. Mexican and Central American antiquities, calendar systems, and history;. tiger-skin scabbard with which the obsi-dian sword is provided in both pictures points to Xipe. In other par-ticulars the dress differs in no small measure from that of representa- a Tezozomoc, Cronica Mexicana, chap. 91. SELER] ANCIENT MEXICAN FEATHER ORNAMENTS 63 tions of this deity hitherto known. The god usually wears on his headthe yopitzontli, a pointed crown made of the rose-colored feathers ofthe spoonbill, with fluttering ribbons, forked like a swallows , however, is usually represented in the Co
. Mexican and Central American antiquities, calendar systems, and history;. tiger-skin scabbard with which the obsi-dian sword is provided in both pictures points to Xipe. In other par-ticulars the dress differs in no small measure from that of representa- a Tezozomoc, Cronica Mexicana, chap. 91. SELER] ANCIENT MEXICAN FEATHER ORNAMENTS 63 tions of this deity hitherto known. The god usually wears on his headthe yopitzontli, a pointed crown made of the rose-colored feathers ofthe spoonbill, with fluttering ribbons, forked like a swallows , however, is usually represented in the Cozcatzin codex withthe xiuhuitzontli, the turquoise mosaic headband of Mexican kings,and the Bilimec warrior wears the quetzallalpiloni, the fillet with quet-zal-feather tassels. The plume which in both figures of Axayacatl(figure 6) rises behind the shield is likewise nothing else than an essen-tial part of the royal Mexican dress. It belongs, as a tuft, to themachoncotl, the shell bracelet which the king wore on his upper arm(compare the picture in the atlas of Duran).. Fig. 8. Disks from Mexican codices. Xipes shield is the tlauhteuilacachiuhqui, a round shield coveredwith the rose-colored feathers of the spoonbill, showing concentriccircles of darker tint on its surface. It is not infrequently bisectedvertically, in which case one half is divided by an oblique line into alarger lower and a smaller upper panel. The former has a tiger-skindesign, the latter the figure of an emerald in a blue field, or one trav-ersed by wavy lines (see h, figure 7). I formerly explained the emeraldas a mirror. This is not quite correct, although in the drawing of both(mirror and emerald) the same fundamental principle of the glitteringdisk throwing rays in all (four) directions is expressed. See a, figure 8, 64 BUREAU OF AMERICAN ETHNOLOGY [ where 1, 2, 3, and 4 are taken from the manuscripts, and in fact fromhieroglyphs whose phonetic value is known, while 5, which occurs ona beautiful
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