitent the PrecioQf Fluid of MortiBcation. The Penitent (monaeozfafutni). {moatnepilteqKini, foaiqwviiim).' Codex Borgiu 64 Codex Telleriano Bemenais Codex Telleriano Bemensis ( = Kingsborough 51). f. 21 recto E 9 recto (=Eing8borough ti. 27). ( = Kingsborough ii. 3). Telleriano Remensis (f. 9 recto = Kingsborough, part ii. Lam. 3) is pictured facing QuetsaicouaU, the Wind God, and exhibits the priest drawing stalks through his gashed tongue. NenacaztequiliztU, nenenepUtequiliztli, ' to gash one's ear and tongue ' ; tlaeoguixtUiztli, ^acaquixtUiztli, ' to draw rods, stalks through,' were the Mexican expressions for these religious exercises.' FigF, 74, 75 are con- ' Sahagnn, MB. Biblioteca del FaUcio. 92 ^e Day Side of the HanuBcript. cemed with adf-gtnigi'ng, and to this corresponds 77, 8elf ear-piercing. In the first five pictures with which we are here occupied, Sheets 23, 24 of our manuscript, and in the parallel places of Codex Boi^a and Vatican B, the gods are gouging the eye of another with the sharp-pointed bone. We iji^^id '/^ncs^ Fig. 79. Coden Tro I8« a. Fig. 80. Codex Tro 17* 6. Fig. 81. Codex Tro 14* <l Fig. 82i, 6. Blood. 82e, d. Knife. 82it,/. Ear. must, accordingly, infer that this is intended to indicate, not self-mortification, but the offering of the blood of another, of a foreign victim, hence a real hvman sacrijice. The two above-explained practices — self ear- and tongue-piercing, and the symbolic treatment of eye-gouging — by the gods, who perform the act on a head held in their hand, are also found repre- sented in the Maya manuscripts. In the first, Codex Tro 18* a (Fig. 79), we see the old god, the goddess, the young god, and f^ain the old god piercing their ears with a sharp obsidian knife, while the blood flows on to two leaves lying on the ground before the specified gods. And in Codex The Four Times Five Guardians of the Venus Periods. 93 Tro 17*6 (Fig. 80) the old god is again piercing his outstretched tongue with a knife, or passes a stalk through the hole in his tongue. Of the hieroglyphs which here accompany the figures, the element which I have again specially indicated at 82a denotes blood. For we see this element, for instance, in the hand of the Death God at Codex Tro 13* a, where the other gods hold in their hands the sign kan, symbol of maize, of food supplies, of prosperity. The element at Fig. 826 undoubtedly denotes the same. Fig. 82c is the picture of the stone knife, a form which has been developed from the Mexican pictures of stone knives furnished on one side with rows of teeth.^ And Fig. S2d shows a fist grasping a stone knife. Lastly, the element at Fig. 82e, / is presumably the drawing of an ear. The symbolic treatment of eye-gouging is seen in Codex Tro 14* d (Fig. 81). The hieroglyph which here illustrates the extraction of the eye I have also again reproduced at Fig. 82<7. This hieroglyph appears in Codex Tro 12* 6 as a synonym of the figure S2h, regarding which it may be shown from other passages that it is intended to symbolise the practice of gouging.^ The second five of the twenty pictures which are displayed on the upper halves of Sheets 23-29 of our manuscript, and in Codex Borgia and Vatican B, show five other gods, who, however, obviously stand in a certain relation to the first five. They are all making a gesture of offering yith their left hand, while with the right they present a small human figure, which is thought of as their emblem, as is absolutely clear, at least, in the pictures of Codex Borgia. This is undoubtedly a symbol of hiunan sacrifice proper, of the tlacamictiliztli. For it was the constant practice of the Mexicans to clothe in the garb of the god the victim immolated to him ; in other words, to sacrifice an image of the god to the god. It is more difficult to elucidate the subject dealt with in the third five pictures, which are represented on Sheets 26, 27 of our manuscript. We again see five deities, corresponding to some extent to those of the two previous groups, and before them a naked man, from or out of whose body the gods are drawing a narrow band which ends now in a jewelled ornament, now in a sun, or again in a stellar eye, a flower, or some similar motive. In our manuscript the naked child is simply squatting, or else (on the last sheet) erect, and figured in Codex Borgia (see Figs. 85, 112) in a kneeling attitude. But in Vatican B he lies with closed eyes with his back on the ground (Fig. 119), and in one (the second) of the two pictures even with open breast on the sacrificial stone (Fig. 95). Hence there can be no doubt at all that this scene also is intended to represent a human sacrifice. The narrow band drawn from or out of the naked figure's body is everywhere painted yellow. In our manuscript it is edged with straight lines, or else set with a few rough excrescences. But in Codex Borgia and Vatican B it has a wavy margin, and this, together with the yellow colour, which in Vatican B is even picked out in red, recalls the design and colour of the flayed victim's skin, in which, for instance, the god Xipe walks about. On this account, and also because in this group of five deities Xipe himself is represented, I had explained this band as a human skin, and the whole subject as the flaying of human beings, the tlacaxcipeualiztli? As, however, in Codex Borgia and in Vatican B this band is distinctly shown as coming out of the middle of the body or from below the ^ This also has already been pointed out by me in one of my first essays (Zeitschnft filr Ethnologie, xix. p. 234). ^ Zeitsohrift filr Ethnologie, xix. pp. 235, 236. 3 Zeitsohrift fiir Ethnologie, xxx. (1898), p. 360, and Globus 74, p. 299. M The Day Side of the JUnnscript. breast, and, aboTe all, because it is not a mere strip possibly of skin, but always ends in a jewelled ornament, a sun, a stellar eye, a flower, or the like, I haye again had my doubts about this inter- pretation. I have, in fact, returned to my former explanation that this subject also is meant to symbolise nothing more than the extraction of the precious jewel, of the flower, of the quetzal feather, that is, of the heart ; hence is also merely a symbolifflng of human sacrifice in general In the fourth and last group, occupying the upper haWes of Sheets 28, 29 of our manuscript, we see fiye female deities, most of whom have a naked human being at the breast — ^in Codex Borgia, in one instance, it is a fish — so that they are figured suckling or nursing. And nwrsing, that is, what is designated in the Sahagun manuscript as tladaUaqvudiztli, the nursing of the god with blood, the smearing of the idol's mouth with a dishful of sacrificial blood, as was customary in Mexico at every human sacrifice, that is what seems to me embodied in these pictures. Of the people of Tehuacan, Cozcatlan, and Teotitlan del camino Father Roman ^ tells us that on the day when the Morning Star again became visible for the first time they offered a human sacrifice, at which the king had to officiate, and that the number of victims went on increasing; that every day, as the Morning Star rose, the priests greeted him with incense-burning, while drawing blood from themselves at the very hoiir when he appeared. So likewise Sahagun^ relates that in the court of the great temple at Mexico was found a high thick column covered with a straw roof, which was called HhuicatiUan, 'within the heaven,' and on which was painted the image of the Morning Star; and that at the time when this planet rose again in the sky, captives in war were sacrificed before this column. When, therefore, on the twenty sheets which here occupy us, and reveal themselves by the associated day-signs as emblems precisely of so many Venus periods, human sacrifice is invariably displayed before the observer under four different forms, the simplest explanation we can offer is, that it was intended by human sacrifice to proclaim the entrance of the new period when the planet again became visible for the first time as the Morning Star. Just as, according to the exposition here given, the twenty pictures resolve themselves into groups of five each, so too the personages who appear in these pictures as the representatives or guardians of the Venus periods are disposed in series of five each, and in such a way that in these four series the first, second, third, foiirth, and fifth members are always related one to another. And withal we have an undoubted relation to the five regions of the world. It is not the mere five itself that is characteristic of the Venus periods, with the beginning of which, after all, only five of the twenty day-signs coincide, but the five that are disposed according to the five quarters, that is to say, the quincunx. This arrangement, : • :, is in point of fact also the essential element in the hieroglyph of the Morning Star, as it is inscribed in the Maya documents (cf. Figs. 60-62 above, p. 71), and completes the facial painting of the deity of the same orb (cf. Figs. 58, 59 above, pp. 70, 71). Hence I might have given the title of ' The Guardians of the Five Regions' juat as well to this section as to the first section on the other side of the strip. The only doubtful point is, which direction was followed, which quarter was taken first, in what order were the cardinal points supposed to follow each other. I have already had occasion several » I.e. p. 170. ' Book II., Appendix, edit Bostamante, i. p. 205. The Four Times Five Guardians of the Venus Periods. 95 times to point out that, speaking generally, there can be no question of any fixed connection between a given god and a given cardinal point Just as, for instance, the different colours appear to be by no means combined in a definite way with the different quarters, but amongst various peoples and in various documents of the same people now one now another arrangement of the colours is regarded as appropriate to the cardinal points, so also we find, according to the line of thought uppermost at the moment, the same deity in the picture-writings assigned now to one now to another quarter. I think, however, that here in these four times five presentations of the Venus periods we have to assume the same sequence as is shown on Sheet 1 of our manuscript, and with the nine lords of the night, that is to say, that we have to begin with Middle, and proceed by East to North and West, and end with the South. 1. The First Members of the Four Series. The first member of the first series, on the right side of the upper half of Sheet 23, above the sign cipactli, is not represented in our manuscript in a specially characteristic way. We see a god of a light yellow colour, with yellow hair, and a jewelled fillet adorned with a conventional bird's head on the frontal side. From his crown radiates forwards a rosette painted in red and white colours, recalling the so-called miotli, or meyotli, rosettes which are seen attached to the four comers of the large square headdress of Chicome couatl, the Mexican Maize Goddess. If all this is still but an indistinct indication, the character of the deity here depicted is none the less plainly revealed in the little tongue before the head which the god holds in his hand and is jobbing with the bone dagger. This tonguelet is seen winding from the head and ending in a maize ear. As it must be assumed, from the analogy of the figures which the gods of the second series are presenting with outstretched hand, that the heads held by the gods of the first series are their symbols, it follows that this first member of the first series must be the Maize God, Cinteotly who, in the manuscripts of the Codex Borgia group, is indeed generally represented as a male god. In point of fact the homologous figures of the parallel places, the first figure (on the right) of the lowest series on Sheet 15 of Codex Borgia, the first figure (left) in the upper half of Sheet 33 of Vatican B, show the Maize God of these documents in his characteristic form, with the yellow body and face colour, on his face the black longitudinal band bent at an a.ngle, and the maize ears and maize bloom in his hair, all exactly as I have reproduced him in Fig. 20 {swpra, p. 35) with the nine lords according to Codex Borgia 14. In the two last-mentioned manuscripts with the Maize God, the first member of the first series, is further shown a special symbol which is missing in our manuscript. This is a stone knife, from which springs a flower, that might recall the fruit of the sacrifice or else the life sprouting from the hard stone. But in the absence of parallels I cannot venture on any interpretation. The first member of the second series, which stands above the sign cipactli, on the left side of Sheet 24, is in our manuscript very like the above-described figure. The garb seems a little richer, and we miss the red rosette radiating forwards from the crown of the head. On the other hand, this figure shows on his face the black longitudinal band broken at an angle, which is the appro- priate facial painting of the Maize God of the Codex Borgia group. I look upon this, however, as 06 The Day Side of the MaouBcript. in point of fact a mistake of the artist, and here the figure has decidedly to be differently explained. In its attitude it deviates from the other figures of this series. It does not present the naked human being, its own symbol, directly with its hand, but the latter squats at the feet of the god, while a long band proceeds from its mouth, and this is grasped by the god with both hands, which also hold an obsidian sacriticial knife and a bone dagger. This baud ends in a flower and quetzal, feathers. And as with the first member of the first series, the maize ear at the end of the little tongue, before the head representing the symbol, enabled us to recognise the god himself as the Maize God, so here also we must infer from the flower and the quetzal feathers, at the end of the band proceeding from the symbol, that the god here figured is a god of flowers (xockitl), and of the quetzal feathers (quetzaUi), hence the male representative of the goddess (Xochiquetzal). And this is confirmed by the homologous figures of the parallel places. For in Codex Borgia, where the corresponding figure stands on the left side of the lowest series of Sheet 16, we simply see Fig. 83. XochigueUal, Goddess of Flowers. Fig. 84. XoehipilH. Codex Bor^ 16( = King8borough 23). Codei Vaticanua B 35 (^KiDgsborough 83). represented the Goddess Xochiquetzal (Fig. 83), in quite a similar way to the figure which I have reproduced at F^. 54 {»u.pra, p. 65). And the special charaoter of the goddess is further indi- cated by a string of jewels, ending in a flower, which here projects from her hand, but is really supposed to proceed from her mouth. On the other hand, in Vatican B, where the homolc^ous %ure stands on the right side of the upper half of Sheet 35, we see a male figure, which is cer- tainly drawn in a different way, and is painted a blue colour, with yellow stripes (Fig. 84); nevertheless the string of gems, proceeding from its mouth and ending in a flower, shows that the same sphere of activities must be assigned to this figure as to the previously mentioned goddess. With the deities of Figs, 83, 84 is further shown, as a special symbol, some water, which is encireled by a festing-belt, and in which are stuck a bone dagger, a stone knife, and an agave- leaf spike fashioned to the form of a flower. This corresponds to the symbol which, in the TonalaTnatl of Codex Borgia, is seen beside ckalchiuhtotolin, ruler of the seventeenth week (cf Fig. 76 above, p. 91), and no doubt symbolises the ckalchiuh-uitzatl, the precious water of mortification, the sacrificial blood. The first member of the third series is in our manuscript depicted in the middle of the upper half of Sheet 26, above the sign cipacfli. Here, again, it is a god, who is almost like the The Four Timea Five OuardiaoB of the Venus Periods. 97 first members of the first tvo series. But he is distii^^shed by a special face-paintii^, a white mark about the mouth, which is fringed roimd the edge, and which we have already met higher up on Sheet 1 of our manuscript with the god who there personated Piltzintecvili, the Sun God, third of the nine lords of the five quarters. This white mark about the mouth, and edged with Fig. S&. XodixpiUi. Codex Borgia 1& ( = Kin^borough 2 Fig. B6. (k xorhia, ' 1 Flower.' Ruler of the Fourth ToDalBmatl Quarter. pjg, 57, (j^ xoeiM, 1 Flower.' Codex Borgia 7 Symbol of the Son. { = KingBborough 32). Vienna Manuscript S3. frii^e, can surely be nothing but a conventional sign, a shortened form of a butterfly's ^ure. For, as we shall presently see, this god is to be identified with the god who has the white butterfly painted about his mouth, the god of Teotitlan del Camino, who wears the bird Goxcoxtli as his helmet-mask, the Xochvpilli or Ce xockitl. But I cfumot help in this connection recalling the Maya hieroglyph km, 'Sun,' all the more since the god with this facial painting does in 98 The Day Side of the Manuscript. fact personate the Sun God, and since Ce xochitl, ' 1 Flower/ or, in Maya, Hun ahau, is a name of the Sun God, or of the setting sun. This appears both from the Tomalamatl of Codex Borgia disposed in columns of five members (cf. Fig. 86), and also from an interesting picture in the Vienna manuscript (Fig. 87). The homologous figure of Codex Borgia, which occupies the exact centre of Sheet 15 (Fig. 85), is, as I have already pointed out, the god who has a white butterfly painted about his mouth, where the butterfly's head is to be looked for at the tip of the nose. He is the god who is shown on parti-coloured clay figures, like the one which I have brought to Europe,^ looking out of the open mouth of a Coxcoxtli bird, and is described in picture-writings, from the vicinity of the Mexican capital, as Ce xochitl, ' 1 Flower,' or XochipiUi, ' Flower Prince,' or simply Tlofo- piUiy * Noble Prince' (cf Figs. 52, 63 above, pp. 63, 64). Now, while the Codex Borgia figure agrees with the Teotitlan figure in the butterfly design about its face, and also in the rest of the facial painting, especially in a small field on the cheek brightly coloured white and red, and bordered by straight lines at right angles, and also in the colour of its body, still, strange to say, neither here nor in any other part of Codex Borgia is shown the Coxcoxtli bird helmet-mask. Yet this mask is distinctly, and even very realistically, reproduced, even in the pictures of the Florentine manuscript, which decidedly comes from a district near the capital city, Mexico, much further removed from the home of this bird. This bird-mask seems in the Codex Borgia pictures to be everyivhere rather suggested merely by a white vnng, which is found depicted on the head of the figure, beside the usual feather ornament resembling a bird's tail, and falling backwards. Far less characteristic is the corresponding figure of Vatican B. Still here also a butterfly- design is suggested about the mouth. And here also, by a slight detail, the character of the deity is clearly expressed. On his wrist he wears, not a band with bells, or, for instance, two jewels like the figures of Telleriano Remensis, but a group of four jewels, which exactly reproduce the picture of the tonallo emblem which is seen in the Sahagun manuscript of the Biblioteca del Palacio on the back-flag and shield, not indeed of the god Xochipilli, but of the related figure of MacuilxochitL Moreover, the same kind of armlet is likewise shown, at least on one arm, by the first member of the second series in Vatican B, who is also to be identified as Xochipilli. The god of our manuscript holds in his left hand an obsidian knife, and from his efligy' seated before him draws out a band ending in a jewelled half-disk (chaZchiuitl-) decked with flowers, above which further lies a variegated tube, from which fire seems to proceed. The band which the figure in Codex Borgia (Fig. 85) draws from the body of his effigy bears at its end a jewelled vessel, out of which two jewelled thongs project. With the Vatican B figure the band is set with eyes, and seems to end in feathers and flowers. All these — jewelled disk, feathers, flowers — are here symbols of something precious, a figurative expression for the heart, which the gods draw out of the body of their effigy. The fourth series is that of the female deities, who are nursing a child at the breast. The first member, on the right side of the upper half of Sheet 28 of our manuscript, represents Mayauel, goddess of the agave plant. The goddess in a way grows up out of the plant itself. Her hair is ^ Seler, Wandmalereien von Mitla. Berlin, 1895. Plate ziil. The Four Times Five Guardians of the Venus Periods. 90 bound with a floral wreath, and behind her a flowering stem shoots upwards. The homologous figure of Codex Boi^a, on the right side of the upper series of Sheet 16, has a somewhat more intricate design (Fig. 88), Here the goddess is seated on a stool, behind which the ^ave leaves become visible, while a thick flowering stem overhangs in front. The goddess herself has the general aspect of Tlofolteotl, wearing, like her, a bandage of unspun cotton in her hair and ear-lobe, also the black caoutchouc painting about her mouth, and the half-moon-sbaped golden plate yacametztli of airOfolteotl and the pulque gods suspended under her nose. But her face is white. The tippet-shaped collar {quechquemitl) and the loin-cloth {cueitl) are painted in the colour and outlines of water, and edged round with white disk-shaped snail-shells, while three such objects are seen on the surface of the loin-cloth itself, and tbe goddess is suckling, not a man-child, but a fish. At the corresponding place In Vatican B, Sheet 40 above to the right, the goddess is not shown at all, but only the agave plant (Fig. 89), with foliage find a double flowering-stalk shooting upwards. But the inside of the Fig. 88. Mayauel, Goddess of the Agave Plant. Fig. 89. mttl, the Aftare Plant. Codex Boi^ 16 ( = Kiagaborough 23). Codex Vaticanus B 40 (=KingBborough 48). plant develops a sort of cave, the walls of which affect the form of the crescent-shaped, golden, nasal ornament yacametztli of Tla^oUeotl and the pulque gods, the outside being decked with jewelled and gold hangings, and the interior filled with liquid. From the roof of the cave a sort of peg hangs down, at which a flsh is sucking. The deities of the maize and i^ave plants, the god XockipiUi, who in the hymns is also invoked as Cinteotl, as the Maize God, lastly the goddess Xochiquetzal, who is identified with Tonacaciuatl, ' Lady of Food Supplies,' and her male representative, hence one and all gods of the means of existence : such are the divinities who constitute the first members of the four series. The gods of the means of existence stand naturally for the Earth Goddess, who produces the food supplies from her bosom. She, the Earth, is the realm of the centre, whence space expands towards the four cardinal points. She is what I have generally designated as the flfth quarter of the heavens, but what the ancient Mexicans were wont, &r more logically, to regard as the first of the five regions of the world, as is here seen, and as we also learn from Sheet 1 of our manuscript. 2. The Second Members of the Four Series. The second member of the first series, who in our manuscript stands in the middle of Sheet 23, above the sign couatl, ' Snake,' is a deity who seems rarely to appear in the pictorial writings of this 100 The Day Side of the Manuacript group, and in the Mexican manuscripts proper not at all In our manuscript his distinctive marks are an old face with long beard enframmg the chin, and a cipacUi as helmet-mask. To these is added a two-coloured face-painting, the anterior half red (or yellow), the posterior dark-green {or black), in the homologous figures of the other two manuscripts, which are shown in Codex Borgia in the middle of the lowest series on Sheet 15 ; in Vatican B on the right side of the upper half of Sheet 33, and which I reproduce at Figs. 90, 91. And as a special symbol, in these manuscripts is superadded a rubber or copal ball surmounted by a quetzal feather, similar to those which on Fig. 90. God of the East. Fig. 91. God of the East. Codex Boi^ 15 ( = Kingsborough 24). Codex VaticanosB 33 (=Kingsborough 81). Fig. QSa. M eipacBi. Fig. 92b. ee eipaeili. Fig. 93a. c« cipaeUi. Fig. 936. ce eijxulli. VieDna Manascript 1. Tienna Manuscript 32. Vienoa Manuacript 2. Vienna MonuBcript !8. the other side of our manuscript were always placed on top of the bundle of firewood, but is here in Codex Bo^ia also painted (like the face) in two colours. He appears to be a special Ood of the Eaet. I think I may confidently identify him with a god who occurs in the pictorial writings of the Vienna Imperial and Royal Court Library under the name of ce cipactli, ' 1 Crocodile,' likewise with a cipactli as helmet-mask (Fig. 92), but also with a jaguar's head as helmet-mask (Fig. 93). On Sheet 13 of this manuscript he is depicted in two forms, once as nam cipactli, '4 Crocodile,' the second time as matlactli oce cipactli, ' 11 Crocodile,' and is here seen in a hall formed of stellar eyes, receiving offerings and worship (Fig. 94). On Sheets 1 and 2 of the Vienna manuscript this god is associated with the goddess tnatlactli omei xockitl, ' 13 Flower,' who wears a quetzal bird as helmet-mask, and is doubtless to be identified with Xochiquetzal. I have The Four Times Five OutwdianB of the Venue Periods. 102 The Daj Side of the Manuscript. accordingly no doubt that we should regard this god as a special form of the lord of food supplies, of the representative of the sign cipactli, of the god TonacatectUli. And as in these manuscripts this god is as a rule elsewhere figured in another form— as a bright-coloured god with flame-coloured hair — the special form here exhibited may be distii^uished from that other form by the name' of Cipactonal. The second member of the second row, which in our manuscript stands on the right side of Sheet 25, in Codex Borgia on the left side of the middle row of Sheet 16, in Vatican B on the left side of Sheet 36, is the familiar figure of Tlaloc, the Rain God. The small figure which he presents is in Codex Borgia quite distinctly, and in Vatican B still perceptibly, depicted as the symbol of the god. The second member of the third row, shown in our manuscript on the left side of Sheet 26, resembles the first members of the three first series in design and equipment But the colour of Fig. 96(1. Tonaliuk, the Sun God. Fig. 956, TonafiuA, the Sun God, Codex Borgia 16 ( = Kingsboroiigh 24). Codex Vaticanua B 38 { = Kingsborongh 86), body and fece is red. And at the end of the strip which this god is drawing out of a naked squatting figure before him a half-solar disk is seen aboTe a variegated tube, from which fire seems to proceed. It is in fact the Sun God who is intended to be represented by this second member of the third series. This is placed beyond all doubt by the corresponding figure of Codex Boi^ia, on the right side of the middle row of Sheet 15, where we see the Sun God pictured in his typical form and equipment, and with a half-solar disk on his back (Fig. 95a). To the Sun were presented the hearts of the victims. Hence in Vatican B the naked human figure which is shown with this deity, and from whose body the gods extract the strip ending iu gems, suns, eyes, or flowers, is represented lying with open breast on the sacrificial stone (Fig, 956). In Codex Borgia also, beside the naked person from whose body the strip has been drawn, is seen the sacrificial stone {techcatl), painted black and decked with a bow. In the fourth series, that of the female personf^es, the old mother of the gods, the Earth Goddess Teteo innan, or Tla^lteotl, is the second member. In our manuscript, where she occupies the middle of Sheet 28, she is not represented suckling, as are the other members of the series, but seems rather to be strangling the squatting figure before her with a red snake. And, moreover, hatchet and string are further depicted as special symbols above this group. In Codex Boi^ia, where the corresponding figure is shown on Sheet 16 in the middle of the upper- The Four Times Five Ouordians of the Venus Periods. 103 most row, we see (Fig. 96a) the typical image of Tla^lteotl, and here she is pictured suckling like the other figures of the series. Before her is shown the half-moon-shaped nasal ornament of the pulque gods in a dark field, the emblem of the moon, from which, however, here a stream of blood is further seen flowing down. In Vatican B, where the corresponding figure stands on the left side of Sheet 41, the goddess is depicted with outstretched legs, which, as in Codex Borbonicus, is doubtless to be taken as the posture of delivery. The peculiar symbol beside her — a ring filled up inside with a red colour, and out of which a flower is growing — is doubtless intended to figure the navel or the lap. Beside it is further seen a red and white coloured string, while beside the flower is shown a dart. Respectii^ the god who is reproduced at Figs. 90, 91, and is the second of the first series, I am unable to give any further particulars ; but one can understand that the Sun God, as well as the Rain God, Tlaloc, could quite well have a relation with the East. With the Sun God this is self-evident. But TkUocan, the realm of the Rain God, lay also in the East. Here were the lofty mountains, Fig. 96a. TlofoUeotl, the Earth Goddess. Fig. 966. TIap>Ueoa, the Eurth Goddess. Codex Boi^a 16 ( = Kingsborough 23). Codex Vaticamis B 41 (^Kingsboniiigh 89). about whose summits the clouds first gathered, and here was the well-watered Atlantic sea-board. Tlalocayotl, ' he that cometh from the Rain Land,' was the name applied by the Meiucans to the East Wind. But it is not quite so clear to me why Tla^teotl is here thought of as in the same quarter. Possibly the home relations were here also borne in mind. Tlafolteotl is the Huaitec goddess, who comes from the Huaitec land, and is accompanied by Huaxtecans (icuextian) as her ministers.* And the Huaxtec land is precisely the northern section of the Atlantic, i.e. of the East, coast. 3. The Third Members of the Fourth Series. As third members we see pictured in all the four series the Death God, or related personE^s. And this corresponds to the cardinal point which we should now expect to follow, i.e. the North, For the North was the mictlaTnpa, the region of the land of the dead. Here was the realm of Midlantecutli. In the first series — in our manuscript Sheet 23 on the left side, in Codex Borgia Sheet 15 on the left side of the lowest row, and in Vatican B Sheet 34 (left) — the Death God is designed as a skeleton ' Cf. Tonaiamall at the Aabin collection, pp. 88, 93-95. 104 The Day Side of the Manuscript. and represented in the usual way, with a paper rosette {cuexcochtechiTnaUi) on the nape, above which a flag (pam-toyauaUi), broken in the middle and inclined forwards, projects upwards. In Codex Borgia with him is further given, as a special symbol, a green bunch which presumably denotes TtmlinaUi, uprooted grass (i,e. withering), or else medicinal plants (i,e. death by implication). In the second series in Codex Borgia (exactly in the middle of Sheet 16) we see a skeleton which is equipped in precisely the same way, and with which by way of special symbol is merely shown a kind of hill painted half black, half red, and on both sides set with eyes, and out of which a green bush is growing. But in our manuscript, where the corresponding member of this series is found in the middle of Sheet 25, as also in Vatican B (Sheet 36, right), a somewhat different aspect has been given to the figure. In Vatican B we have a form which is painted a yellow colour, but in other respects equipped with death symbols ; it further wears a kind of dog's or animal's head, but with which the lower part of the face is fashioned like a skull, with exposed teeth and fleshless lower jaw. With the figure in our manuscript no further death symbols are given beyond the exposed teeth and fleshless lower jaw. The upper part of the face is half black, half yellow, while the hair is bound up with a strap which wears a human or ape head on the frontal side. In these last two distinctive marks this figure agrees with the Pulque God, as we saw him pictured, for instance, in the upper half of Sheet 14 of our manuscript. And in fact I believe that here, instead of the Death God, the Pulque God has been reproduced ; for after all it is he who is called the teatlauiani, the * Drowner,' the teqnechTnecauiani, the * Throttler,* and of whom we read in the first book of Sahagun — tetepexiuiya, tequechToecauia, teatlauia, temictia, 'who hurls the people from the cliffs, strangles them with the rope, drowns them in the water, slays them (as sacrificial victims).' Beside the figure in Codex Vaticanus B stands a symbol resembling that of Codex Borgia — a kind of cliff painted half blue {i.e. dark), half red, but from which here a flower shoots up. In our manuscript we see a heart, which is pierced by an agave- leaf spike, a maguey thorn (uitztli). In the 'third series of all three manuscripts is depicted a peculiar form, not the Death God, but a hliTidfold figure. And in all three manuscripts the whole of the anterior part of the compartment facing it is occupied by a field studded with eyes, and painted the colour of night, i.e. dark. In Codex Borgia (Sheet 15 of top row to the right) the figure is pictured as Tezcatlipoca, and indeed exactly as this Tezcatlipoca is figured with bandaged eye on Sheet 12 of Codex Borgia, as ruler of the thirteenth day-sign, i.e. as Itztlacoliuhqui, as the 'bent obsidian knife, the God of Avenging Justice, the Grod of the Stone, of Blinding, of Sin, of Cold.' ^ In our manuscript (on the right side of Sheet 27) he is painted, not black like Tezcatlipoca, but a blue colour ; but he has the forked heron-feather ornament in his hair and Tezcatlipoca's breast ornament, while his face is, ixtlan tlatlaan, covered with parti-coloured cross-bands, only not yellow and black, as with Tez- catlipoca, but blue and white. Here, in fact, he is conceived, not directly as Tezcatlipoca himself, but as Tezcatlipoca-Itztlacoliuhqui, the God of Punishment, the God of Cold, of the cold, sharp Stone. A deviation is presented by the third member of the third series in Vatican B (on the left side of Sheet 39). No doubt here also the aztaa>dli, the forked heron-feather ornament in the hair. 1 Cf. ToncUamcUl of the Aubin collection, pp. 90-93. The Four Times Five OuardiauB of tfae Venus Periods. lOS points distinctly at Tezcatlipoca, but body and hair are yellow. On bis face he has the broad and the narrow black longitudinal band and the bandage of his eye like Itztlacoliuhqui, but his hair is ruffled, as with the Death God. In our manuscript the god, being the avenger, holds the hatchet in bis hand, and this is absent from the other two manuscripts. On the other hand, in Vatican B a hatchet is to be seen before the god on the field painted the colour of night. Instead of this, in our manuscript a skull is pictured on the black field, and in Codex Boi^a two hearts spitted on a stake. The fourth series is that of the female deities. Hence here is pictured in the third member, not the king of the realm of the dead, but his consort, Mictecaditatl. In our manuscript, left side of Sheet 28, the Death Goddess is portrayed as a woman, but with a skull for her head, and in the pierced lobe of her ear wearing an eye as a plug. Moreover, she is clothed, like Ciuatetei, as a warrior, i.e. half as a man, having also a toin-cloth. But, unlike the other members of this series, she does not suckle, but swallows blood and human beings. As a special symbol there are further shown with her, as with the third member of the second series, a heart and an agave- leaf spike, a mt^ey thorn (uitzUi). In Codex Borgia, on the left side of the uppermost series on Sheet 16, are exceptionally seen two figures — the Death God and the Death Goddess — whose open mouths are connected by a stream of blood. This is doubtless intended here, as with the pair figured on Sheet 61 of Codex Borgia beside Tonacatecvili, to be taken as a symbol of sexual union.' The Death God further presents to the goddess a (or else his own) bleeding heart. Lastly, on the upper border of the picture, we further perceive cross- bones and a heart In Codex Vaticanus B (Sheet 41, on ^K- ^\ Q^t^^^otl, the Wind God. Codex BoT^ia 16 ( = KiDgaboroiigh 23). the right side) are also depicted two figures, but of the female sex. On the left side the Death Goddess painted a red colour, with a skull for her head and an eye in her ear ; on the right side a woman clothed with a loin-cloth, painted a yellow colour, and with her face looking out of the open jawa of a snake. Possibly this is intended for CiuacouaU, the Earth Goddess, personating the Death Goddess. Above both is stretched a kind of festoon, with an object like a navel for its centrepiece. 4. The Fourth Members of the Four Series. The fourth members of the four aeries had to correspond with the West. In the first series we have the Wind God, Quetzalcottatl, who in our manuscript stands on the right side of Sheet 24, in Codex Borgia on the right side of the lowest row on Sheet 16 (Fig. 97), and in Vatican B on the right side of Sheet 34. In all three manuscripts he is depicted in the style of the idol at Cholula, with the region of the mouth protruding like a bird's beak, but, strange to say, the body of the god is in our manuscript painted red, in the others black, with face in two colours, red and black (or blue), and chin enframed by a long beard. On his head he wears the wedge-shaped cap {copilli), which is ' TtmtdauxUl of the Aabin collection, p, 40, Fig. IS. 106 The Dfty Side of the HaDiucript. painted in tvo colours, red and black, or red and blue, with an eye at the parting-line. The god's eye is thrust out, a symbol of mortification and blood-letting in honour of the gods, which practices were supposed to have been taught and first observed by this god. And in his hair is stuck the bone da^er, on which the blood is indicated by a flower. As a special symbol, with him is shown some water enclosed by a iasting-belt, in which are inserted stoae knife, stone dagger, an ^ave-leaf spike, exactly like the symbol which we met above with the Xochiquetzal of Codex Borgia (Fig. 83 supra, p. 96). In the second series we meet as fourth member the god concerning whom I have shown * that he is another form of Tlauizcalpantecutli, the deity of the Morning Star, that is to say, the planet Fig. 99. Deity of the Plsnet Venus (ETening Star). Codex Borgift 16 ( = Eingsboniugh S3). Fig. 98. Tlauixcaipan ttevtii. Codex Telleruno Bemensia, £ 14 verso Fig. 100. The Evening SUr. ( = Eingsboroiigh ii. 14). Codex Vaticanaa B 37 ( = Kingsborongh 85). Venus represented as the Evening Star. In Codeii Borgia, where he stands on the right side of the middle row of Sheet 16, he is figured with the same characteristic headdress as Tlauizcalpantecutli, deity of the Morning Star, in Telleriano Remensis (F^. 98). But this god of Codex Borgia (Fig. 99) has quite a difierent facial painting — dark with two deep-black cross-bands, one at the level of the mouth and one at level of the eye, and with white spots which in the front view (cf. Fig. 59 above, p. 71) develop to a quincunx, and represent the very hieroglyph of the planet Venus, as it is written in the Maya documents (cf. Figs. 60, 62 above,p. 71). The identity of this deity of the Evening Star ' 'Die Venusperiode in den Bildencbriftender Codex BorgiK-Gruppa' (ZeltschriftftlrEthiioIagie, XXX., 1S98, pp. 369-364). The Four Times Five Guardians of the Venus Periods. 107 with that of the Morning Star is further established by the fact that the effi^gy presented by this god of Codex Borgia has the colour and face-painting of the deity of the Morning Star — the black, half- mask-like painting about the eye. As characteristic marks common to both forms, are further to be mentioned the locks flaming up above the forehead in the manuscripts of the Codex Borgia group. In the profile are shown two, in the full-face view properly three, as may in fact be seen here at Fig. 99, both with the deity and with his differently painted effigy. The homologous figure in the second series of Vatican B (on the left side of Sheet 37) is less finely and not quite so characteristically depicted (Fig. 100). Nevertheless, the observer will easily detect the white (red-striped) colour of the body, the three lambent locks above the brow, and the dark facial colour, with the quincunx of white spots. Only here, as we shall also see with the corresponding figure of our manuscript, the quincunx is already shown on one side of the face, while at the same time the scribe has retained the spot on the nose, which properly represents the central spot of the one quincunx, which comes fully out only in the front view; or rather, here also it forms the central spot of the quincunx, although shifted to an eccentric position. The corresponding figure of our manuscript will be found on the left side of Sheet 25. He is clearly indicated as the deity of the planet Venus, as the Evening Star, by the quincunx of white spots — ^in which the central spot lies on the tip of the nose, as with the Vatican B figure (Fig. 100) — and by the three lambent locks above the forehead, as well as by the large, radiant, stellar eye which is worn by this figure, and corresponds in every respect with the radiant eye above pictured on p. 11, Fig. 56. Here, however, the face is not dark, as with the corresponding figures of the other two manuscripts (Figs. 99, 100), but, like the rest of the body, i.e. white, with yellow longitudinal stripes. With the Codex Borgia figure (Fig. 99), as a special symbol is shown a cord with two little, white, paper fans. This is a sacrificial ornament, as for the Mexicans the deity of the planet Venus, i.e, more particularly the Morning Star, denoted the warriors death, i.e. sacrificial death. For the soul of the sacrificed warrior went to the eastern heaven, to the house of the Sun, in order thence to accompany the Sun with song and dance to the zenith. Thus the soul of the sacrificed warrior was a minister, a guide, a herald (tecpoyotl) of the Sun, just as the Morning Star is a minister, a herald of the Sua Hence also the image, which is here presented by the Codex Borgia figure, is adorned as a victim, and also shows the colour of the planet Venus, but has the other form of facial painting, that of the figure in Telleriano Remensis (Fig. 98). The hair is plastered with white downy feathers, and round its neck is slung the aztamecatl, the heron-feather cord, the sacrificial cord, the rope with which the victim was made fast to the round stone, the temalacatl. But in its hand the effigy shows a couple of spears. For, as I have already stated above,* by the Mexicans the planet Venus was regarded as the Darter of rays, the Spear-thrower, the Shooter, and is, therefore, also figured with spear and throwing-stick in those places in the picture-writings where it is represented as the expression of the 5 x 13 Venus periods (cf. Figs. 71-73 supra, p. 89). In our manuscript, beside the deity of the Evening Star, is pictured a flag, and, as would seem, a shield. This has obviously the same meaning as the cord and the two little flags with the Codex Borgia figure; it has undoubtedly reference to the warrior's death, the sacrificio 1 Seep. 71. 108 The Daj Side of the Hanuscript. gladuitorio. Less intelligible is the symbol shown with the figure in Vaticanus B (Fig. 100) though it has presumably originated in the same elements. The fourth member of the third series, pictured in our manuscript in the middle of Sheet 27, in Codex Borgia in the middle of the topmost row of Sheet 15 (Fig. 101), in Vatican B on the right side of Sheet 39, is the famiUar figure of Xipe totec, ' Our Lord, the Flayed,' of the god who goes about draped in the skin of a flayed human being. He is everywhere depicted in a charac- Fig. 101. Xipe Tottc, 'Our Lord, the Flayed.' Codex Borgia 15 ( = Eingsboiongh 24). Fig. 102a. Chaidnuhilieuey the Water OoddeBi. Codei Borgia 17 ( =EiDgslMiroiigh 82). teristic way. In our manuscript he has also the face-mask of a human skin, which is wide open at the mouth, with only a narrow slit for the eye ; with the nasal ornament which reproduces the form of Zipe's peaked cap, the yopitzontli, and in his hand holdii^ the rattle-stick, the ehicauaztU. The girdle of zftpote leaves (tzapocueiil), worn by the Xipe figures of the Mexican manuscripts proper, is lackii^ in these pictures of the Codex Borgia group, and is replaced by a girdle, which has the form of Xvpe's loin-cloth, with its swallow-tail-like ends, drawn regularly, at least, in Codex Borgia. In the fourth, the female, series the fourth member is the Water Goddess ChakkiuhUi icue. She is distinctly to be recognised as such in Codex Boi^ia, where she stands on the right side of the uppermost row of Sheet 17 (Fig. 102a). This picture should be compared with the Chalckiv^tlicue figure reproduced above on p. 37, Fig, 22. Less characteristic is already the figure of Vatican B, on the left side of Sheet 42. Here the two quetzal-feather bunches, for instance (cf. Fig. 1026), shown on the crown of the head, are positively misleading, as they would wrongly induce one to explain the picture as that of Xockiquetzcd. To her character as Water Groddess nothing really points save the symbol given beside her, inasmuch as this is actually seen to be a variant of the symbol shown on the Codex Borgia figure (Fig. lOSa), the element chalchiuitl, 'Jewel,' being replaced by a floreated ring, and Fig. lost. Chalekivkai ime, the Water Goddess. Codex Vaticanus B 42 ( = Kiogsborovgh 90.) The Four Times Five Guardians of the Venus Periods. 109 the element atl, ' water/ by a flowering tree, whose stem is painted the colour of the water. This variant itself of course becomes possible only because to the Mexicans the water suggested the notion of the chcdchiuhatl, ' the Jewel Water/ the precious liquid, i,e, the sacrificial blood. For blood in the picture-writings is quite normally indicated symbolically by flowers. But this variant of Codex Yaticanus B further explains the picture in our manuscript. In our manuscript the fourth member of the fourth series is figured on the right side of Sheet 29. Here we have a figure in which again there is, strictly speaking, nothing to recall the Water Goddess. We might beUeve that the chalchiuitl, which the goddess wears in her hair, and from which an eye starts out, had been accepted as such an allusion. Before the goddess is pictured a flowering tree growing out of an emerald vase. But here, also, beyond being painted a blue colour, there is nothing in the stem of this tree to suggest the idea of water. But if we understand that this picture is homologous to the symbol with Fig. 1026, and that again with the chalchiuhatl, the emerald water, the relation will occur of itself. For the rest, as a clear indication that the latter also, the chalchiuhatl, with the Codiex Borgia figure, is intended for sacrificial blood, we here see further pictured with the figure in our manuscript blood with a heart floating in it. That the four figures — Qv^tzalcouatl, the Planet Venus (the Evening Star), Xipe, and Chal- chiuhtlicue, the Water Goddess — jointly indicate the cardinal point of the West will have to be admitted. And should any doubt arise, for instance, with the second, the planet Venus itself, since this could, after all, have been equally intended for the Morning Star, then the figure of Xipe will weigh all the more conclusively in the balance, since he is unquestionably an Earth god, and also represents the western quarter on Sheet 25 ( = Kingsborough 14), where the Venus periods are pictured. 5. The Fifth Members of the Four Series. As fifth member we have in the first series, in Codex Borgia (middle of the lowest row of Sheet 16), the same god that we met as first member of the third series, the god with the white butterfly motive about his mouth, the god of Teotitlan del Camino, Ce ooochitl, or XochipiUi (Fig. 103). This deity had his proper place amongst the first members of the four series, because he is the Cinteotl, the red Maize God, hence a god of the means of subsistence ; and in this part of the manuscripts these first members denoted the region of the Middle, the Earth, as the producer of food supplies. The fifth members of the four series belong, on the contrary, to the cardinal point of the South. Hence here (Fig. 103) XochipiUi is also somewhat distinct from the XochipiUi the first member of the third series (cf. Fig. 85 above, p. 97), since he clearly shows on the upper half of his face the red bands which are drawn round the posterior angle of the eye, bands which in this manuscript, and also in others, indicate the Sun God. As a special symbol, with him is shown a flower springing from the dark central point of a disk. Not so easily to be recognised is the figure of Vatican B (left side of Sheet 35). Strange to say, here the eye is closed, and below it the face is intersected lengthwise by a red band, which almost recalls the bands on Xipe*s face. XochipiUi himself is suggested, strictly speaking, only by the symbol which is shown beside the god, and is the same as that of the just-described figure of Codex Borgia. I will, however, not leave unmentioned the longitudinal band on the face, such 110 The Day Side of the H&nuscript. OS ia ahown by this Vatican B Sgure, and is also met with the blue Xochipilli (f^g. 84 above, p. 96), who in Yatican B takes the place of the Borgian Xochiquetzal that forms the first member of the second series. On the other hand, in our manuscript at this place (middle of Sheet 24), apparently quite a foreign god is depicted — an old god with long beard, who is painted blue, and on his face half blue half red, like the XoloU of Sheet 12 of our manuscript and of Codex Bologna 24, and wears the sea-snul shell {tecciztli) on the frontal side of his fillet. These combined marks leave scarcely any doubt that here it was intended to represent the Tecciztecatl, the Moon God, who is here Fig. 103. XoAijnlH. Fig. 104. Codex Boigi« 16 ( - Eingsborough 23\ Oodei Vaticanna B 38 ( - Kingsborougfa 8 m^^ Fig. 105. Fig. 106. Codex Laud (=> Eingsborough 34}. Codei Borgia 60 (=Kingsboroiigh 65). introduced for his luminous brother the Sun God Xochipilli. I would, however, call attention to the fact that in the lower half of Sheet 38 of Vatican B, and on Sheet 34 (Kingsborough notation) of Codex Laud, a figure makes his appearance as a Musician, who agrees in all these essential marks with this Tecciztecatl of our manuscript, while in the corresponding place of Codex Boi^a (Sheet 60 = Kingsborough 55) we simply find the god of music and of dance (cf Figs. 104-106). As fifth personage of the second series a figure appears in Codex Borgia, in the left compartment of the middle row of Sheet 15 (Fig. 107), and in Vatican B, on the right side of Sheet 37 (Fig. 108), who ^rees with the other form of the deity of the planet Venus, the Tlauizcalpan tecutli, the The Four Times Five Ooardiacs of the Veooa Periods. Ill Morning Star, in nearly all distinctive marks, especially the white (or else white and red striped) painting of body and &ce, and the black half-mask-like painting with white circles around the eye — the face-piunting of stars and darkness (TnixciUalhuiticac moteneua UayouaUi) — as also the lambent locks above the forehead; only he does not wear the fillet and the feather crown of the deity of Tetleriano Remensis (Fig. 98 above, p. 106), but has his hair plastered with downy feathers after 1 _* Fig. 107. Mixcouail. Rg. lOa MixeotMtL Codex Bot^ 1 5 { = Kingsborough 24). C'odei Taticanna B 37 { = Kingsborongh 86), Fig. 109. Mixantaa. Fig. 110. MixemuUi. Codex Borgi* 25 (=KiiigsboTODgb 14). Codex Vaticaous B 70 (=Kingsborough S7;. the feshion of the warriors, and has inserted in it the forked heron-feather bunch, aztaxelli, the adornment of the war dance. We find this figure depicted with exactly the same equipment also on Sheet 25 ( = Hii^borough 14) of Codex Borgia (Fig. 109), and on the corresponding Sheet 70 ( = Kingsborough 27) of Vatican B (Fig. 110), where he displays the second in order of the deities of the five Venus periods, that is to say, the guardian of the northern quarter. We may, therefore, presumably assume that this god is intended to personate, not TlautzccUpantecutli, the Morning Star, in the strict sense, but as the Shooting God, the Spear-thrower, the Hurler of Darts, the God of the Hunt and of the Hunting Tribes, Mixcouatl ; and also, as we shall presently see, another corresponding god, Vitznauatl. 