Codex Borbonicus.—Sheet 4: Here he is shown opposite Ueuecoytl, the coyote god, engaged in the motions of the dance. Perhaps this position is more eloquent of motion than any other in the Mexican MSS. In this place he appears to be almost identified with Macuilxochitl (q.v.), to whose statuettes in the Museo Nacional de Mexico, the figure bears a strong resemblance. Sahagun MS.—The face-paint is black and the god wears a feather comb set with flint knives. He has a collar of animal claws, most of which are those of the jaguar, and on his back he wears a wing-fan with the sun-banner fixed on it. Round his shoulders is a paper with the sun-signs painted on it. His feet are ornamented with bells and shells, and he wears “sun-sandals.” On his arm he carries a solar shield and in his hand he bears a staff with a heart. NATURE AND STATUS Practically all that is known regarding this god is recounted by Sahagun, who says of him: “They made to this god an oratory of painted planks, a sort of tabernacle, in which his image was placed. He had in this oratory many jars full of water, and covered with plates, and this water was called tilatl, or black water. When an infant fell ill they took it to the temple of Ixtlilton and opened one of these jars, made him drink it, and the malady left him. If one wished to give a feast to the god he took his image home. This was neither painted nor sculptured, but was a priest who wore the ornaments of the god. During the passage he was censed with copal. Arrived at the house, he was met with singers and dancers, which dancing is different in a manner from ours. “I speak of that which we call areyto, and which they call maceualiztli. They assembled in great numbers, two and two or three and three, and formed a circle. They carried flowers in the hand, and were decorated with plumage. They made at the same time a uniform movement with their bodies, also with their feet and hands, in perfect combination and very worthy to be seen. All their movements accorded with the music of the drums. They accompanied the instruments with their sonorous voices, singing in accord the praises of the god to whom they made the festival. They adapted their movements to the nature of their songs, for their dances and their intonation varied considerably.