We deem it of interest to give some notes concerning the famous cylindrical stone, both sculptured and painted, known by the name _Teocuauhxicalli_ (the sacred drinking vase of the eagles) on which are found the themes of all the designs which have been above described. This stone, buried at the time of the Spanish Conquest, was discovered in the first half of this century at the close of a series of excavations made in the soil of the Place d’Armes, Mexico. The director of the national museum, who was then M. Rafael Gondra, contented himself with taking the dimensions and making a hurried sketch of it. It was then reinterred, as the necessary funds were lacking to exhume it entirely and transport it to the museum. The name Teocuauhxicalli is composed of: _Teotl_, god; _cuauhili_, eagle, and _xicalli_, hemispherical vase formed from the half of a gourd. It may be translated by, “The vase of god and the eagles,” or, rather, “The sacred drinking cup of the eagles.” “The Mexican monarch Axayacatl, jealous of his predecessor Motecuhzoma I, took down the Teocuauhxicalli which was in the upper part of the Great Temple of Mexico, and replaced it by another, sculptured by his order;” so says the eminent Mexican archæologist and historian, Don Manuel Orozco y Berra, in his excellent work, Historia Antigua y de la Conquesta de Mexico (t. III, p. 348). This monument was also dedicated to the god of war, Huitzilopochtli. According to Duran and Tezozomoc, those stones on which gods were represented were designated by the name Teocuauhxicalli; i. e., divine cuauhxicalli. They belonged to the class of painted stones, for they were covered with several colors. Orozco y Berra adds the following: “It is evident that the figures sculptured and painted do not represent armed warriors preparing for combat. On the contrary, we see that they represent gods. Among them is found Huitzilopochtli (god of war) with his arms and attributes, having before him another deity or high priest who holds in his hands the emblems of the holocaust. “The figures of the upper part are not fighting and could not have known how to fight, if we judge by their positions; the chest is turned back, the face raised toward the sky, in which appears an object which resembles the astronomical sign _cipactli_.