112 The Day Side of the Manuscript. In the Mexican sagas are very frequently met, clothed in divers forms, certain tales which deal with a multiplicity of gods, or more precisely, with 400 gods or heroes. The drift of these tales is generally that the upper gods, that is, in each case the particular tribal or national gods, fall out with these heroes, or are attacked by them, with the result that the heroes are annihilated. Or, again, that the tribal god utilises them, in order by them, i.e. by sacrificing them, to nourish the waning sun. Or else the tribes themselves fall upon the heroes, as their lawful booty, and slay them. In the Popol Vuh, the saga book of the Quichfe, these 400 lords appear in the form of the omuch c*aholab, the 400 young men who are destroyed by Zipacna. Even in distant San Salvador, at the upland lake JJluapan in the vicinity of the San Miguel volcano. Pater AUmso Ponee^ heard that the fish of this lake were once 400 youths who rushed into the lake and perished there. By the Mexicans these four hundred are more precisely described either as the Centzon MimiTccoua, the four hundred Mixamatl, i.e. the four hundred Northerners — for Mimixcoua in tlalpan, the land of the Miiaixcoua, is the North — or as the Centzon Uitznaua, i.e, the four hundred Southerners. The latter are especially the hostile brothers who are overcome and vanquished by the new-bom UitzilopochUi, who springs fully armed from his mother's womb. The former are more or less expressly identified with the inhabitants of the northern steppe ; and in a report in the Historia de los Mexicanos por sus pinturas,' their home is stated to be Cuzco, doubtless a misreading for Cozcatlan. Their great number, which constitutes the most distinctive mark of these demigods, leads one at once to think of the host of stars ; and the story of their pursuit, dispersion, and destruction by the new-bom god is a very transparent myth, in which we may doubtless, with some confidence, recognise the chasing away of the stars by the rising orb of day. With the enumeration of the various heavens, which is given in the Historia de los Mexicanos por sus pinturas, it is also stated that the four hundred hv/man heings, who were said to be created by Tezcatlipoca, and are identified with those very heroes vanquished by UitzUopochtliy hence with the Centzon Uitzn^ua, had their abode in the third heaven, following on the CitlaUicue and CiHaUatoruLc and the heaven of the Tetzauhciua or Tzitzimime, and further, that they were of five colours — ^yellow, black, white, blue, red — ^and were the guards of heaven.^ And, on the other hand, the Popol Vuh * relates that, in the opinion of some people, the mnuch caholah entered the constellation called motz, i.e. the Pleiades. The Centzon Miinixcoua and the Centzon Uitpnavxi would accordingly be the stars of the northern firmament and of the southern firmament, the ecliptic being taken as the parting-line. Like the dtlalpol, the 'great star,' i.e. the Morning Star, the other stars too are believed to be the 'radiant,' the 'shooting.' At the Panquetzaliztli, the chief feast of the Mexicans, the feast of Uitzilopochtli, the chief exploit of this god, the conquest and dispersion of the Uitznaua, was reacted in mimetic fashion, the slaves destined for the sacrifice, and the warriors chosen along with them, being told off into two parties, one representing the UitznxLua, the other doubtless the god UitziUh pochtli, who then fought it out with sharp weapons. One of the parties were armed with oak bludgeons, the others, that is, those who personated the UitzTiaua, fought on the contrary with throwing-spears — auh yn uitzn/iua quimjHjUeuia tlatzontectli ynic Uayecoa. yn quiUxiga.^ ^ Coleocion de Docnmentos in^itos para la Historia de Espafia, vol. Mi. pp. 333, 334. ^ Joaquin Garcia Icazbalceta. Nueva Coleccion de Documentos para la Historia de Mexico, iii. p. 241. ' Joaquin Garcia Icazbalceta. Nueva Coleccion de Documentos para la Historia de Mexico, iii. p. 256. * Popol Vuh, I. chap. vii. * Sahagnn, MS. Biblioteca del Palacio. The Four Times Five Guardians of the Venus Periods. 113 Accordingly, we find amongst the gods two spear-throwers, Mixcouatl and VitznauatL Both are essentially identical with Tlauizcalpantecutli, for the former are the stellar gods, and TlanizcaU pantecuUi the god of the Morning Star. Only he belongs to the East and the West, and Mixcouatl- Uitznauatl to the North and South. Now in my opinion it is this Mixcouatl^Uitznaiiatl who is here represented with the painting of the deity of the Morning Star, and also with his frontal locks and breastplate, but wears the hair adornment of the warriors instead of the characteristic feather crown of the deity of the planet Venus. And, in point of fact, the personages at Figs. 109, 110 correspond on the respective sheets to the Northern quarter, while Figs. 107, 108, the fifth members of the second series here in this part of Codex Borgia and Vatican B, must indicate the southern quarter. In the last two figures the identity or kinship with the deity of the planet Venus finds expression in the fact that the effigy presented by them corresponds almost exactly with that of the deity of the Evening Star (Figs. 99, 100) : nothing is missing save the heron-feather rope which the effigy of the latter has flung round his neck. And the relationship is further shown by the shooting- weapon which this effigy of Uitznauatl holds in his hand. In Codex Borgia the effigy of the planet Venus (Fig. 99) holds two spears, that of Uitznauatl (Fig. 107) a throwing-stick. But in Codex Vaticanus B, contrariwise, the effigy of the former (Fig. 100) wields a throwing-stick, that of the latter (Fig. 108) a spear. Lastly, the identity or kinship of Tlauizcalpantecutli and MixcouatUUitznauatl is also expressed in the symbol which is here given in Codex Borgia and Vatican B beside the picture of Uitznxiuatl (Figs. 107, 108). Here we find depicted, not indeed the two bannerets of the warrior's death, but the ermhlefm of war itself — shield, bundle of spears, and hand-flags, or else shield, bundle of spears, and throwing-stick. The corresponding figure of our manuscript, on the right side of Sheet 26, again deviates from that of the other two manuscripts, and presents altogether a very foreign appearance. We see a figure attired quite in the style of the mediaeval fops, that is, on the left side of the body and corresponding extremities painted blue, on the right side red, with his face also half blue half red, or, strictly speaking, red and yellow. He is shown naked, with a large penis, in the pierced nasal septum a tube with a flower projecting at both ends, wearing on his head the copilli, i,e. the wedge-shaped Huaxtec cap, and on his breast the eye which answers to the white ring, the anxiuatl, Tezcatlipoca's breast adornment. We shall see further on that in our manuscript exactly the same figure takes the place of the Mixcauatl of the other two manuscripts, but in the latter case is associated in the closest way with Mixcouatl by the superadded, deep-black, half-mask-like painting about the eye, the Tniiccitlalhuitico^ laoteneua tlayouaUi. The whole aspect of this figure tells us that, as I have stated, in it is embodied the thought that always finds expression with the Centzon MiinioccovAi and the Centzon Uitznaua, that is to say, the notion of a wild, alien, barbaric tribe. In the picture shown in our manuscript the author may have had more especially in his mind the Ctuexteca, the Huaxtec people. For regarding them stress was always laid on what was considered specially remarkable and specially unseemly, that they went naked, that is, without the Maxtlatl, or loin-cloth. And Huaxtec is also not only the wedge-shaped cap, the capUli, but also the nasal adornment. For of the Caexteca Sahagun relates that they ' make themselves a handle for the nose ' (moyacauicoltiaya), have a nasal handle (yacauicolli)^ that is, not, as I formerly understood it, that they had a nasal crescent involuted downwards at the ends, but that p 114 The Day Side of the Manuscript. they made such a large hole in the nasal septum that the anterior unpterced edge stood out like a bow, like the handle of a vessel (uicoUi), Qoyatica, yn quicoyava yn inyacavicol, auh in oeoyavac oncan caquiaya teucuida^oyatl, ano^ acatl, cue^ali iiticopa qvAquixtia — ' with a strip of palm-leaf (rolled up) they enlarge the hole made in the nasal septum, and when sufficiently enlarged insert in it a gold palm-leaf roll, or a tube, and let an arara feather come out of it.' ^ This is therefore the very ornament which we see in the nose of the figure which in our manuscript represents the UitzTiauaU, of the other manuscripts. The fifth member of the third series stands in Codex Borgia on left side of the upper row of Sheet 16 (Fig. 111). This is the god who is characterised by a yellow rectangular field about the eye, and the sign of a hand of a white colour about or at the side of the mouth. This god is to be seen on the Sheets 47, 48 ( = Kingsborough 68, 67) of Codex Borgia (Fig. 112), and in a corresponding place of Yatican B, pictured in five forms and in five colours — black, blue, yellow, red, green. At the part of Codex Boi^ia with which we are here occupied, he is painted a red colour as fifth member of the IT Fig. 111. MacvU xochill, God otPleaaare. Fig. 112. Macuil cvetspalin. Codex Borgia 15 ( = Kiugaborongh 26). Codex Borgia 47 ( = Kingaborou^ 68). third series of the four times five guardians of the Venus periods (Fig. 111). On Sheets 47, 48 of Codex Boigia, parallel with these gods, are shown female deities, who are likewise depicted in five colours, but these are white, blue, yellow, red, black, because the principal colour of these deities is white (Fig 113). Beside the latter are sho\m the weeks — Ce mofatl,' 1 Deer,' ce quiauid, ' 1 Riun,' ce ofomdtli, ' 1 Ap»,' ce caUi, ' 1 House,' ce qtuvuktli, ' 1 Eagle,' all indicated by the initial signs, the fifth and terminal signs, and connectii^ dots. Beside the five male gods (Fig. 112) the weeks Ce xockitl, ' 1 Flower,' Ce m.ali'naUi, ' 1 Twisted,' Ce cuetzpalin, ' 1 Lizard,' Ce cozcaquauhili,' 1 Vulture,' Ce tochtli, ' 1 Rabbit,' are also indicated by the initial, fifth, and terminal signs, and connecting dots. The weeks which are shown with the female deities. Fig. 113, are the times when, as we know from Sahagun's fourth book, the Giuatete6, the spectral women, the souls of women who have died in child-bed, the female counterparts to the warriors slain on the sacrificial stone, descend upon the earth, strike the children with epilepsy, and seduce men to lust and sin. And at the same time these are the signs which in the TonalaTnatl disposed in columns of five members, form the beginning of the third quarter of the Tonalam/id assigned to the West Hence the figures shown with them must ' SahaguD X. p. 29, % %. MS. Acadcmis de la HisCoria. The Four Times Five Guardians of the Venus Periods. 115 symbolise both the West and the Ciuateted, who, as Sahaguo relates in his first book, are in fact thought of as having white body and face, and as five in number. The weeks which are given with the male deities (Fig. 112) denote in tlie same way the fourth quarter of the ToTialamatl, disposed in columns of five members, and belonging to the South. Hence, as the Citbateted correspond to the West, so must these male deities correspond to the South. The initial days of the weeks represented beside the specified Jive female deities must be taken as the names of those deities. On this sheet of Codex Borgia this is clearly indicated by the fact, that in the compartment preceding the series of these five female deities are shown the dates 13 miq-wiztli, 13 tecpatl, 13 itecmntli, 13 eecatl, 13 ocelotl, i.e. the days preceding the initial days 1 magafl, 1 quiauiU, 1 o^omatli, 1 caMi, 1 quauhtli. On the other hand, the fifth days of the weeks given with the five maZe deities belonging to the South (Fig. Ill) must be regarded as the names of those deities. This is again clearly shown by the &cl that in the compartment preceding the series of these five male deities are figured the days 4 calli, _ ^ 4 qitauhtli, 4 mafoff, 4 quiamtl, 4 ofOTnatli, i.e. those preceding the fifth days of the weeks given with the male deities. Hence the names of these fifth days, i.e. the dates Macuil (§1 ouetzpalin, ' 5 Lizard,' MacwU cozcaqtutuhtti, ' 5 Vulture,' ygl Macuil tochtli, ' 5 Rabbit,' MoamU xochiU, ' 5 Flower,' Macuil ^-^ maHnaUi, ' 5 Broom,' are the names of those five male deities JS dp belonging to the South. And from this it follows that the /^ name of the fourth of these five deities belonging to thb ^a South, i.e. of the god painted a red colour, Macuil xochitl, Sgfi ' 6 Flower,' must also be the name of the god who is pictured in the part of Codex Borgia with which we are ^* ''%^£iwor?w)^'"^ ^' occupied in this section, i.e. the fifth member of the third series of the four times five guardians of the Venus period, the god who is reproduced at Fig. 111. Macuil xochitl is a well-known deity whose name is frequently mentioned in Mexico. In Sahagun he is to some extent confused with the god Xochipilli, spoken of by me in an earlier place. Macuil xochitl, yvan XochipUli fOTi neiicuhque, ynie neteotiloya tecpantzinca yn teouh, ' MacuiZ-xochitl and Xocki^iUi are alike in the worship which was paid to them. This is the god of people living in the palaces of the great,' says Sahagun in the first book of his work. And accordingly, in the pictures given by Sahagun, these two deities are little distinguished. The same must be said of other Mexican documents strictly so called, — for instance, the pictorial manuscript in the Florentine Biblioteca Nazionale. And this is the reason why in earlier writings I also treated these two deities as essentially alike. But that, I now admit, was an error. XockipiUi, called the ' Flower Prince,' the young Flower God, also simply Tla^opilli, ' Prince,' is the god who in Codex Boi^ia is painted with the figure of the white butterfly about his mouth, the god of Teotitlan del Camino, He is the god of food supplies, the Cinteotl, red Maize God, the god of the feast of the great lords, of Uei tecuilhuitl, the feast of the young maize.' He is the See Fig. 6.3 above, p. 04. 116 The Day Side of the Manuscript. Quetzalcoxcoxtli, the bird with the coinb-shaped featber-crest, who in the early morning sings in the Tennis Court. Tlacktli icpacaya vel in cuicaya, quetzalcuxcoxaya quinanquilia finteutla oay. In the Tennis Court sings the Quetzalcoxcoxtli, Answers him the Maize God. ye cuicaya tocnivaya ovaya yeo, ye cuicaya ye quetzalcoxcuxa, yoalticatla o ^nteutla oay. Sings our iriend (our comrade), Sings the QiietzaZcoxcoxtli, The Lord of the Morning twilight, the Maize God. g. 71. ca otoTiac ca otlatvic ca ye euico ca ye cuica centeoU in qttetzalcoxcox — that is, day has broken, it is light, they already sing, already sings the Maize God, the Q uetzalcoxcoxtli. Fig. 114. MaaiH xochiti, Fig. lie. MacaU xochitt, fig. 116. IxtlOton. God of the Game of Dice ( patotli). God of Sport. Sahagnii US., Pictorial Manuscript of the Florentine Bibliot«ca Nazionale, f. 48. Sahagan hs., BibL del Palacio. BibL del Pakoio. Thus we read in the lay to XochipiUi, the seventh of the 'Cantarea que decian i honra de loB dioses en los templos y fuera dellos.'^ Hence it is that this god appears in the di^;uise of Qtietzalcoxcoxtli, his face looking out from the open beak of this bird decked with a feathered crest.* MacvAl xochitl, on the other hand, is the god who in Codex Borgia is pictured with the distinctive mark of the white hand about or beside his mouth. Ha is the representative of the southern quarter of the Tonalamatl, and the associate of the Oiuaiet^S, the AuiaU, God of Merriment, Feasts, and Sports, and in the picture-manuscript of the Florentine Biblioteca Nazionale is figured as presiding over the game of PatoUi (Fig. 11*). In the hymn to him Tezcatlipoca is invoked, ' SahagUQ us., Biblioteca del Palacio. ^ Cf. The clay figure from Teotitlan del Comino (Seler, Wandmalereien von Mitla, Plate xHL), and above, pp. 63, 64. Figs. 62, 53. The Four Times Five Guardians of the Veaus Periods. 117 and it ends with the summons to the feasting and pulque drinking-bout, which I have above referred to (p. 72). To him especially, and to his dark brother IxtlUton, would seem to belot^ the tonaUo emblem, the four balls or beads, which we have already found alluded to with the XochipiUi of Vatican B, but which in the Sahagun pictures (c£ Figs. H5, 116) are exclusively assigned to the gods Macuil xockitl and IxtlUton, and are depicted in the same way as shield devices with the IxUAUzin of the Florentine Biblioteca Nazionale (Fig. 117). But like XochipilU, he too has to be supplied with the quetzalcoxcoxtli disguise. And it is just in thiB fact that is shown the relationship, and presumably also the identity of birthplace, of these two deities. But in the pictures of the Sahagun manuscripts, as well as of the Florentine Fig. 117. IxliatMit. Fig. U8. MmmU xocIM, Stone Effigy. Mtmusciipt in the Biblioteca Naztooale, Florence, f. 01. R. Museuin of Ethnology, Berlin. Biblioteca Nazionale, nothing survives of this helmet-mask with its bird-like feathery comb except a towering crest formed of stone knives and plumes, and a rosette on each side of the head. And the same object is shown by most of the stone effigies of this god, of which there were a great number, apparently because his image formed part of the regular features of tennis- courts and other playgrounds. On these statues the bird-like feather-crested helmet-mask is indeed often reduced to a narrow pyramid rising above the crown of the head (Fig. 118). It is noteworthy that, like the XochipiUi figures of this manuscript, the MacuUxochitl figure of Codex Borgia (Fig. Ill) shows a mere suggestion of the feather-crested helmet-mask, which is properly a characteristic of MacuiLnochitl as well as of XochipilU. Here too is seen the incipient degradation of the essential elements, which I have just mentioned m connection with the figures 118 The Daf Side of the Manuscript. of the Sahagun manuscripts and the stone effigies. Not a trace Burvives of the bird's beak which is shown very clearly and distinctly in the clay figure from Teotitlan. The plumed crest on the head, which in the Sahagun figures and on many stone effigies still appears as a row of feathers disposed lengthwise, is here in Fig. Ill indicated only by the three bands which are painted in the colours of chaichiuitl, the 'Jewel,' and tower above the top of the head. The large bird's eye of the Teotitlan clay figure is marked in the Saht^n figures and on the stone statues, and here too on Fig. Ill, by a large rosette, which is shown at the sides of the head behind the temples, and from which one or several bands project. The bird's wing, which on the clay figure is sadly d^raded, is here represented by a huge wing made of variegated feathers. But it is possible that this lai^e feathery fan is intended to reproduce the wheel-shaped outspread bird's wing, which would else be wanting in the picture. Fig. 119. MacuU xotkUl. Codex Vftticanua B *» *^W- •^''- Mummy-pack, set up for the dead Warriors. ( = Kiueaboroufrh 88) (Pictorial Manuscript of the Florentine Bibl. Nazionale.) While the Codei Boi^ia picture of the fifth member of the third series renders a precise determination at once possible in all respects, the corresponding pictures in Vatican B and in our manuscript are quite divei^nt, and would scarcely allow of any determination if we had them alone before our eyes. On the other hand, these two pictures of Vatican B and of our manuscript are decidedly related. That of Vatican B (Fig. 119) stands on the left side of Sheet 40 of this manuscript. We see a figure of yellow body and face colour, but showing below the eye a broad, red, longitudinal band, hence in this respect resembling the XochipiUi of Sheet 35 of Vatican B, fifth member of the second series. But here (Fig. 119) the figure has a peculiar nasal ornament, which is seen in precisely the same form on the mummy-pack figured on Sheet 60 of the pictorial document in the Florentine Biblioteca Nazionale (Fig. 120). This structure, as noticed by the interpreter of the sheet, consists of a bundle of brushwood furnished with clothes, mask, and decorations, erected on the feast Tititl in memory of the dead, honoured with song and music, and then made a bonfire of Hence this The Pour Times Five Guardians of the Venus Perioda. 119 nasal adornment, for whicli the interpreter of the specified manuscript supplies the name yacaxiuitl — i.e. simply ' blae nose ornament,' or one made of turquoise mosaic — belonged to the decorations of the dead, and more especially, as would seem, to that of the departed who could not himself be cremated and buried, because he had remained in the hands of the enemy, and was slain on the sacrificial stone For this mummy-pack wears a mask with the painting Tn-iaxitUdkuiticac moteneua Uayoualli, i.e. with the paintii^ of the Morning Star, hence the colours of the deity of the eastern heaven, the region whither went the soul of the immolated warrior, who was, in fact, directly called tonatiuh iixco yauk, ' who goes before the face of the Sun,' i.e. to the East, to the eastern heaven. In point of fact, this yaccueiwitl may be seen, in couples however, exactly in the same form amongst the decorations for the dead warriors (Fig. 121) which are pictured in Codex Borbonicus 9 with XirthteciUU, the Fire God, and Tlauizccdpantecutli, the Morning Star, and similarly also on Sheet 10 of this manuscript with Tonatiuh, the Sun God, and MicUantecuiU, the Death God. With this decoration, which would thus seem to symbolise the warrior's death, our Vatican B figure, Fig. 119, combines, in fact, the warrior's hair- adomment, the aztaxeJM, the forked heron- feather ornament, and a peculiar neck-pendant, which perhaps represents a string with en- twined animals' claws or teeth. The corresponding figure of our manu- script, which stands on the left side of Sheet 27, has the same peculiar ornament in its nose, but the colour of the body is white, or white with yellow stripes, while the face-paint- ing is that of Tezcatlipoca, the ixtlan tlatUutn, the alternate yellow and cross bands. Further, the three locks fiaming up above the brow, and as breast adornment the eye, which corresponds to the anavatl, the white rii^ in its upper half bound round with red Chongs — Tezcattipoca's breast adornment. It would accordingly appear that in Vatican B and in our manuscript MacuU xockitl, the God of Pleasure, Feasts, and Sports, the representative of the southern quarter of the Tonala'/natl, is replaced by Tezcatlipoca, as the Uitznavacatl or Uitznaiiac yaotl, ' the Warrior in the South- house,' the Lord of the CuicacalU, of the Danqe-house. For it seems that Tezcatlipoca, the god of the Tooscatl feast, respecting whom I have shown ' that he is the Lord of the Sun that wanders from North to South, the tlacoohcalcatl and uitznauacaU, the Tlacockccdco yaoU, ' the Warrior in the Spear-house ' (in the North temple), and the Uitznauac yaotl, ' the Warrior in the South-house,' is also Lord of the telpochcoMi, of the club and training-house of the bachelor warriors, and of the Cuicacalli, the Warriors' Dance-house, thus representing both the North and South cardinal points. The fifth member of the fourth or female series is in Codex Boi^ia (on the left side of the upper row of Sheet It), not very characteristically represented by a richly-clad woman who, like the other members of this series, holds a naked child to the breast. On her cheek is shown a plaster, a round ' 'Die achta«hn Jahre«fe«te der Mezikuier' (VetuffeutHcbvngeii ana deia Kunigl. Mnteum filr Viilkerkaiide, vol. vi., 1899, pp. 129 iq.). 120 The Day Side of the Manuscript. disk, such as that described by Sahagun with the Earth Goddess. And on her head lies a feather adornment, in which a couple of eagle's feathers are attached to the base of a quetzal feather. Quite a similar feather adornment is seen with the Sun God on Sheet 15 of this manuscript. In the present series the more characteristic figures are those of Vatican B and of our manu- script. At Fig. 122 is shown the Vatican B picture, where the corresponding figure stands on the right side of Sheet 42, while in our manuscript the corresponding figure is seen on the left side of Sheet 29. Both show the goddess with the quetzal-bird helmet-mask, her face looking out of the open beak of a quetzal-bird. And this is the goddess Xockiqnetzal, who is introduced with the same helmet-mask and other characteristic marks on Sheet 9 of Codex Borgia as symbol and effigy of the day-sign xochitl, ' Flower ' (Fig. 123). Specially remarkable in Fig. 122 and on the goddess pictured on the left side of Sheet 29 of our manuscript is the large disk which is attached at the region of the loins ; at any rate, at the Fig. 122. Fig. 123. Xorhiquelxai, Oloddess of Flowers. XoeKiqueixal, Lady of the Twentieth Day-mgn. Codex Vaticinus B 42 Xockill, ' Flower.' { = Eingaborough 90). Codex Borgia 9 (=Kiiig8borough 30). place where the girdle was tied which fastened the skirt, the enagua, to the waist. Such disks are to be seen with nearly all figures of the Codex Borgia group of manuscripts, as well as with those of other picture-writings. They are called cuitlatezcatl, ' back- mirror.' They are also seen in large and characteristic form with the figures of the Chicken itza sculptures (Yucatan), which, taken in con- nection with other details, thereby reveal their Mexican origin. But here, with these two goddesses of Vatican B and our manuscript, this cuitlatezcatl is of huge size, and in each case supposed to be made of a large turtle's carapace, as is distinctly shown, especially by the personage at Fig. 122. As a special symbol, with the goddess of our manuscript is further pictured a flowering tree, at the foot of which are inserted two stone knives. With the figure at Fig. 122 we see, at the upper border of the picture, a jaguar's skin, from which proceeds a flower, and in which are stuck agave-leaf spike, stone knife, and bone dagger. On the other side of the strip, at Sheets 7 and 8 of our manuscript, we have already made the acquaintance of XochipiUi and Xochiquelzol as representatives of the South. Macuilxockitl is the direct expression of the South cardinal point, as is at once shown by its name, as above clearly set forth. And from the fifth member of the second series it also resulted that this goddess may be conceived as representing the North quite as well as the South. The Gods of the Six Quarters. 121 It accordingly follows that, in point of fact, the five members of the four series correspond to the four cardinal points in the very way that might seem to be a priori inferred from a comparison with Sheet 1 of our manuscript. Thus these guardians of the four times five Venus periods stand at the beginning of the Day Side of the strip, as the gvxirdians of the Jive quarters, in a similar way and in the same order as do the nine lords of the Night Hours at the beginning of the Night Side of the strip. II. The Gods of the Six Quarters. Sheets 23-25 ( = Ktngsborough 22-20). Lower Half. I should, perhaps, have begun my treatment of this side of the manuscript with this group of representations, since with the reading from back to front (from right to left), as is required with these documents, it would seem that we should also proceed from below upwards. For these representa- tions we have a parallel in Codex Vaticanus B, where the corresponding pictures occupy the upper halves of Sheets 9-11. There they are associated with the six gods in houses, who are exhibited somewhat later in our manuscript on the lower halves of Sheets 30-32. In Vatican B both groups are in immediate connection with the Tonalamatl, disposed in columns of five members, which forms the beginning of the book in this manuscript, as in Codex Borgia and Codex Bologna. To this group belong, as we see, six pairs of gods, who are pictured facing each other, and mostly seated. Beside them are given 40 days by means of signs and connecting dots, and indeed in such a way that cipdctli, atl, olin, cawatl, acatl, the first, ninth, seventeenth, fifth, thirteenth signs — hence dates that are always separated from each other by eight signs — are placed beside the five first groups, while the day- counts are altogether lacking with the sixth group. By these groups there might thus be meant to be represented either five periods of eight or X. 20-1-8 days, or a single period of 40 days. In the latter case the initial days of the periods would read : 1 cipcLctli, 2 cipactli, 3 cipactli, and so on up to 13 cipactli. Hence a larger period of 13 x 40 or 520 days, i.e. two Tonalamatls, might have also been intended. As in the signs the numeral five is contained, a relation with the Venus periods might likewise be thought of. With dpactliy atl, ol'iUy couatl, acatl would begin epochs of 1168 days, or double Venus periods. The five signs given with the first five groups would accordingly give expression to a complete epoch of ten Venus periods. But whatever may be the significance of the signa given on these sheets, the groups of personages arc obviously thought of as in relation to the quarters, not, however, to five but to six, and in a different order from that in which we found them on Sheet 1 of our manuscript, and on the just- described representations on the upper halves of Sheets 23-29. For here the second, not the third, place is taken by the group with the Death God, which must indicate the mictlampa, the region of the realm of the dead, the North. Hence we have to begin, not with the Middle, but with the East, and must assume that the groups here figured are intended to correspond with the cardinal points m the order from East to North, West, South, above, below. Q 122 The Day Side of Ibe Manuscript. The first group in our lUEmuscript, on the right side of the lower half of Sheet 23, shows, facing one another, each seated on a j^uar's skin, two figures, the first of whom — the one to the left clothed in the qti£ckquemitl of the colour of the ckaXckiuitl, the green jewel, and in a white, yellow-striped enagua (euHtl) — is undoubtedly to be taken for a woman. But the other, with an animal's, and in fact a dog's head, as shown by a comparison with the parallel figure of Codex Yaticanus B (Pig. 124), is clothed in a long garment of red colour, covering the whole body down to the feet, — a garment which, generally speakii^, is unknown in this form either as a man's or a woman's article of attire, and perhaps represents a so-called giiemitl, a long apron-like garment which was fastened round the neck of idola. lite person here draped in this garment is doubtless to be regarded as a man, as is suggested by a comparison with the homologous figure of Vatican B (Fig. 124). Still more certainly the same is inferred by the fact that the figures represented in the fifth group of this series in our manuscript are likewise clothed in such a garment. The female figure shows nothing particular by which she might be determined with any confidence. In the homologous group on the left side of Sheet 9 of Vatican B (Fig. 124) she is apparently replaced by a male person painted a yellow colour, but also scarcely displaying any characteristic mark. For the symbol which the figure wears in front on the fillet cannot be explained. The two red rectangles on the quemitl, which the figure has tied in fi-ont, are known as facial painting with Xockipilli, ToTiacatecutli, and the Maize deity (Cinteotl). They occur, in fact, in Codex Borgia as a decoration on the ent^ua of the female Maize deity (cf. below, ^ .»».,,. X, F^. 204). I should explain the female fiimre of our picture as Rg. 124. Codex Vaticanns E 9 - ^ ' ^ ° \ (»Kingsbon)ugh57}. Xochiqiietzal, and the homologous male figure of Vatican B as Xockipilli. For further on, to the right side of the lower half of Sheet 35, we shall meet the goddess Xockiqiietzal, and opposite her the god XochijnUi, likewise as representatives of the East But the above-mentioned little rectangle we also find in exactly the same form on the dress of the male god in the third picture of Vatican B (Fig. 126), and we shall there see that this god is also to be identified as XochiyHli. The dog-headed form on the right side of the Fej4rv&ry picture, which we have to regard as a male, recalls the pulque gods by his facial painting in two colours, as shown in our manuscript, as well as by the two-coloured Huaxtecan hat (copUli) and the fan-like nape ornament {eue^luitoncatl) of the god Quetzalcouatl, which we see with the figure in Vatican B (Fig. 124). He agrees, in fact, comjdetely in these three distinctive marks with Pdtecatl, J,he ruler of the twelfth day-sign, as he is depicted on Sheet 90 of Vatican B (c£ Fig. 65 above,p. 73). We miss, however, the human or simian head which there forms the frontal part of the fillet On the other hand, the same facial painting in two colours, the equipment with the attributes of Quetzalcovatl, and above all the dog's head, point still more to another deity whom we have already once met on Sheet 12 of our manuscript, and shall again meet further on in diverse transformations; that is to say, the God Xdotl, who is the god of ball-playing, of twins, and monstrosities. This god seems here to stand as representative of the East, because he stands in a certain relation to the Morning Star, which after all is also a twin, appearing as Morning and Evening Star. Tbe Gods of the Six Quarters. 223 Between the two figures in the picture in our manuscript we see a dish on which is lying the foot of a beast of prey. We shall again come upon the same symbol further on, in the just- mentioned right section of the lower half of Sheet 35 of our manuscript, with the god Xochipilli. And there I have found reason to explain this foot as the oceloyataztli, the priests' tobacco- pouch made of a jaguar's skin, which perhaps is the very symbol of Tlalocan, the paradise of the Rain God. For on Sheet 67 ( = Kingaborough 48) of Codex Borgia the oceloyataztli is seen figured with Tlaloc, lord of the seventh thirteen of the Tonalamatl, as a prominent symbol (Fig. 124«). In any case, like the tobacco-calabash, it is an emblem of fertility, of an abundance of food supphes. On Sheet 51 ( = Kingsborough 64.) of Codex Borgia the tobacco-calabash denotes the temple of the Maize God. Hence the homologue in Vatican B of the dish with the jf^uar's foot in our manuscript is a vessel which is painted the colour of the jewel, and out of Pig. 124a. Tlaloe, the R*in God. Lord of the Bevenlh Week of the Tonakimutl. Codex Boi^ia 87 ( = Kingsborough 48). which three jewelled bands project between two maize ears, and end off in flowers. In this manu- script the same vessel recurs in exactly the same way with the third picture, where it perhaps denotes precisely the Xochitl ioacan, the '.place where the flowers stand upright,' the paradise of ToTMcatecutli, of Tov/icaciuatl, lords of food supplies. The East, as the region of abundant food supplies, or of the gods of abundant food supplies, seems to me to be indicated by the figures and the accompanying symbol of the first picture of this series. The second group, in our manuscript on the left side of Sheet 23, in Vatican B on the right side of Sheet 9, shows a body packed up in worm-like form with the skull of the Death God, and facing it the Earth Goddess Tla^teotl. In our manuscript the latter exhibits the same general features as the other pictures of this goddess — for instance, the middle figure of the upper series of Sheet 28 — but is distinguished by her facial painting. The upper half of the face is painted yellow, the lower red, a twofold arrangement of facial colouring which the Sahagim manuscript prescribes for Ilamatecutli, goddess of the Tititl feast. In the homologous picture in Vatican B (Fig. 125) another characteristic of this goddess is to be mentioned : — beside the bands ]24 The Day Side of the Manuscript. of unspyn cotton in her hair, the ffta-shaped nape adornment cue^aluitoncatl, which, being an article of Huaxtecan costume, is worn by this goddess, as well as by the dc^-headed god of the East (Fig. 124) and the Wind God, Qmtz(dcouatl} In our manuscript, between these two figures, are shown blood and a heart, emblem of sacrifice, that is, of the victim's death. In Vatican B we have a gouged eye, which is likewise an emblem of sacrifice, and a bundle of firewood, besides a rubber ball decked with a single quetzal feather, doubtless in this place intended as a symbol of cremation. The Goddess of Earth and the Death God, with these emblems of death, show that this group is intended to be taken as representing the North. The third group, pictured in our manuscript on the right side of Sheet 24, in Vatican B on the left side of Sheet 10, is again formed in our manuscript by two not very characteristic figures Pig. 125. Kg. 12fl. Codei Vaticanus B 9 (=Kihgiborongh 57). Codex ValicanUB B 10 ( = Kingsborough 58). — a female, who, however, is represented as an oM person by the contracted comer of the mouth, and a male person clothed like the dog-headed god of the first group. The homologous group of Vatican B (Fig. 126) likewise shows a male god dressed in loin-cloth and qtiemitl, and a goddess, with whom a blue colour is dominant. The drawn-in angle of the mouth with the female figure of the picture in our manuscript points to the inference that here it was intended to represent Tonucaciuatl, the Lady of Food Supplies. And as this goddess is by the interpreters identified with the young goddess Xochiquetzul, we should doubtless explain as Xochipilli the young male god who is depicted facing this goddess. Both deities presumably stand here as representatives of the Tumoanchan, the house of descent, of Xochill icacan, of ' the place where the flowers are straight,' the paradise of the Earth Goddess, the West. I have already above mentioned that this region seems also directly pointed at by the symbol which in the group of Codex Vaticanus B (Fig. 126) is shown between the two figures. For this symbol — a jewelled dish in which are seen three flowers with long stalks between two maize ears — may be regarded as the hieroglyph of this very Xochitl icacan, the ' place where the flowers stand straight up.' And the latter name occurs, both in the songs and in the interpreters' commentaries, as a synonym for Tamoanchan, the often-mentioned name of the ' Earthly Paradise,' as it is explained by Sahagun, of the primeval home, which was undoubtedly thought of as in the West. The third group, which is depicted on the left side of Sheet 24, and in Vatican B on the right side of Sheet 10, and must now correspond to the South, contains a pair of new and ' Cf. ToiuUaTiiati of the Aubin maim script, pp. 46, 47. The Gods of the Six Quarters. 125 iateresting figures. Both bave on their heads the white-fringed cloth, such as is worn by Tez- adlipoca (cf. the Stone Knifo God in the middle of the upper row on Sheet 2 of our manuscript, and supra, p. 53, Fig. 39), and on the top a bunch of downy feathers with a crest of four plumes ending in white tips. By way of decoration they wear a kind of collar made of vertebrae or Fig. 127. The Dance God. Fig- 128. The Dance God. Codex Borgia 62 (=KingsboroHgh 53). f^odei Borgia 64 { = KingBboruugh 51). Fig. 1S9, The Dance God. Fig. 130. The Dance God. Codex Vaticanus B 62 { = Kingsborough 45). Codex Boi^ 69 ( = Kingsborough 66). animals' claws, and on the upper arm a ring furnished on one of its sides with a projection tapering to a point. With both the loin-cloth is fastened and coloured in the same way. But one of the figures is white, with his face painted black and white in a peculiar manner. The other is painted half red, half like a jaguar's skin, the breast being left white on the right side, doubtless through the carelessness of the author of the manuscript; and about his month he The Day Side of the Manuscript. i Fig. 131. Codex Vatic»ncis B 40 (-KingsboTough 88). Fig. 134. Ijitillnn (Pictorial Manuscript in the Florentine Biblioteca Na^ionnle). Fia. 133. Ixll'UUm. ^- 13^- TtAalvtl, the Grey Squirrel. SBhHgun MS., BibL del Palacio. (Manuscript in the Fbrentiae Biblioteca Nazionftle.) The Gods of the Six Quarters. 127 has what seems like the drawing of a bone painted in a white colour, which contrasts strongly with the red colour of the rest of the face. The facial painting of the first agrees in all details with that of the dancer who is repre- sented on Sheet 62 ( = Kingsborough 53) of Codex Borgia facing the goddess Xochiquetzal, Lady of the Nineteenth Week (Fig. 127), as also with that of the dancer who is depicted in Codex Borgia 64 ( = Kingsborough 51), and in the corresponding place, Sheet 52 ( = Kingsborough 45) of Vatican B, facing the 'old Coyote,' UeuecoyoU, God of the Fourth Week (Figs. 128, 129). The same facial painting may be described in the being that stands on the right side of the group Fig. 130, and is distinguished by a white painting of the body like the figure of our manuscript. The group this being belongs to, is taken from Sheet 59 ( = Kingsborough 56) of Codex Borgia — the homologous figure of Vatican B is the black-painted man, shown on the left side of Fig. 131 — the group itself being obviously intended to be represented as leading off a dance or else taken in festive garb. To a certain extent we can also again recognise the facial painting of our Fej^rvAry figure in that of the musician who, on Sheet 4 of Codex Borbonicus, takes the place of the dancer of the other manuscripts, being there pictured before the 'old Coyote' singing and beating the tlalpan ueuetlf the skin kettle-drum (Fig. 132). There can accordingly be scarcely any doubt that the figure represented in our manuscript, on the left side of the group on Sheet 24, below to the left, is intended to denote the God of Dance and Music, And if we look for a name, we shall doubtless think of Ixtlilton or IxtlUtzin, the 'little Black-feuce' (Figs. 133, 134), a god who is, no doubt, mentioned in Sabagun, in the first instance, as the god of a specific cure for sick children ; but then also as the god who starts a pulque-carouse, and in fact, as would seem, leads off all kinds of private dancing-revels. It is in connection with him that Sahagun takes occasion to describe 'la mantra que iienen estaa danza^ 6 bailee que por otro norribre ae Uaman areytos, y en 8U lengvxi se llama macevalizUi' And, indeed, this god is also introduced in the pictorial manuscript of the Florentine Biblioteca Nazionale, behind the series of pulque gods, beside the techalotl, 'the Squirrel' (Fig. 135), i.e. presumably the masked dancer. And the pictures of him, as well as of the techalotl given in the Sahagun manuscripts and in the manuscript of the Florentine Library (Figs. 133-135), exhibit both of these absolutely as the dark brothers of Macuilxochitl, God of Feasts and Sports. A speciality of the figure in our manuscript, a white ball or disk, covered with a radial design, and held by the god in his right hand, is perhaps a symbol for ilhuitl, * Day, Feast,' and should be compared with the parti-coloured whirl-like disk which the dancer at Fig. 136 holds in his hand — a symbol which, in Codex Telleriano Remensis, represents the sign of the eighth annual feast, the feast of UeitecuUhuitl, the ' great lord's feast' I cannot refrain from comparing this white disk, covered with a radial design, with the hieroglyphic element which, in the Maya manuscript, repro- duces the sound and the sense of the Maya word kin, which has also the very meaning of ' Sun, Day, Feast' And, in fact, I had above occasion to point out that we meet this same white radial disk as a facial painting, a distinctive mark about the mouth, with the Sun God of Sheet 1 in our manuscript, and with the XochipiUi, who is figured in the middle of the upper row on Sheet 26 of our manuscript. Now, if the above-attempted identification of our Fejdrv4ry figure with the Ixtlilton of the Sahagun manuscript and of the Florentine document is right — and of this I have no doubt— then we must take the associate of this ' Black-face,' the god figured in our manuscript on the right side 128 The Day Side of the Manuscript. of the group on Sheet 24, below to the left, who is painted half red, half the jaguar-skin colour, for his red brother himself, the god Macuihochitl, ' 5 Flower," the God of Feasts and Sports. And, in point of fact, the white painting about the mouth, which I above denoted as indicating a bone, may be just as well taken as a degraded form of the white hand on the mouth, an attribute of the god MactiUxockitl, or; better still, of the white butterfly on the mouth of his associate XochipiUi. In the same way the indistinct white mark, which in the Sahagun manuscripts and ia the document in the Florentine Biblioteca Nazionale is shown about the mouth with the pictures of Macuilxockitl (Figs. 137, 138), is undoubtedly a degraded form of the white hand or of the white butterfly. So also the crest of black feathers, which in our manuscript is worn both by the white black-faced and the red figure, appears to be nothing but the crest embellished with quetzal feathers and stone knives which, in the Sah(^^uu manuscripts and in the Florentine document, is shown on the heads of Fib- 136. UtiteenHhuitl the Great Lord's Feaat. Codex Telleriano Reiiiensia, f. 1 verao ( = Eingsborough i. 2). Fig. 137. Macuil xochiti, God of Pleasure (Sahugun ms Biblioteca del Palitcio). Fig. 138. Macuil xorhWI, God of Qnmbling (patolli). Manuscript in the Florentine Biblioteca Nazionale. the pictures of Jxtlilton and Macuilxockitl, and which, as I have elsewhere long ago fully explained,' arose out of the feather crest of the Coxcoxtli bird, in whose form these two gods are properly figured. Should any one, however, feel more inclined to explain the white facial painting about the mouth of the red figure in our manuscript as a bone, in accordance with my first assumption, then this personage should be indicated as a parallel, or rather as the double of the figure who is pictured on Sheet 5 of our manuscript under the name of Ce raiquiztU, ' I Death,' and which I there thought should be determined as a god of the moon or of magic. But even on the assumption of this last identification we should, in ray opinion, have to return to Macuilxockitl, the red brother of IxtlUton, since the dance, feasting, sports and ju^lery, thimble-ri^ng and conjuring went hand in hand. Of the Caexteca, the Huaxtecans, Sahagun relates : — * Iniquey guil quitquique in akavillotl, in ilapitzalli, ipampa miec tkimantli in ic omavil- tinya, miec tkiTnantli in ic otetxcuepaya ic teixcuepaya yn quitlatia xacalli yn quickiva ntf, in Ttwtetequi, miec tlamantli in quickivaya. ' These took with them as their share ' Veruffeutlicbnngen aua dam Konigl. Museum ttir Volkerknnde. voL i. part iv. ' Sahigun, book x. uhap. xxix. % 12. The Oods of the Six Quartern. 129 (their speciality) diversions, the flutes, for they amuse themselves with many things. With many things they also play at jugglery and trick the people, setting a straw hut on fire, making water spring up, cutting themselves to pieces. Many such things they do.' Feasts and sports and m^c go hand in hand. Ma^ilxochitl, as I have already shown in another place,^ is at bottom merely another form of Tezaitlipoca. MacuUxochitl, as I have above (pp. 114, 115) fully set forth, is the Uitznaiutc teotl, the 'God in the South,' in a pre-eminent sense. I have already above given proof that these four pairs of gods must in fact denote the South. The picture in Vatican B (Fig. 139) corresponding to the IxAlilton-Mnaiilxochitl group of our manuscript, however sketchily the figures of this very series are generally drawn in Vatican B, still brings out quite clearly the resemblance between the two forms, those of the red and of the white « Fig. 139. Fig. 140O. Fig. 1406. Codex VHticaniis B 10 King AvMmAVs Mum my- pock. Crowning of MoUevh^oma. ( — Kingsborough 58). Duran. trat, l chap li. Lam. 18. Durau. trat. i. chap. UL Lam. 18. (properly black-faced) god. The peculiar ornament worn by both of these figures on the temple answers, perhaps, to the coyote's ear, which is seen distinctly shown with the Dance God (Fig. 130), and also with the two figures at Figs. 128, 129. Between these two figures in our manuscript is seen a vessel containing a feather motive and an object painted blue, which is also perhaps to be taken as a requisite of the danca In Vatican B, from the vessel projects a necklet which, being blue, is doubtless made of stone beads, with golden bells attached, and an object which obviously represents the ring extended on one side and tapering to a point, that is worn on the upper arm by the IxtliUon and the Macwih;ochitl of our manuscript. It is a decoration which, though further provided with a bunch of quetzal feathers, is given with the dancing-dress of the Mexican kings, and described under the name of quetzalmarhoncotl} A picture of this ornament is seen with the figures of the kings who are pictured in the historical ' Veruffen(licb«ng«ii &uh dein Kiinigl. Miueain ftlr Vulkerkuude, vol. vi. (1899), pp. 13T-I39. ' gvttialmachoncoll tla^ollanqvi nepapan tla^oyuitica yoan cotltc UoemOaya — ' asaban unoB brualetsB de muulco, heobo de tarquezaa, con unaa plumna ricM que aalian de elloe, qae eran mas alias que U cabeza, y bordadaa cou plutnu ricae y cou oi'o. y nnaa bandai de oro, que Eubian con laa plumas.' — Saliaguti viii. chap. ix. (us. Academia da la Hiatoria). 130 The Day Side of the Manuscript. section of the atlas to Duran's Chronicles. Judging from these pictures, this ring on the upper arm, extended un one side and tapering to a point, must have been sliced off the shell of a ki^ sea-snail. Lastly, in Vatican B, above the dish with the dance requisites, is further shown a utensil which is apparently furnished with a handle, and perhaps resembles the so-called wooden 'manoplas' that, as related by Hermann Strebel,* the Totonacs of the district of Misantla held swinging in their hands durii^ the dance, and are reproduced by this author to illustrate the stone objects of similar formation foimd by him. The fifth of the pairs of deities belonging to this series is shown in our manuscript on the right side of Sheet 25, in Vatican B on the left side of Sheet 11. As the four cardinal points have already come to an end with the preceding group, this pair must now stand for one of the central quarters, for the below or the above. We shall presently see that they are intended to symbolise the upward direction, that is, the upper region. The Vatican B picture, though drawn (Fig. 141) on a small scale and somewhat defectively, still makes it so far clear that here are meant to be represented two figures with the headdress of chieftains {tequiua). The pictures of our manuscript, far more carefully executed, obviously also exhibit two warriors or chieftains. For they likewise wear, although not so distinctly marked, the teqaiua headdress brushed up on one side, and besides at the occiput the azfascelli, the forked heron-feather adornment, the Mexican warrior's dancing-headdress. Both are moreover ixtlan tlatUum, that is to say, they have Tezcatlipoca'a and UitzilopocktWs facial painting, consisting of alternately coloured cross-bands. They occupy seats covered with iaguar Fig. 141. Codex Vatiewms B n .,,,,, r , ^ , , { = King3boroiigh 59). skins, and uke the dog -headed god of the nrst group and the god figured in the third group facing the Water Goddess, both are clothed in a long robe falling down to the feet, with an apron-like garment over it in front (the qti,eniitl). Differences present themselves first of all in the headdress, where the figure to the left shows above the forehead the three lambent locks of the deity of the Morning Star {TUitiizcalpan ieciUli) and of the allied god of the hunt {MixcouMtl). Then in the colour of body and face, which with the figure to the left is red, and with the figure to the right blue. Lastly, in colour of the robe, which with the figure to the left is green, i.e. presumably dark, showing disks or mirrors which are dotted white and black, a design or painting which in the Mexican picture-writings was employed to express a variety of things, such as for sand (xnUi), for painting with white chalk {ti(ail), as well as for snow, frost, cold (cetl). The figure on the right wears, on the contrary, a blue robe which is doubtless meant to be of a light shade, and Instead of the mirrors or disks shows downy feather {iuifl) balls., The left-hand figure has, moreover, a bandage over the eye, and his mouth shut with a triple tie. The figures are of the TezcatUpoca type. This is shown in the ixtlan tlatlaan, the facial painting, where two cross-bands of a yellow colour stand out in contrast to the rest of the face colour, which corresponds with that of the body. But with the left-hand figure the upper yellow band is ' Uermonu Strebel. Alt-Mexico. Archiiologiacbe Beitriige znr Kaltargeichichte seiner Bewohner. Eambnrg unil Leipzig, 18S5. — Deraelbe, ArchaologiBche und Etboologiache Mittlieiluii);eD aut Mexico. (Abhand lunge n des NatunriisenEcbafUicbeu Vereina in Hamburg, vol. XI. part i. p. 8.) Plate ii. Fig. 16. The Gods of the Six Quarters. 