In this object we find in the Mexican pictures an instrument analogous to the one last mentioned. In both of the Sahagun manuscripts, that of the Real Palacio in Madrid and the one in Florence, are representations of the deity Xipe Totec. In the former manuscript is found the name of the god written above the figure, _Xippe anavatlitec_, translated by Seler as “Xipe, lord of the coastland.” He is an earth deity, “our lord the flayed,” for he is represented wearing loosely about him a human skin. He was the patron deity of the goldsmiths of the valley of Mexico, and is said to have been paid special homage by the people of the Teotitlan district, the beginning of the highway to Tabasco. In the pictures given by Sahagun, and in other codices, this god carried a long staff which terminates in a kind of rattle (fig. 11), similar in shape to that found in the cenote of Chichen Itza. It was called _chicauaztli_ by the Nahua, and Seler asserts that the rattlestick of the god Xipe was carried, besides him, only by the goddesses of the earth.[85] Sahagun describes it as a scepter made after the manner of the calyx of the poppy where the seed is, with something like the point of a dart fastened in and rising from the upper part.[86] The resemblance of the cenote specimen to the one shown in the Sahagun manuscript suggests that it was brought from the Nahuan region. [Illustration: FIG. 12] In the sculptured wall of the Temple of the Jaguars at Chichen Itza are represented a considerable number of warriors and priests dressed in elaborate costumes and paraphernalia. Several of these persons wear the typical triangular head-band or crown of the Nahuas, on which may be distinguished turquois-mosaic decoration (fig. 12). Two of these priests or warriors have their faces covered with unmistakable turquois-mosaic masks (figs. 13, 14).[87] This points to Nahuan influence, and we have other instances of this influence both at Chichen Itza and at Uxmal. We are thus led to the belief that the mosaics recovered from the cenote were brought to Chichen Itza from Nahuan territory. [Illustration: PL. XXI SHIELD OF WOOD WITH MOSAIC DECORATION STATE MUSEUM OF NATURAL HISTORY, VIENNA] Another example of a turquois mosaic mask in stone sculpture is found at the back of the profile face, in front of the ear, of the human figure carved on the front of stela 11 at Seibal, in the region of the upper Usumacinta, Department of Peten, Guatemala. It was photographed by Maler in 1895, and illustrated and described by him in his monograph, Explorations of the Upper Usumatsintla and Adjacent Region (_Memoirs of the Peabody Museum, Harvard University_, vol. IV, no. 1, Cambridge, 1908). Morley has deciphered the date on this stela as 10.1.0.0.0, corresponding approximately, according to his method of correlation, to 590 A.D. It appears to have been a hotun-marker, or stone erected every five years, and is placed in the Great Period of Mayan civilization. [Illustration: FIG. 13]