Face-mask.—When Cortéz landed at Vera Cruz, the messengers of Motecuhzoma tendered him, along with other presents, “the ornaments or finery with which Tezcatlipocâ was decorated.” The mask belonging to this costume is still in existence, and is to be seen in the room devoted to American antiquities in the British Museum. It consists of a human skull encrusted with mosaic in alternate bands of black and green, the nasal cavity being set with a red stone and the eyes with pyrites ringed with white. Statuette.—A statuette of Tezcatlipocâ from the Valley of Mexico, and now in the Uhde collection, shows the god as nude, with the exception of a loin-cloth and a flat headdress, rising in the middle. Tezcatlipocâ in His Black and Red Forms.—Tezcatlipocâ was regarded by the Mexican people as possessing two definite forms, the Black and the Red. In this paragraph we will deal only with the insignia of these and not with their mythological significance, which we will attempt to explain in its proper place. Perhaps the best and most classical examples of these forms we possess are to be observed on sheet 21 of Codex Borgia, on both halves of which we see the two forms represented as parallel figures, closely resembling one another in nearly every detail. It should at once be stated that the Red Tezcatlipocâ is merely a variant of Xipe, and indeed in one place in Codex Vaticanus B we observe that his loin-cloth forks in the swallow-tail fashion noticeable in the loin-cloth of that god, and, generally speaking, the red colours he wears are those of the roseate spoon-bill, the feathers of which are typical of Xipe’s dress. These pictures in the Codex Borgia are supplemented by two on sheets 85 and 86 of Vaticanus B, where the swallow-tail ends of the loin-cloth and the nasal rod show distinctly that the Red Tezcatlipocâ is only a form of Xipe. The Black Tezcatlipocâ opposite him is, however, represented with the striped body-paint of Tlauizcalpantecutli, the arms being entirely black. In the Borgia paintings the Black Tezcatlipocâ wears the black body-paint of the priest, his face-paint is alternately black and yellow, he has the warrior’s tousled hair, the nasal rod with the square plaque falling over the mouth, the forked heron-feather adornment in his hair, and on his temple the smoking mirror. The foot, too, is torn off and replaced by a smoking mirror—all symbolical of the “standard” character of the god’s sable form. The Red Tezcatlipocâ represented in the upper portion of Borgia (sheet 21) has a yellow face-painting striped with horizontal bands of red and his body-paint is red. On the red bands crossing the face is seen the stellar eye. A brown fillet encircles a red headdress, and the torn-off foot is also replaced by the smoking mirror. On his back is seen the bundle of the merchant, surmounted by the arara bird, two symbols which indicate his southern character. The representation of the Red Tezcatlipocâ in the lower portion of sheet 21