black stone, of crystal, and of amber, and of other white (stones). They also attribute to these gods the working of beads, anklets, strings of pearls which they carried on their wrists, and all kinds of work in stones and chalchihuites, and the hollowing-out and polishing of all the stones; they said that these gods had invented it, and for this reason they were honored as gods, and to them the elder artisans of this craft and all the other lapidaries made a festival. By night they intoned their hymns and set the captives who were to die, on watch in their honor, and they did not work during the festival. This (festival) was celebrated in Xochimilco, because they said that the forefathers and ancestors of the lapidaries had come from that town, and there was the place of origin of these artisans.[39] [Illustration: PL. IX MASK OF WOOD WITH MOSAIC DECORATION MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION. NEW YORK] The ruler of the eighteenth week of the astrological calendar, or _tonalamatl_, was a goddess named _Chantico_ or _Quaxolotl_, also nicknamed _Chiconaui-itzcuintli_,[40] from the ninth day of the thirteen-day period or week. Seler writes: She was the goddess of Xochimilco, and consequently also the chief deity of the guild of the tlatecque, of the stone cutters, the stone polishers, the jewelers, who were also supposed to come from Xochimilco. (Duran calls her wrongly Ciuacoatl and identifies her with the goddess of Colhuacan, which place stood opposite the city of Xochimilco).... Besides _Chiconaui-itzcuintli_ the stone-cutters had still a few other titles for the goddess. Such were Papaloxaual and Tlappepalo, i.e., “she of the red butterfly painting,” and “she with the red butterfly,” and these have reference to fire.... The stone-cutters also gave their goddess a butterfly as her nasal ornament, which, red and white, are the colors of her robe.[41] In some of the different versions or paintings of the _tonalamatl_ contained in old Mexican codices, opposite the delineation of the goddess Chantico there is placed a fasting man in an enclosure. In both Codex Borbonicus[42] and Codex Telleriano Remensis,[43] this figure is found. Seler describes it as-- an enclosure inlaid with gold discs or rings. The interpreter designates it as “house of gold.” Beyond doubt this name has reference to one of the four little fasting houses (_necaualcalli_) which the hero of Tollan, Quetzalcoatl, built for himself, and naturally corresponded to the four quarters of the heavens, the first of which was said to be made of gold or embellished with gold (_coztic teocuitlacalli_), the second decorated with red musselshells (_tapachcalli_), the third with turquoises (_xiuihcalli_), the fourth with white musselshells (_teccizcalli_).[44] Seler draws this inference from the legend given by Sahagun, which we have translated in full below.