pictions of Xipe. The quail, zollin, a prolific breeder that was sacrificed in large numbers in rituals, was associated with the earth and with both male and female fertility deities. In the Tonálamatl Aubin (1900-1901), the face of Xipe peers out of the open bill of the fourth of the Thirteen Sacred Birds, the quail, which Seler (1900-1901:32, 102-103) suggested was considered to be the nahualli, the "disguise," of this deity.
50. Yyopitzon (yopitzontli): This conical headpiece is one of the most diagnostic and characteristic elements in the Xipe iconography. Its name ascribes it to the Yopi/Tlappanec (see note 48, this paragraph), but, as Seler (1902-1923, II:
4 6 6 -4 6 7 ) recognized, the royal headpiece of their Zapotee neighbors was also similar in form.
51. Maxaliuhquj (maxaliuhqui): This reference to bifurcation must refer to the strips with "swallow-tail" ends that depend from the yopitzontli. Swallow-tail adornments were another prime iconographic diagnostic of Xipe.
52. Ytzaocucue (zapocueitl): The sapote leaf skirt is another typical element of Xipe's costume. The tree called za- potl (see Sahagún 1950-1982, Part XII [Book 11]: 116; sapodilla [Lucuma mammosa, achras sapota¡) yielded a tasty, sweet fruit. A possible reference to the Zapoteca (those of Zapotlan, "Place of Sapotes") might also be involved here. 53. Ychicavaz (chicahuaztli): This ritual instrument, assigned to many fertility deities (here, also to Opochtli. Yauhqueme, Chalchiuhtlicue, Xilonen, and Zapotlantenan), is described by Sahagún (1975: 515; 1988, 2: 576) as "un bác ulo que estaba hueco de dentro, y tenia sonajas, el cual, en moviéndole para andar, luego las sonajas hacian sus son." Seler (1902-1923, II: 467) translated chicahuaztli as "womit etwas kraftig gemacht wird," apparently connoting the fecundat ing power of the instrument and the rituals in which it was employed. On its "shamanic" aspect, see Neumann 1976. 54. Teteu yna (Teteoinnan): "M other of the Gods." This was perhaps the commonest appellation for the Late Post classic Central Mexican version of the great earth mother, a major Mesoamerican deity from the earliest times onward. She also bore other names, including Toci, "Our Grandmother," and Tlalli iyollo, "H eart of the Earth" (Sahagún 1970: 15)— and, as Seler (1900-1901: 93-100) recognized, she was identified iconographically and conceptually with Tla- zolteotl, "Filth-Goddess," of ultimate Huaxtec origin. See Nicholson 1971: 4 2 0 -4 2 2 .
yxiuhtotonacuch. y<joyatemal
cuechtli, in icue, in i mitoa, citlallicue.
yn ivipil, i piloyo; yztaccue. ycac ychimal teucuitlaxapo yzquiz. Opuchtli inechichiuh. mogaticac m ixchiaviticac. y iamacal. icpac ca y yaztatzon quetzalmiavayo. y iamaneapanal. y yamamaxtlj yztaccac. ytonalochim al ychicavaz im ac icac.
Her ear plugs of lovely cotinga feathers.
Her palm leaf tuft [is on her head].55
Her skirt of snail shells is called the skirt of stars.56
Her shift has fringes. Her white skirt. Her sandals.
Her shield with the gold disc. Her broom.
The Array of Opochtli57
He is painted [black].
On his face is [a white, round patch with black dots, like] chia seeds.
On his head is his paper crown.
His heron feather crest with a quetzal feather crest.
His paper stole. His paper breechcloth. His white sandals.
His shield w ith the sun symbol. , In his [other] hand is his rattle staff.
[fol. 263v ]
yyauhqueme ynechichiuh y yauhpalli yn iamacal
y yaztatzon quetzalmiavayo y yamaneapanal.
The Array of Yauhqueme58
His paper crown is the color of the sweet- scented marigold.
