as a disguise (cf. Codex Borbonicus). He has here the scorpion and atltlachinolli “spear-throwing and fire” sign, and is seated on a royal throne, with an abundance of food before him, which probably symbolizes wealth. He also wears a breast-ornament of blue turquoise mosaic with golden bells. He sometimes wears the priest’s tobacco-calabash as a sign of wealth or abundance.
Aubin-Goupil Tonalamatl.—Sheet 20: He holds the copal bag in one hand and in the other two agave-leaf spikes with flowers (blood) at the upper end. Before the face of the Fire-god we see a sea-snail’s shell, which is, perhaps, symbolic of fire shut up or enclosed in the house. Before him, too, is a vessel with offerings or sacrificial balls. Below is an agave spike with the flower-emblem of blood. Beside it are the symbol of midnight, the eye enveloped in darkness, and a tuft of quetzal-feathers—all symbolic of the midnight penance.
Codex Borgia.—Sheet 14: In this codex the representation of the Fire-god is in many respects similar to that in Vaticanus B. The face and body-paint are red. The jewelled fillet is ornamented with the conventional representation of a cotinga bird in the attitude of flying down such as may be observed in the figures allied with the Fire-god, and which is also seen in reliefs at Chichen-Itzà, Yucatan. In the fillet are placed two arrow-shafts, which represent the two wooden fire-disks—an ornament that is called “arrow-wig”