131 concealed by the white bandage covering the eye. And this type is further shown in the warrior^s headdress and the warrior's feather decoration. But the left-hand figure is conceived as Tezcatlipoca- itztlacoliuhquiy the God of the Stone, of Punishment, of Blinding, of Sin, of Cold. This is again shown in correct fashion by the bandage over the eyes, and the gagged mouth, as well as by the white- speckled mirror on the robe, which are given in exactly the same way on the limbs of the god figured on the left side of the lower half of Sheet 33 in our manuscript. The latter, who is also depicted with the bandage over his eye, but as ^the god of cold painted a blue colour, has homologous forms both in Codex Borgia and Codex Bologna, as I shall have to show further on. And in both of these manuscripts the corresponding figure is represented with the peculiar bent hat painted white and black, which is the distinctive mark of the deity who is called by the name of Itztlacoliuhqui in the Tonalamatl, and indicated as the God of Cold, and in the Sahagun manuscript is also quite clearly described imder this name with a personage who plays a chief part in the Ochpaniztli feast. Lastly, in all three places, this god, corresponding with the left-hand figure of our group, is undoubtedly thought of as the symbol and illustration of the cardinal point of the North. If, therefore, this interpretation appears to be established for the figure on the left of our fifth group, the inference will follow almost inevitably that then the right-hand figure must indicate the Tezcatlipoca of the South. That this god was thought of as determinant both for the region of the North and for that of the South I have proved in my essay on the eighteen annual feasts of the Mexicans,^ to which I have already repeatedly referred in the foregoing pages. That the figures of this fifth group have to be in this way contrasted with each other is also pointed at by th6 symbol which in our manuscript is given above between the two figures. For the broad white-dotted band hanging down on the left, when taken in connection with what the left-hand figure symbolises for us, can denote nothing but snow or cold, i.e. the region of the North. And in that case surely the half- sun on the right cannot possibly be anything at all except an indication of the region of the South. The figure on the right has both body and dress painted blue, and corresponding with this are the alternating blue and yellow cross-bands on the face. This, as is no doubt well known and evident enough from the pictures in the Sahagun manuscript, is the facial painting of UitzUopochtli, the War God, the potent god of the tribe which was able to acquire the hegemony over the other tribes of Mexico. In truth, the intimate relation between this tribal god of the Aztecs and Tezcatlipoca is manifested, not only in this facial painting, but also in a thousand other details. But it is at the same time no less evident that Tezcatlipoca is also in the stricter sense conceived as god of the North. He is the god of the Toxcatl feast, which was kept at the time when the sun prepared to pass over to the northern part of the sky. He is the (Jod of Night and Darkness, who is brought into relation with the realm of the Earth and of the Underworld ; he coincides with the God of the Stone, of Punishment, of Blinding, of Cold, and is also the representative of the second quarter of the Tcmalamatl, i.e. of the North. On the other hand, Uitzilopochtli presents himself, not merely in the narrower sense, but exclusively, as God of the South. This is at once expressed in his very name. As we are assured by. Miguel Palma, author of a modern Aztec grammar, a born Mexican with an accurate knowledge of the language, amongst the Mexican Indians the expressions iyecarixpa tonatiuh, ' on the right 1 Veroffentlichungen aus dem Konigl. Museum f. Volkerkunde, vol. v, (1899), part ii.-iv. 132 The Day Side of the Manuscript. of the sun,' and iopockpa tonatiuh, ' on the left of the sun,' are still current in the sense of North and South respectively.' Thus the term Opochill, the 'left,' simply means the Sovihem. And in connection with this I might advance the view that the remarkable name Moyocoyatzin, ' the god acting according to his pleasure,' an epithet applied to TezcafUpoca, may perhaps have originated by a popular etymology from Mayeccayyotzin, the Right,' i.e. the ' Northern.' As regards Uitzilopochtli, the chief exploit recorded of him is that, as the new-born god he put to flight the Gentzon Uitznami, ' the four hundred Southerners.' As I have already fully explained above, that means after all nothing more than that the young Sun God, born of the Coiuxtlicue, of the Night or the Earth, chases away the host of the stars of the southern heaven. And thus also the feast of this god, the PanquelzalizfU, nearly coincides with the winter solstice, i.e. the time when the sun has moved farthest to the South. But if UitziU^Kichtli is really the TezcatUpoca of the South, we may almost infer that the god pictured with the colour of Uitzilopochtli, on the right side of our fifth group. Sheet 25, below to the right, who is also a TezcatUpoca of the South, represents the god Uitzilopochtli himself. And this would be the first instance in which, in one of the strictly calendric and, so to say, astrological picture-writings, the figure of this god was referred to, being otherwise one of those who were honoured only in a very contracted geographical area. But TezcatUpoca and Uitzilopochtli are not merely the gods of the North and the South. They are above all the young gods, as is indeed indicated by the very peculiarity of their facial painting. For the yellow cross-bands, as is expressly stated in Sahagun, are the pilneckiualli, the 'face-painting of children' : they are made of conecuitlatl, ' children's dirt,' ' children's fffices.'* They are the new-bom aoAs, the voune Sun God, Fig. U2, Codex Vaticanus B U , . , , , , , ' , , ^ ( = KingaboroHgh 59). "^^Q rises and chases the host of the stars, here the Centzon Mimixcoua, the ' four hundred cloud-snakes,' ' four hundred Northerners,' there the Centzon Uitznaua, the ' four hundred Southerners.' Accordingly, their domain is the space previousiy occupied by these stars — the North sky, in which the suQ runs its course during the shorter section of the year, and the South sky, in which it tarries during the greater part of the year. And in fact, as Sabagun tells us, Uitzilopochtli is also called this very Uhuicatl xoxoukqui, the ' blue Heaven.' It is thus evident that, as I above stated, these two personages, Tezcatlipoca-itztlacoliuhqti.i and Uitzilopochtli, who are here pictured on Sheet 25 of our manuscript, symbolise as fifth group and fifth quarter this upper region of the heavens. The sixth and last pair of deities of this series occupies, in our manuscript, the left side of the lower half of Sheet 25, in Vatican B the right side of the upper half of Sheet 11. We see two old women with the contracted angle of the mouth, as it is depicted in this and in other manuscripts, to indicate the toothless and wrinkled mouth of old people. ' Orammatiea axiKa, p. 122. ^ yoan yc yxtlan llallaaH yc onuniehiuJi yn iconeeuiU mitoaya ypUntehival—' and on his face he i« painted with crosB-bands in various coloum. He ia paiDted with hia child-dirt, which ia called child [ace-paiating.' — Sahagun, book iii. chap. i. (hi'. Kbiioteca del Palacio). The Gods of the Six Quarters. 13^) Between them is seen an insect, with which, in the Vatican B picture (Fig. 142), one might think it possible to distinguish eight legs and a spinneret, such as in our manuscript is clearly seen seated on a cobweb, hence must in any case represent a spider. Below it, in our manuscript, is further seen a death's head. Naturally the old women are to be taken as representatives of the Earth, For amongst all peoples the earth is regarded as of the feminine sex, as the mother who from her bosom brings forth maize and the other fruits. And to picture it as old, as existing from primeval times, is likewise a notion current amongst most peoples. The earth is the ground on which we tread, and accordingly denotes the below, the lower region. In order to express such concepts, the death's head is here also introduced in our manuscript. But the spider, as I have already had occasion to point out higher up, seems for the Mexicans to have been the emblem of the beings who come down from above, of the TzitzimiTne, of the demons of darkness. In the Tonalamatl of Codex Borbonicus (cf Fig. 41 above, p. 55) the spider is everywhere pictured with those gods who were regarded as belonging to the category of the Tzitzimim^. Possibly the dropping of self-spun threads, as may indeed be often observed with spiders, may have occasioned the choice of this image in this connection. In any case, it would have been scarcely possible by any other emblem to give more vivid expression to the downward direction, to symbolise which this sixth group must have been set apart. Now I return once more to the day-signs, which are here presented with these six pairs of deities, or rather with the first five of them. Further back it was impossible for me to indicate with more positive and undoubted certainty a period whose total sum, or whose initial counts, could have been symbolised by these signs, and consequently also by these pairs of deities. But now arises the further question, whether these signs may not here be thought of simply as names of the pairs of deities pictured above them, or of some of them. If we add the ciphers, which according to the Tonalamatl system must be combined with these signs, we shall find given with the six pairs of gods of this series the following dates, possibly to be regarded as names : — 1. (East). Xolotl and Xochiqiietzal — 1 cipactli, 4 ciietzpalin, 2. (North). TUi^olteotl and Death God — 9 art, 12 malinuUi, 3. (West). Xochipilli and Tonacaciiuitl — 4 olin, 7 xochitl, 4. (South). Macidlxochitl and Ixtlilton — 12 comatl, 2 tochtli, 5. (Above). Uitzilopochtli and Tezcatlipoca itztlacoUnhqui — 7 acatl, 6. (Below). Il^imatecutli and Citlalin iciie. And here we see that, at least in the first group, Ce cipa^tli, * 1 Crocodile,' really corresponds to Xochiqaetzal, who in fact is equivalent to Tonacaciuatl; and in the third group {cln^ome xochitl, ' 7 Flower') to the god Xochipilli; that in the fourth group, ome tochtli, * 2 Rabbit,' a familiar name for the pulque gods, is thoroughly appropriate to the gods of the dance, feasts, and sports figured in this group; and that in the fifth group, the date chicome acatl, appears to be suitable to the 134 The Day Side of the Manuscript. deities represented in this group, at least as regards the character of the sign. For acatl, 'Reed,' was for the Mexicans the emblem of judicial authority, while Tezcatlipoca itztlacoliuhqiii was the representative of this sign and the God of Punishment.^ Hence it is possible that, as with the nine lords of the night, the first nine day-counts were given to some extent simply as the ciphers 1-9 ; so here these above-indicated dates are given to some extent as standpoints for the memory, in order by the familiar association of certain of these dates with certain deities to fix in the mind the sequence of the series of the gods. III. The Period of 59 Days. Sheets 26-29 ( = Kingsborough 19-16). Lower Half. This series consists of eight groups. With the first, and reaching into the second group, is inscribed the initial column of the ToTialamatl disposed in columns of five members, i.e, the day-signs cipactli, ' Crocodile,* avail, ' Reed,' conatl, ' Snake,' olin, ' Rolling Motion,' atl, ' Water,' where, however, the author of our manuscript has by mistake interchanged the two signs couatl and olin. As being the initial column, the cipher *one' should accompany this column, i,e. should appear with all the five signs. Then beside each of the following groups the number of days, or rather columns of day-signs, is indicated by a number of coloured circles, which denote so many units, and these counts lead from the sign or the column of day-signs of the preceding group to the sign or column of day-signs which is intended to be the determinant or the name-giver of this group. Thus, were these signs fully and accurately written out, to the eight groups of this series the following columns of day-signs would correspond : — I. — 1. cipactliy acatl y couatl, olin, atl, II. — 8. tochtli, xochitl, TnalinaZli, cuetzpalin, cozcaqvxxivhtli, III. — 1. ocelotl, miquiztli, tecpatl, itzcuintli, eecatl, IV. — 8. cipactli, acatl, couatl, olin, atl, V. — 5. oforrultli, calli, quauhtli, magatl, quiauitL VI. — 1. xochitl, malinalli, cuetzpalin, cozcaquauhtli, tochtli. VII. — 12. ofomdtli, calli, quauhtli, ma^tl, quiauitL VIII. — 7. quiauitl, Ofomdtli, calli, quauhtli, TrmfoM. By adding the signs or columns indicated only by numerical units, these make altogether 59 signs or columns of day-signs. And it would accordingly seem as if by these signs, and consequently also by the groups of figures beside which these signs are placed, it was intended here to symbolise continuous periods of 59 days, or two synodic Toonths. These, however, are periods which do not all go evenly into the Tonalamatl or any multiple of it, so that it is only after 59 x 260 days that the same number and the same sign again fall on the initial day of these periods. The names of the initial days are shown in the following table : — ^ Cf. Tiinalamatl of the Aubin collection. The Period of 60 Days. 135 1 11 8 5 2 12 9 6 3 13 10 7 4 cipactli 8 5 2 12 9 6 3 13 10 7 4 1 11 xochitl 2 12 9 6 3 13 10 7 4 1 11 8 5 quiauitl 9 6 3 13 10 t 4 1 11 8 5 2 12 tecpail 3 13 10 7 4 1 11 8 5 2 12 9 6 olin 10 7 4 1 11 8 6 2 12 9 6 3 13 cozccu/iuivJUli •4 1 11 8 5 2 12 9 6 3 13 10 7 quauhtli 11 8 5 2 12 9 6 3 13 10 7 4 1 ocelotl 5 2 12 9 6 3 13 10 7 4 1 11 8 acatl 12 9 6 3 13 10 7 4 1 11 8 5 2 malincUli 6 3 13 10 7 4 1 11 8 5 2 12 9 o^omatli 13 10 7 4 1 11 8 5 2 12 9 6 3 itzcuintli 7 4 1 11 8 5 2 12 9 6 3 13 10 all 1 11 8 5 2 12 9 6 3 13 10 7 4 tochtli 8 5 2 12 9 6 3 13 10 7 4 1 11 ma^tl 2 12 9 6 3 13 10 7 4 1 11 8 5 miquiztli 9 6 3 13 10 7 4 1 11 8 5 2 12 couatl 3 13 10 7 4 1 11 8 5 2 12 9 6 cuetzpalin 10 7 4 1 11 8 5 2 12 9 6 3 13 calli 4 1 11 8 5 2 12 9 6 3 13 10 7 eecail 59 X 260 days make 15,340 days, which are 42 Mexican years of 365 days and 10 days over, or almost exactly 42 real years; only 4 hours, 9 minutes, 15 seconds less than 42 solar years of 365 days, 5 hours, 48 minutes, and 47^ seconds. It would accordingly appear that these periods of 59 days were intended not so much to determine the revolutions of the moon, or establish a concordance between the lunations and the solar years — for, after all, two synodic months are still rather more than 59 days, since 260 times a real double month would make 42 years and 26 days — as to effect a correction in the length of the year. This was done at the end of this great cycle by i)uttin^ off for ten days the time when the regularly recurring annual feasts should be kept. I shall return to the discussion of these relations further on. Now these periods of 59 days are represented in our manuscript by eight groups of figures, I have not yet found either these periods or the groups of figures in any other manuscripts, although a certain relation seems to exist between them and the large, splendidly executed Sheets 18-21 ( = Kings- borough 21-18) of Codex Borgia. Here, however, the series of day-signs and the numeral differences yield, not periods of 59 days, but a complete Tonakimatl. In the groups of figures, also, a likeness between the subjects seems to occur only here and there, the arrangement appearing to be altogether different. In our manuscript the series begins on the right side of the lower half of Sheet' 26 with the picture of Tlaloc, the Rain God. He is clothed only with the loin-cloth, but has the headdress of a priest, and occupies a seat of jaguar-skin in an unroofed hall painted a green colour, with a burnt-offering — a bundle of firewood and rubber ball — in front. Facing him is a deer, and above him a pulque jug. The deer (Tuagatl), the seventh day-sign, is the emblem of drought,^ and is shown with Tlaloe, perhaps, not so much simply by way of contrast as because Tlaloc; the Rain God, also represented for the ancient priests the tlequiaiiitl, the fire-rain, one of the four prehistoric ages of the world. In the calendars the day-sign magatl, ' Deer,' is symbolised by the picture of Tlaloc, ^ Tonalamatl of the Aubin coUectioD, pp. 62, 63. 1% The D&7 Sld« of the Manuscript. Ill the second picture, on the left side of Sheet 26, we see a temple, with an arrow sticking in its straw roof. A jaguar (oeeU/U) is entering the temple, and looks as if inclined to seize the oflerings placed there. The third picture, on the right side of Sheet 27, shows us a temple pyramid, with a mass of roptd rising in notched rays on the upper platform. The two red-coloured snakes coiled tt^ether are doubtless meant to denote fire, the blazing flame. Before the pjTamid stands a priest in the priestly vest (xiroUi), who holds in one hand a bumt-ofleiing — bundle of firewood and rubber ball — and with the other presents copal in an incense-pan furnished with a shank. In the fourth picture, on the left side of Sheet 27, we see a space formed of water, which contains a lai^e red centipede, and must consequently denote fiery seething vxiter. In it is a goddess, holding in her hand a vessel shaped like a cooking-pot, out of which come water and a red snake {i.e. no doubt, more fire), hence ^ain fiery seething water. In this picture there seems to be presented an analogy with the lower half of Sheet 20 of Codex Boi^ia. For there, also, is shown a utensi] with seething water. In front is a dragon, and before him Chalchiuhilicue, the Water Goddess, with a pot on her back, from which a red snake (fire) is escaping. In the fifth picture, on the right side of Sheet 28, is figured a person with a pack on his back and a fan in his hand, hence in the act of vxindering, or travelling, such as we shall again repeatedly come upon further on in this manuscript. The fan {ecaceuttztli), the walking-staff {otUttopiUi), and the carrying- frame {cacaxfU), supporting a corded pack, are the distinctive marks of the traveller. These three objects are shown in the picture at Fig. 143, taken from the Codex Mendoza, where are depicted the itinerant traders set upon by hostile warriors. With fan and staff the same Codex figures the envoys (Fig. 144), who were sent abroad by Motecuh<;<inut (Montezuma). But it is diflScult to say who this wandering god can be. The only striking marks to L^ seen on him are the red longitudinal lines on his face. We found something similar with the XoehijnlH of Codex Vaticanus B. In the places further on, where we meet with wandering gods, I shall n>^e to show that these are to be regarded as representatives of the celestial wanderers, the stars. Witl' one of them, the last — the deer-headed god on the left side of Sheet 32 — our deity agrees in one particiiV'". which may not perhaps be without some significance, i.e. the loin-cloth, half red half blue, and fallii-g in two long bands. As I shall have to point out below, we have to identify this deer-headed got y The Period of 59 Days. 137 with the god of Chicomoztoc, the old Iztac Mixcovxitl, who denotes the Milky Way, or the Zenith. This deity is essentially one with the other old god of the manuscript, Tonacatecutli, the lord of food supplies. And he again shows a relation with Xochipilli, as results, for instance, from the right side of the lower half of Sheet 35 in our manuscript. Tonacatecvili*^ female counterpart, the goddess TonacaHuatl, lady of food supplies, is in point of fact generally treated as equivalent to Xochiqnetzal, XochipUli's female correspondent, so that the little detail of the red, longitudinal, facial lines may, after all, have perhaps put us on the right scent. The two intertwined snakes in our fifth picture are obviously intended again to denote ^re. The sixth picture, on the left side of Sheet 28, shows us a figure painted a red colour, whose yellow hair not only curls up in three locks above the forehead, but also rises with involuted end at the occiput. The loin-cloth is likewise of a yellow colour. I think this figure is intended to repre- sent a Fire Ood, tzoncoztli, the * Yellow-haired.' On his shoulder he carries an axe, and has seized a tree, which is formed of two entwined stems of different colours (yellow and blue), bears a jaguar on its summit, and in my opinion likewise indicates fire. The next — seventh — picture, on the right side of Sheet 29, possesses an antiquarian and historico- cultural interest. In other words, it shows us a baU-player (oUamani) in his full equipment As we know, it was a rule in the rubber-ball game (oUi) that the heavy ball was to be pitched, not with the hands, but with the hips. Therefore the players had a deer-skin {quezeuatl) round the buttocks. And as during the quick movements in the ball-court, and also in order in this way to toss the ball forward, they had frequently to support themselves with their hand on the ground ; the players had also a glove (mayetiatl) fastened at the wrist.^ Qaezevutl and rriayeuatl are both seen here with the personage in our seventh picture. Before him is pictured a ball-court (tlaehtli), with ground painted a red colour, and in the middle we see the black rubber ball (oUi). The side ornaments are like the turrets which are shown on the roof of the temple in our second picture (on the left side of the lower half of Sheet 26), And, in point of fact, we know from Duran * that the side walls of the tennis-courts, the so-called tlaehmatl, were often furnished with battlements.' The opposite party, the second ball-player, is here indicated by a lizard (cuetzpalin). This stands presumably for the first of the five deities who are named by the dates Macuil cwetzpalin, * 5 Lizard,' macuil cozcaqvxiuhtli, * 5 Vulture,* rrmcuil tocktli, ' 5 Rabbit,' TnacuU xochitl, * 5 Flower,' TTuicibil maZirudli, ' 5 Broom,' these being the gods of feasts and sports, whom I have fully discussed above at pp. 114, 115. This picture also recalls another in the above-mentioned Codex Borgia series, which is figured on the lower half of Sheet 21, where we see the red (tladauhqui) and the black (yayauhqui) Tezcatlipoca in the tennis-court (Fig. 145). The red figure, to the left, has hit with the rubber ball a strip of skin furnished with a string, which here no doubt represents the quezeuatl, the ' hip-leather,' which in our Fejervary figure is seen fastened on the buttocka The black Tezcatlipoca, to the right, shows hanging on his right arm a similar strip furnished, however, with a thong instead of a string. In the tennis-court are seen on both sides the ring-shaped stones, tlachtemalacatl, to send the ball ^ Sahagao, book viii. chap. x. (ms. Biblioteca del PaUcio). ^ Daran, HiBtoria de los IndioB de Nneva Espaiia Tratado, 2°, chap, xxiii. ' On ball-playing and the form of the ball-court, cf. Seler, Die alten Ansiedelungen von Chacoli. Berlin, 1901, pp. 26-32. S 138 The Day Side of the Manuscript. through the openmgs of which was considered a master-stroke. Moreover, the dr^on's head pro- trudes froui both BtoneB, as also from the rubber boll, which is seen dripping with blood in the foreground of the tennis-court. Hence the relation to fire, which was not brought out in the picture in our manuscript, is here distinctly seen. In the last picture, on the left side of Sheet 29, we see the jaws of Earth, out of which ascend a dragon and two maize plants showing the male inflorescence. Before it is seen a bearded god painted a blue colour, who is perhaps identical with the god depicted in the middle of the upper half of Sheet 23. In his band he holds the ' Coa,' the uictli, the stick which broadens at one end like a shovel, and was in ancient Mexico, and still often is, the only implement used for di^ng and working the ground. Fig. 14&. The Bed and the Black Ttzeatlipoea ia the Teimi8.court. Codex Borgia21 (=Kiii|^borough 18). Thus in all the pictures of this series there is a distinct relation to fire. Even in the second picture the straw roof pierced by a dart and the jaguar have to be interpreted in the same way; and I have already pointed out above that the deer in the first picture indicates that with the TUiloc figure we have to think of the thquiauitl, the fiery rain. The pictures themselves seem to dispose themselves in pairs towards the cardinal points. But what in other respects may be the special meaning of this series of figures, I have so far formed no idea. Parallels are lacking, and the pictures themselves tell us so little. And as to the period which is shown with these figures, even if I should think it possible to give it a definite meaning, since no points of comparison have yet been discovered in other manuscripts, I need not here indulge in further speculation. Another List of Guardians of the Six Quarters. 139 IV. Another List of Guardians of the Six Quarters. Sheets 30-32 ( = Kingsborough 15-13). Lower Half. In the study of the sheets that are now to follow, I begin with the lower half. As I have already stated above, this is the natural order with the system of writing from right to left, as adopted in this manuscript. Moreover, the series here following in the lower half seems in a certain sense to connect itself with the Series ii; of this manuscript, which is represented on the lower half of Sheets 23-25, from which it is separated only by the just-described Series iii. That some such association or coherence really exists seems to be necessarily inferred from the fact that in Codex Vaticanus B the same Sheets 9-11, which in their upper half display a series corresponding with the Series ii. of our manuscript, in their lower half show six pictures pre- senting a perfect parallel with the figures which are depicted in the lower half of Sheets 30-32 of our manuscript, and which I now proceed to describe. As in the other series, here also a definite number of days are indicated on the sheets beside the figures by means of day-counts and numerical units inserted between them. They make 80 altogether, hence just double the number given with the Series ii., on the lower halves of Sheets 23-25. What I there stated with the Series ii. regarding the possible significance of the period of 40 days will in a corresponding way necessarily hold good also for this 80 days period. A remarkable difference, however, is shown by the signs of this series compared with those of Sheets 23-25. Here the day-counts begin, not, as elsewhere, with the first day-sign, cipactU, * Crocodile,' but with the twelfth, malinalli, * Twisted,' ' Broom.* Then follows with the second picture the sign xochitl, 'Flower,' with the third the sign ofomdtii, *Ape.' Thus the initial sign cipcLctliy * Crocodile,' does not appear till we meet the fourth picture ; after which follow the signs ocelotl, * Jaguar,' and tochtli, ' Rabbit,' with the fifth and sixth pictures. In my opinion this rever- sion of the order means nothing more than that we are not to begin the series of the cardinal points with the East, as on Sheets 23-25; but that the East is rather to be assumed where the sign cipoictli stands; that accordingly the six pictures of this series are intended to correspond with the six quarters in the following sequence: South, below, above, East, North, West As we shall presently see, this assumption is confirmed by an examination of the pictures themselves. The pictures of this series do not exhibit pairs of deities, as in Series ii., but single figures, each, however, seated in a temple which is diversely furnished and decorated. The personage in the first picture, on the right side of Sheet 30, is to be determined as XochipiUi, the God of Flowers and Food Supplies, the lord of the South, in which character we have already repeatedly met him. We see a temple which is decorated with flowers on the ridge of the roof, on the walls, and at the base, while the roof itself is thatched with a step-like meandering design. Within, on a chair fitted with a back (tepotzo-icpaUi), upholstered with a jaguar-skin, is seated a god painted in light colours, and adorned with a jewelled fillet and the conventional bird's head. He is arrayed in a variegated wrap and a similar parti-coloured robe (quemitl), and holds 140 Th« Day Side of the Manuscript. in his hand a costly round feather-fan, shaped like a mirror. Before him we see, set upright, a bundle of firewood surmounted by a rubber ball and a bone dagger. The picture in Codex Vaticanus B (Fig. 146), although in general less characteristic, still enables us to recognise this personage in rich array, with the round feathor-fan in his hand, and floral decoration at least at the base of the temple. It is these floral decorations more especially that in all cases vouch for the correctness of the above determination. In the second picture, on the left side of Sheet 30, is seen a figure whose body is painted a red colour, but who has an animal's head looking like that of a beast of prey, and distinguished by a white colour, pointed snout, small sharp teeth, and a black mark enclosing the eye and tapering to a point towards the snout. The picture in Vatican B (Fig. 147) also shows the same characters — small pointed teeth, pointed snout, white colour, and eye enclosed by a black mark Rg. 146. Fig. 147. Codex Vaticanus B 9 ( =Kingaborough ST). Codex Yatictuiiui B 9 ( =Eiug3borough S7). which ends ofi' in a point towards the snout. We shall once f^ain come upon this flgure in a subsequent series in our manuscript. It is naturally ditflcult, and only in rare cases possible, to determine an animal zoo\ogicBl\j from such pictures in the manuscripts; nor will I attempt to do so. On the other hand, I must draw attention to the fact that an animal apparently distinguished by exactly similar marks is also flgured in the Maya manuscript of Dresden, and indeed in a place which belongs to one of the most remarkable and interesting sections of this document. These are the Sheets 25-28, which stand at the b^inning of the reverse side of the manuscript, where are represented the deities indicative of the four years, i.e. the deities of the four quarters, and the names of the four years, or else their initial days, together with the last days preceding them and belonging to the forgoing years. Each of these sheets is divided into three sections. In the middle are seen, seated under a canopy, the four deities of the four years, or else of the four quarters. Before them are oflerings, and above them the hieroglyphs which are their deteiminant& In the lower section, on a hieroglyph which has the meanii^ of tun, ' stone,' is raised a stake which is hung with a shoulder-wrap and with papers stamped with caoutchouc in the style called tetetiitl by the Mexicans, and below its crown of folit^e is entwined by a snake. To this stake an oflering consisting of a bird (fowl or quail) is presented by a deity, whose characteristic it is always to stand in direct contrast to the deity of the year. Another List of Guardians of the Six Quarters. 141 Lastly, the upper section is occupied by the groups of figures and hieroglyphs which are here reproduced at Figs. 148a-d. Right above stand a few rows of hieroglyphs, and in fact four such rows occurred originally on all the sheets. But amongst them is seen a figure which shows the same kind of carnivorous animal's head — with the pointed snout, the small sharp teeth, and the black band tapering from the eyes to a point towards the snout — that I have above described with the figure on our Fej^rvary sheet. These animal-headed figures of the Dresden document wear a kind of hat which recalls the headdress of several Tlaloc figures in Codex Vaticanus B, and is to be seen in precisely the same style on Sheets 61, 62 of the Dresden document with the animal figures (Rabbit and Wild Boar?), which are there pictured alternately with figures of the Rain God Choc above the snakes represented on these sheets. As shown by some of the figures (1486, c), these animal-headed figures are himg at the girdle with rattling snail-shells. On ietll four sheets they are shown as striding wandering forms, holding in their hand a staff* — which is doubtless a rattle-stick, a chicauaztli — and a fan, and some of them (Figs. 148c, d) also an incense-pouch. And all of them carry in a support on their back the deity of the year, or else his eflSgy or personator. On the first sheet it is the Rain God Choc, personator of the water deity Ah bolon tz'acab; on the second sheet the Jaguar Balam, repre- sentative of the Sun God' Kinch ahau, who is the god of the second years, of the years of the North; on the third sheet the god with the kan sign, the Maize God, who represents the old god Itzamnd, lord of food supplies, ruler of the third years, of the years of the West; on the fourth sheet the Death God, who is the representative of Uac mitun ahau, lord of the six hells, king of the underworld, and ruler of the fourth years and of the South, Hence these animal- headed beings of the Dresden manuscript are the hearers of the years, the u cuch haxih, as runs the Maya expression, which is, however, used most especially for the day-signs with which the years begin. As such they are also figured in the text hieroglyphically above the years. For the hieroglyphs, which I reproduce at Fig. I486, I should read oflF as u cuch haab, and the element at Fig. 148/ as haab, * year.' But what species of animal was that to which such a role was assigned is a point on which I have hitherto nowhere obtained any information. Now the animal-headed being, figured on Sheet 30 in our manuscript, the Fej^rvAry Codex, has manifestly a more mysterious meaning. We see shown with it the croasvxiy, which also with the Mexicans denoted the place where the .magicians and witches plied their arts. In the picture-writings we see the crossway depicted almost exclusively with Tezcatlipoca, the great wizard, with Tlofolteotl, the Earth Goddess, and her > attendants the Ciuapipiltin, the souls of women dying in childbed, and with the Death God. We must therefore assume that the animal-headed god, who is here brought into relation with the crossway, also belongs to the same category of spirits, that he too represents a sorcerer, an Earth god, or the like. And thus is confirmed the assumption made at the outset, that this second picture of the series symbolises for us the downward direction, the lower region, the Realm of Darkness. In other respects this animal-headed being is pictured in a rich variegated garb, altogether similar to that of Xochipilli on the preceding sheet But this animal-headed god does not, like XochipMi, hold in his hand a round fan fashioned like a mirror, but only a bunch of feathers or malinaUi grass, exactly like that which we shall find in the hand of the Death God of the fifth picture. The Day Side of the Manuscript. mm ig--- »r' -■'-■■ ■=5ft;1!!s,-ar - ;■ "^ i- Fig. i48a. Maya MajiDscript, Dresden, i&a. Fig. 1486. Maya Manuscript, Dresden, S6a. Fig. 146c. Mays Manuscript, Dresden, 27a. Fig. I48e. Hieroglyph w cuch haab. Fig. 148(f. Maya Manuacript, Dresden, 26a. @> fiia £S ^s* Fig. 148/. Hieroglyph haah ' Year Another List of Guardians of the Six Quarters. 143 In our manuscript the temple in which this figure is seated is decorated on the ridge of the roof with stone disks, and between them with a kind of white clouds, exactly like what we shall see on the ridge of the North temple in the series of the gods of the four quarters to be next described. They are doubtless intended to represent clouds of smoke or enveloping fog. Of such clouds is formed the tree in Codex Laud 12 (Kingsborough notation), beneath which is seated the Tezcatlipoca-itzllacoliukqui, the god with the bandage over his eyes. In the corresponding picture of Vatican B (Fig. 147) the roof of the temple is as if spUt by a wedge, and a couple of lambent flames curl up at the line from which the roof springs. The third picture, m our manuscript on the right side of Sheet 31, in Vatican B on the left side of Sheet 10, shows us a temple which is decorated on the ridge with stone disks and battlements, and in it a god who has a red bodily and facial paintmg, with a head and neck adornment like those of the personages in the two preceding pictures. In one hand he holds a Fig. H9. Fig. 160. Codei Vaticanus B 10 (= Kingsborough 68). Codex Vaticanus B 10 <= Kingsborough 58). round feather-fan shaped like a mirror, exactly like that of the god XockvpiUi in the first picture, in the other a bone da^er (omitl) and an agave-leaf spike (uitztli), and wears a collar (cozcatl) studded with bells. Before him stands upright a bundle of firewood, and on it bone da^er and rubber ball, f^ain exactly as we met them before the XochipiUi of the first sheet The pinnacles on the roof denote the sky, and the god painted red is doubtless confidently to be identified with Tonaliuh, the Sun God. The corresponding figure in Vatican B (Fig. 149) shows further, as distinctive face-painting, a red circular spot on his cheek, such as we find also given with the pictures of the Sua God in Codex Bo^a. I therefore consider myself warranted in venturing to regard this third picture as a symbol of the vpper r^on, of the upward direction. The fourth picture, in our manuscript on the left side of Sheet 31, in Vatican B on the right side of Sheet 10, again introduces a new personality. It is a figure which has inserted a sort of snake's throat into the human face, the throat having the conventional form which is given to it in Tlaloc pictures of our manuscript (cf. for instance. Sheet 4 left above, and 25 right above) and of Vatican B (cf. Fig. 36 above, p. 46). It forms in a measure the further prolongation of the band 144 "The Day Side of the M&nuacript. lying above the lip and involuted at the ends. In the Vatican B picture (Fig. 150) the inserted throat has a more realistic foira, although here also the tip of the snout is distinctly involuted inwardly. In the face of this figure we are struck by a space bordering the eye at r^ht angles, such as is also shown by the true MacuUxochitl and his associates (cf. Fig. Ill above, p. 114). The rest of the face is red in Vatican B, while in our manuscript the colour seems to have been left out Head, ear, and neck adornments are like those of the other figures. But instead of a robe, the figure is wrapped in a coverlet made entirely of quetzal feathers, the dark-green colour of which is enhanced by a gold disk attachment. The roof of the temple is also thatched with quetzal feathers, with gold disk attachment, and gold disks seem also to adorn the ridge of the roof. And at the posterior end of the temple is seen a specially detached part, which is fashioned like a broad quetzal-feather embellishment, and likewise bears a gold disk on the quetzal feathers. Here the two side-posts of the temple door are depicted, the anterior being hui^ with an oma- Fig. I5la. Naui trntaU and e&Mom« eovaO. Fig. Ifil6. ifa,v.i cowUl and ehittntaui eteatl. Vienna Manuscript 6. Vienna Manuscript 33. meut, besides a half-sun. I am unable with certainty to explain the special symbol which in our manuscript is further pictured at the foot of the temple steps. The picture is accompanied by the day-sign cipactli. And I believe that the god here figured is thereby intended to be indicated as the god of the initial quarter, as the god of the East. The rich quetzal-feather adornment displayed by this god himself and by bis abode has undoubtedly reference to the fact that the sign eipactli and the cardinal point of the East were regarded as ensuring fertility and prosperity, abundant food supplies and opulence. The idea, however, is not exchided that, besides this notion, another may also have played a part, that, namely, the god here pictured had his home in the land of quetzal feathers, in the Tierra Caliente. A figure of this description is elsewhere unknown in the Codex Borgia group of manuscripts. On the other hand, it recalls in a striking way certain types of the pictorial manuscript in the Vienna Imperial and Royal Court Library, to which I think a Zapotec origin may be ascribed. Amongst the figures in this document we meet with one which is named by the date Nau,i ccntatl, 'i Snake,' and whose mouth is closed by a knot, behind which a snake comes out. This god usually appears with the god Ckicome cmtatl, 'TlSnake,' who forms his counterpart, and also has his mouth closed by a knot, but instead of a snake before his mouth, 'wears a snake's throat Another List of Gaarduuie of the Six Quarters. 145 as a helmet-mask (Fig. 151a). On Sheet 30 of the Vienna manuscript we see this god jVaut couatl, but also jointly with the Wind God QiMtzalcouatl, who is named by the date Gkicwaaui eecatl, ' 9 Wind.' And here to these two gods seem to correspond as their symbols, or, so to say, Fig. 163a. Chicome din and ckicwne ucatl. Vienns MaDUSCript S4. Fig. 153. God of the East, Fig. Ibdb. Chicorne olin. Codex Borgia 25 ( = Kingsborougb 14). Vienna Manuscript 33. Fig. 154. Ckieomt olin and maOacUi omOTue cozeaquavhtli. Tienoa Manuscript 4. their totemic animals, on the one hand a dragon bearing the sun, on the other the feather snake (F^. 1516). One might at first think of this god Naui couatl in explanation of the deity figured in the fourth picture of our series. Codex Fej^rvfLry, Sheet 31 left below. For this deity also has a snake's throat inserted in the human face, and, moreover, the god Naui couatl is also unmistakably 146 The Day Side of the Manuscript. presented in Codex Boi^ia (Fig. 152), Sheet 25 ( = Eingsborough 14), and indeed also as initial member of the series, corresponding to the sign cipactU and the East. There is, however, still a second figure, which outwardly answers still better to the figures of the fourth picture of our series. This is the god Chicome olin, ' 1 Rollii^ Motion,' who as a rule is associated with the god Ckicome eecatl, ' 7 Wind,' wearing a double eagle's head, a quavJixdoU (Fig. 163a), and, as we see, has an animal's throat inserted in the human face, exactly like the figure of the fourth picture in our series. This throat has no doubt a jaguar-skin design with this god of the Vienna document, while the god Chicome olin combines with this jaguar's throat inserted in his face a jaguar's head as helmet-mask. Nevertheless, we may perhaps have still to take this god into account for an explanation of the fourth picture in our series. For on Sheet 5 of the Vienna manuscript we see him figured (Fig. 154) as representative of the day Ce cipactli, ' 1 Crocodile,' and of the year Ce acatl, ' 1 Reed/ hence of the initial sign of the TonaXamaU, and of the years of the East; and he is on a mountain which, as with the temple of our Fej^rv&ry sheet, has as distinctive Fig. ICiG. Chieomt mafoU. Fig. 156. ChictMaui oltn. Vienna Manuscript 4. Vieona Mantucript 4. mark a quetzalqwemitl, a large cover consisting of rows of quetzal feathers placed side by side, with the s^ ctudckiwitl, ' Jewel,' on a blue field. In other respects the two pairs of gods, Naui couatl, Chicome couatl (Fig. 150a), and Ckicome din, Ckicome eecatl (F^. 153), seem to be related to the god Ce cipactli,'! Crocodile,' reproduced above at p. 100 (Figs. 92, 93), and to a third pair of gods following the god Ckicome olin on Sheet 5 of the Vienna manuscript One of this pair (Fig. 155) wears a deer's head and a jaguar as helmet- mask, and is designated as Ckicome rna^tl, ' 7 Deer,' while the other (Fig. 166) is dressed as an eagle and named Chicunnawi olin, ' 9 Rolling Motion.' That is to say, on Sheet 26 of the Vienna document all these seven present themselves clothed as Rain Qoda (Fig. 157) jointly with Chicome quiauitl, ' 7 Rain,' this being thename which in the first half of the Vienna manuscript is borne by the Earth Qod, Xipe Totec, ' Our Lord, the Flayed ' ; and they all appear to have a maize ear swinging in their hands. These eight gods naturally group themselves in pairs, in which arrangement Ckicome quiauitl, that is, Xipe Totec, would form the fourth pair with Ce cipactli. . To the series of these deities belongs unquestionably the remarkable figure in the fourth picture of the group with which we are here occupied. It is pictured on the left side of the lower half of Another List of GuardianB of the Six Quarters. 147 Sheet 31 of our maauscript, and we may for the present leave open the question whether we are to T^ard it as more nearly related to the Naui couatl or the Chicome olin of the Vienna manuscripL It is also no less certain that this deity is to be compared both with the figure in our fourth picture and with the two above-mentioned forms in the Yienna document, whose peculiar features, wil^ the huge overhangii^ feather adornment, we find modelled on the front side of numerous sepulchral vases from the Zapotec country. These vases, which are amongst the most characteristic remains of the Mexican lands, were some years ago specially described by me in a treatise,^ where at the same time I already pointed to the above-mentioned figures in the Yienna document, which seem to afford an explanation of these remarkable sepulchral objects. As, from the relationship of these figures in the Yienna document with well-known and widespread types of Zapotec antiquities, we may rightly infer that the pictorial Codex of the Vienna Court Library originated in the Zapotec country. Fig. 157. The Eight B«n Gods. Vienna Mannsciipt 26. in the same way the occurrence, although rare, of the same figures in the Codex Borgia group of manuscripts supports the view advanced by me at the end of my book on the wall-paintings of Mitla, that the Codex Borgia and related manuscripts must also have had their origin not far from the region inhabited by the Zapotecs. The fifth picture, in our manuscript on the right side of Sheet 32, in Vatican B on the left side of Sheet 11, must now correspond to the North, i.e. the m.ictla'mpa, the region of the realm of the dead. Hence in both manuscripts we see in this place the Death God, Mictlantecutli, in a temple whose foundation is formed of skulls, and the side-posts of a skeleton's vertebral column. The building is studded with stone knives and eyes, the ridge of the roof likewise formed of a vertebral column, from which eyes hang down over the steep roof, while for battlements a row of skulls in our manuscript, a row of eyes in Vatican B, stand out above the ridge of the roof. ' ' Die Bogenannten uLralen GeHaM der Zapoteken.' FeroOeiitlichuiigeri aus dem Eonigl. MuBeam fiir Volkerkusde, vol. i. {Berlin, 1800), pp. 182-188. 148 The Day Side of the H&niucript. The Death God himself wears, as usual, a skull on his head and a ganneot decorated with death emblems — eyes and cross-bones. In his ear as a plug he has stuck a bunch of malinalli grass, while in one hand he holds a bone digger and an agave-leaf spike, in the other a fan. The latter resembles that of the animal-headed god of the second picture. We must suppose its green plumes to be formed of maXinaXli grass, beside which are further inserted a couple of stone knives. The corresponding figure of Vatican B holds in one hand a stone knife, in the other a torn-out heart. The last member of the series is formed by the picture figured in our manuscript on the left side of Sheet 32, in Vatican B on the right of Sheet 11. The sheet in our manuscript shows us the naked figure of Tla^teotl, Goddess of Dirt, the Huaxtecan Earth Goddess, representative of women and wantonness — a thoroughly appropriate symbol of the civxttlampa quarter, the region of the women, that is, the West She is squatted on a temple pyramid, the base of which is ornamented with two rectangles in red and black colours, the painting of the pulque gods; and instead of a cella, the pyramid supports on its upper platform a framework of stakes, the side-posts of which are entwined by two dragons. We know, in fact, from the descriptions of the Ochpaniztli feast given in . the Sahi^n manuscript, and from the illustrations accompanying the descriptions (Fig, 159), that the temple of this Huaitec goddess, the TocitiUan, was a scaffolding of poles. The Vatican B picture {Fig. 158) shows us a pyramid somewhat differently formed and adorned, but surmounted Fig. 158. Codex Vatic&nus B 11 V ^^^ same scaffolding. Here, however, the side-posts are ( = Kingaborough 59). made of bones whose lower ends are immersed in dishes of blood, which in their turn rest on the ends of a large stone knife. Here abo the two dragons coil round the cross-beam, and from the top of the upright posts comes fire and smoke. In the Vatican B picture we miss the figure of Tla^olfeotl. Instead of it we sea a naked man plungii^ head over heels into the open mouth of the stone knife, which lies on the platform of the pyramid. This is naturally a symbol of the sun sinking into the earth, and denotes the West in on equally realistic, and even still more distinct way. Thus, in this series, the sequence of the cardinal points, as I have already supposed that they should be taken in accordance with the accompanying day-signs, also finds expression in the figures which form the subject proper of this representation. It is difBcult to say what could have induced the old designers of these books, if not actually to reverse the order in this manner, still to assume another starting-point for numbering the quarters of the heavens. An absolutely analogous dis- crepancy occurs on Sheets 49-52 ( = Kingsborough 66-63). Here the signs begin on the lower half of the sheets with cifoctli, and the sequence of the cardinal points is East, North, West, South, Centre. On the upper half of the sheets, on the contrary, the signs begin, as in the just-described series of our manuscript, with -malvnaUi, and the sequence of the quarters is West, South, East, North, Centre. In this instance one might surmise that the reason of this ditferent arrangement is to show on the same sheet the Death God as lord of the South (lower half of the sheet) and as lord of the North (upper half of the sheet). In our manuscript the Just-described series is no doubt also followed Another List of Guardians of the Six Quarters. 