Further on, it will be shown that the earliest form under which the Deity was revered was that of fire and the foregoing description fully explains why it was first chosen as the most fitting image of the central immovable star. It has already been shown that, in the popular game of “the flyers,” a high pole surmounted by one man served as the pivot for the circumvolation of the four performers, who “acted” the “flight of time.” The idea of an extended rule, proceeding from a central dual force, was, however, carried out on a grand scale in the most solemn of all public dances named the Mitotiliztli. Duran (II, p. 85) states that as many as “8,600 persons danced in a wheel in the courtyard of the Great Temple, which had four doorways, facing the cardinal points and opening out on to the four principal high roads leading to the capital. The doorways were respectively named after the four principal gods and were spoken of as ‘the doorway of such and such a god.’ ” Clavigero, to whose work (Historia, ed. Mora, Mexico, 1844, p. 234) I refer the reader for further details, describes the dances at the time of the Conquest as having been most beautiful, and relates that the natives were exercised in these, from their childhood, by the priests. This authority also relates that the Mitotiliztli was performed by hundreds of dancers at certain solemn festivals, in the great central square of the city or in the courtyard of the temple, and gives the following description: The centre of the space was occupied by two individuals (designated elsewhere as high priests) who beat measure on sacred drums of two kinds. One, the large huehuetl, emitted an extremely loud, deep tone, which could be heard for miles and was usually employed in the temples as a means of summoning to worship, etc. The second, the teponaztle, was a small portable wooden drum which was usually worn suspended from the neck by the leader in warfare and emitted the shrill piercing note he employed as a signal. The chieftains (each of which personified a god) surrounded the two musicians, forming several concentric circles, close to each other. At a certain distance from the outer one of these, the persons of an inferior class were placed in circles and these were separated by another interval of space, from the outermost circles, composed of young men and boys. The illustration given by Clavigero records the order and disposition of this sacred dance, which represented a kind of wheel, the centre of which was occupied by the instruments and their players. The spokes of the wheel were as many as there were chieftains in the innermost circle. All moved in a circle while dancing and strictly adhered to their respective positions. Those who were nearest the centre, the chieftains and elders, moved slowly, with gravity, having a smaller circle to perform. The dancers forming the outer circles were, however, forced to move with