He is also a travelling god, for the shadows cast by the clouds seem to travel quickly over plain and mountain. As the monstrous dwarf, too, he symbolized the palace-slave, the deformed jester who catered for the amusement of the great, and this probably accounts for the symbol of the white hand outspread on his face, which he has in common with Xochipilli and the other gods of pleasure. He bears a suspicious resemblance to the mandrake spirits of Europe and Asia, both as regards his duality, his loud lamentation when as a double-rooted plant he was discovered and pulled up by the roots, and his symbol, which may be a reminiscence of the mandrake. IXTLILTON = “THE LITTLE BLACK FACE” Minor Name: Tlaltetecuin = “He who strikes the Earth.” Area of Worship: Mexican Valley. Relationship: Brother of Macuilxochitl. Symbol: The toualli, the four balls or beads, seen in the Sahagun MS. and in the Codex Magliabecchiano (sheet 63) as a shield-device. Calendar Place: Day ome tochtli. Compass Direction: South. ASPECT AND INSIGNIA Codex Fejérváry-Mayer.—Sheet 24: Here the god is represented opposite Macuilxochitl. He wears on his head a white-fringed cloth, such as is worn by Tezcatlipocâ, having on the top a bunch of downy feathers with a crest of four plumes ending in white tips. He has a collar made of vertebræ or animals’ claws, and on the upper arm a ring, furnished on one of its sides with a projection tapering to a point. The body is white and the face is painted black and white round the mouth. Seler in his Commentary on this MS. (p. 127) thinks that the white ball or disk covered with a radial design, and held by the god in his right hand, is perhaps a symbol for ilhuitl (“day,” “feast”), and should be compared with the parti-coloured, whorl-like disk which the dancer in Codex Telleriano-Remensis (sheet L, verso 1) holds in his hand, and which represents the sign of the eighth annual feast, the ueitecuilhuitl. The crest worn by him, which is composed of black feathers, is the crest embellished with quetzal-feathers and stone knives, as in the Sahagun MS. and the Codex Magliabecchiano. Codex Borgia.—Sheet 62: In this representation he faces the goddess Xochiquetzal. He wears the face- and body-paint of a priest, with a white angular patch about the mouth, sprinkled with ulli gum. His crest is similar to that described above. The breast-ring seems to be imbedded in a motif bearing a resemblance to the tlachinalli fire-and-water symbol, and its significance in this place is hard to define. From the wrists droop elaborate feather ornaments, depending from a bracelet of stone knives. We seem to see the Dance-god in this place in his ceremonial condition, as the ruler of the dance which preceded human sacrifice. Sheet 64 shows him similarly attired, but without the priest’s body-paint. He seems about to enter the dance-house of the warriors, and a courtesan bears him company.