149 by" a series which, as we shall see, corresponds to the lower half of Sheets 49-52 of Codex Boi^ia. But such an explanation could scarcely be attempted in this case, seeing that between this and the preceding series there is a numerical difference, the one consisting of six, the other of four pictures. Now we have still to discuss the question whether, as we assumed as pos- sible for the previously described series, the day-signs shown with the six pictures might not here also perhaps be intended to be taken as definite dates, and con- sequently also as the names of the deities figured in the pictures. But here a doubt at once arises as to what numerals are to be combined with the signs. In other words, we have to ask whether the one has to be placed beside the first day-sign, cipactli, or beside malinalli, the initial sign of the series. In the first case, to the six pictures would correspond the dates: — 13. malincUH, 8. xochitl, 6. ogorndtli, 1. cipactli, 1. ocelotl, 2. tochtii; in the other the dates: — 1. maliTialli, 9. xochitl, 1. ofomAtli, 4. cipactli, 4. ocelotl, 5. tochtii. Finally, we have to ask whether in this very series we should take into considera- tion, not so much the combination of dates with certain gods customary amongst the Mexicans, as those current amongst the Zapotecs, or found in the Vienna manu- script. Meanwhile, it appears that of the known combinations of dates and gods scarcely one fits here. On the other^ hand, the general character of the sign, at least in the !« throe pictures, appears to corre- ^.^ ,j, j,^^,,, ^„„i p^„ ^^^.^i^u, spond with the nature of the associated Sabaguo, us. BibL del Pslacio. deity, since cipactli is the symbol of fer- tility and prosperity, and ocelotl, the Jaguar, of devouring darkness, while tochtii, ' Rabbit,' is the familiar emblem of the earth. On the day ce tochtii, ' 1 Rabbit,' the earth was created.* ' Analet de (juauhlillan. The Day Side of the Haouscript. V. The Six Heavenly Wanderers. Sheets 30-32 ( = Kinosbobough 15-13). Upper Half. Sheets 35-37 ( = KjNasBOBOUGH 10-8). Upper Half. Sheets 38-40 ( = Kingsborough 7 - 5). Uppeb Half. The series represented above that previously discussed on the upper half of Sheets 30-32 of our manuscript has this peculiarity, that it is repeated, not only in one of the related picture- writings on Sheet 55 (= Kingsborough 60) of Codex Borgia, but also in our manuscript, the Codex Fej^rv4ry itself, and indeed twice over, in the places specified, at the head of this section. In this connection, however, the series depicted on Sheet 55 of Codex Borgia is the only direct parallel. On the other hand, the series of our manuscript following on the upper halves of Sheets 35-37 Fig. 160. Tonaliuh, the Sun God, Fig. 161. Tlaftdttotl, the Earth Goddess and the Moon. Codex Borgia 56 ( = Kingaborough 60). (Jodei Boi^a 55 ( = Kingsborough 60). and 38-40 are merely analogous representations, in which the exposition appears in parts considerably modified. The unity of the fundamental thought, however, reveals itself not only in the fact that in all these three series the twenty day-signs are shown distributed in the same way beside the six pictures, but it is also disclosed in the character of the figures and in divers details. As r^ards the distribution of the day-signs, we find beside the first picture depicted the first day-sign cipacili, ' Crocodile,' and the following; beside the second picture the sign ccdli, 'House,' with the two following. Only in the last two series of our manuscript the day-s^ calli has been attracted to the first picture. For this, as we shall see, there appears to be a special reason in the last series. Then in all four series the day-sign miquizili, ' Death,' t<^ether with the following three, stands beside the third picture; beside the fourth picture the sign itzcuintli, 'Dog,' with the three or four following. In the first case (in the Codex Borgia series, and in the first series of our manuscript) the signs given with the fifth picture begin ■vi\i\i oveh^tl, 'Jaguar'; in the second case (in the last two series of our manuscript) with gi(«w/((ii, 'Eagle.' With the last, the sixth picture, stand the two day-signs quiaiiitl,' Rmu' and the last sign following it. Only in the first series of our manuscript The Six Heavenly Wanderers. 151 the preceding sign fecjMifl, ' Flmt' vhich in the other series still stands with the fifth picture, has been attracted to the sixth picture. The first two pictures seem to represent Sun and Moon. In Codex Boigia we recognise in the first picture (Fig. 160) the Sun God, TonativJi, in his characteristic equipment, and with the image of the aun as his collar. He stands before a temple, at the threshold of which is seen a vessel with jewels, and he is presenting a bnmt-offerii^ — bundle of firewood and rubber ball — exactly as we found this represented with the pictures of the nine lords (c£ above, p. 32, Fig. 16). On the other hand, in the second picture of Codex Boi^ia (Fig. 161), we see the Huaxtec goddess, Jlofolteotl, in the same attire in which she appears in Codex Borgia 12, as representative Fig. 162. Sun, Moon, and Morning Star. Codex Borgia 71 (=KiiiKaborough 43). of the fourteenth day-sign, ocelotl, 'Jaguar.' Before her, above a dragon, whose back is arched, while blood gushes from his torn body, stands the image of the Moon, exactly as it is represented on Sheet 71 ( = King8borough 43) of Codex Borgia, . beside the Sun God, and beside Ce acatl, '1 Reed,' the hien^lyph of the Momir^ Star (Fig. 162). From a dark field studded with eyes, the symbol of Night, rises the Huaxtec, crescent-shaped, nasal plate, yacam-etztU, of the pulque gods and of Tla^oUeoU. But it is made of white bones or the bones of the dead, and inside, on a field painted with the blue lines of water, is seen a white rabbit, which for the ancient Mexicans symbolised our ' Man in the Moon,' as the ^a^a, hare, did for the ancient Hindus of Sanskrit speech. According to the l^end,^ the moon originally shone as bright as the sun ; but the god flung a rabbit in his face whereby his features were dimmed. ' Sabagnn vii. chap. ii. • 132 The Dmy Side of the Manuscript. These two pictures, which in Ccnlex Boigia are perfectly clear aad intelligible, appear to some extent obscured in the representations of our manuscript. In the first picture of the first series of our manuscript, on the right side of Sheet 30, we certainly see the temple, but instead of a Tessel is shown a chest with jewels, and nothing else is depicted except a quetzal bird flying down on the lid. We also see the bundle of fuel and the rubber ball, which, howerer, are not here directly presented by the god ^or is he the Sun God himself, but a figure like the Moon God pictured in the middle of the upper half of Sheet 24 of our manuscript, being like him depicted with blue body, half blue half red face colour, and large beard enframing the chin. But in the first picture of the second series of our manuscript, on the right side of Sheet 35, instead of the last-described god, and instead of the Sun God of the first picture of Codex Borgia, we see the Wind Grod, Qivetzalcomdl, likewise figured with blue body, half blue half red face colour, and large beard enframing the chin, but at the same time with the trunk and beak-like prolongations of nose and mouth which are characteristic of the Wind God. And the rery comparison with this first picture of the second series shows that the god of the first picture of the first series in our manuscript is also intended to reproduce the Wind Grod, Quetzalcoivatl, but with human features. In the manuscripts there is a somewhat regular interchange of these two notions of the god with mouth like a bird's beak and the god with human countenance. And in the pictorial document of the Florentine Biblioteca Xazionale we see these two conceptions of the Wind God and Priest God, Quetzalcouatl, displayed before the observer on two consecutiye sheets, obviously for the purpose of thereby impressing upon him this fact of the double nature of this god. Hence the god Quetzalcowatl here personates the Sun Grod. Like the Sun God of Codex Borgia, he presents (on Sheet 35 of our manuscript) a bumt-ofiering, which, howerer, here consists only of a rubber ball ; and in his other hand he holds a fan. The god is thereby brought into line with the gods of the last four pictures of this group, who are portrayed with the fan in their hand, as uxinderers. The second picture of the first series of our manuscript, on the left side of Sheet 30, shows us a woman, who is dressed only in the red enagua, leaving the upper part of the body and the breasts uncovered. The white yellow-striped body, and the red painting of the lower half of the face — ^a coloration exactly like the painting of the goddess pictured on the left side of the lower half of Sheet 32 — enables us to recognise in her the Huaxtec Earth Goddess, Tlacolteotl, although here are lacking the other articles of attire which are elsewhere seen with the goddess. The left leg and the left foot are replaced by the body and the head of a dragon. In a bundle on her back she earries shield and hand-flag, and is consequently depicted, like the goddess of the Codex Borgia (Fig. Ib'l), as a female warrior, but as ivandering, as on the march. Instead of the Moon (jod of Codex Borgia, here on the upper border of the sheet is seen a Aa<y- 8un. This, when we once know what is here intended to be done, is a perfectly intelligible symboi* It is the luminous orb, which shines with only half its splendour. And I am now even disposed to take the view that the symbol, half made up with the image of the night and half with the solar disk, such as, for instance, is shown in Codex Borgia with the pulque gods, may not denote the parting of day and night, as I have always supposed, but is a direct emblem of the moon. Under this half-sun we see on Sheet 30 of our manuscript a stone knife broken in two pieces, and a bone dagger also broken in two. Further, in a notched vessel which is set in a stand, are seen a rubber ball, a green bunch, doubtless meant for malinalli grass or a besom, and a dragon. The Six Heaveiil}' Wanderers. 153 The second picture of the second series, on the left side of Sheet 35 of our manuscript, again introduces a voman, who, however, being clothed in a red white-striped enagua and a red queck- qaemiU, has nothing particular to allow of a couiparison with the Tlacolteotl of the two previously described series (of Codex Borgia and of Sheet 30 of our manuscript). But she stands on a road, on the upturned branch of which are seen a coiled-up snake, and, further on, a black disk with a burnt-offering — a bundle of firewood and a rubber ball. We are thus reminded that Tlafolteofl is the conductress of the otlauuiKic Cimtteied of the 'goddesses who ply their arts by the crossways.' Hence we shall still be able to establish a parallel between this apparently quite discrepant repre- V\p 163. Xaui dill. Vienna Manuscript 20. sentation and that of the two previously described series, although the moon has here to be altogether assumed. Still more discrepant is the representation in the first two pictures of the third series, on Sheet 38 of our manuscript. Here the second picture has evidently been attracted to the first, just as the day-sign ciiUi — which in Codex Borgia and in th'j first series of our manuscript stands with the second picture — has here been attached to the day-signs of the first picture. On the left side of the first picture is seen a woman, who is squatting on a seat, and, lite the Ha^'olteotl of the second picture of the second series (Sheet 35 of our manuscript), is dressed in a red enagua and red qiiechqueiuitl. below which the naked breasts protrude. She seems to be putting out her tongue, which b turned upwards, ending in a broad black object painted like obsidian. Above the goddess we see a green bunch, which doubtless represents the broom of the Huaxiec Earth Goddess, and above it the starry' sky. 154 The Day Side of the Manuscript. • Facing this goddess, in whom we are able, though with some effort, again to recognise the peculiarities of the representation in the second Codex Borgia picture, we see a priest seated on a stool and presenting an effigy. In accordance with what I have fully explained in the treatment of the upper halves of Sheets 23-29 of our manuscript, we may take this priest as a sacrificing priest, and the scene here pictured as a symbol of human sacrifice. But if this be so, we shall be able to equate this priest with the Quetzalcovxitl of the first picture of the two other series in our manuscript, since Quetzalcouatl is indeed the priest in a pre-eminent sense. We shall accordingly be able to take this priest of Sheet 38 of our manuscript, like the Quetzalcouatl of the two other series, as the representative of the Sun God of Sheet 56 of Codex Borgia. That such a connection is conceivable appears to be further made evident in a special manner on our Codex Fej^rvdry sheet, in the second picture on the left side of the upper half of that sheet, since this same priest is here seen sending oft a large rubber ball with his knee. There can, indeed, be scarcely a doubt that the game with the rubber ball was brought by the Mexicans into relation with the movement of the solar orb over the vault of heaven. In the Vienna manuscript the remarkably equipped god, who is the representative of the sign nani olin, ' 4 Rolling Motion,' assigned to the sun, is seen standing on two flaming balls with a ball-court in front (Fig. 163). In one hand the priest holds a green bunch, such as is carried by the fasting Quetzalcouatl before the Chantico of Codex Telleriano Remensis. In his other hand he has a bone dagger, and something that we shall also again meet in the same way beside a green bunch and a stone dagger with the fifth god of this series, on Sheet 40 of our manuscript, an object which to me looks like the material embodiment of the itztic^ * sharp, pointed, cold.' An exactly similar object is seen in the picture of Codex Cortes, which I have above reproduced at p. 28, Fig. 16, with the gods of the East. Here it is sprouting up from the sign kan between two black objects which are inserted in an upright position, and which I should be inclined to take for artistically worked, obsidian, sacrificial knives supplied with a heft, in fact, like one of this form which may be seen in the old Uhde collection now in the Berlin Royal Museum for ethnology. Sun and Moon are followed, on Sheet 55 of Codex Borgia and in the corresponding series of our manuscript, by four pictures which represent the wandering gods. As such they are distinguished above all by the fan,8, ecaceuaztli, which they hold in their hand, and which, with the figures in Codex Borgia, have a wedge-shaped form with three flaps, and — excepting that of the first figure — are distinctly seen to be plaited with strips of palm leaves. With the figures in our manuscript they are made quite round or of semi-oval shape, are provided with long handles, and variegated, hence are presumably to be supposed made of feathers. Moreover, each of these gods holds in his hand a travettiv^'StBff of one form, only diversely decorated according to the character of each deity. And on their backs they carry their travelling-packSy which, as seen in the Codex Borgia figures, are done up with mats platted with strips of palm leaves, and tied with cords. The picture of the first of these gods in Codex Borgia, on the left side of the middle row of Sheet 55 (Fig. 164), reminds one of Quetzalcouatl, He wears the half blue, half red, wedge-shaped Huaxtec cap {copilli) of this god, has armlets of snail-shells, and, like him, has inserted in his fillet a bone dagger, the emblem of penance and blood-letting. But he is painted a different colour from that with which Quetzalcouatl is generally reproduced in this manuscript. That is to say, he is The Six Heavenly Wanderers. 155 painted blue, with the anterior half of his face blue, the posterior red. He also lacks the lai^e chin- enfraniing beard of the Wind God, nor does he wear the cue^duitoncatl, the fan-shaped nape adornment worn by this god in his characteristic array. But in all this he resembles a god who is pictured on Sheet 22 { = Kingsborough 17) of Codex Borgia, at the head of a remarkable series of twenty deities who are missing in the other manuscripts of this group, and is kneeling in a worshippii^ attitude on the jaws of a cipacili (Fig. 165). This figure recalls Quetzakouatl even more than that here shown at Fig. 164, since he also wears the eca-ilacatz-cozcatl, the breast ornament of the Wind God, made of a sliced snail's shell, and, moreover, imitates the Wind God iii the rouuded-otf ends of his fillet and loin-cloth. But in the above-mentioned style of painting — in his wedge-shaped cap, and the bone dagger stuck in his fillet — this first of the four wandering gods of Codex Borgia (Fig. 164) also resembles the god pictured on Sheet 12 of our manuscript. And here the associated dates, Chicome eecatl. Fig. 164. Xdoa. Fig. 66. Xololl. Codes Borgia 55 ( = Kingaborough 60). Codex Botgia 22 ( = Kingsborough 17). ' 7 Wind,' and Chicuiuud coimtl, ' 7 Snake,' with the other, Ce olin, ' 1 Rolling Motion,' which stands by the adjacent figure, have enabled us to infer that to this god belongs the name Xolotl, that he is the Grod of Ball-playing, of Twins and Monstrosities, whom we had already previously met in Codex Bologna with this same painting, and named by the date Ce olin. And I have there pointed out that, in fact, this god Xolotl is everywhere distinguished by the insignia of (^aeizalcouatl's attire, and in a sense represents the twin-brother of this god. This first of the four wandering gods of Codex Borgia (Fig. 164) holds in his hand a fan which has the same wedgelike three-fiapped form as with the others, but is obviously thought of as prepared from blue cotinga feathers (xiuhtoto-ecaceiutztli), and has a bird's head for its handle. The travelling- staff which the god holds in his other hand is likewise painted the colour of the turquoise (xiuitl) ; it is hung with a jewelled (chalckiuitl) ornament, and ends in a flower. As his travelling-pack this god carries a whole flowering tree on his back. Now the distinctive marks of this Codex Borgia god are again met with in the first of the 156 The Day Side of the Manuscript. ■our wandering gods of the first series in our manuscript— on the right side of Sheet 31. Here we iee the same blue body and the same half blue, half red, facial painting. In this style of painting his god no doubt resembles the Quetzalcouatl of the first picture (on the right side of Sheet 30), who represents the Sun God, but is distinguished from him by the absence of a beard. We further see he bejewelled {chalchiuitl) travelling-staff, which is here rounded oft' and seems to end in a snake's head, and also the fan in his hand. We also see the flowering tree carried on his back, and made ■ast by means of a cord attached to the frontal bearing-strap (mecajmUi). He lacks only the half blue, half red Huaxtecan wedge-shaped cap and the bone d^^er, which the god of Codex Boi^ia has inserted in his fillet. Quite a diflPerent aspect is presented by the first of the four wandering gods in the second series of our manuscript, on the right side of Sheet 36. No doubt the painting is the same ; and he also holds in his hands a travelling-stick furnished with a jewelled head (which, however, here takes the form of a chicaiMiztli, a rattle-stick), and a blue feather fan. And the bundle that he carries on his back is by the flower added as a determinant brought into connection with the flower- ing tree carried on their backs by the two previously described figures. But here the face is disfigured by a strangely fashioned nose, while the region of the mouth is painted white, and the chin enframed by a long beard. But this very discrepant presentation of the second series of our manuscript proves the correctness of my above-given determination. Xolotl was the God of the Game of Ball, and as this can never be played by more than two sides, or at Fi}r. 166. Xoloil, God of Monstrosities. t^e ^^ry least by two persons, he was also the God of Twins, Ruler of the Day-siRn ^nd therefore appears with the attributes of Quetzalcouatl, since Olin, 'Rollini; Motion." , , , , . Codex Borpa 10 (^Kingsborongh 29). QuetzalcoauU contams m his name the word twm (ceniatl). But as God of Twins, Xolotl has further become God of Monstro- sities. For a twin-birth was regarded by the ancient Mexicans as something unnatural, ae an abortion. Hence in the picture-writings the god is represented as a deformity, with crippled limbs. Thus, for instance, on Sheet 10 of Codex Boi^ia (Fig. 166), where this god is introduced as ruler of the seventeenth day-sign. That the person figured on the right side of Sheet 36 of our manuscript is also intended to indicate the god Xolotl as the God of Monstrosities by his misshaped nose, finds further support in the fact that here the region of the mouth is at the same time depicted in a white colour, deviating from the painting of the other figures. For the God of Monstrosities, on Sheet 10 of Codex Borgia (Fig. 166). has about his mouth the design of a human hand, also executed in a white colour, because he is pictured with the facial painting of Macuil xockifl. The picture is again differently modified, which in the third series of our manuscript, on the r^ht side of Sheet 39, occupies the place of the first of the four wandering gods. Here we see seated in a back-chair, covered with a j^uar-skin, a figure who is certainly painted in the same way, with blue body and half red half blue face. But no traveller's staff decked with jewels, no fan, no flowering tree, is to be seen. Nothing is shown save a jewelled (vhnlckiititl) chain. A The Six Heavenly Wanderers. 157 quetzal bird is perched on the brim of ii diah apparently coutaiaing s bundle of fuel, and on the upper bordw of the sheet is seen the starry sky. The second and the third of the four wandering gods seem to be related personages. On Sheet 55 of Codex Borgia, where the second (Fig. 167) has his place on the right side of the middle row, the third (Fig. 168) on the right side of the upper row, the first is painted a red, the other a yellow body and face colour. Both have thrown over head and nape a dark cover- ing to which downy feather balls are sewed, such as are often seen worn by TezcutHpoca (of Fig. 39 above, p. 53), and the Stone Knife God on Sheet 2 of our manuscript. Both wear a rod in the nose, and as breast adornment a square jewelled (cludckiuiH) plate, from which two jewelled thongs hang down. Lastly, both have a load resting on their back, and wrapped in mats of palm-leaf plaiting fastened to a broad bearing-strap platted with strips of palm leaves, and drawn across their forehead. But above this load the second of the four wandering gods (Fig. 167) Fit!- lf(7. The Wanderer of the North. Fig. 168. The Wanderer of the South. Uodei Borgia 55 ( - Kingaboroiigh 60). Codei Borgia 66 ( = Kinj(sborouKh 60). shows a jaguar's skin, and on it the implements of war — shield, bundle of spears, and a sharp spiked staff, which is painted in the manner of the cipactli, and is perhaps meant to represent the sword of a swordfiah. With the third, on the contrary (Fig. 168), the travelling-pack is covered on its upper half with a cloth painted the colours of a jewel {chah-hiintl), and on it perched a quetzal bird. In one hand the first of the two gods (Fig. 167) holds the just- mentioned sharp spiked staff, which is painted like a ciimctli, and perhaps represents a swordfish's sword ; in the other hand he holds a fan painted a greon colour, and with a bird's head for a handle. The other god (Fig. 168) holds a staff painted the colour of a turquoise and ending in a flower, and an ordinary yellow fan plaited with palm-leaves. I cannot say positively who these two gods may ba Only so much seems certain, that they belong to the TezcutHpoca, or perhaps the Xochijntli and Macuilxockitl, connection. In our manuscript the first of these two gods in the first series (on the left side of Sheet 31) is also pictured with red body and face painting, but the other (on the right side of Sheet 32) with black body, and half black half yellow face-painting. A further peculiarity of the latter is that, as with the Tla^olteotl of the same series, his right l^ and right foot are replaced by the 158 The Day Side of the Manuscript. body and head of a snake, which is painted the same colours, that is, black on the body, yellow on the head. Both gods hold staff and fan in their hand, the staff having with both the form of a rattle-stick {chicaimztli), and ending in a flower. The fan is with both quite round, and painted red. Lastly, both carry on their back a corded bundle, on which is perched a quetzal bird. This is a deviation, compared with the corresponding pictures in Codex Borgia. In the second series the first of these two gods (on the left side of Sheet 36) is contrariwise painted a yellow, the other (on the right side of Sheet 37) a red colour. But the first is more closely connected with the corresponding figure of Codex Borgia (Fig. 167), inasmuch as his load is distinctly covered with an animal's skin, and stuck on top with weapons (spears). The other, like the corresponding figure of Codex Borgia (Fig. 168), has a quetzal bird on his pack. As a distinguishing peculiarity, here with the first of these two gods, at the foot of his travelling-stick, is shown a small black mammal, exactly like the one we find pictured on Sheet 2 of our manu- script with the Stone Knife God, that is, with Tezcatlipoca, by the crossway. On the other hand, with the second of these two gods, the red god of Sheet 38, we see hanging at his travelling- stick a bird, with long pointed bill and green plumage. The long pointed bill, the green plumage, and the circumstance that this bird is, as it were, fixed by its bill to the staff, places it beyond doubt that this bird is meant to represent a humming-bird (uitzitzilin). For of the humming-bird it is related that he passes the dry season dead and lifeless hanging with its bill from a tree, and does not awake to new life till the rainy season.^ These two animals, the small black mammal and the humming-bird, which stand here as determinants of these two gods, in my opinion confirm what I already above thought must be inferred from the pictures of Codex Borgia, that these two gods belong to the Tezcatlipoca con- nection. The small black mammal places the first of the two gods with Tezcatlipoca himself, i.e. the God of the North; while the humming-bird allies the second to Uitzilopochtliy who is the Tezcatlipoca of the South, as I have above fully explained (pp. 131, 132). A second peculiarity, which, however, I cannot for the present interpret with certainty, is shown with the second of these two gods, the one on the right side of Sheet 37. This is the small object which is seen at the upper left comer of the picture, and it is not diflBcult to see a human ear with wedge-shaped plug, and beside it a kind of cloud of smoke. It is not, perhaps, impos- sible that by this object it was intended to allude to the smoking mirror above the ear, as we see it pictured in the Mexican manuscripts proper with the figures of Tezcatlipoca and also of Uitzilopochtli. Lastly, in the third series, on the left side of Sheet 39 and on the right of Sheet 40, both the gods are portrayed with a yellow colour, but the second, like Xolotl, with red anterior and blue posterior half of his face. Both are shown on a road which trends round upwards. But with the first of these two gods the road branches off, and is therefore pictured as a crossway. Along it a rubber ball is rolling. The first of the two gods holds a thorny spike, and thus recalls the first of the two gods of Codex Borgia (Fig. 167). The second has a travelling-staff, on the head of which are shown the design and the colour of the green jewel (chalchiuitl). The first carries no pack ; but a pack is separately depicted above him. The second, like the corresponding ^ Sahagun, lib. ii. chap. ii. § 2. The Six Hpflvenly Wanderers. 159 tigures of the other series, bears his own burden trith a quetzal bird on top. Beside the first the humming-bird {uitzitzilin) is here shown as a determinant ; with the second a green bunch, which is perhaps meant to represent the acxoyatl, i.e. the green branch with which the altars, especially those of Tezcatlipoca, were wreathed. Beside it are bone da^er and the peculiar object which we have already met, jointly with the bone dagger, in the hand of the figure on the left side of the upper half of Sheet 38, and which I there interpreted as the symbol of the itztic, the Sharp, the Cold. Hence in this third series the symbols with the two gods seem to be given in exactly the reverse order. All the same, they suggest the same conceptions as those which we diecovered in the second series. The last of the four wandering gods is again a specially characterised and a discrepant personality. In Codex Borgia, where these last figures are pictured on the left side of the upper row of Sheet 56 (Fig, 169), we see an old god, with a long white beard hanging down in shocks Fig. 169. Idac Mi^xouad. Fig. 170. lOae MiceoucUl. Codex Borgia 5S ( = Kiugaboroiigh 60). Codex Borgm 24 (=Kingsborough 16). and the rare ring-shaped attachment below the upper lip, which is shown in this manuscript with ToTiacatecutli, with the Moon God and with other old gods, and doubtless had its origin in the contracted comer of the toothless mouth of old people, as it is realistically pictured in other manuscripts. In these two distinctive marks, as well as in the whole expect and a few further details, this figure £^rees with another which stands by the sign tecpatl, 'Flint' (Fig. 170), in the eighteenth place amoi^ the above-mentioned series of twenty gods peculiar to Codex Borgia. But here we see that the long white beard hanging in shocks, like the similarly disposed white hair of the head, is thought of as white featlters, i.e. as heron feathers. And thereby this god reveals himself as the direct counterpart of the old woman at the millstone (Fig. 1716), Ilamatecutli, or Rancuey^, who is depicted on Sheet 9 ( = Eingsborough 30) of Codex Borgia with the goddess XochiqueHal, lady of the twentieth day-count. We shall accordingly designate this god himself as the consort of Ilamatecutli or Ilnncueyi, ie. as the primeval father, the god Iztac Mixiouutl, ' the white Cloud-snake,' or Ueueteotl, the ' Old God,' or Ciflallatonac, the ' Ruler of the Stars,' and shall have to recognise him as identical with the old god figured on Sheet. 6 of our manuscript. IBO The Day Side of the Manuscript. In the pi^sent place, on Sheet 55 of Codex Borgia (Fig. 169), this god, like the Dance Giod (Fig. 128 above, p. 125), is pictured with the rattling oyoualU pendant sliced from a mussel- shell as breast ornament, with corresponding ear-pendants and armlets of snail-shells, and his face looks out of the yawning throat of a deer (ma^afl). That the name oyouaUi, which in the Sahagiin manuscript is mentioned as a rattling pendant of the Cenfzon uilznaua, applies to this breast ornament, is shown by Sheet 8 of the manuscript in the Florentine Biblioteca Nazionale (Fig. 172), where this ornament is exhibited as a specimen of a shoulder-cape, 'mnnta de oyoyl con su cordel.' On Sheet 24 of Codex Borgia the old god is represented as a priest, with the bone dagger in his hair and the tobacco-calabash on his back, just like the old god ome itzcuintli, ' 2 Dog,' of the Vienna manuscript (Fig. 173). And he holds a statf, the curved upper end of which termi- nates in a bird's head set with white feathers, on which account we may designate it as aztatopilli. 3 . "^Iir ^r"i^ cm. Fig. 171a. Idae Mixeouatl and llancueyi. Fig. 171b. Ilamatetvtli at the Millstone. Codex Bo:^ 60 ( = Kingsboroiigh 65). Codex Borgia 9 ( = Kingsboroiigh 30). the ' Heron staft'.' In our place. Sheet 55 of Codei Borgia (Fig. 169), the staff takes the form ot a red dragon. In his other hand the god holds jointly with the fan made of plaited palm leaves the jaguar-skin tobacco-pouch (ocelo-yaiastli), which, like the tobacco-calabash (ye-tecomatl), is the badge of the priests, and which we saw ligured above at p. 123, Fig. 124«, with Tlaloc, ruler of the seventh week of the Tonalamatl. The two pictures of the god ome itzcuintli of the Vienna manuscript, which I give below at Fig. 173, show that in fact this ocelo-yataztli is the homologue of the tobacco-calabash carried by the god (Fig. 170) on his back. In our manuscript a deer-beaded god occupies the sixth place, as fourth of the four wandering gods, in the first series (on the left side of Sheet 32), Taken alone this personage would be difficult to recc^ise, were not the connecting link with the white-haired, white-bearded Iztac MixcovAxtl supplied by the deer-head mask of the corresponding figure of Codex Boi^ia (Fig. 169). This connection once perceived, the meaning of the other symbols will follow with surprising rapidity, being in a measure self-evident. For a staff the god holds in his hand a long-necked, The Six Heavenly Wanderers. 161 loDg-billed, white bird, which of course is a heron, while the staff is an aztatopiUi, hence is really the same staff that we saw in the hand of the Iztac Mixcouatl of Sheet 24 of Codex Boi^a (Fig. 170), the staff which we also explained as the one held by the god of Sheet 6 of our manuscript. And before the god stands a dish containing an eye, and a feather omanient which exactly reproduces in form and colour the warriors' dancing headdress known by the name of aztaxelli, 'forked heron-feather ornament,' hence must be made of heron-feathers. Here therefore we have again the same feathers that are characteristic of the old primeval god, and which we found depicted in abundance with the old god of Sheet 6 of our manuscript. Below are further to be seen bone dagger and stone knives, the implements of the priests, but each broken in two piecea This, as I have fiilly explained in my elucidation of the Tonalamatl of the Aubin collection,' is an indication of the Useless, the Unserviceable, the Old, Abandoned, Given Up, Pig. 172. mattta de oyogl (rend oyoualli). (Manuscript of the Florentine Biblioteca Fig. 173o. ome Hxeuintli. Fig. 1736. omt ittcuitilli. Nazionale). Vienna Manuscript 10. Vienna Manuscript 21. Lost. Thereby the god is characterised as the old priest, the prieet of the olden time, of the primeval time. What is alone unintelligible to me is the human hand which the god on the left side of Sheet 32 holds in his hand, unless this may perhaps be taken as the mark of the TMigician. For people were bewitched with the hand of a corpse, and especially with the forearm of a woman dying in childbed, as we know from Sah^i;un's fourth book. Lastly, I further draw attention to the fact that this god shows the two colours red and blue, i.e. the colours of Xolotl, both on his fillet and his loin-cloth. According to the legend related by Father Motolinia? Iztac Mixcouatl dwelt with his wife Ilcmcv^yi in Ckicomoztoc, ' in the land of the Seven Caves,' the primeval home of the tribes ; and it was there that from them sprang the forefathers of the nations : — Xelhua, ancestor of the peoples of Tebuacan, Cozcatlan, and Teotitlan del Camino; Tenoch, tribal father of the Mexicans; Ulmecatl, Xicalancatl, ancestors of the tribes inhabiting the Atlantic coastlands ; Mixtecatl, father 1 Pp. 105, 106, and 121. ' HiBloria de lot Indioa de la Nneva Etpafia. Bpiatola prooemial. {Joaquin Garcia Icaibalcela, Caleccion de Docu- mentoi para la HiBtoria de M^ico, toI. i., 1S08, pp. 7, 10.) 162 The Day Side of the Manuscript. of the Mixtecs; and Olomitl, ancestor of the widespread Otomi people. But by a second wife, Chvmamatl, Iztac Mixcouatl begot the god QtietzalcouatL Now, if here on Sheet 32 of our manuscript, and at the corresponding place of Oodex Boi^a, this old god appears with a deer's head, I will first of all remind the reader that in the Tlaxcaltec l^end reproduced in the Historia de loa Mexicanoa por sua pintwtus,' mention is also made of a two-headed deer who fell from heaven, and is honoured as a god by the people of Cuitlauac, and that it was with him on his back, i.e. clothed in his device, that the god Camaxtli or Mixcouatl subdued the surrounding tribes. I would further recall the fact that on the west side of the court of the Mitla palace i., which is dedicated to the god Mixcouatl, and where we see this god figured in a series of effigies of constantly varying form (Fig. 174o),* this two-headed deer fallen or falling from % Fig. 1740. Mvtcowail. Walt-puntiugs on the West Side of the Court of the Palace i. at Mitla. heaven is shown between the pictures of Mixcouatl, and indeed clothed in an enagua,. hence dis- tinguished as a goddess (Fig. 174Ii). But, above all, I would call attention to the fact that, in the Miztec saga, as it is related by the Indians of CuOapa, the primeval divine pair who created the World and Man, and were also the parents of the Wind God, were thought of as having the form of deer. The si^a runs as follows : — ' In the year and the day of darkness and gloom when there were yet no days and years, the world was a chaos sunk in darkness, the earth being covered with water, on the surface of which floated slime and turbid foam. One day appeared the Deer God, called also Puma-snake, and the beautiful Deer-goddeas or Jaguar-snake. They had human form, and with their great wisdom ' Joaquin Garcia loazbalceta, Nueva Coleccion da Docnmentos para la Historia de Mexico, vol. iii. (Mexico, 1891), p. 237. * Seier, Wandmalereien von Mitla. Berlin, 189S. Plate ifi. The Six Hesveoly Wanderers. 163 (mf^ic art) tbey raised a great rock above the water, and built magnificent palaces on it for their dwelling. On the highest point they placed a copper axe, the sharp aide wpwards, and on this the sky rests. These buildings were situated in the Mixteoa alta district, in the vicinity of the village of jlpoo^, and the rock was called the "place where the sky is "(" on which the sky rests"). For many ^es the gods lived in peace and happiness. Then it happened that they had two sons, of beautiful face, clever and skilled in all arts. After the day of their birth they were called "Wind of the Nine Snakes " and " Wind of the Nine Caves." Both were brought up as royal children, and knew how to change themselves into eagles and snakes, to make themselves invisible, and to go through solid bodies. As these gods continued to live in peace, they decided to bring gifts and sacrifices to their parents. For this purpose they took a clay incense-vessel, put flowing coals in it, and burnt a certiun quantity of tobacco-powder. That was the first offering (that was brought in the world). Thereafter they laid out a garden with plants, trees, and Iruits and sweet-smelling herbs. Beside it they prepared a level place, with all things necessary for the sacrifice. The pious brothers Fig. 174t>. The Two-headed Deer. WaU-paiDtings on the Weat Side of the Court of the Palace i, at Mitla. lived contented on that plot of ground, cultivated it, burnt tobacco, and with prayers, vows, and promises implored their elders to let the light shine, to let the water fiow off on one side and make the earth free, as they had no more than that little garden for their support And, to add force to their prayers, they pierced their ears and tongues with stone knives, sprinkling the blood on the trees with a bunch of willow twigs. The deer-gods had still more sons and daughters, but there came a flood in which many of them perished. When the catastrophe was over, the god whom they call "Creator of all things " made heaven and the earth, and renewed the human race.' ^ So the legend, to which I will merely add that the name Puma-snake, which is here, given for the male god, is perhaps only a translation of Iztac Mixcouatl, and in any case has the same meaning. For in the Zapotec, and doubtless also in the Mixtec language, the puma is the white animal : piau, peyaa, the ' puma,' being derived from nayaa, ' white.' I note further that this saga speaks of the creation of a primeval generation which was still older, before that of the later, the present race of men. And lastly, I would draw attention to the fiact that here the Wind God appears as a pair of I Fr. Gregorio Garein, Origen de lot Indim, book v. chkp. iv. 164 The Day Side of the Manuscript. twima and TnagidaTis, But that it is precisely amongst the Mixtecs in the immediate neighbourhood of the city of Oaxaca that we meet with this saga of the primeval god and the Creator, of Iztac Mixcouatl in deer form, is a further indication that the home of the Codex Borgia group of manu- scripts is to be sought not very far from the Zapotec and Mixtec land. Quite a different picture presents itself in the sixth place of the second series of our manuscript, on the left side of Sheet 37. Here we see neither the Old God, with heron-feather hair and heron- feather beard, nor the deer-headed god, but straightway the God Xolotl, the God of Monstrosities, as we have already come upon him in the third place of the same series, as first of the four wandering gods (Sheet 36, right side). Only here he stands on a croaaway. This, as we see, is a very remark- able variant Still, I think, it may be explained. The crossway we have always met with the Death God and Tezcatlipoca, the Stone Knife G^d, that is, with the gods of the North, I might conjecture that the Xolotl by the crossway is simply meant for the Xololl of the North, that is, the god dwelling in the North, in the primeval home of the tribes, the god of Chicomoztoc, and that consequently this picture appears here as the homologue of Iztac Mixcov/itL That, lastly, some such explanatioumust here be assumed is further shown by the picture which in the third series of our manuscript, on the left side of Sheet 40, takes the place of the fourth of the four wandering gods. For here we see the realm of tfte dead itself, the North, represented by the image of the earth-toad, who receives in his open jaws a packed corpse, while a side- way leads up to a dish in which are seen a bundle of fuel and a rubber ball, the symbols of combustion. The face- mask of the body shows the painting of the red Tezcatlipoca. But despite its entirely different arrangement, this picture is still brought into relation with the deer-headed god who stands in the sixth place of the first series, on the left side of Sheet 32, for here also we see figured the bone dagger broken in two, the symbol of the prieata of the olden time. Now that the subjects of the four homologous series have thus been determined, and their parallelism will no longer be called in question after what I have above advanced, it still remains to get a clear notion of the meaning of this last series. Since the two first members of the series, as we have seen, are the sun and moon, it may be almost assumed that the other four will have reference to the stars. And this assumption acquires a measure of certainty from the circumstance that these last four figures are represented as wandering about, as on their travels. For the stars are indeed the ceaseless wanderers. As an inheritance of those ancient times, when the Chaldaean priests laid the first foundations of our astronomic lore on the plains of Babylon, we Europeans have retained the habit of connecting the five planets with the two great luminaries in the very order which they still preserve in the names of our week-days. For the ancient Americans the general movement of the firmament, the form of certain constellations, the path they describe in the sky, had perhaps partly a larger measure of interest. . The first of the four wandering stars, Xolotl, the God of Twins, who is endowed with the attributes of Quetzalcouatl, should doubtless be regarded as the Morning and the Evening Star, and as the expression of the observed fact that this very Morning and Evening Star is one and the same star. But the following two who, as we have seen, are related to each other, and appear to be con- nected with the Tezcatlipoca of the North and the Tezcatlipoca of the South, I am inclined to explain as the Centzon Mimixcotui, the host of the stars of the northern sky, and the Centzon Uitznaua, the The Six Heaveolj Waoderers. 165 host of the stars of the southern sky, eTen though in that case the JifiTnixcoua may not be pictured in their characteristic facial colour. But. the last of the four vandering gods, the old primeval god, is generally identified with CitlaUatonuc, the male side of the pair CitlaUaUmac, CitlaUicue, i.e. the Milky Way — un Dio che si diceva Citlaltatonac, che k quell' segno che si vede in Cielo detta strada di Santo Jacobo b Via Lattea — says the interpreter of Codex Vaticanus A, where he relates the birth of Qttetzalcouatl. If, therefore, my previous explanations be correct, the four wandering stars of this series will indicate the stars of the East and West, the stars of the North and South, and the Milky Way, the Zenith. SiE SSMI^ Fig. 1766. Hiert^lyph Kin. Palenque Stacco Belief. (MaudslA; iv. 43, 76.) Fig. 17&a. Hierogljpfa Kin. Palenque Stucco Relief. (Maudslaj iv. 11 ; it. 76; it. 10.) Fig. 175c. Hieroglyph Kin. From the Celeatial Shields. Dresden HADUSCript 68a, 55a, 37a, 680, 52b, 40{<. Codes Perez 3, 22. Codez Tro 10. Codex Cortes 10c, 7, 12&. But if, as I have just set forth, sun, moon, and stars constitute the contents of this remarkable series comprising six members, the further question arises whether we should not consider from the same point of view the famous signs on the so-called celestial shields of the Maya manuscripts and the Maya monuments, which Forstemann has endeavoured to identify with the seven planets. The sign of the sun unquestionably occurs on these shields, and indeed in two variant forms. One, known only on the monuments (Fig. 175a). shows the face of the Sun God with the large peculiarly shaped eye, the protruding fang, and the filed incisors, just as I had determined it in my paper ' Alterthumer aus Guatemala.' ^ The other variant is to be found in a slightly modified form both ' Verciffentlichuiigen sua dem KUnigL Muaenm f. TOlkerkunda, iv. <B«rlin, lS9fi), pp. 37, 30. 186 The Day Side of the Manuscript. on the monuments and in the manuscripts. It replaces the face of the Sun God by the picture of the disk, which shoots its rays in four directions. This is the well-known symbol which is found on the forehead of the Sun Gk)d in the manuscripts and in his hieroglyphs. The form on the monuments is shown at Fig. 175&, that of the manuscripts at Fig. 175c. A second sign of the celestial shields occurs on the monuments in the form at Fig. 176a, in the manuscripts in the form at Fig. 1766. Both forms, although apparently differing greatly from each other, may still be easily reduced to the same sign, indicating the hollow bleeding socket of an eye gouged or torn out. In the manuscripts this sign is used as the number twenty by means of determining ciphers. It may be seen as the counterpart to the sign kin, ' sun,' on certain half dark half light fields, which in the manuscripts are pictured hanging down from the shields (Fig. 177). Fig. 1 76a. Palenque Stucco Relief. (Maudslay iv. 43, 11.) m.^ m m dnn T^ Fig. 177. Celestial Shield and the descending Evening Star. Dresden Manuscript 58. Fig. 1766. Dresden Manuscript 566, 406, 44 (1), 55a. Codex Tro 25, 10. Codex Cortes 37. Forstemann and Schellhaa have consequently explained this sign as the hieroglyph of the moon, or else of the month. I have never been able to feel satisfied with this theory; for I cannot get away from the fact that 20 (in Maya uinaly derived from uinic, ' man ') has nothing whatever to do with the moon (in Maya u), either etymologically or in substance.^ In this illustration I can account for the number twenty only as an expression for ' completeness,' the sign at Fig. 176 as the complete host of the stars, the starry sky, the night, perhaps especially the Milky Way. A confirmation of this view I find in the fact that this same sign at Fig. 176 is closely associated with the old god of the manuscripts (Fig. 178). For in the chief hieroglyph of this god his face is depicted sometimes with his proper eye, sometimes with the hollow bleeding socket of the sign at Fig. 176. Now this god is by Schellhas persistently explained as the Moon God. But here he is undoubtedly wrong. The moon played only a very subordinate part amongst the ^ Brinton in his work ' A Primer of May* Hieroglyphs ' has accepted this theory. But in support of it he is only able to adduce a wrong and senseless derivation of the word uinal from u, * Month.' The Six Heavenly Waoderers. 167 ancient Mexicans and Central Americans, whereas this old god appears on almost every page of the manuscripts, and is unequivocally conceived as the Lord of Life, whose counterpart and mimic is the Death God. This can in no way be reconciled with what the ancient Mexicans and Central Americans relate of the moon. But all are familiar with the stories about the Old God, the Lord of Life, the Frocreator and Giver of food supplies, who dweUs in the uppermost heaven, and is identified with the Milky Way. And the starry sky, the night, the sign aMal encircled by dots. ig. 1T9. Ah Kia chit Coba. Ruler of Che Katun 13. akati. Chilam Balam de Mani (va.). Fig. 178. Ibamitd. Dresden Manuscript 9a, 9b, be, 146, lie, Ibb. is in point of fact worn by this old god on- his brow at Fig. 178. From it hangs a string of jewels ending in a flower. This also we are familiar with A^m the Mexican picture-writings, as a symbol of the precious fluid which drops down from heaven. Hence the name of this god is Itzamnd, the ' House of the Droppings,' the ' Mother of the Droppings,' as I have already pointed out in one of my first essays.' The empty bleeding socket is the symbol of this god, because this old god waa the old prUst, and the gouging of the eye is the symbol of sacrifice, the sacrifice of one's own ' ' Uebar die Nkmen der in der Dreadeaer Hudichrif t abgabildelen Maya Glitter. ' Verhandl. der Berliner Anthropolog. GesellBchaft 19th March 1S8T (Zeitachrift f. Ethnologie, xix. p. 224-231). 168 The Day Side of the Manuscript. blood, as I have above fully set forth at pp. 90-93. Moreover, there was decidedly an association of ideas between the blood, which it was the pious practice to draw from oneself and the fluid dropping from above, which was prayed for from heaven. Nay, more, the fact of this connection between the gouging of the eye and the god Itzamnd is shown in the most striking manner by certain pictures, which in the books of the Chilam Balam accompany the text The book of the Chilam Balam of Mani gives as an illustration of the Katun 13 aftau and of its ruler Kin chil Coba the picture at Fig. 179, which shows a face with an arrow in its eye and with bleeding sockets. But in the text we there read : — Kin chil Coba v he*tz katxm ti oxlahun ahau Ytzam na Ytzam tzab u uich, 'Kin chil Coba places the stone (begins the period) in 13. ahau. Itzara na, Itzam tzab, is Fig. 180. Hieroglyph caban (Altar-piece of the « Temple of the Sun ' at Palenque). Fig. 181a. Hieroglyph of the Planet Venus. Stucco Relief at Palenque. (Maudslay iv. 56.) P*3 E73 1— c Dresden Manuscript 566, 406, 586, 74. ^ CJ Codex Perez 21, 23, 22, 24. Fig. 1816. Hieroglyph of the Planet Venus. Altar-piece of the Cross Temple No. 1., Palenque. H^IB Codex Tro 21, 21, 20, 33. Codex Cortes 33, 156. Fig. 181c. Hieroglyph of Venus on Celestial Shields. his symbol.* After all this I think I may confidently assume that the sign at Fig. 176 denotes the starry sky or the Milky Way, and that it is shown on the celestial shields of the Maya documents in the same way as we have seen the old god, Izta^ Mixcov/itl, introduced in the just-described series of our manuscript and of Codex Borgia amongst the six celestial wanderers. It may be taken for granted that we should expect to meet the sign of the moon also on the celestial shields. I feel inclined to regard as such the sign caban (Fig. 180), which we find on the altar-piece of the so-called temple of the Sun at Palenque, where it is shown on the band which there bears the figures, four times repeated, regularly alternating with the same number of faces of the Sun God, of the hieroglyph kin. For this sign caban, as I have already repeatedly shown in earlier treatises,^ contains the essential characteristics of the female head in the Maya documents. In the Mexican picture-writings also we see the moon brought into relation with a female deity — Tla^olteotl. 