Sahagun describes her as follows in the Biblioteca del Palacio MS.: “The face is yellow, with a red pattern superimposed. She wears a collar of green precious stones, and a crown of paper adorned with a quetzal-feather. The tunic and skirt are painted with water lines, and she wears shells. Her sandals represent the foam of water. On her shield is painted the emblem of a water flower, and she carries the “mist rattle-staff.” Statuettes of Chalchihuitlicue are fairly common. One found in the Valley of Mexico agrees to some extent with her appearance in the Aubin tonalamatl, but not with that in Codex Borgia. She wears the tasselled shawl and the chalchihuitl emblem adorns her dress. Two other stone figures of her in the Uhde collection at Berlin and one in the Christy collection at London are eloquent of her insignia. In all of these she wears the tasselled shawl, and in the Christy example and one of the Uhde figures the large back-bow is well exemplified, as are the two plaits of hair descending at the back. In the other Uhde specimen the plates are shown as part of a knot of the cotton headdress, which is in all cases fringed with balls. In all three figures large, full bands of some material descend over the ear. A stone figure of her, found at the Castillo de Teayo in Vera Cruz and now in the National Museum at Mexico, depicts her with a square headdress, from which radiate what are evidently the feathers of aquatic birds. She wears the V-shaped shawl or tippet and a skirt, on each side of which the chalchihuitl emblem is shown and which is fringed with shells. Teobert Maler reproduces another stone figure of her wearing a high headdress of feathers and a necklace and wristlets of chalchihuitls. MYTHS The interpreter of the Codex Telleriano-Remensis states that “Chalchiuhtli, who presided over these thirteen days, saved herself in the deluge. She is a woman who remained after the deluge. Her name signifies the ‘Woman who wears a dress adorned with precious stones.’ They here fasted four days till death. They paint her holding in one hand a spinning-wheel, and in the other a wooden instrument, with which they weave; and in order to show that of the sons which women bring forth some are slaves and others die in war, and others in poverty, they paint her with a stream as if carrying them away, so that whether rich or poor all were finally doomed.” The interpreter of Codex Vaticanus A says that she is the same as the virgin Chimalman, who was the mother of Quetzalcoatl. The myth to which this passage alludes is dealt with in the section relating to Quetzalcoatl. Sahagun (bk. i, c. ii) calls the goddess the sister of the Tlaloquê. FESTIVALS