It is important to find the scorpion figured as one of several symbols of Mictlantecuhtli, the lord of the North, in his sculptured effigy preserved at the National Museum of Mexico (fig. 19). It is more significant that the verb coloa, besides meaning “to bend over or twist something,” also expressed the action “of describing or performing a circle by walking around something.” Now this is precisely what Tezcatlipoca (the Ursa Major) is represented as doing on page 77 of the B.N. manuscript, since he figures there, surrounded by a circle of footsteps. I could but note that this fact showed that the name of Colotl, applied to the constellation, was not incompatible with its identification with Tezcatlipoca. Once my attention had been drawn to the action of walking, performed by this god, I naturally considered, with fresh interest, the peculiar fact that he is usually represented with one foot only. The circumstances under which he had been deprived of this member are set forth in several of the Codices wherein we see that, after he “descended to the water,” he had an encounter with an alligator, who had viciously bitten off his foot and carried it away. (See Féjérvary Codex, pp. 3 and 74. Vatican, II, p. 74.) Pictures representing Tezcatlipoca, after this event, display the broken end of the tibia exposed and the transverse section of the bone forming a ring, usually painted either white or red. Special pains seem to have been taken to accentuate the hollowness of the bone ring, since its centre is usually painted blue, the symbolical color of air, and conventionalized puffs of breath or air are shown as issuing from it (fig. 1). In some cases, as on the sculptured monolith called “the Stone of Tizoc,” these symbols of breath, issuing from the broken tibia, are figured in such a way that modern writers, ignoring what they were meant to represent, were led to identify them as some animal’s tail attached to the foot of the deity. The hollow circle and puffs of air, constantly associated with the god, frequently figure as his ear ornament when his broken tibia is concealed (fig. 2, no. 3). Besides certain fanciful interpretations which have been given to this symbol, it has been explained as being a hieroglyph conveying the name Tezcatlipoca, and consisting of an obsidian mirror=tezcatl, and smoke=poctli. A possible objection to this assertion might be that in Mexican pictography, the mirror is invariably represented as jet-black, in a white or red frame. In the Codex Telleriano Remensis, a combination of symbols (of water, fire and a serpent) are figured as issuing from the base of the bone (fig. 1, nos. 5, 6). Having taken particular pains to collect all representations of the footless god, I was specially interested in one (Féjérvary, p. 1) in which he is figured as standing on the cross-shaped symbol ollin, the accepted meaning of which is Four Movements. The most remarkable and puzzling picture I found, however, is that (fig. 1, no.