1 Zeitschrift fiir Ethnologie, xxiii. (1891), p. 129. The Six Heavenly Wanderers. 169 The sign of the Morning Star is, of course, of frequent occurrence on the celestial shields. On the monuments (Figs. 181a, b) it is shown by a clearly executed hieroglyph, in the manuscripts as a simple quincunx (Fig. 181c), or else in variants which closely resemble the known hieroglyphic forms. The simple quincunx itself also appears occasionally on the monuments. Of the other signs the one reproduced at Fig. 182 is noteworthy, because it exhibits the chief element of the hieroglyph of the North. Thus, as amongst the six celestial wanderers of the Codex k^^r ^ Fig. 182. Stellar Image of the Northern Sky? Codex Tro 23, 22, 20. Fig. 183a. Hieroglyph akbaL Altar-piece of the Cross Temple I. Palenque. m mo rl ffi,. fM lOJimii in^ S3® w iikwvii rrcCT Fig. 1836. Hieroglyph akbal. On Celestial Shields. Dresden Manuscript 676, 396, 536, 45, 47, 74, 68a. Codex Perez 24, 23. Codex Tro 23. Codex Cortes 2, 2, 126. 1 Fig. 184a. Hieroglyph akbal f Palenque. (Maudslay iv. 11.) Fig. 1846. Hieroglyph akhaX t Stucco Relief at Palenque. (Maudslay iv. 10, 11, 43.) Borgia group of manuscripts, so too on the celestial shields of the Mayas prominence seems to be given to the host of the northern and to the host of the southern stars. Next to this sign that of akhal, 'Night,' the third day-sign, is of most frequent occurrence on the celestial shields. We see it on the monuments (Fig. 183a), and in the manuscripts (Fig. 1836) in the familiar form, and it seems that with it should be identified the sign at Fig. 184a, occurring on the stucco reliefs of Palenque. But on the same reliefs is not rarely met yet another peculiar full-faced figure (Fig. 1846), which perhaps represents another form of the same sign. Presumably the sign at Fig. 185a simply denotes the sky. It occurs in combination with the Y 170 The Day Side of the Manuscript. number 13 as the chief hieroglyph of the cloud-bird, the Tnoan. The form at Fig. 1856, which is taken from the monuments, has perhaps the same meaning. A cross of frequent occurrence lying flat is probably merely a filling in. A special form on the monuments is the shield at Fig. 187. To the monuments and to the manuscripts belongs the snake with its snout-end bent upwards and backwards, the xiuhccmatl of the Mexicans (Figs. 188a, 6). ' ^h^^^'^^t^ ^^^ .^ 7"^ ■B • uji .1 —1 LLU pJ ^ Fig. 186a. Dresden Manuscript 67a, 66a, 37a, 74. Codex Perez 24, 21. o:oe Fig. 1856. Stucco Relief, Palenque. (Maudslay iv. 10, 55.) Fig. 186a. Chi(^ten Uza. Nunnery and Stucco Relief, Palenque. T^ 11]^ Fig. 186&. Dresden Manuscript 68a, 46, 50. Codex Perez 23. Codex Tro 23, 22. Codex Cortes 156. One of the most remarkable occurrences of such celestial shields is the stele of Mench^ Tinamit or Yaxchilan (Fig. 189), which was discovered in 1897 by Theobert Maler, and distin- guished by him with the number 4. Here, above a frame which is covered with the previously described signs, the old god himself is seen seated, with a death's head as helmet-mask, between a dragon on one side and the sign of the starry sky (cf. Fig. 176a) on the other. Both in the cavity formed by the body of the snake and in the opening of the sign of the starry sky is seated another figure, each holding in its arms a two-headed snake whose body is covered with the signs The Deities of the Four Cardinal Points. 171 of the celestial shields. Lastly, below the celestial frame, on the posterior side of two faces looking downwards, the hieroglyph of Venus is to be seen, twice boldly and finely sculptured. On the celestial frame itself we distinguish the signs kin and akbal, but also other forms which are not met elsewhere : one which recalls the sign imix ; another in which we recognise the notched lines of the sign e'tzndb, but combined with four dots; and a third, that reminds one of been. The old theory, to which I gave expression in my commentary on the Tonoda/maU of the Aubin collection, that the signs of the 20 days were properly and originally 20 stars, seems to be upset by this discovery. And it is in fact this theory that I should have advanced to explain how, in the series of the six celestial wanderers of the Codex Borgia group of manuscripts, whom I have discussed in the present section, the figures of the six deities are accompanied by the kkfiMi Fig. 187. Stucco Relief, Palenque. (Maudslay iv. 10 ; iv. 11 ; iv. 43 ; iv. 10 ; iv. 43.) 1 T^am Fig. 188a. XiuheowUl. Stucco Relief, Palenque. (Maudslay iv. 9 ; iv. 43 ; iv. 11 ; iv. 11.) Fig. 1886. Xivhcouatl ? Dresden Manuscript 52. twenty day-signs in an apparently irregular and arbitrary manner. Beside the sun and the moon and the stars assigned to the five quarters, the signs of those stars have been entered which represent the oldest, the best known series of the same. Such at least is my explanation. VI. The Deities of the Four Cardinal Points. Sheets 33, 34 ( = Kingsborough 12, 11). Lower Half. The four pictures which belong to this series are accompanied by the columns of day-signs : — 1. cipactlif acatl, couatl, olin, atL 2. ocdotl, miquiztli, tecpatl, itzcuinth, eecatl, 3. mostly quiauitl, ofomatli, caUi, qvLauhtli, 4. xochitly Tnalinalli, cuetzpalin, cozcdquauhtli, tochtli. These are the initials of the four quarters of the TonalaTnatl disposed in columns of five members, as we found them depicted in exactly the same way at the four comers of Sheet 1 of our manu- script (cf. above, p. 21), and of course they correspond in the above sequence to the cardinal points Edsty North, West, South, But the same four columns of day-counts are further also found 172 The Da^ Sid« of the HaDuscript. accompanying corresponding pictures on Sheets 12 and 13 of Codex Bologna, which, in point of fact, present an exact parallel with the lower halves of Sheets 33 and 34 of our manuscript. And a second parallel is formed by the representations which occupy the middle of the large Sheets 49-52 ( = Kingsborough 66-63) of Codex Borgia that are accompanied by the same four columns of day-counts, and are shown above the large ornamental trees supporting a bird on their summit, Fig. 189. Menchi rmamit. Stele 4. (Theobert Maler 1897.) that is to say, the pictures of the four ciirdinal points discussed by me in the first section of the other (A) side of this manuscript, and reproduced at Figs. 1, 3, 5, 7 on pages 9, 10, 11, 13. In all four pictures of this series is seen a temple which is arranged in divers ways accord- ing'to the several cardinal points, and displays in the interior a symbol or a figure corresponding to eac^ quarter. Before this temple stands a deity who, of course, varies with the cardinal points. In the series of Codex Boigia these gods are presenting blood and a heart, which are in a way \ The Deities of the Four Cardinal Points. 173 thrust forward with the throwing-stick. In Codex Bologna the four gods present a smokuig offering in the incense-burner ; and in our manuscript the familiar bundle of tirewood with rubber ball on top. It is noteworthy that in Codex Borgia all the four god3 bringing offerings are pictured with the round eye, which is elsewhere shown only with the God of Death and with tbo gods bringing the dead. The first picture of Codex Borgia (Fig. 190) shows us a temple, with high-pitched straw roof, which is decorated along the lower edge of the roof with a row of flowers, and at the door-posts with the images of hearts, while at the threshold is seen the picture of the Sun. Before the temple stands Tonatiuh, the Sun God, presenting offerings. In Codex Bologna (Fig. 191) we see a temple crowned with pinnacles, with a flowering tree growing up from the roof. Within the temple stands the coxcoxtli bird provided with the comb- Fig. 190. Tonalhih, the Hua God, Lord of the East. Codex Borgia 49 ( ^Kingsboroiigh 66] Fig. 191. Tonativh, the Sm God, Lord of the Eaat. Oodex Bolognft 12. shaped feather crest, and decked with a turquoise band ending in a flower, and a second thong painted the colours of the chxilehimtl and ending in a belL Before the temple is shown a vase with a flower. The gift-bringing Sun God is clearly distinguished as such by the image of the sun which he wears at his nape. From this incense-dish jewelled bands project again, ending in bells. The picture in our manuscript, on the right side of Sheet 33, shows us a temple decorated on the roof-ridge with flowers, on the surface of the straw roof with chalckiv.Hl disks. Within is seated the figure of a god with a bunch of long quetzal feathers on his head, a god who may represent the solar deity, but possibly also the god Ce xochitl or XwkipiUi. Before him is a bundle of fuel, with rubber ball and bone dagger. The god bringing offerings is painted a light- yellow colour, and richly decked with jewels. His face looks out from the open mouth of a quetzal bird. He also must either be the Sun God, or perhaps the god Ce xochitl or Xockipilli. But above him is shown a light-coloured solar disk flooded round with blood. In the second picture, which must correspond with the powers of the North, Codex Borgiii m The D&j Side of the MasuBcript. displays (Fig. 192) a temple, which is embellished on the ridge with sacrificial stone knives set in a hoft. At the threshold stands the figure of the moon, as we saw it above pictured at p. 150, Fig. 161. Only here the white rabbit is replaced by a stone knife. And the dark disk, which bears the bony nasal crescent {yacametztli) enclosing the stone knife, stands out from a great stream of water which bears white mussel-shells, but is set along the margin, instead of snail-shells, with the yellow cuitlatl-like objects, such as are shown on the water of the teoatl-lUichinolli symbol, with the Fire and War God of Sheet 69 ( = Kingsborough 46) of Codex Borgia. The gift-bringing god displays a remarkable minghng of badges and symbols. He carries on his head the itztlaeoliuhqui, the curved obsidian knife of the God of Stone, of Punishment, of Cold, a form of the god Tezcatlipoca. His face is painted on its posterior half with the colours of the god Muciulxochitl, and with his white band about the mouth. Fig. 192, TacadipocaritzUtiedivhqui, God of the North, Rg. ift3. Tacaaipoca-italatxilivhqai, God of the North. Codex Borgia 50 (=Kiiig8borough 65). Codex Bologna 12. The other half of the face is yellow, and from the nasal septum hangs the nose ornament {teocuitlayaca-Tfietztli) of Tki^olteotl and the pulque gods. It is the North as the realm of dark- ness, of the Earth Goddess, of the sharp stone, of cold, that this mixture of symbols is intended to represent. The second picture of Codex Bologna (Fig. 193) shows ub a temple with turrets and high-pitched roof. Within is an owl. from which projects upwards a band painted the colours of night, and studded with eyes, i.e. with stars. On this band stand out a large ball with eight radial spikes, and further down a mask painted a yellow colour, and furnished with eyes and open mouth, but drawn without nose. The mask is perhaps the mex-xayacatl, which was made from the skin of the victim's thigh, and played a part at the Ochpaniztli, the feast of the goddess TUu;olteotl. On Sheet 57 ( = Kingsborough 58) of Codex Borgia just such a spiked ball as is here depicted is held in her hand by the goddess Tla^Ueotl, the Earth Goddess, who is also usually brought into association with the moon (cf infra. Fig. 220). Here this spiked ball is obviously thought of as the weapon of Tla^lteotl, and perhaps denotes the balls m*de of tilland- The Deities of the Four Cardinal Points. 175 siae, rushes, and cactus branches, with which the followers of the Earth Goddess fought at the Ochpaniztli feast. Before the temple stands a vessel out of which burst wreaths of flame. The gift-bringing god shows a mingling of symbols similar to that of the Codex Borgia god. He is here clearly distinguished as Tezcatlipoca by the black colour of his body, and by the alternating black and brown (i.e. yellow) cross-bands on his face. But he has the bandaged eyes and the hat (ihtkicoliuhqui) of the God of Stone, of Punishment, and of Cold. On his nose he wears the yacamehtti of the Earth Goddess, and about his mouth has the jaguar-skin mark, such as is shown by the TepeyoUotl of Codex Boi^ia, and by many images of Xipe. He is piercing his right ear with a long stone di^er, and from his incense-pan ascends a dark smoke. And he stands on a dark field in which is visible a row of stones beset with spikes. In our manuscript, in the second section (on the left side of Sheet 33), is seen a temple which on the ridge is wreathed with cloud-like forms of white smoke, as with the temple on the left side of the lower half of Sheet 30 in our manuscript, where is seated the magician, the animal- Pig. 194. dnleotl, the MaUe God, Lord of the Weat. Fig. 195. CirUmtl, the M&ize God, Lord of the West. Codex Borgia SI ( = Eingsborough S4). Codex Bologna 13. headed god who there symbolised the earthward direction or the lower region. And in harmony therewith we see seated in the second temple of the second picture of our series the same animal- headed god symbolising the earthward direction, covered with his motley wrap, and, like the figure of Sheet 30, holding a green bunch in his hand. The gift-bearing god is distinguished as Tezcatlipoca by the yellow painted cross-bands of his face {ixtlan tlatkian) altematii^ with the colour of his body, by the forked heron-feather adornment {aztaxelli) of the war-dance attire, and by the rended foot which is replaced by a half-mirror from which flames shoot up. But he has his eyes blindfolded like Itzttacoliuliqui. And he is distin- guished as the God of Cold by the blue colour of his body and by the black-dotted white disks attached to the members, such as we have already met with one of the two gods on the right side of the lower half of Sheet 25 of our manuscript, and which in any case symbolise the retl, cold. On the third picture in Codex Borgia (Fig, 194) is seen a temple similar to the one depicted before the Sun God of the first picture (Fig. 190). Only here the door-post is decorated, not with imi^s of hearts, but with a vessel tied with a white how (a maize dish or sacrificial vase). 178 The Day Side of the Hanuscript. Inside the t«mple is seen a yellow bowl with sojtlloped brim, on which as a sort of openii^ lies the hierc^lyph cfutlckiuitl, 'green jewel,' and from this two jewelled thongs coil upwards. This is the tobacco-calabash {ye-teevmatl) of the priests and of Tonacatecutli, such as is carried by the priests doing penance (Fig. 74 supni, p. 91), which we met with the old god of Codex Boi^ia (Figs. 170«. 171« eupra, pp. 159, 160) and of the Vienna manuscript (Fig. 173a supru, p. 161), and which the Fire God also often shows on his back (Fig. 196). This tobacco-calabash, like the tobacco-pouch made of jf^uar-skin (oceloyataztli) which we found with Tluloc, and with XochipiUl, XfK'hiquetzal, the gods of the East (cf Fig. 124h supra, p. 123), is the emblem of abundant food supplies. Before this temple, as votive-bearer, stands a god who, like the homologous figure of Codex Bologna presently to be described, must be the Maize God. But here he is not pictured with the black, angular, longitudinal lines on his face (cf. Fig. 20 av.pra, p. 35), as elsewhere in the manuscripts of this group, but with two narrow red cross-bands at the level of the eye, and with a red design about his mouth which branches off behind into three rays and melts away in drops. Moreover, on the cheek is shown painted in diiFerent colours, red and white, the little rectangular field, which in Codex Borgia is characteristic of Tonacate- eutli's and XochipiUi's face-painting, and is also seen on the clay figure from Teotitlan del Camino repre- senting the god Xochipilli} From the nasal septum hangs a broad plate, which finishes off downwards in various roundish terminals. The face of the god Fig. 196. XiiihiMuUi, the Fire God. looks out from the Open throat of a bird which is. Emblem of the Eighteenth Annual Feast. gf course, difficult to determine zoologically, but from Codex Telleriano Bemensis, f. 6 verso (=^ Kings- . , . > . . > • > boroueb 1. 12). ''^ general aspect may be classed either with the gallinacete or with the pigeon family. Taken alto- gether, it seems as if it was rather Tonacatecutli-XochipUU than the Maize God proper who was intended to be symbolised by this picture, and here exhibited as representative of the West. In the corresponding picture of Codex Bologna (Fig. 195) the temple is adorned at the base of the high roof with a row of flowers, like the East and the West temples of Codex Boigisk In the temple stands the same coxcoxUi bird, with the jewelled string ending in a flower, as in the East temple of Codex Bologna. In a dish before the temple is seen a jewel, above which rises a flower. The god bringing offerings is here clearly distinguished as the Maize God by the maize ears and the mate inflorescence of the maize which he carries on his back wrapped in a parti-coloured cover- ing. But he shows the same discrepant face-painting, and the same peculiar nasal plate, as the god of Codex Boi^ia. From his incense-pan rise jewelled bands ending in a bell, as with the Sun God of the first picture. The third picture of our manuscript, on the right side of Sheet 34, shows a temple decorated on ' Seler, Wftndmalereien von Mitla. Plkte xiii. The Deities of the Four Cardinal Points. 177 the roof-ridge with turrets and jewelled disks, like that of the Sun God on Che right side of the lower half of Sheet 31 of our manuscript, which symbolised the upward direction. In the temple is seated a god; who shows the yellow focial painting, and otherwise resembles the god in the temple of the first picture of our manuscript, but is covered with a white wrap. Before him is a chal- ckiuitl dish containing four two-coloured, pointed, egg-shaped grains, which are doubtless meant to represent maize ears. The god bringing offerings is painted a tight-yellow body and iace colour, and here again one might doubt whether the Sun God, XockipilU, or the Maize God is intended, were not the last-mentioned indicated by the bunch of fruit which rises out of the feather head- dress and reproduces with tolerable accuracy that of CinteoH, fourth of the nine lords, on Sheet 3 of oiu* manuscript. The fourth and last picture, which answers to the South, shows in all three manuscripts the Death God before a temple set out in a style appropriate to the character of this god. In Codex Fig. 197. SlietlanlecTttH, the Deatl) God, Lord of the South. Codex Borgia &2 ( = Kingsborougb 63). Codex Bologoa 13. Borgia (Fig. 197) it is built of bones and blood, and at the base of the roof, which is also formed of bones and blood, it has a cornice of eyea In Codex Bologna (Fig. 198) the cornice is made with a row of skulls. The roof consists of a skeleton chest enveloped in blood, and at the base of the temple is a kind of stellar or radial eye (cf. Fig. 5b above, p. 11) fashioned of blood and hearts. In the fourth picture of our manuscript, on the left side of Sheet 34, we also notice that the foundation is intended to be built of vertebral columns and skeleton chest, while the door-post is ornamented with eyes. The roof-ridge also is a backbone from which eyes hang down over the surface of the roof, stone knives and human hands surmounting the ridge. In the Codex Boi^a temple we see an owl standit^, and the Death God presents, not blood and hearts, like the figures on the other sheets, but a whole human body, the head of which the artist apparently means to represent as torn off by the owl. Anyhow, a stream of blood flows from the stump-neck into the mouth of the bird. In Codex Bologna also an owl is seen in the temple, before which stands a vessel, out of which fiames blaze upwards, as out of the vessel of 178 The Day Side of the Manuscript. the second picture. The Death God is painted black, and on his back carries four black flags — the familiar decoration of the dead. Like the god of the second picture he is piercing his ear with a long bone dagger. The copal on his incense-pan has the form of a mannikin tied up and painted a bone colour, and from the pan dark smoke ascends. In our manuscript in the temple of the fourth picture is seen a small im^e of the Death God. Here also the gift-bringing Death God, who, as in other pictures of the manuscript, has a skull for his head, and ireaTs green TnalinaZli grass as an ear-plug, and a little skirt or girdle pendant also of maliwdli grass, has further a feather adornment on his nape, the base of which is again formed by a skull. Thus in this series the four cardinal points are figured by deities in a somewhat different way irom what we generally meet them elsewhere, the quarter of the South being here assigned to Fig. 199a-rf. The Years ; wmi ealti. na«t toehtli, natii aeaU, naui Ucpafl. Codex Boipa 49-62 ( = King8borough 66-63). the^ Death God, to whom as a rule the North is attributed in other places. This uiust naturally have some special reason. We have before all to ask ourselves what was the real motive for thus carrying out the associations of the cardinal points and the gods with constantly new variations. In some places the reason might be sought in the very fact that it was special time periods that required to be symbolised. Here apparently the picture-writer had to deal with the simple TonalaTnatl, which is determined by the columns of the initial day-signs of the four quarters, as. for instance, on Sheet 1 of our manuscript It ought to be inferred that in the case of this series some special circumstance is concerned. This, however, is not to be discovered from the presentation in our manuscript, and still less from that of Codex Bologna, though possibly from the sheets of Codex Borgia. On these we find the four trees which have been dealt with in the first section of the night Bide of the manuscript. We shall have still to discuss a second series of representations which occurs on these sheets, and likewise runs on all-fours with one in our manuscript. Now on these same four sheets we also see four years indicated above a chair on which lies the head- dress of a deity, who is presumably to be brought into relation with them. At Fig. 199 I repro- The Deities of the Four Cardinal Points. 179 duce these four years, as they are inscribed on Sheets 49-52, together with the chairs pictured below thein. As we see, they are the years : — m 1. naui caUi, * four House,* 2. Tiaui tochtli, * four Rabbit,' 3. naui acatly ' four Reed/ 4. naui tecpatl, * four Flint Knife,' which would accordingly answer to the East, North, West, South (to the columns of day-signs ce cipactli, ce ocelotl, ce vuigatl, ce xochitl). As the years have a cycle of 52, on the expiration of which the names, the signs, and the numbers are repeated in the same order, one might at first infer that to the cardinal points East, North, West, South, or to the columns of day-counts ce ci'pactli, ce ocelotl, ce magaU, ce Q(X)chitl, all the more should correspond the initial years of the four quarters of this 52-years cycle, i.e. the years ce acatly *1 Reed,' ce tecpatl, '1 Flint,' ce calli, • *1 House,' C6 tochtli/1 Rabbit.' And in point of fact we do see on Sheet 27 ( = Kingsborough 12) of Codex Borgia the corresponding initials of the quarters of the simply arranged Tonalamatl, i.e. the days ce cipactli, ce miquiztli, ce ofomatli, ce cozcaquauhtli, and the initials of the four quarters of the 52-years cycle ce acatl, ce tecpatl, ce colli, ce tochtU, all co-ordinated to the four cardinal points East, North, West, South. Now the year Tiaui calli is exactly 42 years removed from the year ce acaU, which, strictly speaking, should denote the quarter of the East. And this is a period that we have already come upon in the third section of this (B) side of the manuscript (cf, supra, p. 135), the period at the end of which 10 days have to be intercalated, in order to harmonise the Mexican year, which is i of a day too short, with the real length of the year. And when these 10 days are intercalated, we get from the day naui calli to the day ce acatl, i.e. to the very day which, being taken as the initial day of a year, would answer to the quarter of the East. Exactly in the same way, by inserting 10 days after the day naui tochtliy we get to the day ce tecpatl, which, being taken as the initial day of a year, would correspond with the quarter of the North. By inserting 10 days after the day naui acatl we reach the day ce colli, which, as initial of the year, corresponds to the West And by inserting 10 days after the day naui tecpatl we reach the day ce tochtli which, as initial of the year, indicates the South. Thus it is that, by the occurrence of the four years naui colli, naui tochtli, naui acatl, naui tecpatl on the four Codex Borgia sheets corresponding to the cardinal points East, North, West, South, the very point is established which to me seemed already indicated by the 59-days period given in the lower half of Sheets 26-29 of our manuscript. That is to say, the ancient Mexicans, or at least the priests who composed the manuscripts of the Codex Borgia group, on the expiration of 42 years intercalated 10 days, in order to effect a correction of the year's length. And it is a reminiscence of this necessary correction, the meaus of eftecting which was assuredly handed on by oral instruction, that is perpetuated in the four pictures which fill the lower halves of Sheets 33, 34 of our manuscript, and in the parallel places of Codex Bologna and of Codex Borgia. We accordingly understand that in Codex Bologna these pictures of the gods of the four cardinal points (Sheets 12, 13) were attached to the representation of the Torwlamatl (Sheets 1-8), and to that of the 5x13 Venus periods (Sheets 9-11), as their only essential element. These very pictures indicated to those instructed in priestly lore the third essential point of chronology 180 The Day Side of the Manuscript. — the rectification of the length of the year. And it was only the happy accident that the somewhat more thoroughly gTounded author of the Codex Borgia manuscript had occasion to introduce the specified four years beside these four pictures that henceforth enables us also to recognise in these pictures what must have been of itself clear enough to the old pupils of the priests through oral instruction. VII. A Second Series of Gods of the Four Quarters. Sheets 33, 34 ( = Kingsborough 11, 12). Upper Half. On the four lai^e pictures dealt with in the preceding section, i.e. the lower halves of Sheets 49-52 ( = Kingsborough 66-63) of Codex Borgia, in the lower left comer is seen the figure of a sitting god (Fig. 200), who shows the facial painting of Macuil xochitl — the yellow field about the eye, and the white hand about the mouth. With this face-painting he combines a headdress consisting of two large white crosses and a shield extending from brow to nape, all in exactly the same style as we have already met with the God of Monstrosities, Xolotl, on Sheet 10 of Codex Borgia (see above, Fig. 166, p. 126), who has his face also painted as MacuU xochitl. On the four sheets the god is pictured in precisely the same way, only with difTerent colours — bhirk, blue, yellow, green, answering to the East, Fig. 200. MawU olin. North, West, Smith. And beside the four figures are seen the four dates : ( = EiDssboniugh 65). Tnacuilli olin, ' 5 Rollir^ Motion,' maetnUi eecatl, ' 5 Wind,' macuiUi ma^tl, ' 5 Deer,' meicuiUi nmlinalli, ' 5 Broom.' These are separated from each other by exactly 65 days, hence are distributed with absolute uniformity over the Tonalattmtl, but in such a way that they represent the first days provided with the cipher five, which follow the days ce acatl, ce tecpatl, ce caUi, ce tochtli, i.e. the initial days of the years which are the initials of the four quarters of the 52-years cycle and the symbols of the cardinal points East, North, West, Smith. With this series of four figures one is at first tempted to bring into relation the four pictures which are shown on the upper halves of Sheets 33, 34 of our manuscript For these are the same day-counts — olin, ' Rolling Motion,' eecatl, ' Wind,' ma^atl, ' Deer,' 'malinaXli, ' Broom ' — which accompany the figures in these four pictures, only they are not provided with ciphers. (The first sign, olin, in the first picture on the right side of Sheet 33, is seen in the water, as if it were in a sense the seat of the water god who is there depicted.) And the intervals between these signs, i.e. the number of signs which in the series of the twenty day-signs lie between the signs olin, eecatl, mn^atl, ■malinalli, are indicated by the four dots or little coloured circles which are seen on the left or upper side of the four pictures. It will, however, be more correct to combine the signs in question with the cipher one. Then A Second Series of Gods of the Four Quarters. 181 the initial of the series will no doubt be separated by 3 x 52 or 166 days from ce ci2)actii, the initial of the TonalamatL But perhaps this part of our manuscript has been taken from the priestly annals of a district where the years were named with the signs olin, eecatl, mafatl, malinalli That such was the case in certain districts is proved by the Codex Porfirio Diaz, which was published in the year 1892 by the Junta Colombina, and presumably comes from the Cuicatec land and people. In this territory, beside the signs combined of a ray and a ring, say a trapeze, with which the year names are expressed in the Zapotec and Mixtec manuscripts, dates are in fact shown which are composed of these very signs — oliny eecatl, mofatl, rrialinallL Could we make the same surmise also for the upper halves of our Sheets 33, 34, then ce olin, ce eecatl, ce rruifatly ce malinalli would denote the initials of the four quarters of the 52-years cycle, and we should then have at once to conjecture, that in this sequence of series they were regarded as answering to East, North, West, Sotdh, like the signs ce acatl, ce tecpatl, ce caUi, ce toclitli with the Mexicans, and generally in the Codex Borgia group of manuscripts. I do not think, however, that this last assumption is here applicable. It would rather seem to result from the subjects of the four pictures, as they follow consecutively on the upper halves of Sheets 33, 34 of our manuscript, that the cardinal points are not meant to be taken in the order from East to North, West, and South, but that the West should begin, and be followed by South, East, North, And in point of fact, the day ce olin belongs to the third Tonalamatl quarter, which begins with ce ofomdtli, * 1 Ape,' and corresponds to the West This would accordingly seem to be the same case as that of Sheets 49-52 of Codex Borgia ; that is to say, on the upper halves of the sheets the order began with a different quarter from that of the lower halves, and this difference in the starting- point was indicated by placing at the beginning of the series, not the initial sign of the Timalamatl, but one belonging to the second half of the TonalamatL In all four pictures the subject under consideration is the maize plant, which is figured as a human being, out of whose head grows the plant, i.e. foliage, ears, and bloom. In the first picture, on the right side of Sheet 33, the plant is rooted in water, and is presented as an offering by the water goddess Chalchiuhtlicue, who is portrayed in exactly the same way as we found her figured on Sheet 3 of our manuscript, as sixth of the nine lords. Above her rises a cloud-tree with an outstretched arm, which pours water on the burnt-offering of firewood and rubber ball standing before the maize plant on the common ground, itself consisting of water. In these combined traits clear expression is given to the quarter of superabundant water, hence to that of the West, that is, if we assume as valid the same symbolism which is presented on Sheet 27 ( = Kingsborough 12) of Codex Borgia. In the second picture, on the left side of Sheet 33, the maize plant is rooted in a soil which consists of alternate green and black strata, and may presumably be regarded as partly overlying vegetable humus, or as soil only partly fertile. The upper border of the picture is formed by a sky, only one-half of which is clouded, while the bright half shoots down eyes, that is, light. The personification of the maize plant is pictured white, and with a dead eye, hence is doubtless intended to be indicated as withered away, dead. The deity who presents the plant is adorned with a rope of pearls, and a pearl rosette on breast and hair-bands, such as are worn by the Zapotec women. Perhaps it is intended for Xochipilli, God of the South. On the burnt-offering of a bundle of fuel and rubber ball leans a long green implement, which is decorated with jewels, and perhaps represents a coa 182 The Day Side of the Manuscript. {uictli), that is, the spade used for tilling the ground. Here it is broken in two pieces. To me the Simth, the region of drought, seems to be indicated by this scene. In the third picture, on the right side of Sheet 34, the maize plant, which here differs from the other pictures in being depicted as a woman in rich attire, is rooted in a uniformly green, loose, granular soil. The god presenting the maize plant is Tlaloc, the Rain God. On the burnt-offering stands a coa, which here is not broken, but tied with a white and red apron. The East, the region of fertility, is herewith displayed before the observer. The fourth picture, on the left side of Sheet 34, again shows a soil similar to that of the second picture, but consisting of alternate green and yellow bands. The maize plant, which is not at all rooted in this soil, is personified by a red figure, and the god who presents the plant is also painted red, and holds a bundle of spears in his hand. Evidently a Sun, Fire, or War Gk)d is intended to be represented. The maize plant is beset on all sides by various animals. Above is seen a black-feathered bird with a long bill, before which are shown a number of little tongues, obviously denoting speech or cries. It may perhaps be the garrulous tzanatl, of the thrush family, or else the ChacJialaea. Further down is seen an arara (alo), and below it a yellow-green parrot (cocho). We know that in the Tierra Caliente the parrots are dangerous enemies of the maize fields. But beneath, on the ground, comes a black quadruped, a raccoon {mapachtli) or a rat {quimichin), and behind it yet another black bird. The North, the region of war, where the corn is exposed to attacks on all sides, seems to be indicated by these details. In general, this characterisation of the several cardinal points answers quite well to what is placed before us on Sheet 27 ( = Kingsborough 12) of Codex Borgia, on which I had already occasion to speak in the first section of the night side of our manuscript {av/pra, p. 7). Only there the North, i.e. the tecpatl years, is mainly characterised as representing drought and aridity. Depredations by animals in the maize fields are depicted both in the North and in the South. In the North we have locusts or other winged insects, in the South rabbits or any other such quadrupeds. Hence, as to this Sheet 27 of Codex Borgia, so also to the series pictured on the upper halves of Sheets 33, 34 of our manuscript, must be attributed the meaning that it is intended to illustrate the prospects, the forecasts of the years which vary with the four cardinal points. And the fact that here the years are named, not with the signs a<!atly tecpatl, caUi, tochtli, but with mafatl, malinalli, olin, eecatl, as in Codex Porfirio Diaz from the state of Oaxaca, is perhaps a further proof that our manuscript, and in fact the whole of the Codex Borgia group, must have originated in a region which was in close contact with the old centres of the territory now forming the western division of the state of Oaxaca. VIII. The Six Heavens. Sheets 35-37 ( = Kingsborough 10-8). Lower Half. In this section we have again a series of gods of the six quarters. But this series differs from those depicted on the lower halves of Sheets 23-25 and 30-32 of our manuscript in one respect. With those series it was 40 or else 80 days that were indicated by the six figures, or groups of The Six Heavens. 183 figures, whereas here the 52 columns of the Tmialamatl disposed in columns of five members are given with the six pictures by means of six columns, which are shown by their respective signs, and by little coloured circles or dots which denote the number of the columns which intervene but are not written down in sighs. Here, therefore, it is the Tcmalanuitl that appears distributed towards the six quarters. The distribution itself could not of course be carried out evenly, since the number six does not go evenly into 260, while five does ( =52]. 52 decomposes into 6x8 + 4. Hence the initial column was first of all followed by four columns, each of which is always separated from the preceding by eight signs. If, therefore, we assign the cipher 1 to the first column, the first five columns will be as under: — 1. dpactli, acatl, couatl, olin, atL 9. atl, cipactli, acatl, couatly olin, 4. olin, atly cipactli, acatl, couatl. 12. couatly olin, all, cipactli , acatl. 7. acatl, couatl, olin, atl, cipa/itlL But then the last column has not been similarly removed eight counts from the foregoing, so as to let the whole excess of four days fall on the interval between the last and the first sign. But the still remaining interval of 20 signs was divided into 11 and 9, and the column 5. cuetzpalin, cozcaquauhtli, tochtli, xochitl, TnaliTudli placed with the last sixth picture as sixth column. This was presumably done because otherwise the sixth* column would again have had the same signs in the same order as the first. This it was desired to avoid, as likely to lead to misunderstanding, since, no ciphers being placed with the columns of day-counts, these have rather to be supplied by the reader. In other respects the sequence of the cardinal points seems to be the same as on the lower halves of Sheets 23-28 of our manuscript, Le, East, North, West, South, Above, Below. And here also pairs of gods are exhibited in the six sections. It would at times be somewhat difficult to ascertain the personalities of these gods, had we to rely exclusively on our manuscript. Fortunately, however, for this series too we have a parallel in the much more accurately and more fully executed Codex Borgia on Sheet 57, which corresponds to the 58th of the Kingsborough notation. On this sheet we shall in all cases have mainly to depend. The first picture of Codex Borgia stands on the right side of the first row of Sheet 57. Here we see the old god (Fig. 201) with flame-coloured hair, who in the Tonalamatl and the twenty-days series denotes the first sign, cipactli, 'Crocodile,' and is there interpreted as Tonacatecutli, lord of food supplies, lord of creation, of procreation. The woman facing him must consequently be Tonacaciuatl, lady of food supplies. Here the beard of the god consists not, as with the Tonacatecutli of Sheet 9 of Codex Borgia, of white heron- feathers, but of black eagle's feathers. From the feather adornment, which he wears on his head, project between two eagle's feathers the two hairy bands which elsewhere form the distinctive mark of the Sun God. But the most noteworthy speciality is that both deities bear a figure on their back, which may in a sense be a device or else a load brought as an offering — in one case an ape, in the other an image of Qn^zalcouatl dressed as a woman. To me it seems that thereby it is intended to characterise the two deities as the begetters of Quetzalcouatl, the Wind God, possibly also as in their nature like the Wind God. 184 The Dar Side of the Manuscript The first picture of our manuscript, on the right side of Sheet 35, shows the same two personages, but rejuvenated. Instead of Tcmacatecutli, the old lord of life supplies, we have XochipUH, the young God of Flowers; instead oi Tonacaciuatl the youthful goddess Xockiquetsal, who indeed is by the interpreters equated with the goddess Tonacaciuatl. The female figure is distinguished as Xochlqwtzal, not only by the step-shaped, blue, nasal plate and the floral wreath in her hair, but above all by the large back-mirror ((■■iii.thlezcatl), painted the colours of the jewel; but in any case doubtless representing a carapace shield, and to be thought of as attached behind the bow or girdle by which the enagua is fastened round her waist. For we saw just such another lai^e carapace-like shield {ciiitUitezfiitl) in our manuscript and in Codex Vaticanus B with the goddess Xockiquetzal, who is the fifth in the fourth series of the five times five guardians of the Venus periods (cf. the picture on the left side of the upper half of Sheet 29 of our manuscript, and Fig. 122 Rk- 201. TonacaUcutli TonacaHvjill, Lords of Food Supplies. Codex Boi^B 57 (^Kingsborough 58). aupra, p. 120). Similarly, the male god of our picture has quite the aspect of the god XochipiUi as he is elsewhere figured in our manuscript, — for instance, on the right side of the lower half of Sheet 24. The Xochiquflzal of our picture holds a chak-kiuitl, a green jewel, in her hand. Thereby she is in any case meant to be distinguished as the mother of Quetzalcouail. For, as we know, Quetz<dcouatl was supposed to have been conceived by his mother when she swallowed a green jewel, a cluilckiuiU} At the same time one would scarcely have lighted upon this association of the chalckiuitl in the hand of the Xockiquetzal of our manuscript, but for the homologous figure of Codex Borgia, which tells us that in fact the goddess is here intended to be represented as the bringer, the bearer of Qiietzalcouatl. As the name of Qu>etzalcoiuitl'& mother, mention is generally made of the word Chimalman, 'the shield couchant,' or ' lying on a shield.' This I have always understood as a characterisation of the earth, of the level expanse. Pictures such as that occurring in this place of our manuscript to me strongly suggest the idea that the pecuhar article of this goddess's attire, the large carapace-shield- like euitUitezcatl, and the name Chimalman stand perhaps in some relation to each other. ' Headj«tn. Hiitoriu eccleaiaslicft Indiana, book ii. chap. \ The Sii Heavens. 185 Between the two deities, in Codex Borgia (Fig. 201) is seen a casket of jewels similar to that worn on his breast by the Tonacatecutli, lord of the first thirteen-series of the Tonalayjuttl on Sheet 61 (=Kingsborough 54) of Codex Borgia. Out of it hang s rope of pearls and a jewelled string, and on it stands a vessel which is painted the colours of a jewel, and from the sides of which agAin. overflow chains of pearls and jewelled strings, while out of its mouth are looking a naked mannikin and a flowering tree. By these symbols the two deities seem to be clearly distinguished 3£ the lords of prosperity, of opulence, as the authors of life, of vegetable, as well as of animal or human life. Besides these symbols, at Fig. 201 on the left side, beside ToTiacaciuatl, is further seen a dish painted the colours of the jewel, and containing a chalckiuitl, gold ornaments and quetzal feathers. Below the dish stands a vessel, from which a brown drink, evidently cacao, foams out. Thus a^ain nothii^ but costly things, such as this goddess is characterised as the mistress of. On the Fig. 202. PhUeatl and TlofdUotl, the Pulque Gods. Coden Borgia 87 ( = Kingaboroiigh 58>. right side, beside Timacatecutli, we see on the contrary agave-leaf spikes {uitztli) and bone da^er (omitl), the implements of mortiflcation, the badges of the priestly office. Lastly, on the upper border of the picture is further shown a half-sun. In our manuscript we miss the jewel-box and the vessel and the flowerii^ tree, from which the naked mannikin is looking out. On the other hand, the symbols on the left, the dish with the chalckiuitl and quetzal feathers, and the cacao vessel, are all given. Beside the male deity on the right, instead of the bone dagger and the agave-leaf spike, is seen a vessel with the claws of a beast of prey. This denotes, like the jaguar's foot which the old god of Fig. 169 {supra, p. 159) holds in his hand, the oceloyatazili, the priests' tobacco-pouch made of the skin of a j^uar's foot. And this, as I have already had occasion above to lay stress upon, is an emblem of abundant food supplies, like the yetecormitl, the priests' tobacco-calabash which we see employed on Sheet 51 ( = Kingsborough 64) of Codex Borgia as a determinant of the Maize God's temple (cf. Fig. 194, siqyra, p. 175). We have also come upon the same dish with the red foot of a beast of prey in the right section of the lower half of Sheet 33 of our manuscript with the dog-headed god Xdotl, who there doubtless represents 186 The Day Side of the Manuscript. Xochipilli or TonacatecufH, and stands opposite the goddess Xochiqiietzal as representative of the East. The second picture of Codex Borgia, on the left side of the lowest on Sheet 57 (Fig. 202), shows us the Pulque God, and facing him Tlofolteotl as Pulque Goddess. Both wear the crescent-shaped Huaxtec nasal ornament (yacoTnetztli), which is special to these two deities. They also show on their breast the remarkable comma-shaped curved ornament which perhaps is piece of a large spiral snail's shell, and is also met only with these two gods — the Pulque God, ruler of the twelfth day-sign in Codex Borgia 13 (=Ki]:^3borough 26), and with Tlagolteotl, ruler of the fourteenth day-s^ in Codex Borgia 12 ( = Kingsborough 27). Both have the half black half light face of the pulque gods; but with this trait TlafolUotl further combines the black caoutchouc painting about the mouth which is peculiar to this goddess. The goddess wears the copilli, the wedge-shaped Huaxtec hat. On this Fig. 20^1. Stone Head of CoyoLcaukqui, Vthilopoehtl^a Hostile Sister. (From the Great Temple in Mexico.) and on her enagua is painted the yellow half-moon, the image of the ycKametatli, the badge of the pulque gods. With this the male god combines the cue^uitoncatl, Qu^tzalcouatt'B fan-like Huaxtec nape adornment Both gods, the male as well as the female deity, wear the ickcaxockitl, the fillet of unspun cotton distinctive of Tla^olteotl, and as ear-plug likewise a band of unspun cotton. In his hand the male god holds a stone hatchet {HziopUli), symbol and weapon of the pulque gods. In its form, thickening upwards like a club, this weapon recalls the stone hatchets which are still used by the present wild Indians about the headwaters of the Xingii in Brazil The blade of the hatchet is painted a blue colour, which is doubtless intended to indicate nephrite or some other valuable kind of stone employed for this purpose, as well as to show the polish of this material. In her upraised right hand the goddess holds a ball studded with spikes, apparently a weapon which she uses for throwing. Presumably those balls are intended which The Six Heavens. 187 are made of tillandsias, rushes, cactus branches, and yellow tagetes flowers, and with which the followers of the Earth Goddess fight with each other at the Ochpaniztli, the Broom Feast, the Feast of Tldfolteotl : — pachtli yea tlaoloUaliUi, UaooloUaliUi, yuan toltapayolli, yuan nopaUi, yuan cempvaUcochitl — ^'with tillandsias rolled into balls and with rush-balls and with nopal (branches of the fig-cactus) and with tagetes blossom/ ^ This sham fight itself was called gonecali. In the second picture of our manuscript, on the left side of Sheet 35, the same personages are unmistakably represented. The male god has the two-coloured painting of the pulque gods, the goddess that of Tlagolteotl, as is seen, for instance, in the typical Tlagolteotl figure in the left section of the lower half of Sheet 32, and in that of the left section of the upper half of Sheet 30 of our manuscript. Both deities, the male as well as the female, wear the crescent-shaped Huaxtec nasal ornament, and the copilli painted in two colours, blue and red, i.e, the wedge-shaped Huaxtec cap. A disk-shaped snail's shell forms the neck and breast adornment, and from the ear-disk hangs a peculiar pendant, consisting of a trapeze figure and a ray, such as is shown by the large stone head of the Coyolxauhqui goddess (Fig. 203) from the great temple in Mexico. The ends of the male god's loin-cloth have the rounded form which is seen with the loin-cloth of the Quetzalcov/itl figures. In the Codex Borgia picture (Fig. 202) the character of the two deities is illustrated by the large vessel which stands between the two figures, which is painted with the image of a skull, or else is intended to show a skull concealed inside. On the mouth of the vessel is seen a bundle of firewood, and above it two entangled dragons coiled together in the form of a ring — a thoroughly intelligible symbol of the death-bringing fiery nature of the drink. Above, on the upper border of the picture, is further to be seen the symbol combined of a half-sun and the hieroglyph of the night, which is usually given with the pulque gods in this and other manu- scripts, and perhaps denotes the parting of day and night, or perhaps indicates the moon itself. Lastly, to the right and left, on the upraised hands of both gods, and as if presented by them, are further shown a dish with a jaguar and a dish with three stone knives, from which flames are bursting, which naturally again exhibits the nature of the drink in a perfectly intelligible way. In our manuscript the number of the symbols is again reduced. The dish with the jaguar is shown, and before it a sacrificial flag, while further down stands a dish with four objects painted alternately blue and red, which might represent stone knives, but also maize ears. The third picture of Codex Borgia, on the left side of the middle row of Sheet 57 (Fig. 204), shows us the two maize gods. The male god on the left is painted exactly like the Cinteotl, fourth of the nine lords, on Sheet 14 ( = Kingsborough 25) of Codex Borgia (Fig. 20 supra, p. 35), but also with the little rectangle on his cheek which we have repeatedly met as the facial painting of XochipiUi, of Tonacatecutli, and also of the Maize God. On his nape he wears a maize plant consisting of ears and male inflorescence, and his face looks out of the open throat of a quetzal, or perhaps a coxcoxtli, bird. The goddess facing him is more like the maize god of Sheet 51 ( = Kingsborough 64) of ^ ' La pelea consistaba que se apredreaban con pellas hechas de aquellas hilachas 6 heno que nacen en los drbolet, y oon pellas hechas con hojas de eapadafia y con hojas de tunas y con flores amarillas.' (Sahagun ii. chap. xxx. , MS. Biblioteca del Palacio. ) 188 The Day Side of the Manuscript Codex Borgia, who is reproduced at Fig. 194 above, p. 175. With him the figure here repre- sented agrees in the form of the nasal plate ornament, which here shows only a further notched- like projecting middle part The i^eement also extends to the face, which looks out of the bill of a bird apparently of the galHoacean family. She also shows on her cheek the little above- mentioned rectangle, which is likewise seen twice pictured on her enagua. The feather adorn- ment worn by the goddess at the occiput resembles in all particulars that of the TonacatecnUli of the first picture of this series (cf. Fig. 201). On their head the two gods have inserted an agave-leaf spike {uitztli), from which hang down a flower and a jewelled band, and in their hand they hold a pouch for incense (copakci- quipUli). Both gods are distinguished as priests by this copal-pouch and by the agave-leaf spike with the flower and the jewelled band, which are symbols of mortification. But it would further appear that the copal-pouch, like the tobacco-calabash, which we above met on Sheet 51 of Codex Boi^ia (cf. Fig. 194 supra, p. 175) as determinant of the maize deity's temple, and like Fig. 204. The Male and Female Maize Deities. Codex Borgia 67 ( =Kiiigaborough 08). the homologue of the latter, the tobacco-pouch made of the skin of a jaguar's foot, was an emblem of abundant food supplies, of tonacayo, of maize. With their other hand the two gods each grasp a flowering maize plant, growing up from a vessel which is painted the colours of the green jewel, the chalchiuitl, and at the bottom of which are seen the four varieties of maize — the yellow, blue, red, and white. At the sides of this symbol, which forms the centre of the picture, are two other dishes, and on the upper border is i^ain shown a half-sun as in the first section of this series. The third picture of our manuscript, on right side of Sheet 36, enables us clearly to recognise the Miaize God, at least in the figure to the right, the male deity ; for although he lacks the characteristic facial painting, he still wears on his head exactly the same flowering maize plant as does the Cinteofl, fourth of the nine lords, shown on Sheet 3 of our manuscript The goddess facing him is painted and equipped in every respect like him, except that the flowering maize plant on the head is missing. But there can be no doubt that she is meant to be taken for his female counterpart, the Maize Goddess. Of the symbols that are here pictured in our manuscript, the dish with the breast adorn- The Sis Heavens. 