(6) They represent the sign cipactli, the animal from which the earth was made.
(7) They are gods of the Omeyocan, the highest or thirteenth heaven, which fact further illustrates their supreme character.
CONCLUSIONS
From these facts we may be justified in concluding:
(1) That in the most early times Tonacatecutli and his consort typified the father-sky and mother-earth respectively, but that this aspect of them had been forgotten and they came to have a purely abstract creative significance for both priests and people. That Tonacaciuatl originally represented the earth there is no doubt, and her identification with Xochiquetzal and Chicomecoatl alone would show this to be so. Again, the association with the sign cipactli proves the connection of one of the divine pair with the earth, and from what has been said regarding this sign in the introduction, and by the constant association of goddesses in the Mexican mind with the terrestrial sphere, it is plain that Tonacatecutli, her male counterpart, is not likely to have represented it in early times. The suggestion that he symbolizes the sky is perhaps assisted by the nature of his abode, the uppermost heaven, and from his close identification with Citlallatonac, the god of the night heaven, who was supposed to represent the Milky Way.
(2) That in later times the early concepts of these divinities became fused almost into one, and that in some measure they had come to be regarded as androgynous. This view may be traversed by the circumstance that they are frequently represented separately, but on the other hand their names appear as one in the form Tonacatecutli-Tonacaciuatl in many passages. The same may be posited of their counterparts in the Quiche Popol Vuh, Xpiyacoc and Xmucane.6