Diego Muñoz Camargo, in his Historia de Tlaxcala, equates Xochiquetzal with Venus and states that: “She dwells above the nine heavens in a very pleasant and delectable place, accompanied and guarded by many people and waited on by other women of the rank of goddesses, where are many delights of fountains, brooks, flower-gardens, and without her wanting for anything, and that where she sojourned she was guarded and sheltered from the gaze of the people, and that in her retinue she had a great many dwarfs and hunchbacks, jesters, and buffoons, who entertained her with music and dancing and whom she sent as her confidants and messengers to the other gods, and that their chief occupation was the spinning and weaving of sumptuous artistic fabrics, and that they were painted so beautifully and elegantly that nothing finer could be found amongst mortals. But the place where she dwelt was called Tamohuanichan Xochitl ihcacan, Chicuhnauh-nepaniuhcan, Itzehecaya, that is, ‘the house of the descent or of birth, the place where are the flowers, the ninefold enchained, the place of the fresh, cool winds.’ And every year she was honoured with a great feast, to which many people from all parts were gathered in her temple.” He continues: “They say that she had formerly been the spouse of the Rain-god, Tlaloc, but that Tezcatlipocâ had abducted her, and brought her to the nine heavens, and made her the goddess of love. And then there was another goddess, Matlalcuêyê, the goddess to whom were attributed witchcraft and soothsaying. Her Tlaloc had made his consort after Tezcatlipocâ had carried off his wife Xochiquetzal.” [206]