189 ment, the green jewel and the quetzal-feather ornament, may, to a certain extent, have a relation to the central piece of the Codex Borgia picture, as according to their sense implying the same thing. For the rest, we have also met such dishes in our manuscript, in the first section of this series, with the gods of food supplies and of procreation. The red foot of a carnivorous beast on the dish I explain as the priests' tobacco-pouch made of the skin of a jaguar's foot. It would, in my opinion, be the homologue of the copal-pouch which is held in their hand by the two figures of the Codex Borgia picture, while the agave-leaf spike and the bone digger which are seen lower down answer to the agave-leaf spike which the two maize gods of the Codex Borgia picture wear on their head. A special symbol in our manuscript is the eye surrounded by dots which is shown above the female deity to the left. I would surmise, but this of course is only an idea, that this emblem denotes the scattering of grains of maize, for instance, on the surface of the water, for the purpose of forecasting the future. In the fourth picture of Codex Boi^ia, on the right side of the middle row of Sheet 57 Fig. 205. Tlaloe tind Chaichiuhtlictu, the Rain and Water Deities. Codex Borgia S7 ( = Kingaborough SS). (Fig. 205), we observe the familiar forms of Tlaloe, the Rain God, and of CkalchivJitli^ue, the Water Goddess. Face and equipment are like those of the pictures which I above reproduced of these two gods, as the ninth and the sixth of the nine lords of Codex Borgia (cf. Figs. 35 and 22 supra, pp. 46 and 37). Only here the face of the Rain God, as also that of the Water Goddess, looks out of the open jaws of a snake. In the middle, between these two deities, stands a vessel, which ^ain is painted the colours of the green jewel, the chaichiuitl, hut, unlike that of the previous picture, it has the form, not of a dish, but of a pitcher furnished with two handles. On the surface we see depicted the step-meander of the xicalcoliuhqui design.' In the pitcher, which the two gods hold by two entwined strings, a chain of beads and a jewelled cord, are ^ain seen the four kinds of maize — the yellow, blue, red, and green ears — and behind them a naked mannikin in the same aspinng attitude as in the related symbol, which forms the central object of the first picture of this series in Codex Borgia (cf. Fig. 201). We may venture to assume that herewith is meant ' Cf. Ijeler, iiber altmexikaiiiecbeD Federschmuck uod miliUriscbe Rangabzeichen. Verhandlangen der Berliner Anthro- pologiechen Geaell8cb»ft, 17th January 1!<91 (Zeitachrift fiir Etbnologie, xxiii. p. 137). 190 The Day Side of the Manuscript. to be indicated upward striving, growth, the izcalll, hence the growth of the maize fruit. Above is further seen a dish with 'flowers at the sides, and on the upper border of the picture a half- sun with jewelled bands hanging out between its rays. This can be understood only in the sense that here the half-sun stands for the sky generally, in which case the diahhixLitl dropping from above will naturally mean rain. Lastly, before the Chxdchiv^dlicue deity is further to be seen a little jug of eacao, as before the Toiuicaciuatl of the Codex Boi^a picture. The fourth picture of our manuscript, on the left side of Sheet 36, shows on the right hand the Rain God, Tlaloc, in his characteristic form. But the goddess &cing him, unlike the Ohal- ckinhilicue of this manuscript and of the other Codex Borgia group of manuscripts, is not figured with a snake as helmet-mask, but her face looks out from the open throat of a quetzal bird. Hence we have more probably to designate this goddess as Xockiqu^tzal. Of symbols here are to be seen only a dish with a quetzal bird and a little jug, from which flows a liquid which is studded with eyes, and consequently is no doubt meant to be dark, a Fig. 206. XoehipUH and Xochijuttzal. Codex Boigia 57 ( = Kingabnrough 68). tlilatl, while the circle and pointed object above it may perhaps be intended for the end of a chicauaztli, a rattle-stick, such as is carried by the earth, maize, and water deities. The fifth picture of Codex Boi^a, on the right side of the uppermost row of Sheet 67 (Fig. 206), shows us to the right the picture of the god Xi>chipiUi, designed and painted exactly as we have met him as fifth god of the first series of the four times five guardians of the Venus periods on Sheet 16 ( = Kingsborough 23) of Codex Boi^ia (Fig. 103 mpra, p. 110). Only here body and limbs are painted not red but yellow. The goddess opposite him agrees exactly in design and coloration with the goddess Xochiqtietzal, lady of the nineteenth week, on Sheet 62 ( = Kingsborough 53) of Codex Boigia, reproduced by me above at Fig. 54, p. 65, Here the sole peculiarity is the body of the red snake which hangs down from under the right arm, and is perhaps thought of as being part of the same snake whose throat forms the helmet-mask of the goddess. In all the- other sections of this series the pairs face each other, whereas here these two The Six Heavens. 191 gods are pictured back to back, and this must naturally have some special reason. If we assume, as I think we must, that this fifth picture denotes the fifth quarter, it would seem that the male member of this pair, Xochipilli, is intended to symbolise the upward direction, the sky or the upper region, and the female, the goddess Xochiquetzcd, the downward direction, the earth or the lower region, and that in order to give expression to these opposite directions the two deities have been set back to back. The male god, XochipiUiy is sprinkling water on the earth from a jug, for it is the sky from which the fluid falls in drops on the ground. The goddess XochiquetzaZ appears to be pouring out of a dish something that is not shown. From the corresponding representation in our manu- script, which I shall have presently to describe, it must apparently be inferred that the matter in hand is the scattering of mlize corns. It is, however, possible that this dish is only intended to represent something 'with the mouth downwards,' hence the reversed direction. In the middle of the picture, between the two averted figures, stands a dish with flowers at the edges, similar to that which we saw in the preceding picture with the Rain God and the Water Goddess. On it a bird, which may be either a quetzaltototl or else a cooccoxUi, descends from above to drink from the vessel. If, on the one hand, the whole scene thus placed before our eyes is again intended clearly to symbolise opposed directions, on the other hand I cannot help seeing in it a reminiscence of what I always thought of in connection with the god Xochi- piUi, who, as we know, is really figured in bird form. I refer to P. Lizana's story about the god of Itzmal, Kinich-KakTod, who descended about the hour of noon to consume the offering on the altar — *como baxava volando la vacaTnaya, con sua plumas de varias colorea' In our manuscript, in the right section of the lower half of Sheet 37, the two seated gods are seen leaning directly back to back, separated only by a black wall built up in two storeys and tied round with a white fabric. Here the male god, XochipiUi, is painted entirely a red colour, while the white butterfly, which should be pictured on his mouth, is degraded to a conventional ragged design. The goddess is distinguished as Xochiquetzal by the floral wreath in her hair. In her hand she holds a jaguar's tail, which perhaps is the homologue of the snake's body seen in Codex Borgia under the arm of the goddess. The jug, from which water pours down, is likewise shown with the XochipiUi of our manuscript. But below it, also lying upset, is the dish with the foot of the wild beast, which we have above already met in several places,^ and which I have explained as a symbol of abundant food supplies. Beside the goddess Xochiquetzal, as in the Codex Borgia picture, is likewise seen a dish over- turned, but from which here grains of maize seem to be falling. This may be intended to distinguish the goddess as the bounteous maize-giver, or rather — as seems to me more probable — to exhibit her as the caster of lots, the soothsayer, the magician. Finally, the last picture, the sixth in Codex Borgia, on the left side of the topmost row on Sheet 57 (Fig. 207), pictures the lords of the lower region, of the underworld, the death gods, Mictlantecutli and Mictecaciuatl, They are equipped in the usual fearsome vi&y—Mictlantecutli painted a bone colour, with skeletal thorax and a skull on his head, Mictecdciuatl with the yellow 1 Our manuscript (Codex Fej^rvdry), Sheet 23 below to the right, Sheet 35 below to the right. Cf. supra, pp. 123 and 185 192 The Day Side of the ManuscripL colour of women and the dead, and anyhow with fleshlesB jaws and exposed rows of teeth. Both also have the dark wig studded with eyes which denotes night, the occipital shield, and the flag overhanging in front {pantoyaualli), the decoration of dead bodies. Moreover, the male god wears a hand as ear-plug, and blood and hearts as a breast adornment. The ground also, on which their chairs stand, is not simply yellow, as in the other sections, but consists of alternate fields of malinalli grass and fragments of skulls, in the style of the distinctive hieroglyph of arable land. Both gods present each other with a naked human figure painted red, which is a symbol of human sacrifice, as I have already set forth in the first section of this side of the manuscript. In the middle, between the two, stands a kind of vessel, or else a table, which in imitation of the ckalckiuiU painting is painted an eye-studded black (instead of green), with red bands in the middle and yellow border (instead of the white fringed edge). On this table, on the left side. Fig. 207. MicUanleciUli and Mictecacivatl, the Lorda of the ReEtlm of the Dead. Codex Borgia 67 ( - Kiogsborough 56). Si. stands a dish filled with blood and reeking hearts, and the goddess seems to be pouring down fire on it from a vial. On the right projects the body and tail of a dragon, which is seized by the god. But in the centre is seen a skull swallowing a man, who is falling head foremost into its throat. On the upper border of the sheet is further pictured the image of the moon instead of the sun, as in all the other sections, and this moon forms a nasal crescent made of white bone and is enveloped in night, the surftice being filled in with a painting in the colours of water, but on which no rabbit or any other kind of symbol is here to be seen. In our manuscript, on the left side of Sheet 37, both gods are characterised as death gods, with a skull for their head, a bunch of green malinalli grass in their ear, and the red and white occipital shield. Here the male god is entirely enveloped in garments, which, however, are black and decorated with eyes and dead men's cross-bones. His seat is made of ribs and a piece of skull, and like the god of Codex Boi^a he holds a dragon in both hands. Instead of the structure which occu- pies the middle in the Codex Borgia picture, here are seen the yawning jaws of earth, and sinking into its throat a man painted red but dead, as shown by his closed eyes. In the upper half of the section The Six Earthly Regions. 193 is further pictured a dish with a stone sacrificial knife, which should doubtless be compared with the dish of blood and hearts in Codex Borgia. And thus we have shown that, both in their general contents and in numerous details, the six pictures of this series of our manuscript correspond altogether with those of Sheet 57 of Codex Borgia. But the latter have a special feature, which finds no place at all in our manuscript. That is the image of the Sun, or say of the gloaming and the moon, which is seen on the upper border of the pictures in all the sections of the Codex Borgia sheet. I believe that this peculiarity, which is lacking in our manuscript, may again afford a standpoint for the general interpretation of this series. We saw in the fourth section that with the two water deities, Tlaloc and Chalchiuhtlicue, was pictured the half-image of the sun with the chalchiuitl, or green jewels, hanging out between the rays. The jewels we had to explain as the precious fluid, the rain. Here accordingly the half-sun must indicate, not the sun, but simply the sky. The same remark seems to me applicable also to the other sections. Consequently I take the whole series collectively as the six heavens, as I have indicated in the heading of this section. And in this connection the sequence of the cardinal points seems to me to be the normal — East, North, West, South, Above, Below. The East heaven would accordingly be represented by the two gods of procreation, the lords of food supplies, Toriacatecutli, • Toriacaciuatl, and characterised as the place of abundant sustenance and of creation. The North heaven is distinguished as the region of the gloaming, hence as dark, and is consequently represented by the Earth Goddess and the Pulque gods. The West heaven is that of the maize gods, the South heaven that of the rain gods, Tlaloc here standing for the South, just as he also does, for instance, on Sheet 25 (= Kings- borough 14) of Codex Borgia, to which corresponds Sheet 70 ( = Kingsborough 27) of Vatican B. The Upper heaven is represented by XochipiUi, the Lower, i,e, the interior of the Earth, by the two death gods. In this association of the cardinal points and gods the series deviates in a surprising manner from the well-known sheet with the Tlaloc figures of the four years, and from several other series of the group of manuscripts. But herein it resembles Sheets 49-52 of Codex Borgia, to which correspond the lower halves of Sheets 33, 34 of our manuscript, which immediately precede the present series. Thereby only one shifting had to be made, that is to say, the end of the series, instead of being formed by the one quarter of the South, is here formed by three quarters — South, Above, Below. But it may presumably be assumed that the series dealt with in the present section belongs to the same school as that which designed the four pictures which were intended to symbolise the rectification of the length of the year. IX. The Six Earthly Regions. Sheets 38-43 ( = Kingsborough 7-2). Lower Half. This series, consisting of six sections, is manifestly intended to be a counterpart to the preceding. Here again we find each of the sections accompanied by a column of day-counts, which, taken jointly with the intermediate members indicated by dots or little circles, make up a complete Tonalamatl. 2b r 194 ^e I)&7 Side of the Manuscript. • But here the arrangement is somewhat different. The first and last columns of day-signs agree with the first and last of the foregoing series, as does also the second ; but the three following are differently chosen, and in such a way that it is no longer always the same signs, only differently grouped, that form the members of all the five first columns, as was the case with the foregoing series. On the contrary, other signs present themselves in the fourth and fifth columns. At the same time, however, these two columns are chosen analogously with the second and third, since, like the second and the third, they are separated from each other by intervals of four signs. The columns accompanying the six sections are as under : — (1) cipcLctli, acatl, coatl, olin, ail, (9) atly cij^actli, acatly coatly olin, (13) cLcatlj coatl, olin, atl, cipactli. (10) caUi, qnauhtli, raagatl, quiawitl, ogomdtli, (1) Tnofatl, quiaivitl, Ofomdtli, calli, qtiavJitli, (5) cozcaqvxiuhtli, cuetzpalin, tochtli, xochitl, malinalli. In this last column there is an error, the first and second signs being interchanged. Hence, when correctly arranged, this column is rather to be read (5) cuetzpalin, cozcdquauhtliy tochtli, xochitl, raalinalli. In all the sections of this series is figured the same animal-headed demon whom we have already met in the left section of the lower half of Sheet 30, and again in the left section of the lower half of Sheet 33 of our manuscript, and who, as I have above fully explained at pp. 140-143, agrees with the bearers of the four years on Sheets 25-28 of the Dresden Maya document. On Sheet 30 of our manuscript this demon denoted the downward direction, and on Sheet 33 he was the idol of the North temple, which in that part of our manuscript occupies the place where in the other manuscripts we met, sometimes the picture of the moon with a stone knife on its surface (cf Fig. 192 supra, p. 174), sometimes the night bird, the owl, and before it darkness ascending with emblems of the Earth Goddess (cf. Fig. 193 supra, p. 174). Hence there can scarcely be any doubt that in our manuscript this demon indicates the region of the Earth, or the dark interior of the Earth. And we thus perceive that the present series reveals itself as the counterpart of the preceding. For, owing to the peculiari- ties presented by the homologous series of Codex Borgia, we had to interpret the preceding series as the ' six heavens.* Hence I have also at once introduced this series as the * six earthly regions ' at the head of the present section. No parallel to this series is known from any other manuscripts. But it may be taken for granted that the six pictures are intended in some way to correspond to the six quarters. I will not venture, however, precisely to indicate the actual sequence here to be followed. Still, one may doubtless conjecture that the usual order is intended, i.e. East, North, West, South, Above, Below. Here the demon appears in most of the pictures with a red wig, the straps of which project above the forehead, where they are fastened by a sort of clasp (or buckle). Only in the first section (answering to the East) the wig is repltwed by a white dotted band, i.e. painted the colour of white chalk {tifatl). And also on most of the sheets (the first, fourth, fifth, sixth, perhaps also the third) this demon has, strange to say, a sort of wing, or wing-like pendant, attached to shoulders and upper arm. As breast ornament he everywhere wears the eye of the god Tezcatlipoca, The Four Forms of the Deity of the Planet Venus. 195 i.e. the ring {anauatl\ which is enveloped above with red band& On the first sheet (East) the demon is white, on the second (North) yellow, on the third (West) half white half red, on the fourth (South) all red, on the fifth (Above) again yellow, on the sixth (Below) half yellow half red. On the first sheet (38), the East, the demon is pictured with a tomahawk in his hand, as a warrior who has captured a prisoner. The captive, bleeding from a wound in the breast, is handing his throwing-stick to the victor, exactly as in the famous group of figures on the Ti^oc stone, while his other arm, holding a bundle of spears and shield, is stretched backwards. On the second sheet (39), that of the North, the demon is depicted in combat with another figure. As a weapon here he seems to wield a club, which somewhat recalls the disks by which the Tezcatlipoca of the North is distinguished as God of Cold on Sheets 25 and 33 of our manuscript. Ixtlilton holds a similar club in his hand on Sheet 24 of our manuscript. On the third sheet (40), that of the West, the region where the sun is eaten, the demon is swallowing a man, while a shield and a spear with broken head lie on the groimd. On the fourth sheet (41), that of the South, the demon alone is figured, with throwing-stick and bundle of spears in his hand, but with severed head, and from the wounded neck a snake emerges, as in the colossal picture of CouaUicue, the so-called Teoyaorriiqui, in Mexico. On the fifth picture (42), that of the Upper region, the demon is thrusting a chain of beads, with a bone inserted as a connecting-link, into the open mouth of a human head which lies in a dish, and is painted yellow, the colour of women. Beside it lies a sort of hatchet, the heft of which looks as if formed of smoke or fire, and above is seen a rubber ball transformed to a face. Lastly, in the sixth and last picture (43), that of the Lower region, the demon is figured on a crossway, while a road studded with eyes leads from him upwards. Beside him is shown a flower in a dish. X. The Four Forms of the Deity of the Planet Venus. Sheets 41, 42 ( = Kinosborough 4, 3). Upper Half. The four members of this series are assigned to the four cardinal' points, or made sjmabols of the four quarters by the columns of day-counts which are entered below them, and are the initial columns of the four quarters of the TcmaLawxitl disposed in columns of five members. These columns of day-counts are as under : — (1) cipactli, dcatlf couatly olin, atl, (1) ocelotl, miquiztli, tecpatl, itzcuintli, eecatl, (1) Tnofatl, qiiiauitl, ofOTnatli, colli, qv/mhtli, (1) xochitl, malinalli, (metzpalin, cozcaquauktli, tochtli. The present series again has its parallels both in Vatican B and in Codex Borgia — in Vatican B on Sheets 24-27 ( = Kingsborough 72-75) — which are there directly connected with the pictures 106 The Day Side of the Manuscript. of the nine lords, while they are themselves followed by the gods of the twenty day-signs. In Codex Borgia the parallels occur in the upper right comers of the lower halves of Sheets 49-52 ( = Eingsborou^h 66-63), the same sheets that contain as their central piece the temples with the gift-bearing deities, respecting which we have seen that they served to symbolise the correc- tions of the year's length effected eveiy 42 years. The series is interesting, because here in the very first place, in the section of the East, a demon presents himself, who occurs nowhere else in Mexican picture-writings, but appears to have played a great part in certain districts of the Maya domain, and perhaps also amongst some other aboriginal tribes. This is the Bat God, who in our manuscript is distinctly indicated as & ' man-bat ' by his hairy extremities, the wing-membrane outstretched between the arms, the thumb and great-toe nails on arms and legs, and the animal head with the small sharp teeth and erect, skinny, nasal lobe. The dark hair of the head studded with eyes, the occipital shield Fig. 209. Bat God. Codex Borgia 46 (=±Eiiigsborough 66). Fig. 208. Bat God. Oodex VaticacuB B 24 ( = Kingsborough 72). {cuexcocMeckimalli) and the flag above it are death symbols, emblems of the Death God. In one hand the god holds the severed head of a man, and seems at the same time to be grasping a dragon, whose body develops lower down a kind of vessel, in which the god is standing. In his other hand he holds a rended heart. In the corresponding figure. Sheet 24 of Vatican B (Fig. 208), the bat distinctly appears as a disguise, as shown by the human hand which is seen protruding at the arms under the animal claws. In other respects the animal is sufficiently distinguished by the expanded leathery membrane, which is painted black with skulls and set round the edge with claws, by the claws shown above the feet, and by the animal head with its small sharp teeth. But here we miss the characteristic, skinny, leaf-like, nasal process, instead of which a stone knife is seen at the tip of the nose, and this also is a death symbol As a headdress the god of Fig. 208 wears, not the emblem of the Death God, but the usual jewelled fillet with the conventional bird's head on his forehead, and above it the half black, half red, wedge-shaped hat {copiUi) of the Wind God, Quetzalcoiiatl, the fan-shaped nape adornment cue^luitoncatl of the same god, consisting of black The Four Forms of the Deity of the Planet Venus. 197 and a few inserted red feathers, and, stuck in his hair, the bone dagger (omitl) and agave-leaf spike (uitztli), the symbols of mortification, with the attached picture of a flower denoting the blood of the penitents. In short, here in Vatican B the Bat God is equipped as Qwetzalccmatl, But, like the Bat God of our manuscript, he holds in one hand the severed head of a human being, and together with it a stone knife attached to a heft; in the other a second human head. Above, to the left, is further shown a rended human arm. Obviously this Bat God is thought of as the c'aTna zotz, the ' head-rending Bat ' of the Popol Vuh, who plays a part at the destruction of the world, or rather at the destruction of the first human race, the people carved out of wood (poy aham che) : — ^ quehecut qui camizaxic — in the following way were they slain, xe butic — they were submerged, aype nima k'ol chila chi cah — a great copal (thick darkness) came from heaven, occot c*otv€ich^ u bi xc^otin uloc u hak qui vach — the eagle dug out their eye- holes, xpe c'amazotz^ xcwpin via qui holom — the (head) render, the Bat, tore off their head, xpe cotzhalara xtio qui tiohil — the (Cotzbalam) (a species of jaguar) ate their flesh, xpe tucwwhalaTn xtukuvic ocquichouic qui bakil qu-ibochil — the Tucru/mhalum (a species of jaguar) crunched their bones, their sinews. In this instance the least characteristic, i^, the most conventionalised, is the figure in Codex Borgia (Fig. 209). The animal claws and head are distinct enough, and a heft-like curved elongation at the nose indicates the skinny nasal lobe. But the picture shows no extended wing-membrane, which is merely suggested by a couple of pendants to the arms with scalloped edges and looking almost like butterflies, but otherwise painted the colours of the wing-membrane of the god of Vatican B, and further, a similar black-like attachment, hanging down from the girdle behind. Like the figure in Vatican B, the Bat God of Codex Borgia is also equipped with the jewelled fillet, the wedge-shaped hat (copiUi), and the fan-shaped nape ornament ((mefaluitoncatl) of the god Quetzcdcouatl. Unlike the figures of the other two manuscripts, he holds no severed human head in his hand, but wears one as a breast adornment. The raised right hand holds the throwing-stick (atlatl) in the act of throwing. With his left he is tearing the heart out of the breast of a Death God, who stands before him in a red yellow-spotted coat of paint. This conventional Bat God, in Codex Borgia on Sheet 49, stands beside the Sun God sacrificing with the sun before the temple. Hence he must denote the East. Naturally the Bat, who denotes the East, can be nothing but the gloaming that begets the light, or the morning. And if we consider that in two of the manuscripts it appears equipped in the attri- butes of Quetzalcimatl, and in Codex Borgia is pictured with the throwing-stick, hence as the ' Shooting God/ we shall be driven to the assumption that the Bat is merely a disguise of the god of the gloaming, the lord of the house of the dawn, the Tlauizcaljxintecutli, the deity of the Morning Star. And here I will again refer to a passage in the traditions of the Guatemaltec ^ Popol Vuh I. chap. iii. ' Amended for xecotcovach. ^ Amended for camcUotz* 198 The Dajr Side of the Mauuecript. tribes, strongly influenced though they no doubt may be by the Mexicans. It occurs in the fifth paragraph of the Cakchiquel Annals, where we read : — quere c'a ru. banic vinak rij — and thus was man created, qxiere navipe ru banic chay ahak ri — so also (the idol of the Cakchiquel tribe) the Obsidian stone, tz'apal c'a ru eld ri TvUan xoh pe vi — and shut was the gate of Tullan whence we came ; xa kun cki fo'tz tz'apihal ru chij ri TiUlan — a Bat was the closure of the gate of Tullan, xoh alax vi vX xoh c'ahokuc vi 'pe — where we were bom and b^otten, xya vijie ri k-ikan — where to us our loads were given, chi k'ektmi chl a'ka — in tbe time of darkness and the night.' Fig. 211. Mixximatl. Cod«x Borgi» 60 ( = Eiufpborough 99). Fig. 210. Mixayaaa. Ctniex Tatiowius B 25 ( = Kingsborough 73). In the second section, which answers to the North, is shown Mixcouatl, God of the Hunt, God of the Hunting Tribes, of the Chichimecs, who is identiHed with the Tlazc^tec god Ca- vuuctli. In Codex Borgia (Fig. 211) he is figured with his characteristic marks, exactly as we have met him on Sheet 25 ( = Kingsborough 14) of this manuscript (cf. Fig. 109 supra, p. 111). Thus be has the white red-striped body and facial painting, and the deep-black, half mask-like painting about the eye, the two distinctive marks in which he agrees with one of the forms of TltiuiscdljjantecuUi, the Morning Star. But along with this he shows the downy-feather ptaster- ' Briuton, we know, has published theie Aanali with a trBQiUtion. But hie traoalatioD is full of eirora and often abaolutely DaiDtelligible. Thus he renders the above paauge : — ' Thn* men were m&de, and thai the Obtidian Stone was niado, for the encloanre of TulUn ; thus we came to where tbe Zotzila were at the gates of Tullan ; arriving we were bora. Doming wo were produced, coming we gave the tribute in the darknest, in the night.' What we are to nnderstaod by 'arriving we were produced, coming we were bora,' I cannot imagioo. Brinton appeart to have had no netioD of tbe fusion of the predicate with verb* of motion, which answer* to the A;itec so-called conjugation of motion, and example! of which occur in almoet every sentence of tbe Cakchiquel Annals. The Four Forms of the Deity of the Planet Venus. 199 ing of the hair, and the white fork-shaped heron-feather adornment (aztaxeUi) of the warriors, bul also in other respects (by the locks flaming up above the brow) recalling the Tlauizccdpantecutii with whom he is essentially identical, as I have above set forth (cf. pp. 72 and 111). The same characters are seen in the picture on Sheet 25 of Vatican B (Fig. 210). Only here the god is figured, as the god of the wild tribes, naked, without loin-cloth, and with exposed penis. Our manuscript deviates from the other two in that it pictures the god, not white and red ^ striped, but half red half blue. This deviation we met above in the upper half of Sheet 26 of our manuscript with the fifth god of the second series of the four times five guardians of the Venus periods. In other respects the god is figured, like that of Vatican B, as god of the wild tribes, with naked unveiled penis, and as god of the hunt, with a deer's foot in his ear. But, like the figures of the other manuscripts, about his eye he shows the deep-black, half mask-like painting set round with little circles, mioacitlaLftuiticac^ moteneua^ tlayouaUi, ' the star face-painting which is called darkness,' i.e. the image of the nightly heaven, of the starry sky. And he likewise shares with the other manuscripts the lambent locks above his forehead. Altogether the devia- tion of this Codex Fej^rvdry figure from those of the other manuscripts is more striking than fundamental. For the half red half blue coloration is just as symbolic of the twilight as is the white (or white striped in red). In all three manuscripts the god holds the throwing-stick in one hand, a spear or a bundle of spears in the other. For, more than the Morning Star himself, this god is the Shooting God, And he directs these weapons against a jaguar who, in the respective pictures of Codex Borgia and Vatican B, stands on a man thrown prone on the ground. I have an idea that here this jaguar does not stand merely as the quarry, but that we have to remember the symbolic meaning of this animal. As I have already once stated above, for the Mexicans the solar eclipse was a being devoured by the jaguar, and the jaguar was consequently the emblem of devouring darkness. And I am of opinion that the god who overcomes darkness, the star that heralds the approach of the sun, is represented in these pictures also. In the third section, which answers to the West, the three manuscripts again fully agree in their treatment of the subject, but in Codex Borgia the subject-matter presents a different aspect from that of the two other manuscripts. In our manuscript, the Codex Fej^rvAry, on the right side of Sheet 42, on the surface of a sheet of water, is seen a god in a light-yellow colour, deckfed with the jewelled fillet with the con- ventional bird's head on the frontal part. He somewhat resembles the Xochipilli of several sheets of this manuscript, and also, like the god Xochipilli in other parts of the manuscript, appears to be distinguished as such, by a dish which he H presenting, and in which are seen a jewelled neck ornament {chcdchiuhcozcapetlatl), a bangle on the upper arm (machoncotl), and a bunch of quetzal feathers. But the right foot of the figure is torn off, and the foot itself is being carried off by a monster, who is pictured with the black body of a fish and a heterocercal shArk-like tail, but with an upturned cipactli head without lower jaw. Quite analogous is the picture on Sheet 26 of Vatican B (Fig. 212). Here too is seen a figure which is painted a yellow colour, and completely agrees with our Fej6rvary figure, even in its neck 200 The Day Side of the ManuBcript. and breast adornments, a blue chatckiukcozcapetlatl set with golden bells, with a large gold disk (teocuitla<:omaUi) attachment, besides two lappets of cloth below. Here also the foot has been bitten off by a monster with a black fish-ltke body, two-Iobed heterocercal tail, and cipactli head. Only here the god holde, not a dish with ornaments, but in one hand app&rently a bunch of green feathers, in the other a staff which is painted blue like a turquoise, and decked with flowers, and is perhaps meant for a rattle-stick (chicauaztli). Moreover, uplifted by the water, are further seen the implements of sacrifice — the bone dagger (omitl), stone knife (tecpatl), agave-leaf spike (uitztli), and green bunch. And on the upper border of the sheet is shown a symbol combined of a half- sun and the image of night, such as was above met (cf. Fig. 202, p. 185) with the pulque gods, but from which here blood would seem to be radiating. Fift. 2ia Deity of the BTening Star. Codex Borgia fil ( = KingsboTough 64). Fig. 212. Codex Vaticanus B 26 ( = Kingsborough 74). In Codex Borgia (Fig. 213) is also seen a god with rended foot, and a water-vessel in which a monster is pictured. But this monster is not fish-like, but resembles a reptile with abso- lutely the same form and the distinctive mark of the cipactli, the crocodile, just as this animal of the first day-s^ is usually figured and drawn in the manuscript. Nor has the god with the rended foot the XockipiUi-hkB appearance of the figures in the other two manuscripts, but is unmistakably the deity of the planet Venus, Here it is the Evening Star, with the white quin- cunx, the hieroglyph of the planet Yenus, on its dark face, the fillet with the two-pointed, e^- shaped omameata (doubtless slices of mussel-shell), and the locks flaming up above the brow, all well-known characters of this deity, as pointed out by me in its place ; ^ and, further, with a feather adornment which hangs down from the nape, and at the ends of which are seen the black, white-tipped feathers, which form the feathery crest of the typical picture of Tlawizcal- ' 'Dia Vennaperiode Id den Bilderichriftan der Codex Borgi&-Grupp«.' VerhaDdlaogen der B«rlii]er Anthropologiwben 0«MaiiohafL Meetingof July 16. 1S98. (Zeitschrift fiir Elhnologie, vol. zxi. pp. 36), 352, and 362, 364.) The Four Forms of the Deity of the PUaet Venus. 201 and of the deity of the Evening Star. And he wields the throwing-stick and the spear, as becomes this star, of which we read: yniquac hiialne^iuh yn tlein ypan toJUiUi recentUimaTitin ywpan miyotia quinmina qui-nHakuiiia, ' when he rises, according to the sign on which he rises, he shoots divers kinds of people.'^ From these parallels it results that the JocAipiMi-like figures of the other two manuscripts are to be taken merely as personators or disguises of the Eveniiig Star, and consequently in this third quarter also we have the deity of the planet Venus. Hitherto, however, I have searched in vain for the myth that might explain these pictures of the God of the Rended Foot. In the fourth section, corresponding to the South, the pictures of Codex Borgia and Vatican B again agree in the closest manner. In all three manuscripts the subject of the picture is formed by a group consisting of an eagle and a feather-snake. In Codes Borgia (Fig. 215) we see the e^le in the characteristic design of this manuscript, with the white and black plumage. Fig. 215. Codex Boi^a 5i ( = KinKaborongh63). Fig. 214. Oodex Vsticanus B 27 { = Kingsborough 75). the streaming head-feathers, and the bone knives, which are introduced at all prominent points and distinguish this bird as the great beast of prey. The feather-snake has exactly the same form as the feather-snake which is figured in the fourteenth section of the TonalamatI with the god Xijte (cf. Fig. 24a 3iipra, p. 38), From the feather-snake's mouth we see emerging a rabbit, which is seized by the ei^Ie, who appears at the same time to be tearing the feather- snake with his talons. The eagle has caught the rabbit by the eye, so that it looks as if, according to the habit of these birds of prey, he were at once preparing to pick out the eye of his victim. Completely analogous is the picture in Vatican B, Here the eagle is designed in a some- what more heraldic and less lifelike form. The snake is coiled up, marked with black triangular spots, and has only a bunch of feathers, over the eye and at the tip of the tail, which is furnished with rattles. Here also a rabbit comes out of the snake's throat, and is seized by the eagle with his claws. ' An&Iea de QuaDhtitlBD. 202 The Day Side of the Manuscript. In our manuscript, on the left side of Sheet 42, the eagle's wit^ and tail are painted in the four colours, the head with its bristling feathers and the breast being alone in the typical black and white coloration. In its design and feather equipment the snake recalls that of Vatican B. But before it are shown two pairs of a blue and a red stick each, placed cross- wise, a symbol I cannot venture to explain. From the mouth of the feather-snake flows blood, and beside it is figured, not a rabbit, as in the pictures of the other two manuscripts, but a lizard or an iguana of a blue colour, designed and painted exactly like the animal which represents the fourth day-sign, cuefzpali'n, 'Lizard.' The eagle has seized this animal in his claws, while he appears to be drinking the blood that flows from the mouth of the feather- snake. This difference between our manuscript and the other two, however difficult it may be to explain, still shows that the essential element in the pictures of the other two manuscripts is the feather- snake himself, and not the rabbit coming out of his mouth, as I was elsewhere inclined to assume. And in point of fact a similar difference is also presented in the feather-snake which is the associate of Xipe, lord of the fifteenth day-sign and of the fourteenth week. That is to say, with Xijte, lord Fig. 216. The Feather-snake quetzalcovaa. Fig. 217. The Feather-snake quelzaltouaU. Codex Borgia 1 1 ( = Kingaboroiigh 28). ( 'odei Borgia 67 ( ^ Kingsborough 48). of the fifteenth day-sign, we see a rabbit rising out of the throat of this feather-snake (Fig. 216), while with X'ipe, ruler of the fifteenth week, the feather-snake seems to be swallowing a man who tumbles head-foremost into its throat (Fig. 217). I have ^ven much thought to this varying representation, but without arriving at any satisfactory explanation. So much, however, to me seems certain, that the feather-snake denotes the water, perhaps the sea itself, and is shown with Xi}}e at the specified places, because be is the Anaiiatl itecu., the Lord of the Coastland, and that we have to explain as the land surroimded by the sea the rabbit in the feather-snake's throat, and presumably also the lizard in the feather-snake's throat of our manuscript And if at Fig, 217 we see a man tumbling into the snake's throat, that may perhaps denote the sinking of the sun into the sea, or, in general, the movable element into which all things are made to sink. Rabbit and lizard are both to be regarded as symbols of the earth. In Ce t<H-hHi, according to the Anales de Quauhtitlau, the earth was made, and Cc iochili is the sign and the day of Xipe. whom we have seemingly without doubt to regard as God of the Earth. But on Sheet H of our manuscript we met Ge (mefzjxilin, ' 1 Lizard,' given as n name for Xoch it) uetziil. The Pour Forme of the Deity of the Planet Venus. 203 As we hftve recognised the first three figures of this series as images or disguises of the deity of the planet Venus, it may reasonably be surmised that this fourth group denoting the South, or its chief figure, the eagle, should also be regarded as merely a disguise of the same deity. I am certainly not acquainted with any myth in which the Morning Star figures as the eagle. Still, considering the close relation existing between this god and the warriors — indeed, the god appears in the Tonalamatl as the symbol itself of the warriors' death, and that in combination with the att-tlackinoUi symbol, the imf^e of war — it would not he exactly surprising were we also somewhere to meet this god in the di^uise of an eagla And I believe such coses do occur. Amongst the complicated representations which occupy the last sheets of one and the first sheets of the other side of Codex Boigia, one of the most remarkable is Sheet 45 ( = Kingsborough 70). This sheet positively teems with images of the Morning Star. Not only the two chief persom^s, but nearly all the secondary figures wear the livery and the facial painting of this deity. But on this same sheet, in the four comers, four houses are depicted. On the roofs of three of them lies an eagle, while the roof-ridge of the fourth is made of eagle's down. And on the left side of the chief and central group is also seen a large e^le, who again is merely the disguise of a god apparently showing the face-painting of the Morning Star or of Quetzalcouatl. He is descending from above, and seems to be receivii^ the heart which, immersed in a stream of blood, comes from the open breaat of another ti^re of the deity of the Morning Star, which lies in a large water - vessel towards the rear as if thrown back over a sacrificial plug {Fig. 218). These representations '^=KmgBboTOugh'70). also seem so far to be connected with the pictures of our series, that on the immediately preceding sheet Bat, Jagvxtr, Quetzal Bird, and Ba^le are figured in the four quarters of the heavens. With this fourth picture of ours I find it more difficult to construct any relation to the quarter of the South. Hence I will confine myself to the remark that the same connection between ei^;le and quetzal-feather snake, which is here presented in our fourth picture, is strictly speaking already met in the series of the deities of the twenty day-signs which are introduced in some of the first sheets of Codex Borgia. Thus, with the day-sign qiuivMli, 'Ei^le,' stands as his symbol the red (TlatUiufiqui) Tezcatlipoca, who here personates the god Xipe, and above him (Fig. 216) the picture of the feather-snake with a rabbit emerging from its throat. 204 The Day Side of the Manuscript. XI. Once More the Five Quarters. Sheet 43 ( = Kingsborough 2). Upper Half. • In the last two representations of this side (B) of the manuscript, a return seems to be made to what formed the subject of the other, the A side. Or else the author has really begun with the B side, the day side, i.e. with Sheet 23, so that these last two representations would merely be the forerunners of what has to be exhibited on the other, the night side, the side A. The latter seems to me the more probable assumption. Hence I should, strictly speaking, have numbered this sheets of this manuscript diiferently, i.e, I should have made the B side the first and started with Sheet 23. This, however, is of no consequence for the interpretation of the several groups figured on this sheet. And in any case, the numbering adopted by me has the advantage of being a simple reversal of the Kingsborough pagination. The first of these concluding representations, that on the upper half of Sheet 43, again places before us the five quarters, or the five regions of the world. But in this case it takes the simple form of a cro88way, which shows the four cardinal points, East, North, West, South, together with a dovhle indicator, which, being applied crosswise to the cross of the crossway on the ground, is certainly intended to denote the down and the up. With one hand the index finger is open, which presumably indicates the upward direction. The other hand sprawls out in a somewhat unnatural way, the fingers being joined together in twos, which seems meant to denote the downward direction. In other respects both arms are furnished at the wrists with bracelets of white objects pointed at both ends, which are doubtless meant to be taken as snail-shells, like those we *met with the above-described Iztax) Mioocouatl, the old god, who in fact, jointly with the old goddess Ilarruitecvilly embodies in himself the region of the above and below. On the crossway and at the two arms are shown three bundles of firewood, and from the central one flames break out. Thereby a distinct relation is again indicated to the nine lords of the night, as the guardians of the five regions of the world. But here these guardians of the five regions themselves are exhibited, not by figures, but by dates. And indeed the date ce couatl, ' 1 Snake,* seems to correspond to the Fire God, or the Middle, the Below- Above. To the powers of the East presumably the date ce cipactli, ' 1 Crocodile,' which stands at the upper left beam of the cross. To the powers of the North the date ce eecatl, '1 Wind,* at the lower left beam. To the West ce miquiztli, *1 Death,' at the lower right beam; and to the South XolotVs sign, the date ce olin, * 1 Rolling Motion,' on the right above. As on the Sheet 5 following the nine lords, on the other side of our manuscript, so here also, besides the figure and the dates, a number of ciphers is further given, which are written in the Maya style. And I also think that here, on Sheet 43, the same number is intended to be inscribed as on Sheet 5, and that the same meaning is to be given to the one as to the other. In that case, however, on our sheet we must assume a kind of elliptic method of writing. On Sheet 5 we found the numbers (10 x 11) + (10 x 11) + (11 x 11) = 341, a number which also appears to be the chief number in the parallel representation of Codex Bolognsu And I there pointed out that this was presumably intended to indicate the number of days that Venus is visible only as the Evening Star Tezcatlipoca, the Wizard. 205 or not at all, hence in a measure as the time when there is no Morning Sta/r, when the messenger of Morning, the herald of dawn, does not appear, when the Night is awaited. On our sheet we find (11 X 10) + (11 X 10) + 11, a number which of itself has no meaning, but becomes at once in- telligible, and is to be calculated from the same standpoint as the number on Sheet 5, that is, on the assumption that the eleven entered by itself on the right beside the twice (11 x 10) stands for (11 X 11). That this number and this sheet are really to be thus interpreted seems to be also confirmed by the next sheet (44), the last of our manuscript. XII. Tezcatlipoca, the Wizard. Sheet 44 ( = Kingsborough 1). This last sheet of the B side of our manuscript is, like the preceding, intelligible only on the assumption that it is intended to be, not the end of this B side and the absolute end of the manu- script itself, but to serve as forerunner and indicator of the representations on the first — the A side — the night side of the manuscript. On this A side of the manuscript — the first dealt with by me — the five quarters and their guardians, the nine lords of the night hours, were brought under view in the quarters themselves, and then once again in some special large pictures. And directly connected with these was a series of other remarkable representations, which, owing to the changed order followed by the figures there pictured, partly also because of the character of the figures themselves, and, above all, because of the symbols accompanying the initial sheet, we had to regard as having relation to weird un- natural things, to an esoteric occult lore, to magic practices or the like. As an indication of what the reader is intended to find on the sheets of the other — the A — side of the manuscript, and at the same time as a proof that we have correctly interpreted their contents, we see here on this concluding sheet of the B side the god who is the nocturnal^ the nightly wandering god and the magician in a pre-eminent sense, the god Tezcatlipoca; and we see him surrounded by all the signs of the Tonalamatl, i.e. by the signs which were held to be above all else, nay alone decisive for the fitness of the things occurring on the consecutive days, for their good and bad luck and the tendencies inherent in them — signs which in themselves represent the tonaUi, the fitness of the things taking place under their dates, and also form the chief instru- ment in the hands not only of the seer, the soothsayer, the adviser of his people, but also of the magician. On this sheet the god is pictured in the black bodily colour appropriate to him as the YayavJiqui Tezcatlipoca, and on his face the yellow cross-bands, the ixtlan Hatlaan, his characteristic facial painting. Instead of hair, or else on his hair he wears the dark covering, studded with downy- feather balls and trimmed with a white fringed hem. On this is seen the aztaxelli, the forke 206 The Day Side of the Manuscript. ornament made of whiio ogle's down and white heron-feathers, the warriors' dancing-headdress. Beside it, at the side of the head, is the smoking mirror, the badge of the god Tescafilpoca, which is never ahsent in the Mexican manuscripts proper. On this sheet of our manuscript are also distinetly figured his other distinctive marks — the stump leg, and at its extremity the mirror, which takes the place of the rended foot. As his only garb the god wears the loin-cloth and a wrap tied round his hips. The large back-mirror attached behind to this hip-cloth {cuitlaiezcatl) is, as usual, painted a blue (turquoise mosaic) colour, and is executed in open fretwork. On his breast he wears the white ring made of mussel-shell {ttnauutl), with the large bow of red-coloured leather thoi^, an adornment which, with the smaller figures of our manuscript, is often replaced by the con- ventional image of an eye. And the upper arms are decked with the rings extended like a shield on one side {truidioncotl), as with the two dance gods, Macuil xochitl and Ixtlilton, whom we have met on the lower half of Sheet 24 of our manuscript. In one hand the god holds shield, bundle of spears, and hand-flag, but in the other — the right — a rended human forearm, with the palm of its hand pressed against hiB mouth, as if it were a bone flute on which the god was playing. And, in point of fact, the blood which trickles from the exposed bone at the other (torn) end of the arm takes partly the form of the familiar little tongue, which denotes breath, discourse, and tone. Fig. 819. Such an equipment wo have hitherto nowhere met Tte^vhaui Tezfotlivoca, the Bed Tatattipoca ... „ . ,. n ^ £ j -i M PeTwomi^i Xipc Touc. '>th any figure m our manuscnpL But we find it pic Codex BoTgis 11 ( = Eingaborough 28). tured In quite the same way with the red god TUttlavJi- qai TezcaUipoca (Fig. 219), who is figured on Sheet 11 ( = Kingsborough 28) of Codex Borgia in the place of Xipe as the symbol of the fifteenth day-sign qvaukili, 'Ei^^le.' This human forearm, on which the god would seem to be blowing, is the surest indication that here it was intended to represent the God of Wizards, the Wizard Tezcatllpoca, for, in point of fact, repeated mention is made of the employment of a human forearm as a magic instrument in the reports on Mexican antiquities collected by Father Sahagun. It is not, however, an ordinary human arm that can be used for such a purpose, but the arm of a Tno-ciua-qitetz-qui, of a demon ' who appears in the form of a woman,' i.e. of a woman dying in childbed, the female counterpart to the warriors falling in battle or slain on the sacrificial stone. In chapter xxi. of the fourth book of his Historia General de hts Citma de Nxmva Ea/xiiia, Father Sahagun tells us that those bom under the sign Ce eecatl, ' 1 Wind,* are destined to become magicians. Eeeafl, ' Wind,' is the second day-count, and the sign of QtietzalcmuitL But Ce eecatl, ' 1 Wind,' is also the initial of the eighteenth week, or of the eighteenth thirteen-series of the Trntalnnatl, of the section whose mistress is Chantico or Quaxoloil. And to this week belongs the day Chicunaui itzcuintU, ' 9 Dog,' which passed for the chief sign of the rrKtgv^iana, because of the meaning inherent in the number nine, and because ifzcuintli, ' Dog,' b the sign of the Death God, Sahagun then relates more precisely that of those bom under the sign Ce eecntl those who were of distinguished or princely descent would become Head Wizards, were-wolves, who had the power of Tezcatlipoca, the Wizard. 