first, a dead man’s skull, which, however, is portrayed in its natural colour and has no face-paint. The owl-mask of the second figure and the skull-mask of the fifth show that they represent the sequence of five periods of the planet Venus, five time-counts based on its period of visibility, and that, moreover, these figures are to be referred respectively to the compass directions, east, north, west, south, below. The Codex Fejérváry figure differs from the other representations, the face being painted white with yellow stripes, like the rest of the body and limbs. But that this figure is in reality identical with those of the other manuscripts is proved by the quincunx of white spots disposed in the same manner as in the Codex Vaticanus B figure, by the three curly locks on the brow, and by the star-like eye worn by the god on his breast. In Codex Borgia are shown a sacrificial cord and two small paper flags. In Codex Fejérváry we see a shield with feather appendage, and one paper flag, which is evidently intended to appear in the ritual of the death by sacrifice. Tlauizcalpantecutli was for the Mexicans an indication of the warrior’s death, that is, sacrificial death. In Codex Telleriano-Remensis the hair is plastered with white downy feathers, and round the neck is slung the aztemacatl, the heron-feather cord, the whole indicating the insignia of the victim about to be sacrificed after ceremonial combat. He wears a skull as helmet-mask in this MS. In the Aubin-Goupil tonalamatl Tlauizcalpantecutli wears a rod-shaped nose-plug and the blue breast-plate of the Fire-god. NATURE AND STATUS