We now come to the series of seven mosaic shields in New York, shown in pls. XXIII-XXIX. In these we are dealing with a different technique, and one which is new to us. For the matrix a kind of cement like fine gritty brown sand was used in place of gum. They are unfortunately in a considerably damaged state, but two are more or less complete. In these examples the wood has been roughly shaped, and in all of them the marks of the copper or stone adzes are clearly visible, for there was no final smoothing of the wood as in the three specimens before described. The probable reason for this is seen in the shield on pl. XXIII. On the face of this specimen, on portions of the lower edge, especially at the left, are traces of a coarse native paper made from the _amate_ tree, which occurs as a band that had been glued to the wood. Traces of paper also are found in the same place on the shield fragment illustrated on pl. XXIV. It is impossible to state definitely if this paper once extended from the edge to the raised body of the mosaic decoration. On the fragmentary shield just referred to may be seen a faint black line, made with some substance like graphite, running partly around the circumference 1 to 1⅞ inches from the edge. It is probably the artist’s line in arranging for some class of decoration, perhaps delimiting the section to be covered with paper. On the first shield no such line is found, but it seems certain that the rough wood between the narrow band of paper and the mosaic must have been covered either with paper or with some other material. There is no trace of cement, and we are led to believe that the paper once extended over the entire plain surface of the wood. Parchment or soft leather may also have been stretched tightly over the outer zones of shields which show no traces of paper. On this surface some type of decoration was undoubtedly placed. We recall the quotation given above concerning the use of turquois mosaic decoration on paper, in connection with the worship of the god Huitzilopochtli. Feather-mosaics, so far as we know, were generally made either on parchment or on paper. The codices were made either of leather, parchment, or paper, often sized with stucco. In rare cases the painting was applied directly on the paper. It is undoubtedly true that one or the other of these processes of decoration completed the ensemble of the shields we are now considering. [Illustration: PL. XXX EAR PLUG OF WOOD WITH MOSAIC DECORATION MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION, NEW YORK]