207 assuming various forms ; but that those belonging to the lower classes would become temac2)alitotiqv£, 'dancers with a human hand/ i.e. 'rogue-wizards.' Thus, in this connection also, the distinction of classes was maintained. We learn further that of the latter — the rogue-wizards — a band of from 15 to 20 was always kept together, and that they went dancing round to the house which they wanted to rob. At their head were two of their associates, one of whom wore a badge of the sign Ce eecatl} or of the god Quetzdlcauatl, while the other wore the left forearm of a woman dying in her first childbed. It is for this very reason that these wizards were called termtcjxilitotique, 'dancers with a human hand.' On reaching the house where they wanted to steal they knocked, we are further told, at the threshold with this dead forearm, whereupon all the inmates would be crippled, paralysed, or overcome by sleep. Then the rascals were able to plunder the house to their hearts' content, and, moreover, play all kinds of unseemly pranks with the residents, especially those of the female sex. It was only after the gang had gone off that the residents recovered their senses, to discover the mischief done and bewail their misfortune. In another place, chapter xxix. of the sixth book, the same author relates that women dying in childbed were buried at sunset in the court of the temple of the Ciuapipiltin, that is, the deified souls of the women who had died in childbed ; but that the husband of the deceased and his friends had to watch over and protect the body for four nights long, both on the way to the burial and at the grave itself. For the warriors on the one hand, and the temacpcditotique rogues on the other, were always trying to steal such bodies. The first, whenever they succeeded in stealing a body, would cut off the hair and the middle finger of the left hand and attach them to their shield, because they were convinced that thereby they acquired courage in war, crippled the foe, were secured from capture, while they themselves made many prisoners. But the others, the temdcpalitotique, would take the whole left arm in order on their raids to use it in the way I have above described. Women dying in . childbirth are regarded as the female coimterparts of the warriors falling in battle or immolated on the sacrificial stone. Hence they were called rfiocimiquetzqui, ' the warriors appearing in the form of a woman,' * who have assumed a woman's form,' in the Spanish text simply translated ' muger valiente.' Like the warriors, these women enter the heaven which the sun traverses in its course. But while the warriors dwell in the East heaven and accompany the sun from its rise to the zenith, the souls of the dead women dwell in the West heaven, receive the sun at noon, and accompany it till sunset. Hence the West is called ciuatlam2)a, the region of the women. And while the warriors, after serving their time, are dispersed as humming-birds over the sky, sipping from flower to flower, the dead women, who are now called Ciuateted, 'the Goddesses,' or Ciuapipiltin, 'the Princesses,' come down from heaven by night in search of their spindles, their weaving implements. And in the Tonalurtiatl there were five days, the initial days of the third quarter indicating the West in the Tonalainatl disposed in columns of five members, when these Ciuateteo were specially potent, when they came down on the earth and did all manner of mischief. Whoever set eyes on them Avas crippled, and epilepsy was more especially attributed to their influence. It was certainly from this line of thought that originated the use of the limbs of women dying in childbirth. They are the warriors who impart valour to those wearing a piece of their body, and ^ Thus is to be amended the Ce coatl which is the reading of the text. 20K The Day Side of the Manuscript. are thereby identified with them, and who by the terror of their glance paralyse the strength of the foe. Such a talisman was also needed by those setting out on dangerous nightly expeditions, and on this account such parts of dead bodies must have become much prized articles of traffic, and would assuredly have come into extensive use, so that, as shown by the picture of our Tezcatlipoca, they served as the very attributes and badges of the sorcerer. Now this god of magic is on Sheet 44 of our Fej^rvdry surrounded by the 13 x 20 days of the Tonalamatl, which are expressed by the initial signs of the twenty series of thirteen with twelve dots following them. But at the same time these signs are not introduced in the same order in which they stand at the initial of the thirteen-series, but in general simply as they follow each other in the series of the twenty days. But they are also partly disposed in such a way as to correspond to certain parts of the body or to certain articles of the costume. The thirteenth sign (icatl, ' Reed/ is brought into connection with the penis, which in fact represents a reed, and whose action has also doubtless ^been compared Avith the dart, or more realistically with the fire-drill, as a symbol of which the arrow-shaft is used. At the two thighs stand the signs ocelotl, ' Jaguar,' and qmtuhtli, * Eagle,' for Eagle and Jaguar are the strong animals : qvxiuhtli-ocelofly ' Eagle and Jaguar,' is a common symbolic expression for war. But in the thighs lies the strength of the body. To the king belonged the thigh from the body of the sacrificed foe, who was cooked with maize and eaten by the warrior who had made the capture, and shared the meal with his adherents. From the skin of the victim's thigh was also prepared the mask for the son of the warlike goddess Tlagolteotl, Under his feet the god of our sheet has the signs cozcaquavMli, ' Vulture,' and oliny ' Rolling Motion.' The former, the Vulture, is the sign of the Itzpajxdotl, the Chichimec Earth Goddess, while olin is the symbol of the Earthquake. Lastly, on his breast, i.e. on his breast ornament, the god has the sign tecypatl, the Flint Knife, the sacrificial knife, for this denotes the character of the god. In the same way as these few signs are here shown, we see on Sheet 17 ( = Kingsborough 22) of Cordex Borgia all the twenty day-signs brought into relation with parts of the body and of the costume of a large Tezcatlipoca figure. Here also the sign tecpatl lies on the breast ornament of the god. But the other day- signs are associated with the body and limbs of the god in a different way from that here shown on our Fejervfiry sheet. Concluding Remark. The more searching inquiry into the several sections of this manuscript has had the result of somewhat modifying the statement made by me in the introductory chapter, to the effect that the two sides of the strip covered with the paintings of this document differ in respect of their contents. The last two sections of the B side of the manuscript, the upper half of Sheet 43 and Sheet 44, belong properly to the commencement of the representations on the other, the A side. \ Concluding Remark. 209 And, strictly speaking, Sheet 23 is no doubt accordingly to be taken as the beginning of the book. Of the two halves into which the book thus becomes divided, one begins on Sheet 23 with the representation of the four times five Venus periods. Further on, the six celestial wanderers are introduced, and then the pictures .symbolising the correction of the year's duration, and this whole series ends in the upper half of Sheets 41, 42 with the four forms of the deity of the Morning Star, in the lower halves of Sheets 85-43 with the six heavens and the six regions of the earth. The other half of the book begins in the uppar half of Sheet 43 with the picture of the five quarters, and on Sheet 44 with the large picture of the magician, Tezcatlipoca, after which folloAv the guardians of the five quarters, the nine lords of the night hours, and after them the changed lists, the pictures of the gods propitious to-wizards, and the periods which appear favourable for the black art. In this double series of representations our manuscript seems to stand on a level only with the unfinished book of Codex Bologna. The contrast between these two series I have endeavoured to give expression to by the titles Day Side and Night Side. But it would be more accurate and correct, but still not quite in accordance with the true relations, were we to call one the Priests' Manual, the other the Wizards' Manual, or designate the first as QuetzalcouaiVs book, the second as Tezcatlijpoco'^. For Quetzalcouatl must be regarded as symbolic for the Tonalamatl, and for all connected there- with, and likewise for the Venus periods, since Quetzalcouatl was the reputed inventor of the Tonalamatl, and was also supposed to be one with the Morning Star. Quetzalcouatl and Tezcatlipoca — those were the two contrasting principles which dominated the lore and the philosophy of the ancient priests on all sides. It is remarkable that in our manuscript no representation occurs of the Tonalamatl proper, with which all the other related manuscripts — Borgia, Vatican B, Bologna — begin. In our manuscript the TmicUamatl was obviously assumed to be known. Or else some other elementary book dealing with the Tonalamatl was in existence, but is no longer extant. In this negative character our manuscript also agrees with the nearly related Codex Laud. It is entirely in accordance with what we now know of the knowledge and scientific systems of the ancient Mexican and Central American priests that we here find the day side of the manuscript, the priestly Codex, beginning with the exposition of the Venus periods. But it is again singular that the clearest representation of these paricds, the 5 X 13 periods, represented by the five pictures of the shooting god, which is given in absolutely the same way by all three codices— Borgia, Vaticanus B, and Bologna — is absent both in our manuscript and in Codex Laud. The third chief representation, the four pictures embodying the correction of the year, and recording the intercalation of ten days to be effected at the expiration of 42 years, is extant in our manuscript, as well as in the Borgian and the Bolognese, but is lackirg both in Vatican B and in Codex Laud. A fourth remarkable representation, the 25 pairs of deities accompanied by the ciphers 2-26, is found in the Borgian, in Vatican B, and in Codex Laud. But it is missing in our manuscript, and I have consequently been unable to deal with it. Thus we see that, as regards their contents, these various related pictoHal documents sometimes coincide, sometimes deviate one from another. Each separate book forms in itself a complete work, an encyclopaedia of contemporary knowledge, but they are encyclopaedias in which gaps are betrayed here by one, there by another of the authors. 2d 21U Concluding Remark. Despite deviations in the subject-matter, our manuscript is most closely related with Codex Laud. This is seen above all in the style of the figure's, in the manner both of the design and of the coloration. Both have presumably originated in the same region. But where has the region to be looked for ? At the conclusion of my commentary on the Tonalamatl of the Aubin collection, I drew attention to the fact that the metaphorical sign for war current amongst the Mexicans — atl- tUu'hlnolli, ' Water (Spear-throwing) and Conflagration' — finds pictorial hieroglyphical expression, not only in the picture-writings of the district adjacent to the city of Mexico, but also in those of the Codex Borgia group. And from this I have inferred that the land where the last-mentioned manuscripts originated must have been inhabited by peoples of Aztec speech. On the other hand, in the course of the investigations forming the substance of the present treatise, I have had direct attention to the fact that in the figures of our manuscript a contact is frequently revealed with figures of the Zapotec art, or of the Zapotec-Mixtec myths. And lastly, a kinship with the Maya manuscripts has been repeatedly noticed, and in the most striking manner on Sheet 1. All this taken together induces me to surmise that we have to look for the home of the Codex Borgia group of manuscripts, and consequently also of our Fej^rvary Codex, somewhere in the district of Tehuacan, Cozcatlan, and Teotitlan del Camino. This was a land inhabited by Aztec- speaking peoples ; it was conterminous with the Zapotec territory, and it lay on the trade-route which led thence to the coast, and to the Maya-peopled district of Tabasco. The antiquities made known from this region, the parti-coloured clay figure of the god XochipiUi, which I have published on Plate xiiL of my * Wandmalereien von Mitla,' so far as regards the carving and the face-painting, looks in fact as if copied from the Codex Borgia. And indeed, we also know that in this very region astronomic observation was highly developed, and the Morning Star held in special veneration. Who knows whether it may not have been colonists migrating from this region who in the Maya lands gave the impulse to that cultural development, whose prominent creations we now gaze upon with astonishment in the numerous ancient cities of that region ? Explanatory Tables. The sheets of the manuscript reproduced on the following pages are always to be read /ram right to left. The Mexican terms are accompanied by their English equivalents. This has been omitted with the day-signs alone. These are therefore here given with their translations: — 1. cipactliy Crocodile. 2. 6?m^i, Wind. 3. calli, House. 4. cuetzpalhi, Lizard. 5. couatl. Snake. 6. miquiztli, Death. 7. TTuigatl, Deer. 8. tochtli Rabbit. 9. atl, Water. 10. itzcuintli, Dog. 11. o^cmultli, Ape. 12. Tiudinalll, Twisted. 18. ncatl, Reed. 14. ocelotl, Jaguar. 15. quauhtli, Eagle. 16. cozcaquauhtli, Vulture. 17. olin, Motion. 18. tecpdtly Flint Knife. 19. quutuitl, Rain. 20. jcochitly Flower. So also on the first sheet a number of other words are entered, the translation of which is not given on the sheet; they are as follows: — I. JCiichtecutli, Fire God, Lord of the Middle. XL Itztli, Stone Knife God, 1 TIL Tonatiuhy Sun God, / IV. Cinteotly Maize God, ] V. Mictlantecutli, Death God, J VI. CJuilcJduhtlicue, Water Goddess, 1 Ladies of the VII. Tla^olteotl, Earth Goddess, J West. VIIL TepeyoUotl, Heart of the Mountain,! . Lords of the IX. Tlaloc, Rain God, j South. Lords of the North. tonatiuh iciutn, House of the Sun = East. ffiictlan, Realm of the Dead = North. tamoatichan, House of Descent = AVest. uitznavuCy Place of Thorns = South. quetzalqtvauifl, Quetzal-bird Tree = East. quauhquauifl, Eagle Tree = North. uitzitzilquauitl, Humming-bird Tree = West. corhoqiiaiiitly Parrot Tree = South. acatl, Reed, Year of the East. tecpatl, Flint Knife, Year of the North. colli, House, Year of the West. tochtli, Rabbit, Year of the South. quetzaltototl, Quetzal Bird. alo, Red Arara. quaxihtli, Eagle. cochf, Parrot. uitznaUttC Place of Thoma. 18. South 17. eecatl atl V \ i f s ^A Afc. p»a »i' JO *// I iz; a" m .■3 .^ «T3 §fe .a \ a 3 -a IS ■^ It i J 5" 10 it S ^ ■s i .Sf> (0 il II is" * s If CEO (X© 03 IE ^^„^ o • 09 Z' \ e> • tf? «9 tf> » tf> ^ c • ••• ••• • » t>oo •••• ••• • •••• ••< ooooo T5 efl • ••• •• • • ••• ••• •••• ••• • 3 C<? 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Native American words are all in italics, and are Mexican (Aztec), unless some other language (Maya, Zapotec, etc.) is specified beside them. In letter c, I have adopted the following order for these words. First come those beginning with hard c=fc, Le, c before the vowels a, o, u, and (in Yucatec writing) also before e, i ; then follow those with initial f and c before e and i, which, according to Spanish orthography, has a lisping th sound ; lastly, those with initial ch = chia church. AboTe-Below, symbolised by Xochipilli-Xochiquetzal, 190, 191. acatl, reed, thirteenth day-sign. Denotes the years of the East, 6, 7 ; initial sign of the fourth Venus period, 90 ; brought into relation with the penis, 208. acijHxctliy swordfish, tears off the leg of the deity of the West, who is the third form of the planet Venus, 200. Acompaf&adoB de la noche^ see Lords of the Night. Agave plant, which yields pulque, its deity Mayauel, 98, 99. Agave-leaf spike, see uitztli. Agricultural implement of the Mexicans, see uictli. Ah bolon ts^acah (Maya), lord of the ninth generation, water deity of the Mayas, his hieroglyph on the altar-piece of Palenque, 19 ; denotes the year of the East, 141. Ah kin chU coba (Maya), see kin chil coba. akbcU (Maya), night, third day-sign ; denotes the years of the West, 30 ; on the celestial shields of the Maya docu- ments, 169. cdo, the red arara^ bears the shield with tecpatl * Flint,' which answers to the years of the North, 6 ; on the tree of the South, 8, 13 ; as enemy of the maize fields in the years of the North, 182. aloqvauitly tree of the South, 8, 13. Altar-piece, Palenque, 17-20. Amatitlan, lake in Guatemala ; spiked vessel, 47. amilpampa xochiUalpan, region of the watered fields, land of flowers, indication of the South, 66. anauatl, ring, Tezcatlipoca's breast ornament, 34, 206 ; with Uitznauatl, 113. Anatiatl item, * Lord of the Ring,' * Lord of the Coast ' = Xipe, 202. Animal-headed god, lord of the earth, denotes the lower region, 140, 141 ; in the six earthly regions, 194, 195 ; in the temple of the North, 175. Anlxnal-headed priest, in the Dresden Maya manuscript, bearer of the years, 140-142. Ape, representant of the Wind God, worn by Tonacatecutli on his back, 183, 184 ; back to back with the Death God, 27. Apoala, in Mixteca alta, home of the two primeval gods in deer form, 163. Arara, red, see alo. Arara-feathers in the nasal septum, worn by the Huaxtecs, 114. Arm, human, of a woman dying in childbed, gives courage in war, 207 ; used for bewitching, 208 ; in the hand of the wizard Tezcatlipoca, 206 ; in the hand of the red Tezcatlipoca, who stands for Xipe, 206. Armlets of snail-shells, with Iztac Mixcouatl, 160 ; with Xolotl, 154 ; with the index denoting the Below- Above direction, 204. Arrow-sliafbs, two in the Fire God's fillet, 32, 50. ail, water, ninth day-sign, representing the cipher nine, 46 ; initial sign of the third Venus period, 90 ; replaced by the picture of the turtle, 57. Atlantic coast, the ancestors of the tribes of the, Olmecatl, Xicalancatl, 161. atloUl, throwing-stick, in the hand of the Fire God, of Tez- catlipoca, and of other gods, 50, 52 ; of Tlauizcalpan tecutli. 71, 107, 200, 201 ; of Mixcouatl, of Uitznauatl, 111, 199 ; of the Bat God, 197 ; of the deities of the four quartera, 173. atle ccUocan, where are no paths, name of the underworld, 79. atl-Uachinolli, water (spear-throwing) and conflagration, metaphorical expression for war, 78 ; figiured also in manuscripts of the Codex Borgia group, 210. atocoua, all ynW be swept away by water ; symbol of the perishable nature of earthly things, 39. 2 E 214 Index. AuicUl, merriment, name of Macuil xochiti, 83. Aze, in the hand of the Rain God, 47, 51 ; in the hand of Tezcatlipo(»,- IQ5 ; of (Jitznanac yaotl, 118 ; implement of the warriors of the telpochcalli, 48. ayotl, turtle, entered for qniauitl, * rain,' 57, note ; entered for atl, * water,' 57 ; footstool of Mayauel, 27. aztamecatl, heron-feather cord, sacrificial cord, 107. otztaiopilli, Iztac Mixcoiiatl's heron-feather staff, 61, 62, 160, 161. aztatzontliy Tlaioc's heron-feather wreath, 46. aztcucdlif heron-feather forked ornament, the warrior's dancing headdress, with Tezcatlipoca-itztlacoliuhqui, 104 ; with Tezcatlipoca, the wizard, 206 ; with Tezcatlipoca and Uitzilopochtli, 130 ; with Uitznauac yaotl, 119 ; with the gods of the North, 175 ; with MixcouatI, UitznauatI, 111, 198 ; with Iztac Mixcouatl, 161 ; with Ce acatl of Codex Bologna, 50. Ba4dc oaaryiag-trnme, see cacaxtli. Ba4dc mirror, see cuitlatezcatl. Ba^ to tMudc, Gods seated, Quetzalcouatl and the Death God, 26, 27 ; Xochipilli and Xochiquetzal, 190, 191. Balam (Maya), jaguar, personator of the Sun God, denoting the years of the North, 141. balls, fiery, footstool of Naui olin in the Vienna manuscript, 154. Ball-oourt, see tlachtli. Ball-playerst see ollamani. Ball-playixig, with the Mexicans, 137 ; God of, Xolotl, 156. Bamboo staff, see otlatopilli. Bat, rends the head, see c'amazo'tz ; blocks Tollan, 198. Bat Ood, lord of the East, first form of the deity of the planet Venus, 196, 197. Beard, with Tepeyollotli, 23, 43 ; with Tlaloc, 46 ; with Quetzalcouatl, 105 ; with Cipactonal, deity of the East, 183 ; of white heron-feathers with Iztac Mixcouatl, 159. hten (Maya), thirteenth day-sign, denoting the years of the East, 30 ; initial day of the fourth Venus period, 30. yjigmning of the manuscript, the proper, 204, 209. Bird's hMid, conventionalised, at the fillet of the Sun God, of the Maize God, and of other gods, 34, 35. Blood, Maya hieroglyph, 92, 93. Blood, stream of, from mouth to mouth, symbol of sexual union, 105. Blood-letting, sacrifice for the gods symbolised by eye-gouging, 90-92, 93. Bone dagger, see omitl. Boring, hieroglyphic mark in the Maya manuscript, 93. Breast ornament, of the Fire God, 32 ; of the Water Goddess, 37 ; of Tla^lteotl and the pulque gods, 186 ; of Tezcatli- poca, see anauatl ; tecpati, the flint knife used as such, 208. Broken objects, symbol for the useless, the discarded, the disused, the old, 161. Broken tree = Tamoanchan, 36. Broom, mark of Tla^olteotl, 42. Broom feast, see ochpaniztli. Butterfly, white, about the mouth, painting of Xochipilli, 97, 98 ; its degraded form, 23, 97. cahan (Maya), seventeenth day-sign, initial day of the fifth Venus period, 30 ; on the celestial shields denotes the moon (?), 168. Cacao, pods on the tree of the South, 13 ; beverage figured with Tonacatecutli Tonacaciuatl, 185 ; with Chalchiu))tli- cue, 190. eacaxtliy back carrying-frame, sign of the wanderer, 136. Caotos, with the first member of the changed list of guardians of the cardinal points, 60. cdUi, house, third day-sign, used in place of the cipher three, 34 ; denotes the year of the West, 6, 7 ; symbol of the dark house of the Earth, 67. Camaxtli, God of Tlaxcallan, identical with Mixcouatl, 198 ; wears TlauizcalpantecuUi's face-painting, 71 ; in Vatican B at the foot of the tree of the North, 11 ; with the device of the two-headed deer, subdues the tribes, 162 ; his feast, 59. (^amaaoHz (Qu'ich^), head-rending bat, 197. Caontchonc painting, about the mouth, with Tla^olteoU, 41 ; with the Fire God, 5, 32 ; see rubber. Cardinal points, the four, gods of, 171-180, 180-182 ; the five, their guardians, 22, 121 ; once more the five, 204, 205 ; the six deities of, 121-134, 139-149 ; cf. the six heavens, the six earthly regions, the six celestial wanderers, their sequence on sheet 1 of Fej^rv^ry, 20 ; with the guardians of the Venus periods, 95 ; transposed on sheet 1 of Fej^r- vdiy, 22 ; exhibited in reverse order, 51, 54, 60 ; enumer- ated from different starting-points, 148, 149, 181, 182 ; Maya hieroglyphs of the, 31. cave^ god of, see Tepeyollotli. cavty temple oi^ with Tepeyollotli, 45. Centipede, in the house of Earth, 15 ; denotes fire, 136. db (Maya), sixteenth day-sign, initial of the fourth TonaJa- matl quarter, 30. cimi (Maya), sixth day-sign, initial of the second Tonalamatl quarter, 30. Coa, agricultural implement of the Mexicans, see uictlL Coastland, its lord Xipe, 202. coaJtl^ snake, see couatl. cogauic xochitliy yellow flower, name of the Teteo innan, 42. cochoj the Loro, the green parrot, bears the shield with the sign tochtli, ^ rabbit,' which denotes the years of the South, 6 ; perched on the tree of the South, 8 ; before the image of Ointeotl, 27 ; as foe of the maize fields in the years of the North, 182. cochoqvauitly tree of the South, 8. Codex Bologna, belongs to the Codex Borgia group, 3 ; an unfinished book, 4, 49 ; its changecT list of guardians of the five quarters, 49, 59. Codex Borgia Qronp, the manuscripts belonging to it, 3 ; are encyclopsedias, 209 ; composed by Aztec-speaking peoples, 210 ; originated in the neighbourhood of the Zapotec and Mixtec lands, 164 ; came from the territory of Tehuacan, Gozcatlan, Teotitlan del camino, 210. Codex Cortes, Maya manuscript of the Museo Nacional in Madrid, a double sheet comparable to sheet 1 of the Fej^rvdry, 28-30. Codex Land, belongs to the Codex Borgia group, 3 ; related to the Fej^rvdry, 2Q9 ; representations taken from it, 24-28, 81, 82, 85, 86. Codex Porflrio Dias, its discrepant names of the years, 181. Codex Vaticanus B (No. 3773), belongs to the Borgian group, 3. Cold, hieroglyph of, see cetl ; god of, see Itztlacoliuhqui. Colonrs answering to the cardinal points, 20. colotl, scorpion, figured with the first members of the changed list of guardians of the regions of the world, 59, 60 ; a constellation, 56. Index. 215 coTiecHitlailj children's dirt, fiice-painting of Tezcatlipoca and Uitzilopochtli, 132. CopaUy In Honduras, its hieroglyphic stelae, 17. copdlli, copal, incense, 62 ; instead of the rubber balls with the gods of pleasure, 84. copcUxiquipUli, incense-pouch in the hand of the maize gods, 188. copUli, wedge-shaped Huaxtec cap, with Quetzalcouatl, 68, 105 ; with Xolotl, 68, 122, 154 ; with the pulque gods, 73, 186, 187 ; with the Bat God, 196, 197 ; with Uitz- nauatl, 113. Ck>pper axe on the cliff of Apoala, bears the sky on its sharp edge, 162, 163. Goxpso, packed, before Tla^olteotl, 42, 123. Correotlon of the year's length, 135, 179. Cotlnga-Urd, see Xiuhtototl ; tiara, see XiuhtotoamacallL cotzbalam (Qu'ich^), a species of jaguar, 197. cottatl, snake, fifth day-sign, used for the cipher five, 36 ; initial sign of the second of the five Venus periods, 90, 99 ; = Twin, 156. CoxuUl icue^ Earth Goddess, colossal statue in Mexico, 195. Coxcoxtli, bird with comb-shaped feather-crest, singing at dawn, 116 ; in the temple of the Eaat, of the Sun God, 173 ; in the temple of the West, of the maize deity, 176 ; a disguise of Xochipilli, 63, 97, 98 ; a disguise of Macuil xochitl and of Ixtlilton, 117 ; its degraded forms in the manu- scripts and the stone effigies, 117, 118, 128. Coyolxaukqui, hostile sister of Uitzilopochtli, stone head of in Mexico, 186, 187. Coyote ear, at the temple of the dance gods, 129. cozcaquanhtli^ vulture, sixteenth day-sign, denoting the initial of the fourth quarter of the Tonalamatl and the South, 7, 20, 25, 179 ; sign of Itzpapalotl, 208 ; brought into relation with the foot of the Tezcatlipoca figure, 208. Cozcatlan, place on the frontiers of the Zapotec land, inhabited by the descendants of Xelhua, 86, 161 ; worshipper of the morning star, 87 ; home of the Centzon Uitznaua, 112. Cremation, symbol of, with Mictlantecutli, 76, 82. Crooodlle, see cipactli CroBs, on the Palenque altar-piece, conventionalised tree and symbol of the cardinal points, 17-20. Croia-bonei, on the Death God's robe, 192. Croflsway, see otlamaxac. cuegcUuitoncaU, fan-shaped neck ornament with arara feathers, Quetzalcouatl's Huaxtecan article of dress, 105 ; with Xolotl, 122 ; with the Pulque God, 186 ; with Tla^olteotl, 124 ; with the Bat God, 196, 197. ctteitl, enagua of the Water Goddess studded with jewelled disks, 37. euetzpcUin, lizard, fourth day-sign, entered for the cipher four, 35 ; in the baU-court, 137 ; in the throat of the dragon, 202. cuexcochtechimalliy occipital shield, an ornament of the death gods, 192 ; with the Bat God, 196. Cuextecay foreign tribe in North-east Mexico, wear no loin- cloth, 113 ; jugglers, wizards, 128, 129 ; ministers of Tia^olteotl, 103 ; their garb worn by Quetzalcouatl, Xolotl, Tla^olteotl, the pulque gods, see copilli, cue^luitoncatl, yacametztli ; their image of the UitznauatI, 113. cuicacalliy dance house, its god Tezcatlipoca, 119. cuicatl^ song, its hieroglyphic representation, 66 ; given with Xochiquetzal, 64, 65. Ouicatlcmy city, its hieroglyph, 65. Cuilapa^ place inhabited by Mixtecs, their popular sagas, 162, 163. cuitlatezcatl, back-mirror, open- worked, worn by Tezcatlipoca, 206 ; distinctive mark of Mexican dress with the Chichen itza figures, 120 ; large, made of a turtle's carapace, with Xochiquetzal, 120, 184. Cuitlauac^ place on the Xochimilco lagoon, its god a two- headed deer fallen from heaven, 162. OifjsscOy wrong reading for Cozcatlani 112. focaquixtUiztliy drawing out the stalks, see Uacoquixtiliztli Qacaquixtliliztli. papa (Sanskrit), the hare, denotes the man in the moon, 151. ce acatly 1 Reed, initial of the fifth thirteen-series of the first quarter of the Tonalamatl, 21 ; initial year of the first quarter of the 52-years cycle, denoting the East, 179 ; represented in the Vienna manuscript by the god chicome olin, 146 ; hieroglyph of the morning star, 151 ; in Codex Bologna, fiacing the Fire God, represented as two-coloured (half white, half black) Tezcatlipoca, 51 ; with the gods of pleasure, 83 ; on sheet 3 of Codex Laud, 85, 86. ce ally 1 Water, initial of the second thirteen-series of the fourth quarter of the Tonalamatl, 21 ; sign of war, 65, 78, 82-84 ; name of Xochiquetzal, 69. ce calliy 1 House, initial of the fifth thirteen-series of the third quarter of the Tonalamatl, 21 ; a week belonging to the West and to the Ciuateted, 114 ; initial of the third quarter of the 52-years cycle, denoting the West, 179 ; a day favourable for the homeward journey, 66. ce couatly 1 Snake, initial of the fourth thirteen-series of the second Tonalamatl quarter, 21 ; denotes the God of the Middle, op-the Below- Above, 204. ce cozcaquaiihtUy 1 Vulture, initial of the fourth Tonalamatl quarter, denotes the South, 20, 179 ; week of Macuil xochitl, 114, 115 ; of Xolotl, 68. ce eiutvpaliny 1 Lizard, initial of the second thirteen-series of the third Tonalamatl quarter, 21 ; a week belonging to the South and name of an associate of Macuil xochitl, 114, 115 ; one of the gods of pleasure, 84; a sign of Ueuecoyotl, 68 ; given with Xochiquetzal, 68. ce cipacUiy 1 Crocodile, initial of the first quarter of the Tonalamatl, 20 ; initial of the first quarter of the Tonala- matl disposed in columns of five members, denoting the East, 21, 171, 179, 204 ; sign of the primeval divine couple Tonacatecutli and TonacaciuatI, 83, 84 ; given with Xochipilli, 63 ; with Xochiquetzal, 65 ; in the Vienna manuscript, 100, 146. ce eecatly 1 Wind, initial of the third thirteen-series of the fourth Tonalamatl quarter, 21 ; sign of the West, 204 ; name of the white (iztac) Tezcatlipoca, 52 ; name of Iztac Mixcouatl, 54, 61, 62 ; sign of the wizards, 62, 206. ce UzcuinUiy 1 Dog, initial of the fourth thirteen-series of the third Tonalamatl quarter, 21 ; denotes death, 76, 77. Celestial shields, of the Maya dociunents, 165-171 ; their signs on stele 4 of Menche Tinamit, 171, 172. Celestial wanderers, the six, 150-171. ce magady 1 Deer, initial of the third thirteen-series of the first Tonalamatl quarter, 21 ; initial of the third quarter of the Tonalamatl disposed in columns of five members, denoting the West, 21, 114, 171, 179; sign of the Ciuateted, 83, 84, 114. ce mcdinalliy 1 Twisted, initial of the third thirteen-series of the second Tonalamatl quarter, 21 ; initial of one of the weeks belonging to the South, and name of one of Macuil 216 Index. xochitrs associates, 114, 115; one of the gods of pleasure, 83. ee miquiztlij 1 Death, initial of the second TonalamatI quarter, denoting the North, 20, 179 ; sign of the North, 204 ; as sixth sign of the TonalamatI denoted by the Moon God, 52 ; sign of Tezcatlipoca, 61 ; chief sign of the wizards, 57, 61 ; name of the Wizard God, 128. eempoualxochiU, yellow composite flowers (Tagetes sp.), used j at the Ochpaniztli flower battles, 186, 187. ' CerUzon Mimixcoua^ the 400 cloud-snakes, the 400 Northerners, { stars of the northern sky, 112, 164, 165. CtfiUzon Uitznatm, the 400 Southerners, Uitzilopochtli's hostile brothers, 112 ; slain by Uitzilopochtli, 132 ; stars of the southern sky, 112, 132, 164, 168. «« oceloUj 1 Jaguar, initial of the second thirteen-series of the first TonalamatI quarter, 21 ; initial of the second quarter of the- TonalamatI disposed in columns of live members, denoting the North, 21, ITI, 179 ; initial of the netonatiuh- ^ualiztli, 53 ; name of the Sun God appearing in the form of the red Tezcatlipoca, 53. ce ofomdtli, 1 Ape, initial of the third TonalamatI quarter, 20, 179 ; initial of one of the weeks belonging to the West and to the Ciuatete6, 1 14. ce olin, 1 Motion, initial of the third thirteen-series of the third TonalamatI quarter, 21 ; sign of the South, 204 ; sign and name of Xolotl, 51, 68. ce quauhUiy 1 Eagle, initial of the fourth thirteen-series of the fourth TonalamatI quarter, 21 ; one of the weeks belonging to the West and to the Ciuateteo, 114. ee quiauitly 1 Rain, initial of the second thirteen-series of the second TonalamatI quarter, 21 ; one of the weeks be- longing to the West and to the Ciuatete6, 114 ; sign of Chantico, 66 ; name of the old goddess Ilamatecutli, 63. ce tecpatlf 1 Flint Knife, initial of the fifth thirteen-series of the second TonalamatI quarter, 21 ; initial year of the second quarter of the 52-years cycle, denoting the North, 179. cetlj cold, denoted by white colour and dots, 130, 131, 175 ; as a mirror on the garment of Tezcatlipoca, 130, 131, 175. ee tochtli, 1 Rabbit, initial of the fifth thirteen-series of the fourth TonalamatI quarter, 21 ; initial of one of the weeks belonging to the South, and name of one of Macuil xochitl's associates, 114, 115 ; initial year of the fourth quarter of the 52-years cycle, denoting the South, 179 ; sign of the earth, 202 ; sign and name of the Fire God, 50. ce xochitl, 1 Flower, initial of the fourth thirteen-series of the first TonalamatI quarter, 21 ; initial of the fourth quarter of the TonalamatI disposed in columns of five members, denoting the South, 21, 171, 179 ; name of one of Macuil xochitl's associates, 114, 115 ; sign of the sun, denoted by the god descending from above, 97, 98 ; sign and name of Xochipilli, 63. Ce yaoU, a warrior, name of Tezcatlipoca, 61. Cincalliy maize house, earthly paradise, situate in the West, 12; = Tamoanchan, 36. Cinteotl, Maize God, figured both in male and female form, 39 ; deity of the West, 176, 177, 187-189 ; fourth of the nine lords, located in the North, 22, 35, 36 ; jointly with Xolotl denoting the North in the list of guardians of the five quarters, 68 ; first member of the first series of 4 x 5 guardians of the Venus periods, 95 ; al.^ a name of \ Xochipilli, and of the son of Teteo innan, who plays a part at the Ochpaniztli feast, 66. CipOfCna (Qu*ich^), earth demon, slays the 400 youths. cipdctli, crocodile, first day-sign, used for the cipher one, 32 ; initial day of the first TonalamatI quarter, denoting the East, 7, 20, 25, 179 ; initial sign of the first Venus period, 90 ; symbol of the fertile earth, 7, 144, 149 ; figured with the Rain God, 47 ; rends the leg of the deity of the West, who represents the third form of the deity of the planet Venus, 200 ; helmet-mask or disguise of the deity of the East, 100. OipactoncUy deity of the East, second member of the first series of the 4x5 guardians of the Venus periods, 100, 102. CitlcUin icue, see Citlallatonac Citlalin icue ;=Tonacaciuatl, 13. Citlallaionac Citlalin icue, divine couple, denoting the milky way or the zenith, 62, 165 ; their sphere, 112. Citlallicuej see Citlalin icue. eiUalpol, morning star, 112. CiitapipUtin, see Ciuateted. CiuateteSj goddesses, souls of the mociuaquetzque, of the women dying in childbirth, 40, 207 ; dwell in the ciua- tlampa, in the West, 83, 208 ; descend on earth in the weeks belonging to the third TonalamatI quarter and to the West, 114, 115, 208 ; figured with loin-cloths, 105. ciuatlampa, region of the women, abode of the Ciuatete6, the West, 83, 148, 207. Conqneat, hieroglyphic symbol of, 35. gonecali, war-game of the women at the Ochpaniztli feast, 59, 186, 187. goyatl, palm-leaf strips, in Tla^lteotFs headdress, 42. Choc (Maya), Rain God, as representative of Ah bolon tz'acab denotes the years of the East, 141. Chaculd, in Guatemala, notched vessels from caves in, 46. ChcUco, town, represented hieroglyphically by the green jewel, 9. c^a^AtiiAo^/, jewel- water = sacrificial blood, 109. chalchiuhcozcapetlatl, collar pleated with jewels, with Xochi- pilli, 199. chalchiuktetelli, jewel-heap, the Fire God's fillet, 5, 32. ChcUchiuhtliciie, Water Goddess, sixth of the nine lords of the night, located in the West, 22, 37-40; faces Tlaloc as lady of the South, 189, 190 ; in the years of the West, 181 ; one of the guardians of the 4x5 Venus periods, denoting the West, 108, 109 ; stone efiigies of, in the Mexican region proper, 40 ; the Miacatlan efiigy, 40, 41 ; symbol of evanescence, 39. chalchiuhtotoliny the jewelled turkey, the turkey as image of Tezcatlipoca, 61, 90, 91 ; one of the Tzitzimim^ 55. chaJchivhuitzatly the precious water of mortification, the sacrificial blood, 91, 96. chcdchiuitl, green jewel, hieroglyph, 9, 108, 109 ; the Water Goddess's enagua painted in its colours, 38 ; in the water before the goddess, 38 ; hanging in bands from the sky denotes rain, 190 ; on the tree of the East, 9 ; in the hand of Xochiquetzal, 184 ; swallowed by Chimalman, who becomes QuetzalcouatPs mother, 184; dish painted in its colours, with Tonacatecutli Tonacaciuatl, 185 ; with the maize gods, 188 ; jug painted in its colours, with the water gods, 189 ; change of its colours with the death gods, 192. Index. 217 Chantico, Groddess of Fire, with the Earth God in the changed Ust of the guardians of the quarters, denotes the West, 67 ; lady of the week ce eecatl, 206 ; takes part at cremations, 82 ; denoted by the dates yei cuetzpalin and chicuei atl, 67, 82. chi (Maya), root of 'dog* and *to bite,' 77. chicauazUi, rattle-stick, in the hand of Xipe, 108 ; in the hand of the animal-headed priest in the Dresden Maya manuscript, 141 ; the staff of the wandering gods, 156, 158. chicchan (Maya), fifth day-sign, initial day of the second Venus period, 30. Chiconu acMy 7 Reed, QuetzalcouatPs birthday, another name of the morning star, given with the two-coloured (chictla- panqui) Tezcatlipoca, 53 ; with Xochitl, 68. chicome c<dli^ 7 House, a day propitious for the homeward journey, 66 ; name of the Earth Goddess, who, jointly with Chantico in the changed list of the guardians of the quarters, denotes the West, 66. chicome couatl, 7 Snake, name of the Maize Goddess of the Mexicans, 59, 95 ; in the Vienna manuscript, 144. chicome cuetzpalin^ 7 Lizard, given with Xolotl, 68. chicome eecatl, 7 Wind, in the Vienna manuscript, 146. diicome mafiUl, 7 Deer, in the Vienna manuscript, 146. chicome olin, 7 Motion, in the Vienna manuscript, 146. chicome quiauitl, 7 Rain, in the Vienna manuscript, 146. chicome xochitl, 7 Flower, sign nnd day of Xochipilli, 63. Chicomolotl, 7 Club, name of the Maize Goddess, 59. Chicommtoc, the 7 Caves, primeval home of the (Aztec) tribes, 161 ; abode of Iztac Mixcouatl, 62. Chieoyaotl, on one side foe, name of Tezcatlipoca, 61. Chictlapanqui TezcatlipocOj two-coloured (half white, half black) Tezcatlipoca, disguise of Ce acatl, the morning star, 50, 51 ; disguise of Chicome acatl, the morning star, 53. Chicuei acatl, 8 Reed, name of the Moon Goddess, 52, 85, 86. chicuei ail, 8 Water, name of Chantico, 82. chicuei ma.^atl, 8 Deer, name of Xochiquetzal, 81. chicunanhmictlan, 9 Realm of the Dead, the deepest, lowest hell, 79. chicunaui acatl, 9 Reed, name of Tlagolteotl, 52, 85, 86 ; given with Xolotl, 68. chicunaui couatf, 9 Snake, name of Xolotl, 68. chicunaui cipactli, 9 Crocodile, name of Mictecaciuatl, 52-79. chicunaui eecatl, 9 Wind, in the Vienna manuscript, name of Quetzalcouatl, 145 ; given with Xochipilli, 63 ; given with the Earth Gkxldess, 66. chicunaui itzcuintli, 9 Dog, chief sign of the wizards, 62, 206. chicunaui ocelotl, 9 Jaguar, name of the Rain God, 51. chicunaui olin, 9 Motion, in the Vienna manuscript, 146. Chichenitza (Maya), city in Yucatan, figures in Mexican garb, 120. Chichicomecoua, the four maize goddesses, appear at the Ochpaniztli feast, 44. Cliieftaln'8 headdress, Mexican, with Tezcatlipoca and Uitzilo- pochtli, 33, 130 ; with the Sun God, 34. chijcin (Maya), West, 31. Chilam Balam (Maya), prophet, his book from Mani village, 168. Gliild1)ed, women dying in, see mociuaquetzqui. Children*! flaca-painting, see pilnechiualli. Children's dirt, face-painting of Tezcatlipoca and Uitzilo- pochtli, 132. .(/%t?7uiZman, mother of Quetzalcouatl, 184. ChimamaU, wrong reading for Chimalman, 161. chiqudUi, the scops, the owl, on the crossway, with the Death God, 39. chuen (Maya), eleventh day-sign, initial of the third Tonala- matl quarter, 30. dond-Urd, see moan. Clond-honae of heaven, 15. Danoe gods, 125-127. Darkness, devouring, denoted by the jaguar, 199 ; face-painting, see mixcitlalhuiticac. Dart in the eye, with the Codex Laud figure, 85 ; with Kin chil Coba, ruler of the Katun (the period) 13 ahau, 168. Dates of the Maya monuments, 17. Dawn, gloaming, symboUsed by white (red-striped) or by half blue, half red colour, 199 ; symbol with the pulque gods, 187. Day and night, parting of, symbol with the pulque gods, 185, 186 ; with the deity of the West, third form of the planet Venus, 200. Day Bide of the manuscript, 87, 208 ; a priestly codex, 209. Day-signs, the twenty, see Tonalamatl ; originally stars ? 171 ; put in relation with parts of the body, 208. Dead, the, feast in memory of, 118. Dead, the, kingdom of, see mictlan. Dead warriors, ornament of, 118, 119. Death, by disease, symbolised by Mictlantecutii, 79 ; in war, see yaomiquiztli ; by sorcery, see teyolloqualiztli. Death, by sorcery and other deaths, 76-80 ; in Codex Laud, 80-82. Death Qod, of the Mexicans, see Mictlan tecutli ; of the Mayas, see Uac mitun ahau ; ape of the lord of life, 167 ; his sign the dog, 77. Death Qoddess, see Mictecaciuatl Deer, two-headed, fallen from heaven, god of Cuitlauac, 162 ; on the wall-paintings of Mitla, 163. Deer gods, in the tribal legends of the Mixtecs of Cuilapa, 162, 163. Deer-headed god, Iztac Mixcouatl, the sixth of the six celestial wanderers, 160 ; chicome magatl of the Vienna manuscript, 146. Dice-throwing with maize-grains, 189. Dog, see itzcuintli ; the biting animal, 77. Dog-headed god, of the East = Xolotl, 122; the Death God of the third member of the second series of the 4x5 guardians of the Venus periods in Vatican B, 104. Downy feathers, white, sacrificial ornament, 107 ; in the hair of Mixcouatl, of Uitznauatl, 111 ; on Uitzilopochtli's robe, 130. Dnmuner, 106, 107. Eagle, see quauhtli. Eagle, double-headed, with chicome eecatl of the, Vienna manuscript, 146. Eagle-feathers, Tonacatecutli's beard, 183. Eagle disguise, with chicunaui olin of the Vienna manuscript, 146. Earth, its deities thought of as female, 133. Earth, the six regions of, 193-195. Earth Qod, see Tlaltecutli ; see animal-headed god. Earth Goddess, old Huaxtec, see Tla^lteotl. Earth, Jaws of; given with the death gods, 76, 192 ; with TlaQolteotl and the Moon Goddess, 52 ; with Xolotl, 69. 218 Index. Barthquake, symbolised by the sign olin, 208. Burtb toad, image of Hades and the North, 164. Bast, region of dawn, house of the siin, 6 ; its temple and deity, 173 ; tree of the, 9, 10 ; symbolised by the Sun God, 173 ; by the Sun God and the Stone Knife God, 22 ; by Xochitl and Xochiquetzal, 122, 123 ; by the god with the snake's throat, 143, 144 ; by Tonacatecntli, Tona- caciuatl, 184, 185 ; years of the, denoted with acatl, years of fruitfulness, 7, 182. Bast heayen, abode of the sacrificed warriors, 107. Bating man, given with the maize deity, 36. ecacenaztli, fan, sign of the wanderers, 136 ; in the hand of the wandering gods, 154, 155. ccaUacaizcozcaily the Wind God's breast ornament, 105 ; worn by Xolotl, 155. ecatlf see eecatl. Bolio» see TepeyoUotli. eecatl, wind, second day-sign, entered for the cipher two, 32. Bight rain gods, those of the Vienna manuscript, 146, 147. Rnagna, see cueitl. Bnyoyi of Motecuh^oma, 136. BpUepsy, caused by the Ciuateteo, 207. e^tznab (Maya), eighteenth day-sign, denotes the years of the North, 30. Bvening star, deity of the, see Tlauizcalpan tecutli. Brening twilight, its symbol, with the pulque gods, 1 85, 186 ; with the gods of the West, of the third form of the planet Venus, 200. Bren numbers, with the female deities, 59, 75. ?ye, round, of the Death God, with the gods of the four quarteifs, 173 ; gouged, symbol of priestly mortification, 90-92, 93, 106, 167, 168 ; hieroglyph for malinalli, 83 ; in Codex Fej^rvftry shown for the anauatl of Tezcatlipoca, 118. Bye, socket of^ empty, bleeding, in the Maya manuscripts, hieroglyph of twenty and of the starry sky, 166 ; in the hieroglyph of the old god Itzamnd, 166-168. Byebrow, prominent, with the jaguar figures and with Tepe- yoUotli, 43. Bye-gouging, symbol of priestly mortification, 90-92, 93, 106, 107, 108. Faoe-mask, of the dead warrior, 119. Faca-painting, of the Fire God, 32 ; of the Sun God, 34 ; of Tezcatlipoca and Uitzilopochtli, see ixtlan tlatlaan ; different with Tezcatlipoca, 6, 33, 174 ; of Tla^olteotl, 40, 41 ; of the Maize God, 35 ; a variant of the Maize God's, 176 ; of XochipiUi, 68, 98 ; of Xochipilli as Sun God, 109 ; of Tonacatecntli, 68, 187 ; of Macuil xochitl and his associates, 114 ; of the dance gods, 127 ; of Tlauizcalpan- tecutli, Mixcouatl, and Camaxtli, see mixcitlalhuiticac ; two-coloured with Xolotl, 51, 122, 155 ; of the pulque gods, 73, 186 ; of Cipactonal, deity of the East, 101 ; of the god of monstrosities, 156. Fan, see ecaceuaztlL Feather headdress, of the Sun God, 34. Feather-palm, in Vatican B denotes the tree of the South, 13. Feather-snake, see Quetzalcouatl. FfliMnriiy, Gabriel, former owner of the manuscript, 1. Finy-nine-days period, 134-138, 179. Fifty-two-years cyole, its four quarters, representing the cardinal poiiits, 179. Flg-cactos, see nopalli. Fillet of the Sun God, 34 ; of the Fire God, see Chalchiuh- tetetelli ; of Tla^olteotl, see ichcaxochitl ; of . the Bain God, 46. Fire, figured with Tlaloc, 47 ; with the 59-days period, 138. Fire-drill, see quammamalitli. Fire-drilling, beginning of the feast, 72 ; on the day naui acatl, 72 (note). Fire Qod, see Xiuhtecutli. Fire Ctoddess, see Cbantico. Fire, rain of, see tlequiauitl. Fire-twirler, Mixcouatl, 72. Firewood, for the temples, procured by the bachelor warriors, 48. Firewood and rubber ball, symbol of burning, denote cre- mation, 164 ; denote the nine lords of night, 32-38, 42, 48, 63, 66, 70, 72, 204 ; with the gods of pleasure, 84 ; brought by Tonatiuh, first of the six celestial wanderers, 151. Fish, suckled by Mayauel, 99. Five, number of Ciuatete6, 115. FiTe quarters, their guardians, the nine lords of the night, 22 ; in Codex Cortes, 28-30 ; a changed list of, 49-75 ; also guardians of the 4x5 Venus periods, 121 ; symbolised by crossway and finger-posts, 204, 205. Flowering tree, before the Maize Goddess, 36 ; borne by Xolotl on his back, 155. Flowers, on Xochipilli's temple, 139, 140. Flower-wreath, in the moon deity's hair, 52. Food snpplies, their deities, 99, 100 ; abundance of, denoted by tobacco-calabash and incense-pouch, 176, 185, 188. Foot, rended, with Tezcatlipoca, 6, 33, 206 ; with the god of the West, third form of the planet Venus, 199, 200. Foot^ imprint of, denotes the road to be taken, 34 ; employed as a diacritic mark, 57, 58. FOrstemann, his studies of the Dresden Maya manuscript, 88. Forty-two-years cycle, ten days intercalated after, 179. Fonr ftf^t^JTia^^ points, their deities, 171-180; another series of, 180-182. Fonr hundred demi-gods, see Centzon Uitznaua, Centzon Mimixcoua, omuch c'aholab. Garcia Icashaleeta, Joaquin, owner of Motolinia's manuscripts, 87. Ood with the Kan sign of the Maya manuscripts. Maize Gk)d, god of fertility, 19 ; as personator of Itzamnd denotes the years of the West, 141. Oods of pleasure, 82-86. Gold disk, see teocuitlacomalli. Grab, figured with Tla^^olteotl and the Moon Goddess, 56. Graye yessais, Zapotec, 1 47. Green, colour of TepeyoUotli, 45 ; of the Bain God, 46. Growth, see izcalli. Guardians of the five quarters, 22, 31-48 ; of the five Venus periods, 87-121. Hair-dress, Zapotec, 43 ; Tepeyollotli's, 43, 44 ; of the Mexican chiefs, 33, 34, 130. Half-moon, yellow on the robe of Tla^olteotl and of the pulque gods, 186 ; as nasal ornament, see yacametztii ; made of bone in the effigy of the moon, 151, 174. Half red, half blue, denotes the twilight, 199. Half-sun, symbol of the moon ? 152 ; symbol of the sky, 193. \ Index. 219 Half-nm and half-night, symbol of the parting of day and night, with the pulque gods, 185, 186 ; with the deity of the( West, third form of the planet Venus, 200. Hand, white, about the mouth, face-painting of Macuilxochitl and his comrades, 114 ; of Tezcatlipoca itzUacoliuhqui, 174 ; of Xolotl, 156. Hatohet, see axe. Headdreu of the maiie deity, 35, 36. Head-rending tMtt, see c'amazotz. Heart, human = costliness, 98 ; on the doorposts of the temple of the Sun and the East, 173. Heart of the Moantaina, see TepeyoUotli. Heayena, various, 112 ; the six, 182-193 ; denoted by the half- sun, 193 ; on the celestial shields of the Maya documents and in the hieroglyph of the moan-bird, 169, 170. Heavens, quarters of the, see cardinal points. Hensslmann, catalogue of the Fej^rviry collection, 2. Herald, see tecpoyotl. Heron-feather orown, see aztatzontli. Heron-feather forked ornament, see aztaxelli. Heron-feather stajOr, see aztatopilli. Heron-fiftatherB, white, mark of Iztac Mixcouatl, and of Ilan- cueyl, 62, 159. House of the Earth, in Vatican B, 15 Hnaztecs, see Ouexteca. Human generation, first, its destruction, 197. Human skin, worn by Xipe totec, 108. Hunan sacriflce, its symbolic indication, 192 ; represented with Itztli, 34 ; with the guardians of the 4x5 Venus periods, 90-94. Human eacrilioe, god of, see Itztli. Humming-bird, see uitzitzilin. Hun ahan (Maya), sign and name of the Sun Grod, 98. Hurdkan (Qu'ich^), God of Heaven = Tezcatlipoca, 33. icnoyotl, poverty, figured with the Water Goddess, 39. icuexuan, the Huaxtec ministers of Tla9olteotl, 103. ichcctxochitl, fillet of unspun cotton, with Tla^olteotl and the pulque gods, 41, 78, 186. Iguana, lizard, see cuetzpalin. ik (Maya), wind, breath, second day-sign, sign of life, 30. Ilamatecutli, the old princess. Earth Goddess, 133. Uancueyi^ the old woman, consort of Iztac Mixcouatl =Ilama- tecutli, 159-161. Ilhuicatl xoxauhqui, the blue heaven, name of Uitzilopochtli, 132. ilhuiily day, feast, symbol, 127. Image, offered to the gods, 93. imiz (Maya), first day-sign, initial of the first Tonalamatl quarter, 29 ; the first Venus period, 30. Incenae and thurible, symbol of abundant food supplies, 176, 185, 188. Index linger, double, denotes the Above-Below direction, 204. Intercalation of ten days after forty-two years to correct the year's length, 135, 179. iopochpa tonatiuh, to the left of the sun = South, 131, 132. Itzamni (Maya), lord of life, the old god of the Yucatecs, answering to the Fire God and to the Tonacatecutli of the Mexicans, 30 ; to be identified with the starry sky, 166, 167 ; denotes the years of the West, 141 ; symbol of the Katun period, 13 ahau, 168. Itzcuintli, dog, tenth day-sign, sign of the Death God, 76, 82 ; the biting animal, 77. Itzmal (Maya), city in Yucatan, its ^pd in bird form, 191. Ifs^pcUotl^ Chichimec Earth Goddess, 208 ; ruler of the six- teenth day and of the fifteenth week, 36 ; one of the Tzitzimimd, 55. UztiCf sharp, pointed, cold, a symbol, 154, 159. ItztUieoliuhquij god of the sharp stone, of punishment, of cold, third member of the third series of guardians of the 4xFi Venus periods, 104 ; his face-painting, 33, 174 ; god of the North, 131, 132, 174, 175. Itztliy Stone Knife God, second of the nine lords, located in the East, 22, 33, 34 ; = Tezcatlipoca. itztopolli, stone hatchet, weapon of the Pulque God, 186 ; weapon of the Bain God, 47, 51. iuitlj downy feathers, white, sacrificial ornament, 107 ; on Uitzilopochtli's robe, 130 ; in the hair of Mixcouatl and Uitznauatl, 111. luitl, one of the Fire God's priests, 67 (note). Ixca^auhquiy the yellow-faced, name of the Fire God, 32. ixtlan tlatlaan, Tezcatlipoca's and Uitzilopochtli's face-painting in yellow cross-bands, 6, 33, 43, 104, 119, 130, 132, 205 ; face-painting of children, 1 32. Ixtlilton, the little black-face. Dance God, 127 ; brother of Macuil xochitl, 117 ; god of the South, 128. ixtliltxin = Ixtlilton. iyecampa tonatiuh, to the right of the sun = North, 131. izcalliy growth figured by a naked mannikin striving upwards, with Tonacatecutli Tonacaciuatl, 184, 185 ; with the Water and Rain gods, 189. Iztac Mixcouatl, the white cloud-snake, Old God, primeval father of the tribes, dwelling in Chicomoztoc, 161 ; in the changed list of the guardians of the quarters denotes the upper region, 61, 62 ; sixth of the six celestial wanderers, 159-164 ; denotes the milky way or the zenith, 165. Izta^i Tezcatlipocay white Tezcatlipoca, in the changed list of the guardians of the cardinal points, denoted by the date Ce eecatl, taking the role of Cinteotl, 52, 54. ixtac xochitl, the white flower, name of Teteo innan, 42. Jaguar, see Balam ; see ocelotl ; his voice in the mountains, see TepeyoUotli. Jaguar diagniae, with Ce cipactli of the Vienna manuscript, 100 ; with chicome olin and chicome ma^atl of the Vienna manuscript, 146 ; see TepeyoUotli. Jaguar ear, in the throat of the snake forming the helmet- mask of the Water Goddess, 37, 85 ; at the temple of the Fire God, 5. Jaguar*B foot, as pouch, see oceloyataztli. Jagnar-akln aeat, see oceloicpalli. Jaguar-akin deaign, about Tepeyollotli's mouth, 43 ; with tlie god of the North, 175. Jaguar's throat, in the human face, with Chicome olin of the Vienna mHuuscript, 146. Jewel, green, see chalchiuitl ; two or four on the bracelet, 98 ; tie at the mouth of XochipiUi and Xochiquetzal, 96 ; on the tree of the East, 9. Kan (Maya), fourth day-sign, 30 ; symbol of the maize fruit, 31, 93. Xan-sign, god with the, god of the maize fruit, 19 ; as per- sonator of Itzamna denotes the years of the West, 141. Katun (Maya), cycle of 20 x 360 days, 17. Kin (Maya),' sun, day, hieroglyph, 19, 97, 127 ; on the celestial shields of the Maya documents, 165, 166. 220 Index. Kinch ahau (Maya), Sun Grod, denotes the North and the years of the North, 19, 141. Kin chil coha (Maya), ruler of the Katun (cycle), 13 ahau, figured with dart in its eye, 167, 168. Kinich kdkmo (Maya), sun-bird, god of Itzmal, 191. lamat (Maya), eighth day-sign, denotes the years of the South, 30. Left, from the sun = South, 131, 132. Leff, replaced by body and head of snake, with Tla^olteotl, the Moon Goddess, 152 ; with the celestial wanderers of the North, 157 ; torn off, with Tezcatlipoca, 6, 33, 206 ; with the deity of the West, third form of the planet Venus, 199, 200. Lightnln^-Bnake in the Rain God's hand, 47, 51. likin (Maya), hieroglyph of the East, 31. Linrd, see cuetzpalin. Loln-oloth, see maxtlatl. Lord of life, of the Mexicans, see Tonacatecutli ; of the Mayas, see Itzamnd. Lords of the night, the nine, guardians of the five quarters, 22, 31-48 ; denote the night hours, 48 ; lords of the starry sky? 48. Lot casting, with maize grains, 189. Lower region, symbolised by the animal-headed god, 140, 141 ; by the two old Earth goddesses, 132, 133 ; by Xochiquet- zal, 191 ; by the image of the spider, 133. macuil cozcaquanhtli, 5 Vulture, one of Macuil xochitl's com- rades, 115. macuil cuetzpalin^ 5 Lizard, one of Macuil xochitPs comrades, 115. macuil maHnalli^ 5 Twisted, one of Macuil xochitl's comrades, 115. mactiU olin, 5 Motion, on the sheet of the East, 180. macuil tochtli, 5 Rabbit, one of Macuil xochitl's comrades, 115. MaciiU xochitl, 5 Flower, god of revelries, feasts, and sports, 83, 116 ; associate of Ixtlilton, the Dance God, 117, 127, 128 ; venerated jointly with Xochipilli, 115 ; associate of the Ciuateted and lord of the South, 26, 115 ; variant of Tezcatlipoca, 119, 129 ; one of the guardians of the 4 x 5 Venus periods, 114-119 ; facing Quetzalcouatl at the foot of the tree of the Middle, 14 ; of red colour, 114 ; wears the tonallo emblem, 117 ; his face-painting with Xolotl, god of monstrosities, 156 ; with Tezcatlipoca, god of the North, 174 ; one of the gods of pleasure, 83, 84 ; in Codex Laud, 85, 86 ; hymn in his honour, 72. magatly deer, seventh day-sign, used for the cipher seven, 40 ; denotes drought and fiery rain, 135, 138. mxuxualixili^ dance, 127. machoncotl^ upper arm bangle, an ornament of the Mexican kings, 129 and note ; with Xochipilli, 199 ; with Tezcatli- poca, 206 ; in the dish before Macuilxochitl-Ixtlilton, 129. MagicianB, see Wizards. Maiie bloom^ on the Maize God's headdress, 35, 187, 188. Kalie Ood, see Cinteotl. Maiie Qoddeii^ Mexican, see Chicome couatL Maise-graln scattering, casting lots, 189-191. Kaise plant, before the Maize God, 36 ; in the four years, 7, 181, 182. Maiie veeie], at the doorposts of the temple of the West, 176. Maler, Teobert, his researches in Mench^ Tinamit, 170. malinalli, twisted, fourteenth day-sign, figured by a gouged eye, 83 ; grass ornament of the death gods, 148, 192. Mani, place in Yucatan, its book of the Ohilam Balam, 168. Man in the moon, by the Mexicans regarded as a rabbit, 151. manoiOa, an article of the dance, 130. ManoscriptB, Mexican, their outward form and origin, 3. 7tuiquiy courtesans who join the ranks, associates of the warriors, 65. Mat, a mark of royalty, 61 and note ; made of pleated palm- leaves, a covering of the traveller's packs, 154, 157. maUactli oce cipactli, 1 1 Crocodile, in the Vienna manuscript, 100, 101. maJtlacUi olin, 10 Motion, initial of the fifth Venus period, 89. matlactli omd xochitl, 13 Flower, given with the Earth Goddess, 66 ; in the Vienna manuscript, 160. Matlalcueyt, mountain in Tiaxcallan, place of sacrifice for the rain gods, 59. maxtlatl^ loin-cloth, not worn by the Huaxtecs, 113 ; not worn by the god Mixcouatl, UitznauatI, 113, 198 ; given with the Ciuatete6 and Micteca ciuatl, 105 ; Xipe's, 108. Mayauely goddess of the agave plant, seated on a turtle borne by a dragon, 27 ; first member of the fourth series of the guardians of the 4x5 Venus periods, 98, 99 ; suckling a fish, 99 ; one of the TzitzimimI, 55. Mayeccayotziriy he to the right (of the sun), the Northerner, 132. Mayer, Joseph, acquired the Fej^rv^ Codex and presented it to the Liverpool Museum, 2. Ttiayeuatl, gloves of the ball-players, 137, 138. TMcapalliy frontal band to which the bearing-strap of the dorsal packs is fastened, 157. Menchd Tinamit, site of ruins on the Usumacinta river, its stele No. 4, 170-172. MerchantB, travelling, their badge, 136. Mezicane, their tribal ancestor Tenoch, 161. mexxayacaUy mask made of the skin of the victim's thigh, worn at the Ochpaniztli feast, 174, 208. meyotliy rosettes on the Maize Goddess's headdress, 95. Miacailany hacienda at Xochicalco, its stone effigy of the Water Goddess, 40, 41. Mictecaciuatl, queen of the underworld, consort of the Death God, 79, 191, 192 ; facing the white Tezcatlipoca in the changed list of guardians of the cardinal points denotes the North, 52 ; the third member of the fourth series of guar- dians of the 4x5 Venus periods, 105 ; named with the date chicunaui cipactli, 52, 79. micilampa, region of Hades, the North, 6, 121, 147. mictlan, Hades, represented by the jaws of earth, denotes the North, with the death gods, 12, 76, 192 ; with Tla^olteotl and the Moon Groddess, 52 ; with Xolotl, 69 ; introduced for the primeval home, Chicomoztoc, situate in the North, 164. Mictlantecutliy lord of Hades, 191, 192 ; denotes death by ailments, 79 ; fifth of the nine lords of the night, located in the North, 22, 36, 37 ; third member in the first series of the guardians of the 4 x 5 Venus periods, 103, 104 ; one of the guardians of the six quarters, 147, 191, 192 ; one of the Tzitzimime, 55 ; in Maya manuscripts figured with reptile helmet-mask, 37 ; name of Tezcatlipoca as lord of the North, 6 ; seated back to back with Quetzalcouatl, 26, 27. Index, 221 Hlddle, the first of the five quarters, represented by the Fire God, 1, 21 ; represented by the gods of food supplies, 100 ; tree of the, in Codex Boigia, 14. Hlddle finger of a woman dying in childbed gives courage in war, 207. Milky way, or Zenith, see Citlallatonac, Citlalin icue ; indicated by Iztac Mixcouatl, 165 ; symbol on the celestial shields of the Maya documents, 166-168. MiUitone, the, the old goddess at, 159, 160. Mimixcouay see Centzon Mimixcoua. miotliy see meyotli. Mi^tm, a name of Tezcatlipoca, 61. miquisAli^ death, sixth day-sign, used for the cipher six, 37 ; initial day of the twelfth Tonalamatl quarter, denoting the North, 7, 20, 25, 1?9 ; sign of the Moon God, 52 ; sign of the wizards, see Ce miquiztli. MliTor, smoking, at the temple of Tezcatlipoca, 33 ; in place of his rended foot, 33 ; back-mirror, see cuitlatezcatL MUla, ruined city of the Zapotecs ; wall-paintings in the court of palace i., 162, 163. mitzontli, Uacochtzontliy two arrow-shafts in the Fire God's fillet, 32, 50. Mixeo^iaU, cloud-snake, god of the hunt and of the hunting tribes, identical with Camaxtli, 198 ; god of the North, figured as a naked god without loin-cloth, 26, 198, 199 ; in Vatican B at the foot of the tree of the North, 111 ; has the face-painting of Tlauizcalpantecutli, 71, 111 ; second of the four forms of the planet Venus, 198, 199 ; images of, from the west side of the court of palace i. at Mitla, 162 ; fire-twirler, 72 ; in the device of the two-headed deer subdues the tribes, 162 ; one of the Fire God's priests, 67 (note) ; see Iztac Mixcouatl. mixcitlalhuiticac, steUar face-painting of Tlauizcalpan t^cutli, 106, 107 ; of Mixcouatl and Camaxtli, 71, 111, 198, 199 ; of the tonatiuh iixco yauh, 119. Mixtecatl, ancestor of the Mixtecs, 161. Kixtecs, of Ouilapa, their tribal saga, 162, 163. Moan (Maya), cloud-bird, its hieroglyph, 170. mocitMquetzquiy the warrior in the form of a woman, a woman dying in childbed, 206 ; dwelling in the west heaven, at certain times descends on earth, 207 ; people bewitched by a finger or arm of the, 161, 207. Montb, synodic, 134. Moon, its hieroglyphic representation, 150, 151 ; with Tlagol- teotl, 103 ; second of the six celestial wanderers, 151, 154; in the temple of the North, 174 ; with the gods of the underworld, 192 ; assumed hieroglyph of, in the Maya documents, 166, 167. Moon God, the Mexican, see Tecciztecatl ; conjectured, of the Maya documents, 166, 167. Moon Goddess, see chicuei acatl. Morning twilight^ symbolised by the Bat Grod, 197. Morning star, see Venus planet ; its deity, see Tlauizcalpan tecutli. Mortification, priestly, symbolised by eye-gouging, 90-93 ; its implements, bone dagger, and agave-leaf spike, see omitl, uitztli. motz (QuHch^), heap = the Pleiades, 112. Monae^ see quimichin. Moyocoyaizin, the capricious agent, a name of Tezcatlipoca, wrongly derived from Mayeccayotzin ? 132. mtdue (Maya), ninth day-sign, initial of the third Venus period, 30. Mninmy pack, false, set up at the rites in memory of the dead, 78, 118. Muiio, gods of; 125-127. MiuHMl ooncb, see tecciztli. Naked god, Mixcouatl, Uitznauatl, 113, 198, 199. Nasal omainent^ of the Water Goddess, 23, 37 ; of the Maize Goddess, 176, 188 ; of Tla^lteotl and the pulque gods, see yacametztli ; of Xipe and Tla^olteotl, 41, 108 ; of Tepe- yoUotli, 43, 45 ; of Uitznauatl and the Huaxtecs, 113, 114 ; of the tonatiuh iixco yauh, see yacaxiuitl. Nauhyo teuctliy lord of the four quarters, the Fire God, 5. naui acaU, 4 Beed, day of fire-drilling, 72 and note ; year, on the sheet of the West, 178, 179 ; name of Tlauizcalpan tecutli, 70, 71. naui atlj 4 Water, sign of the epoch of the flood, 71. naui callij 4 House, year, on the sheet of the East, 178, 179 ; name of the Death God, 79. naui couaUy 4 Snake, god of this name in the Vienna manu- script, 144. naui dpadlif 4 Crocodile, name of the Pulque God, 73 ; in the Vienna manuscript, 100, 101. naui eecaily 4 Wind, in the Tonalamatl figured facing the Bain God, one of the TzitzimimS, 55. naui oliUf 4 Motion, symbol of the present (the historical) sun, 53 ; in the Vienna manuscript, 153, 154. fnaui quiauiil^ 4 Bain, one of the gods of pleasure, 83. naui tecpatly 4 Flint Ejiife, year, on the sheet of the South, 178, 179. naui tochtliy 4 Babbit, year, on the sheet of the North, 178, 179. naya>a (Zapotec), white, 163. necoc ya>otlj on both sides foe, name of Tezcatlipoca, 61. TumnatlaxOy to-and-fro movement of the hands, dance at the Ochpaniztli feast, 59. nenacaJtequilixUiy gashing one's ear, 91. nenenepUtequUiztliy gashing one's tongue, 91. ndonatiuhgaualiztli, four-days fast in honour of the Sun God, 53. New period, entrance of the, indicated by human sacrifice, 94. Night, symbol of, in the headdress of Itzamnd and his hiero- glyphi 167 ; indicated by the number (341), 75, .204, 205 ; the nine lords of the, 31-48. Night tide of the manoscriptk 5-86 ; its proper beginning, 204, 209. Nine, a number favourable to the wizards, 59, 68 ; numeral of the underworld, 59 ; numeral of the lords of the night, guardians of the five quarters, 21, 22. Nine caves, wind of the, one of the two twin sons of the primeval divine pair, 163. Nine lords, of the night hours, 21, 22, 31-48. Nine snakes, wind of the, one of the two twin sons of the primeval divine pair, 163. Nine-and-flf^-day period, 134-138, 179. Tiohol (Maya), South, its hieroglyph, 31. nopalli, fig-cactus, introduced with the first members of the changed list of guardians of the cardinal points, 60 ; branches of, used in the battle of flowers at the Ochpaniztli feast, 186, 187. North, region of Hades, 6, 7 ; denoted by the crossway, 164 ; its temple and its deity, 174, 175 ; its tree, 10, 11 ; de- noted by Tezcatlipoca, 174, 175 ; denoted by Tla^olteotl and the Death God, 123, 124 ; denqted by the death gods, F 222 Index. 103-105, 147, 148 ; denoted by the pulque gods, 186, 187 ; denoted by Mixcouatl, 198, 199 ; years of the, indicated by teqtatl, 7 ; years of the, when insects and other pests destroy the maize, 7, 182. Horth heaTon, stars of the, see Centzon Mimixcoua ; on the celestial shields of the Maya documents, 169. Vonristaliig of the gods with sacrificial blood, 94. Vunmali, ritual, with the Tlaxcaltecs, 59. Ihunanls, writing system, Mexican, 49 ; Maya, 49, 57. Mumntl i«ilM, with the changed list of the guardians of the cardinal points in Codex Borgia, 58, 59 ; of Codex Fej^- viiry, 74 ; on the sheets symbolising death by witchcraft and other deaths, 79, 80 ; with the gods of pleasure, 85. Oooipital iliield, see cuexcochtechimalli. ocdoicpalli^ jaguar-skin seat, 60, 61, 190. oedatl, j&guar, fourteenth day-sign, given on the thigh of the Tezcatlipoca figure, 208 ; on the tree of the South, 13 ; with the first members of the changed list of guardians of the cardinal points, 55, 60 ; in Vatican B with the Stone Knife God, 34 ; denotes the solar eclipse and devouring darkness, 15, 149, 199 ; clay figures of, Zapotec, 43. oedayatazUi, tobacco or incense pouch of the skin of a jaguar's foot, mark of the priests, 123 ; in Iztac Mixcouatl's hand, 159, 160 ; on the back of the old god of the Vienna manuscript, 160, 161 ; homologue of the tobacco -calabash, symbol of abundant food supplies, 176, 185, 189, 191. ofomhUi^ Ape, eleventh day-sign, initial day of the third Tonalamatl quarter, denoting the West, 7, 20, 25, 179. Oehpanixtliy broom feast, feast of the Earth Groddess, 44, 59 ; battle with spiked balls, 174, 175, 186, 187. Old, the disused, denoted by objects broken in two pieces, 161. Old god, see Ueueteotl, Tonacatecutli, Iztac Mixcouatl ; of the Vienna manuscript, see ome itzcuintli ; of the Mayii tribes, see Itzamn^ ; their representation in Codex Borgia, 159. Old goddess, see IlamatecutU, Ilancuey^. Old pilett, Iztac Mixcouatl, 161, 164 ; Itzamni, 167. oUfiy motion, seventeenth day-sign at the foot of the Tezcatli- poca figure, denotes earthquake, 208 ; initial sign of the fifth Venus period, 90 ; sign of Xolotl, 51, 68, 156. olUmanif ball-players, 137. olli, rubber ball, 137. OlnucaU^ ancestor of the Atlantic coast tribes, 161. ofpiyauac, spotted with caoutchouc, article of dress of the Rain Ck>d, 46. omaxac, crossway, see otlamaxac. ome acatlj 2 Reed, sign of fire-drilling, name of the black Tezcatlipoca, 53. ome itxcuintli, 2 Dog, old god of the Vienna manuscript, 160, 161. ome tochtlif 2 Rabbit, name of the Pulque God, 77, 83, 133. omiUy bone dagger, implement of mortification, 90 ; in the hand of the Sun God, 143 ; in Quetzalcouatl's fillet, 106 ; in Xolotl's, 154 ; in the Bat God's, 196, 197 ; in the Maize God's, 188 ; in that of the deity of the West, third form of the planet Venus, 200 ; broken in two pieces denotes the priests of the olden time, 161, 164. omuch &aholab (Qu'ich^), the 400 youths slain by Cipacna = the Pleiades, 112. One-legged, see Hurakan. op yehquiaiuiyocan, where the doors on the left (t.e. are shut), name of Hades, 79* opochtlif the left, i.e. the Southern, 132. otkrniaocae^ crossway, with Tezcatlipoca, 34 ; with the Death God, 37 ; with Tla^olteotl, 42 ; with the animal-headed god, the god of ike earth, 141 ; with Xolotl, god of monstrosities, denotes the North, 164 ; denotes the four cardinal points, 204. otlamaxac Oituitetedy the goddesses at the croesways, the souls of women dying in childbed, 153. oUatopUli, bamboo staff, sign of the wanderer, 136. OtomiUj forefather of the Otomi people, 161. Owl, see tecolotl, see chiquitli. oyouaUiy rattling pendant, 160, 161 ; ornament of the Centzon Uitznaua, 160 ; breast and ear ornament of Mixcouatl, 160 ; of the dance gods, 125, 126. pachUij TiUandsia usneoides, 186, 187. Palenqne, its altar-pieces, 17-20. Palm-leaf strips, rolled up, worn in the nose by the Huaxtecs, 114. pancttecuetlayan, where the flags wave, place in the under- world, 77. Panquetxalidli, hoisting the flags, chief feast of Uitzilopochtli, 112, 132. pantoyauaUi^ bent forward, paper flags, ornament of the dead, 192. Paper IU^b, ornament of the dead, 36, 76, 178, 192 ; sacrificial ornament, 107. Parrot, see cocho ; foe of the maize field in the years of the North, 182. Paimoh, wrinkled with Tla^olteotl and the Ciuapipiltin, denotes the state just after childbirth, 40. Pd,tecatl, Pulque God, 73, 185-187. patollif game of dice, its patron Macuil xochitl, 116. peyaa (Zapotec), puma, 163. piaa (Zapotec), puma, 163. Pigeon (7), disguise of the maize deity, 176, 188. pilfiechiualli, children's face-painting with Tezcatlipoca and Uitzilopochtli = ixtlan tlatlaan, 132. PUtzintecuili, name of the Sun God, as third of the nine lords, 22, 34. Planets, identified by Forstemann with signs of the celestial shields, 164, 165. Pleasure, gods of, 82-^6. Pleiades, see omuch c'aholab. Ponce, Fr. Alonso, his journal of travels, 112. poy aham che (Qu'ich^), puppets, wood carvings, first genera- tion of men, 197. Presenting ofltolngf, gesture of^ 93. Priestly mortiflcatlon, 90-93. Priests, of the water deity and of the deity of the West on the altar-pieces of Palenque, 19 ; of the olden time, Iztac Mixcouatl, 161. Primeval gods, see Tonacatecutli Tonacaciuatl ; see Iztac Mixcouatl ; in deer form in the tribal legends of the Mixtecs of Cuilapa, 162, 163. Primeval borne of the tribes, see Tamoanchan, see Chicomoztoc. Pnlqne Ood, facing Tlauizcalpantecutli in the changed list of guardians of the cardinal points, 73 ; lord of the North, 186, 187 ; denoted by tochtli, ' Rabbit,' 72 ; as Death God, third member of the second series of guardians of the 4x5 Venus periods, 104. Pulqae revels, opened with fire-drilling, 72. Index. 223 Pnluky, Franz, nephew of Gabriel Fej^rv&ry, and heir of his ' collection, 1, S. Puma, the white animal, 163. Pnma makt, the nude deer god, in the tribal myth of the Mixtecs of Cuilapa, 162, 163. q%uimmamal%tlty wooden drill, two in the Fire God's fillet, 32. qttaukquauitly eagle-tree, tree of the North, 8. quauhtliy eagle, fifteenth day-sign, given on the thigh of the Tezcatlipoca figure, 208 ; on the tree of the North, 8, 10, 11 ; bears the shield with calli, the sign of the years of the West, 6 ; one of the four forms of the deity of the planet Venus, 201, 203. quauhxolotly double-headed eagle, with chicome eecatl of the Vienna manuscript, 146. Quaxolotly see Chantico. quechquemitly tippet-like mantle of the women, 64. quemitly apron-like garment, 122, 130. Qnetial Mrd, see quetzaltototl. quetxcUcoriatly feather-snake, before the Water Goddess, 38 ; symbol of the sea^ 202 ; before Xipe Totec, 38, 201, 202. QuetzalcoucUly Wind Gk>d, son of Chimalman, 161, 184 ; his supernatural birth, 184 ; borne by Tonacaciuatl on his back) 183, 184 ; one of the guardians of the 4x5 Venus periods, denoting the West, 105 ; facing Macuil xochitl at the foot of the tree of the middle, 14 ; back to back with the Death God, 26, 27 ; first of the six celestial wanderers, 152 ; in the Vienna manuscript called chicunaui eecatl, 145 ; inventor of the Tonalamatl, 209 ; his distinctive article of dress with Xolotl, 68, 122, 123, 155 ; with the pulque gods, 73, 186, 187 ; with the Bat God, 196, 197 ; with Uitznauatl, 113. qxutzcUcoxcooetli, see coxcoxtli. Quetzal featlierB, see quetzalli. quetzaUiy quetzal feathers, symbol of vegetation, of the rainy season, 10 ; a covering of the temple of the deity of the East, 143 ; with Xochipilli, 199. quetzalmackoneoUy see machoncotl. quetzalqtiauitl, quetzal-feather tree, tree of the East, 8. quetzcdtotoU, quetzal bird, Pharomacrus raocinno, bird of the East, on the tree of the East, 8, 9 ; bears the shield with acatl, sign of the years of the East, 6 ; disguise of Xochi- quetzal, 120 ; on the travelling-pack of one of the six celestial wanderers, 157-159 ; descending on the dish, 191. quezeuatlf leather hip- wrap, which the ball-players fasten round their buttocks, 137, 138. quiauitl, rain, nineteenth day-sign, replaced by ayotl, the turtle, 57 (note). quimichiny mouse, enemy of the maize fields in the years of the North, 182 ; at the crossway with Itztli, the Stone Knife God, 34 ; with one of the six celestial wanderers, the wanderer of the North, 158. Qulneiinx, white spots on dark ground, hieroglyph of the planet Venus, face- painting of Tlauizcalpan tecutli, 70, 94, 106, 200. Quiriffudy in Guatemala, its monuments, 17. Rabbit, see tochtli. Radial esre, on the tree of the West, 11 ; breast ornament of Tlauizcalpan tecutU, 107. Bain CkHi of tli6 Mezicaai, see Tlaloc; of the Mayas, see Chac. Bain gods, the eight,of the Vienna manuscript, 146, 147. Bamon j Zamora, P. Geronimo, 87. BattlA-stlok, see chicauaztli. Bectangnlar Held, on the cheek of Xochipilli, Tonacatecutli, and the maize gods, 68, 98, 187 ; of the Sun God, 34 ; on the enagua of the Maize Goddess, 188 ; on XochipillPs robe, 122, 124. Bed longitudinal band, on white ground, variant of white painting, 41. Bended foot, with Tezcatlipoca, 6, 33, 206 ; with the deity of the West, third form of the planet Venus, 199, 200. Beptll6*8 JawB, denoting a cave, 45. Bing-sbaped pendant at tbe month, with the Codex Borgia figures, mark of old gods, 159. Bogue wizards, see temacpalitotique. Bound eye. of the death gods, with the deities of the four quarters, 173. Bnbber ball, symbol of the movement of the sun, 154 ; with the burnt-offering, 164. Sacriiicial cord, see aztamecatli. Sacrificial death, represented by Tlauizcalpantecutli, 107. Sacrificial ornament, down-feather dress and paper flags, 107. Sacrificial priest, represented by Quetzalcouatl, first of the six celestial wanderers, 154. Sacrificial stone, see techcatl. Scaffolding of poles, temple of Tla^olteotl, 148. Scorpion, see color 1. Sea, denoted by feather-snake, 202. Sea-snail shell, see tecciztli. Seftores de la noche, see nine lords of the night hours. Sepulchral vessels, Zapotec, 147. Seven, number of the Maize Goddess, lucky number, 59. Seven caves, primeval home, see Chicomoztoc. Sexual union, see blood, stream of. 7 Shield, one of the signs on the celestial shields of the Maya documents, 170, 171. BhooUnggod, Tlauizcalpan tecutli, 71, 107 ; Mixcouatl Uitz- nauatl, 111, 199 ; the Centzon Uitznaua, 112. Shooting with darts, sacrifice to the Earth Croddess, 79. Six celestial wanderers, the, 150-171. Six earthly regions, the, 19?- 195. Six heavens, the, 182-193. Six quarters, the gods of the, 121-134 ; another list of the, 139- 149. Slavery^ sale into, see tlanamictiliztli. Slaves, entertained on the day of Tezcatlipoca, 61. Smoking mirror^ on the temple of Tezcatlipoca, 33 ; in the place of his rended foot, 33. Snail, hidden in the house, figured with Tlagolteotl and the Moon Goddess, 56. Snail-shell, armlet of Iztac Mixcouatl, 160 ; of Xolotl, 154; at the finger-post which denotes the Above-Below direction, 204 ; large, of sea-snail, see tecciztli. Snake, day-sign, see couatl ; disguise of the Water Goddess, 37, 189 ; in the hole, given with the first members of the changed list of guardians of the cardinal points, 55, 60. Snake's throat, god with the, deity of the West, 143, 144 ; on Zapotec sepulchral vessels, 147. Song to Xochiqnetsal, 65. Sorcerers, see Wizards. Bonis of the sacrlflced warxiors, see tonatiuh iixco yauh ; of women dying in childbed, see mociuaquetzqui. 224 Index. Sootli, place of thorns, 7 ; its temple and deity, 177, 178 ; its tree, 13 ; its guardians, Tlaloc and TepeyollotU, 22 ; sym- bolised by Tlalocand Cbalchiuhtlicue, 189, 190 ; by Macuil xochitl and Ixtlilton, 124-130 ; by MicUantecutli, 177, 178; years of the, indicated with tochtli, fEunine years, 7, 182. ■oath ik7, stars of the, see Centzon Uitznaua. tpemr and tlirowiiiff-ftldE, see shooting gods. tpeotral forms, disguises of Tezcatlipoca, 43. tpeotral gods» see Tezcatlipoca, Ciuatete6, mociuaquetzqui. tpider, see tocatL tpiked ball, in the hand of Tlagolteotl, 186 ; with the god of the North, 174. •pUwd bolls, at the Ochpaniztli flower battle, 174, 175, 186, 187. tplked crown, headdress of the maize deity, 35, 36. tptked spear, in the hand of the fourth of the celestial wan- derers, 157, 158. t]iiked spit» in the hand of the fourth of the six celestial wan- derers, 157, 158. tpiked ysssels, with TepeyollotU, 45, 46 ; with the Rain God, 47. tplndle, in Thifolteotrs headdress, 41, 78. tpoonUl], see Uauhquechol. Staff, sign of the wanderers, 136 ; in the hand of the wandering gods,' 154 ; rattle-staff, see chicauaztli. ttan, indicated by wandering gods, 164 ; of the north sky, see Centzon Mimixcoua ; of the south sky, see Centzon Uitznaua. ttellar fltwi-iwInMng, see mixcitlalhuiticac. ttellar sky, on the celestial shields of the Maya documents, 166-168 ; in Itzamni's headdress and hieroglyph, 167. Step meander, on the jug of the water gods, 189. Steppe tribes, of the North, identified with the Centzon Mimixcoua, 112. Stone batohet^ see itztopolli. Stone knife, dis^ise of Itztli, 23 ; of Tezcatlipoca, 33 ; in place of the rabbit in the image of the moon, 174 ; Maya hiero- glyph, 92, 93. Stone Knife Ck>d, see Itztli. Stone statues, of the Water Goddess, 40, 41 ; of Macuil xochitl, 117. Straw rooft, pointed, in the Atlantic Tieira Caliente, 46. Son god, his descent, symbolises ce xochitl, the fourth Tonala- matl quarter, 97, 98. Swallow-tall-llke ends, of Xipe's loin-cloth, 108 ; at the nasal rodofTla^olteotl, 41. Swordflsh-Uke animal, see acipactli. Tabatxi (Cora) = name of the deity of the morning star, 71. Tagetes, see cempoualxochitl. Tamaii (Huichol), name of the deity of the morning star, Tamoancharij house of descent, the West, 81, 124 ; figured by a broken tree, with ihe Maize Goddess, 36. teatlauiani, the drowner, the Pulque God, 104. Tecciztecatly he of the sea-snail, the Moon God, 56 ; one of the guardians of the 4 x 6 Venus periods, appearing for Xochi- pilli (as Sun God), 110 ; musician, 110. teceizdiy conch blown by TepeyollotU, 44. Ueoloti, scops, owl, with the Death God, 37 ; with Thigolteotl, 42 ; in the house of the Earth, 15 ; in the temple of the North, facing Tezcatlipoca, 174 ; in the temple of the South, feeing Mictlantecutlj, 177. tecpaUf flint knife, tenth day-sign, given as breast ornament with the Tezcatlipoca figure, 208 ; denotes the years of the North, 6, 7. UcpoyoUy herald, 107. UctUlij king, prince, hieroglyph, 79. teehaloU, squirrel, masked dancer ? 127. teehcaUy sacrificial stone, with the Sun God, second member of the third series of the 4x5 guardians of the Venus periods, 102. Tehtuuan, see Teouacan. telpochcaUiy bachelor's house, residence and workplace of the unmarried warriors, 48 ; its god Tezcatlipoca, 1 19. temaepalitotiquej those who dance with a (dead) hand, the rogue-wizards, 207. temalacatly round stone for the sacrificio gladiaiorio, 107. temimincdiztliy shot with darts, victims of the Earth Goddess, 79. temiminaloyanj a place in the underworld, 77. tenamasUli, heiurthstone, occurring in three numbers and de- noting the number three, 67 and note. Tenock, ancestor of the Mexicans, 161. teocuiUcicomaUi, gold disk, breast ornament of the Water Goddess, 37 ; on the chalchiuhcozcapetlatl of the deity of the West, 200. Teoiiilan dd camino, place on the frontiers of the State of the Oaxaca, inhabited by people of Aztec speech, 210 ; their ancestor Xelhua, 161 ; they worship Macuilxochitl, 86 ; and the morning star, 87 ; painted clay figures of Xochi- pilli found here, 98 ; home of the Codex Borgia group of manuscripts, 210. Teouacan^ place near Teotitlan del camino and of same religion, 86, 87, 98, 161, 210. Teoycuymiquiy so-called colossal statue of the Earth Goddess, in Mexico, 195. Tepeyolloiliy heart of the mountains, voice of the jaguar in the night. Earth Goddess, god of the caves, echo, 43, 45 ; eighth of the nine lords, located in the South, 22, 43-46 ; one of the Tzitzimimd, 55. tepotxoiqxUli, back-chair, 139. Uqtiechmecauianiy the throttler, the Pulque God, 104. tequxucky chieftain, 130. TeUo innariy name of Tlagolteotl, patroness of the medicine- men and soothsayers, 78 ; her hymn, 42. tetUpanqtietxay putting one in the fire, a peculiar kind of death by witchcraft, 39. Tetxauhduay their heaven, 112. teyolloqualayaiij a place in the underworld, 77. teyoIloqucUiztliy to eat one's heart, to kill by witchcraft, 77, 81. TezcaUipocay god of the Toxcatl feast, lord of the North and South, 6, 119, 131 ; one of the Tzitzimim^, 55 ; his abode in the three regions, 61 ; a god ruling by caprice, 61 ; see Moyocoyatzin ; lord of the telpochcalli and of the cuicacalli, 119 ; wizard, 34, 205-208 ; identical with TepeyollotU, 43 ; represents the Stone Knife God, 27, 33 ; appears as itztlacoliuhqui, god of the stone, of punishment, of cold, 131, 132; lord of the North, 174, 175; third member of the third series of guardians of the 4x5 Venus periods, 104 ; as Uitznauac yaotl, fifth member of the third series of guardians of the 4x5 Venus periods, 119 ; in Vatican B, at the foot of the tree of the South, 13 ; as red Tezcatlipoca (tlatlauhqui) appearing for Xipe, 203, 206 ; appears for the Sun Grod, 53 ; as black Tezcatlipoca (yayauhqui) appearing for the Stone Knife Grod, 53 ; as Index. 225 white Tezcatlipoca (iztac) for the Maize God, 52, 54 ; as two-coloured (chictlapanqui) for the morning star, 51, 53 ; as red and black in the tennis-court for Xolotl, 69. Tlilgli, denotes strength, 208. Thlirh, skin o^ used for the mexxayacatl mask, 174, 208. TbirtecntlL heaven, abode of TonacatecutU, 63. Three^ number of the hearthstone, a number sacred to the gods of fire, 67. Tliree hundred and forty-one, the days when no morning star shines, when the night must be awaited, 75, 204, 205. Tbzowlnff-stiok, see atlatl. Throwlnff-stidk and spear, see shooting gods. tipatlf white chalk, 130. Tipoc-stone, in Mexico city, 195. Tlllandita, see pachtli. IStitly seventeenth yearly feast, in memory of the dead, 118. Uachcali, shooting with darts, sacrifice to the Earth Goddess, 79. Ucusamictiliztliy human sacrifice, 34, 93. UacaxipeualizUif flaying of human beings, 93. Uacockealcatly he of the spear-house, the Northerner = Tez- catlipoca, 119. Tlacoehcaleo yaotl^ the warrior in the spear-house = Tezcatlipoca, 6, 119. UacochtxonUiy see mitzontli. UaeoquixtUissUi, passing rods through the pierced tongue, 96. TlagolteoUj goddess of dirt, the Huaxtec Earth Gk)ddess, seventh of the nine lords, located in the West, 22, 40-42 ; facing the Moon Goddess, in the changed list of the guar- dians of the cardinal points denotes the West, 51, 52 ; as Moon Goddess, second of the six celestial wanderers, 151, 152 ; lady of the West, 148 ; facing the Death Goddess as lady of tJie North, 123 ; as Pulque Goddess, lady of the North, 186 ; second member of the fourth series of guar- dians of the five Venus periods, 102, 103 ; one of the Tzitzimimd, 55 ; mother of strife, 78 ; indicated by the name of Chicunaui acatl, 52 ; her temple a scaffolding of posts, 148. TlagopUliy noble prince, name of Xochipilli, 64, 98. Uac^matlf wall of the tennis-cqurt, 137. tlacht&nuda.catlj ring-shaped stone in the wall of the tennis- court, 138. tUuihtliy tennis-court, 137, 138 ; in the Vienna manuscript shown with the god naui olin, 154. J^adquani, the filth-eater, the female sinner, name of Tlagol- teotl, 148. tlcUchi UmcUiuhy the near-the-earth sun, figured with Xolotl, 69. TUUhuiccty a tribe, 40. TlcUli iyolloy heart of the earth, name of the Earth Groddess, 42. TUUoCy Rain God, his face of snake formation, 46 ; ninth of the nine lords, located in the South, 22, 23, 46, 47 ; ruler of the South, 189, 190, 193 ; in the changed list of guardians of the cardinal points faces Xolotl, 51 ; second member of the second series of guardians of the 4 x 5 Venus periods, 102 ; in various disguises indicates the yearly forecasts, 7 ; denotes the fertility of the years of (he East, 182 ; named by the date Chicunaui ocelotl, 51 ; denotes fiery rain, 135. Tlaloc-h%$A, bearer of the maize plant, 36. TlcUocany abode of the Rain God, in the East, 10, 12. tlcUocayotly east wind, 103. tlalpan ue%teUy skin drum, 127. TlaltecuUi, EEoth God, see chicome calli, see animal-headed god. Tlalxictenticay who forms the navel of the earth, the Fire God, 5. UanamictUixUiy sale into slavery, 39. UatlaUaqualixtHy the gods nourished with the victims' blood, 94. TlaUauhqui Tezcatlipocay the red Tezcatlipoca, appears for Xipe, 34, 203, 206 ; appears for the Sun God, 53 ; &ces the black Tezcatlipoca in the tennis-court, 69, 137, 138. tldiouaniy the speaker, the king, 79. tlauhquecholy the spoonbill (Platalea aj^ja) before the image of Tlaloc, 27. TlauizcalpanUcuUiy lord of the house of the dawn, deity of the planet Venus, of white colour, with stellar face-painting, 106, 107 ; painted with the hieroglyph of Venus on his face, 70, 94, 106, 200 ; his headdress, 200, 201 ; one of the Tzitzimimd, 55 ; the shooting god, 71, 107 ; with the Pulque God in the changed list of guardians of the cardinal points denotes the East, 70 ; one of the guardians of the 4x5 Venus periods, denotes the West, 106, 107 ; in colour and face-painting agrees with Mixcouatl, 111, 199 ; represented by the Bat God, 190, 197 ; represented by the eagle, 201, 203. Uequiauiily fiery rain, one 'of the four prehistoric ages, 135, 138. tlUatly black water, 190. TliUan, shrine of Chantico, 67. Tohaoco-calahash, see yetecomatl. Totwooo-powder, incense offering, 163. tocatly spider, figured with the first members of the changed list of lords of the cardinal points, 55, 60 ; symbol of the Tzitzimimd, 55, 56 ; denotes the downward direction, 133. Tocititlauy temple of Tla9olteotl, 42, 148. tochtliy rabbit, eighth day-sign, used for the cipher eight, 43 ; denotes the years of the South, 6 ; are famine years, 7 ; sign of the ei^h, 149 ; in the dragon's jaws represents the etathy 201, 202 ; in the image of the moon as ' Man in the Moon,' 151 ; in the image of the moon replaced by a stone knife, 174 ; name of the pulque gods, 72. Tollany primeval home of the tribes, 198. Tonacaduatly lady of food supplies, identified with Xochi- quetzal, 65 ; goddess of the West^ 124. Tonacatecutliy Tonacaduatly lords of food supplies, 62 ; lords of the middle, agree with the Itzamn^ of the Mayas, 30 ; lords of the east heaven, 183, 184. tonacayoUy food supplies, maize, 188. Tonalamatly calendar of 20 x 13 days, 20, 21 ; invented by Quetzalcouatl, 209 ; time of the visibility of the planet Venus as evening star, 74, 87 ; disposed in columns of five members forms the beginning of Codices Borgia, Vatican B, Bologna, 121 ; given with the deities of the four cardinal points, 171 ; sixfold division of, 183. tonalli, day-sign, determines the fitness of things, 205. UmallOy emblem, four balls or four beads on the flag and shield of Macuilxochitl and IxtUlton, 98, 117 ; with Xochipilli, 98. Tanatit^y Sun God, his image beside the moon and morning star, 151 ; third of the nine lords, denoting the East, 22, 23, 34, 35 ; lord of the East, 173 ; second^member of the third series of the 4x5 guardians of the Venus periods, 102 ; first of the six celestial wanderers, 151 ; denotes the 226 Index. upper region, 143 ; appears for the Fire God, the lord of the middle, 25. Tonatiuh ichan^ house of the sun = East, 6 ; one of the four entrances into the earth, ihe paradise of the South, 12. tonatiuh iixco yauh, he who goes before the face of the sun, the soul of the dead warrior, 119. TMigUM, little, before the mouth, denote discourse and rule, sway, 179. Totonacuy tribe, their dance, 130. Toxcatiy fifth annual feast of the Mexicans, held when the sun is at the zenith, feast of Tezcatlipoca, 6, 131. TozpnUj one of the three priests of the Fire God, 67 (note). TluTeUerB, their marks, 136. TrayeUinff-paoks, of the wandering gods, 154, 157. Treei, symbol of the cardinal points, 8-14. tv4yumbalam (Qu'ich^), a species of the jaguar, 197. TuUafij see Tollan. tun (Maya), stone, hieroglyph, 140. Turkey, see uexolotl ; see chalchiuhtotolin. Twenty, numeral, its hieroglyph in the Maya manuscripts, 166. Twenty ffoda, special series in Codex Borgia, 155, 159. Twins, the god of, see Xolotl. Twins at a birtb, something unnatural, 156. Twins, pair of, of priests and wizards, sons of the primeval divine pair, 163. Two axTOw-Bliafts, in the Fire God's fillet, 32, 50. Two-coloored ffcce-iwlnttng, with Xolotl, 51, 122, 155 ; with Cipactonal, deity of the East, 100 ; with Quetzalcouatl, 105 ; with the pulque gods, 23, 186 ; with. Tezcatlipoca, god of the North, 6, 33, 174. Two-ooloured god, half blue half red, see Xolotl ; see Uitz- nauatl ; half black half white, see Chictlapanqui Tezcatli- poca ; half red half jaguar-skin colour, Macuil xochitl, 125, 127, 128. rwo featber-bnnclieB, on the head, mark of Xochiquetzal, 64. rwo-headed deer, fallen from heaven, god of Cuitlauac, 162 ; on the wall-paintings of Mitla, 162, 163. txapoeueitl, Xipe's coat of Zapote leaves, 108. Vzi (Qu'ich6), root of * dog' and *to bite,' 77. Tzitzimimiy stellar deities, demons of darkness, denote the West, 7 ; symbolised by the spider, 56, 133 ; their heaven, 112. fcrittocfW, thorny tree, 60. tzoTuoztliy the yellow-haired, the Fire God, 137. u (Maya), moon, 166. Uac mitun ahau (Maya), lord of the six hells, ruler of the years of the South, 141. u ctich haab (Maya), bearers of the years, hieroglyph, 141, 142. uei tediUhuitl, great feast of the lords, eighth annual feast, feast of XochipiUi, 64 ; symbolised by dancers, 127, 128. Ueuecoyotl, the old coyote, god of music and feasts, 65. UeueteoUy the old god, name of the Fire God, 62, 159. tiexolotly turkey, in the cloud-house of the sky, 15 ; with Iztac Mixcouatl, 61 ; image of TezcatHpoca, 77, 81. uieoUiy handle of a vessel, see yacauicoUi. uictliy agricultural implement, coa, 138, 181. ainal (Maya), period of twenty days, 166. Uitxilopoehtli, tribal god of the Mexicans, akin to Tezcatli- poca, god of the South, 131, 132 ; overcomes the Centzon Uitznaua, 112; chief feast of Panquetzaliztli, 112, 132. uUzitziliny humming-bird, on the tree of the West, 8, 12 ; with the celestial wanderers of the South, 158, 159. uitzitzUqiuitiitl, tree of the West^ 8. Uitznauoy see Centzon Uitznaua. uitznauaey at the thorns = South, 7. uitsmaiiocatZ = Tezcatlipoca, 119. Uitznauae teot/ = Tezcatlipoca, 119 ; = Macuil xochitl, 129. UttssnatUK yaoUy the warrior in the South house = Tezcatlipoca, 6, 119 ; appears for Macuil xochitl as fifth member of the third series of the guardians of the 4x5 Venus periods, 119. UitznaucUly God of the South ; figured as a naked god with- out loin-cloth, 113 ; fifth member of the second series of the 4x5 guardians of the Venus periods, 111-113. uitztlampa, region of the place of thorns = South, 7. uitztlan, place of thorns. South, 7. uitztliy thorn, agave-leaf spike, implement of mortification, 106, 143, 154, 188, 196, 197. Ulmeeatly see olmecatl. UluapaUy mountain lake in San Salvador, 112. Underworld, lords of the, see Mictlantecutli, Mictecaciuatl. Unspun cotton, headband and ear-plug of Tlagolteotl, 41, 42, 78. Uotan (Tzeltal) = Tepeyollotli, 43. Upper region, symbolised by Iztac Mixcouatl, 61, 62 ; by Tezcatlipoca, 130, 132 ; by the Sun God, 14, 31 ; by XochipiUi, 191. Uuayeyab (Maya), ceremonies on the last five days of the year, 19. Uuc ekel ahau (Maya), lord of the seven blacks, deity of the West, hieroglyph on the altar-piece of Palenque, 19. Venus, planet figured beside the sun and moon, 151 ; venerated by the people of Tehuacan, Cozcatlan, Teotitlan del camino, 87, 94 ; its hieroglyph on the face of Tlauizcalpan tecutli, 70, 71, 94, 106, 200; on the celestial shields of the Maya documents, 168, 169 ; on the forehead of the monster's head on the altar-piece of the Cross-temple ii. at Palenque, 19 ; on the stele 4 at Mench4 Tinamit, 170-172 ; its deity, see Tlauizcalpan tecutli, Ce acatl, Chicome acatl ; symbolised by Xolotl, 164 ; its deity in its four forms, 195-203. Venus period, in the Dresden manuscript, 88 ; in the Codex Borgia group of manuscripts, 88-90 ; its 4 x 5 guardians, 87-121. Vienna, pictorial manuscript of Zapotec origin, 147. Wandering gods, 136, 137, 152, 164 ; indication of the stars, 164. War, symbol of, on the tree of the East, 9 ; at the threshold of the Fire God's temple, 33 ; with Mixcouatl, Uitznauatl, 113 ; worn by Tla^olteotl on her pack, 152 ; on the travelling-pack of the fourth of the six celestial wanderers, 157 ; metaphoric meaning, see atl tlachinolli. War Ctod, in the years of the North, 182. Warrlort* deatli, represented by Tlauizcalpantecutli, 107. Warriors* ftmeral ornament, 119. WarrioTB' headdress, with Tezcatlipoca and Uitzilopochtli, 130 ; with Tonatiuh, 34. Water deity, of the Mayas, see Ah bolon tz'acab. Water Goddess, of the Mexicans, see Chalchiuhtlicue. Werewolf, 207. West, region of the setting, the dying sun, 6 ; where the sun is devoured, 195 ; region of the women, abode of the Ciuateteo, 8.3, 148, 207; its temple and its deity, 176, Index. 227 177 ; tree of the, 11, 12 ; represented by the maize deities, 176, 187-189 ; represented by Xochipilli and the evening star, 199, 200 ; years of the, indicated by calli, 7 ; suffers from superabundant water, 7, 181. White, and white with red stripes, denotes twilight, 199 ; colour of Tlauizcalpan tecutii and Mixcouatl, 71, 111 ; of the Ciuateted, 115 ; of Tlagolteotl, 41, 42. Wbite-bearded god, see Iztac Mixcouatl Wliite olood-make, see Iztac Mixcouatl. Willie flMLtlierB, mark of Iztac Mixcouatl and of Ilancueyd, 62, 159, 160. Wliite flower =Teteo innan, 42. Wind, of the nine snakes and of the nine caves, twin sons of the primeval divine couple, 163. Winged insect, with the first members of the changed list of guardians of the cardinal points, 55, 60. WitOhcraft^ gods skilled in, 77, 81. Wiiards, bom under the sign ce eecatl, 206, 207 ; their chief sign chicunaui itzcuintli, 62, 206 ; god of the, see Tez- catlipoca, see Ce miquiztli ; the changed lists of guardians of the cardinal points prepared for their use, 54, 55. Wliardi* Codex, the night side of the manuscript, 209. Wiiards, rogue, see temacpalitotique. Woodman*8 axe^ badge of the inmates of the telpochcalli, 48 ; on the shoulder of Tzoncoztli, 137. Woxld, the five regions of the, their guardians, 5-31 ; = the nine lords of night, 22 ; in Codex Cortes, 28-30 ; changed list of, 49-75. Worm, figured with Tla^olteotl and the Moon Goddess, 56. xalHj sand, its hieroglyphic representation, 130. zaman (Maya), North, its hieroglyph, 31. Xdhua, ancestor of the people of Tehuacan, Cozcatlan, Teo- titlan del camino, 86, 161. Xicalancatlj ancestor of the Atlantic coast tribes, 161. xicalcoliukquij pattern on the jug of the water gods, 189. Xicollij priest's vestment, 136. Xipe Totec, oiw lord the flayed, the god clothed in a human skin, 93 ; lord of the fifteenth day and of the fourteenth week, figured with the feather-snake, 201, 202 ; lord of the coastlands, 202 ; one of the guardians of the 4x5 Venus periods, 108, 109 ; related to Tla^olteotl, 41 ; repre- sented by the red Tezcatlipoca, 34, 206 ; in the Vienna manuscript indicated as chicome quiauitl, 146. xiuhcouaU, tlie blue snake, the disguise of the Fire God, on the Palenque cross, 19 ; amongst the signs of the celestial shields, 170, 171. Xiuhtecutli, the Fire God, first of the nine lords of the night, denotes the middle, 5, 22, 32, 33 ; in the changed list of the guardians of the cardinal points, facing Ce acatl, denotes the middle, 50 ; wears the tobacco-calabash of the priests, 176 ; indicated by the date ce tochtli, 50 ; indi- cated by the date yei itzcuintli, 67. xiuktotoamacalli^ the Fire God's tiara of cotinga feathers, 5,50. x%uhtotoec€tceuazUiy fiEin of cotinga feathers, with Xolotl, 155. xiuktototly the cotinga-bird, the blue cotinga, on the frontal band of the Fire God, 32. XochiccUeOf pyramid in the territory of the Tlalhuica, 40. xochilhuitly the flower feast, Xochipilli's feast, 63. Xochipilli, flower prince, god of flowers and food supplies, with the butterfly's figure about his mouth, god of Teo- titlan del camino, 98 ; in songs invoked as Cinteotl, 99, 100 ; appears in the disguise of Coxcoxtli, 98, 115 ; god in bird-form comparable to the Kinich Kakmd, 191 ; god of the Uei tecuilhuitl, 115 ; god of the xochilhuitl, 63 ; first member of the third series of guardians of the 4x5 Venus periods, 97, 98 ; in Codex Fej^rviry and Vatican B first member of the second series of the guardians of the 4x5 Venus periods, appearing for Xochiquetzal, 95, 96 ; with elements of the Sun God's face-painting, fifth member of the first series of the guardians of the 4x5 Venus periods, 109 ; appears for the Sun God, 23 ; in the Sun God's temple of the East, 173 ; lord of the East heaven, 184 ; in the temple of the Maize Goddess, of the West, 177 ; god of the West, 124 ; appears as third form of the deity of the planet Venus, 199, 200 ; jointly with Xochi- quetzal, in the changed list of guardians of the cardinal points, denotes the South, 63 ; lord of the South, 139 ; in the years of the South, 181 ; as XochiquetzaPs counterpart represents the upper region, 190, 191. Xoehiqtteizal, goddess of fiowers and of female artistic skill, 65 ; lady of the day-sign Xochitl, * Flower,' 120 ; identi- fied with Tonacaciuatl, 65 ; one of the Tzitzimim6, 55 ; patroness of the courtesans, 65 ; goddess skilled in magic, 77 ; in Codex Borgia first member of the second series of guardians of the 4x5 Venus periods, 96 ; fifth member of the fourth series of guardians of the 4x5 Venus periods, 120 ; facing Xochipilli, in the changed list of the guardians of the cardinal points, denotes the South, 64 ; as counter- part to Xochipilli represents the lower region, 190, 191 ; in Codex Laud indicated with the date chicuei ma^tl, 81. xochiU, flower, twentieth day-sign, represented by the gods ^ Xochipilli and Xochiquetzal, 64, 65, 120. xochiUalpan^ land of flowers— South, 66. Xochitlan, city on the Pacific coast plain, 43. xochitl icacan, where the flowers stand upright ^Tamoanchan, 123, 124. Xolotl, god of ball-playing, of twins and monstrosities, ruler of the day-sign olin, 156 ; named with the date, ce olin, 51 ; named with the date chicunaui couatl, 68 ; figured as hah* blue half red god and with Quetzalcouatl's dis- tinctive dress-mark, 51, 154, 155 ; with dog's head and Quetzalcouatl's distinctive dress-mark, 122 ; with crippled limbs and Macuil xochitl's &ce-painting, as god of mon- strosities, 156 ; god of the East, 122 ; jointly with Tlaloc, in the changed list of guardians of the cardinal points, denotes the South, 51 ; jointly with the Maize Goddess figured in the North, 68 ; third of the six celestial wanderers, 154-156 ; image of the morning and evening star, 164 ; on a crossway, appears for Iztac Mixcouatl, 164. ycLcametxtli, half-moon-shaped nasal plate, Huaxtec ornament, ornament of Tlagolteotl and the pulque gods, 41, 78, 186, 187 ; worn by Mayauel, 99 ; worn by Tezcatlipoca, god of the North, 174 ; made of bone on the image of the moon, 103, 151, 174. yacauicoUiy nasal handle, large hole in the nasal septum with theHuaxtecs, 113, 114. yaccunuitl, blue plug in the nasal septum, ornament of the tonatiuh iixco yauh, 118, 119. Ycuymauitl, the dreaded warrior, name of Tezcatlipoca, 61. y<wmiquiztli, death in war, 78, 82 ; figured with the Water Goddess, 39. 228 Index. YaoU, the warrior, name of Tezcatlipoca, 61. yax (Maya), blue, green, hieroglyph, 20. 'Yaacchilan=MeiicU Tinamit, 170-172. 1/ayan^ui Teaxailipoca^ the black Tezcatlipoca, figured as wizard, 205 ; appears for the Stone Knife Grod, 33, 53 ; indicated with the date Ome acatl, 53 ; &cing the red Tezcatlipoca in the ball-court, 69, 137, 138. Tear, length of, fourth of a day too short with the Mexicans, 135 ; corrected by intercalating ten days at end of forty- two years, 179. Tears, their symbol in the Zapotec-Mixtec manuscripts, 481 ; the four different, and their relations to the cardinal points, 7, 179, 182 ; different denotation in Codex Porfirio Diaz, 181 ; the four different, and their gods in the Dresden Maya manuscript, 140-142. yei cuetzpalin, 3 lizard, name of Chantico, 67. yet itzeuintliy 3 Bog, name of the Fire God, 67. Teilow, colour of the women and the dead, 192 ; of the Fire God, 32 ; of the Maize God, 36, 36, 176, 177, 187 ; of the Death God, 37. T«llow-fkoe, name of the Fire God, see IxcoQauhqui. Tellow feathers, in Tlagolteotl'e headdress, 42. TeUow flower =Teteo innan, 42 ; see cempoualxochitl. T«llow-liaired, name of the Fire God, see TzonooztlL T«llow longitadinal stripes, on white ground, a variant of white bodily painting, 41. ydecomaiXy tobacco-calabash, mark of the priests, 62, 123; worn by the Fire Grod, 176 ; worn by Iztac Mixcouatl, 159, 160 ; worn by ome itzcuintli, the old god of the Vienna manuscript, 160, 161 ; in the temple of the maize deity of the West, 176; homologue of the oceloyataztli and emblem of abundant food supplies, 176, 185. yollotopUlij the staff with the heart, mark of Xochipilli, 64. yopitzonilij Xipe's peaked cap, his nasal ornament of same shape, 108. Toualtetecvhtvn, guardian of the night, 48. Zapotec vessels, 147. Zapote-leaf girdle, Xipe's, 108. Zenith, denoted by Iztac Mixcouatl, 165 ; on the celestial shields of the Maya documents, 166-168. Zenith, sun at the, feast of Toxcatl, 6, 131. Zipacna (Qu'ich^), see Cipacna. PRINTED BT T. AND A. CONSTABLE, (LATE) PRINTERS TO HER MAJESTT AT THE EDINBURGH UNIVERSITY PRESS i i I \ i r S \ I

Codex Fejérváry-Mayer : an old Mexican picture manuscript in the Liverpool Free Public Museums (12014/M)

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