His heron feather crest has a quetzal feather crest.
His paper stole.
55, Ycoyatemal (zoyatemalli): The temalli (timalli) was a spherical head ornament into which feathers were most commonly inserted, but here either strips of a fan palm, zoyatl {Brnhae dulcís HBK), or, as Seler (1902-1923, II: 470) suggested, perhaps feathers resembling these palm strips.
56. Citlallicue: "stars-her-skirt." This term for an important element in Teteoinnan's costume was also employed as another name for her and related mother goddesses (e.g., Sahagún 1950-1982, Part VII [Book 6]: 203). Molina (1944, Part II: 22v) defines the word as "camino de Santiago en el cielo" (= Milky Way).
57 Opuchtli (Opochtli), "T h e Left," was one of the Tlaloque, who were aspects of Tlaloc, the preeminent rain/fer- rility deity. Opochtli was the patron deity of the Atlaca, those specializing in fishing and other aquatic subsistence ac tivities, and was credited with the invention of the fishing net, the atlatl (spear-thrower), the minacachalli, the three pronged fishing harpoon, the pole for propelling canoes, and the snare for catching aquatic birds (Sahagún 1970: 37).
58. Yyauhqueme (Yauhqueme), literally, "Owner of the Sweet-scented Marigold Vestment," was another one of the Tlaloque. Yauhtli, as was stated in note 19, Paragraph 4, is the sweet-scented marigold, Tagetes lucida. The quemitl
•was a biblike ritual vestment worn on the chest. As was also indicated, a hill west of Mexico Tenochtitlan, near At- lacuihuayan (Tacubaya), bore the name Yauhqueme.
Paragraph 5A
Chapter I: Rituals and Gods 104 yyam am axtlj, icac ychimal atlacueçonayo.
ychicavaz yn imac ycac. - v
Chalchiuhtlicue inechichiuh. yxaval - ychalchiuhcozquj y yamacal quetzalmiavayo atlacuiloli yn ivipil. yn icue, atlacuiloli. ytzitzil. ycac. ychim al atlacueçonâchimallj ychicaoaz, imac, icac.
Xillone, inechichiuh.
yxaoal, centlacul chichiltic, centlacul, cuztic. Y yamacal quetzalmiavayo ychalchiuhcozquj y yaxochiavipil y yaxochiacue ytzitzil - ' : ycac ychimal
ychicavaz im ac icac chichiltic.
His paper breechcloth. His sandals.
His shield has the water lily design. In his [other] hand is his rattle staff.
The Array of C halchiuhtlicue59
Her [yellow ochre] face paint.60
Her green stone necklace.
Her paper crown has a queztal feather crest. Her shift has the water design [of horizon tal, blue, wavy lines].
Her skirt has the water design. Her little bells.
Her sandals.
Her shield is the water lily shield. In her [other] hand is her rattle staff.
The Array of Xilonen61
Her facial paint is half red, half yellow.62 Her paper crown has a quetzal feather crest. Her green stone necklace.
Her shift with the evening primrose design. Her skirt with the evening primrose de sign.63
Her small bells. Her sandals. Her shield.
In her [other] hand is her red rattle stick.
59. Chalchiuhtlicue, literally, "Precious Green Stone-Her-Skirt," was an important fertility goddess— characteristi cally blending with others of this numerous group—who was considered to be the elder sister of the rain gods, the Tlaloque (Sahagun 1970: 21). She had jurisdiction over all bodies of water. Concerning her iconography, see Nicholson 1988b.
60. Yxaval (xahualli): Facial paint, a noun derived from the verb xahua, to ripen (fruit), i.e., to redden or to yellow. By extension, it came to mean to paint the face a reddish or yellowish color (with yellow ochre, tecozahuitl), particu larly the latter, with xahualli connoting facial paint in general. Molina (1944, Part II: 158v) defines the verb as "afeitarse la yndia a su modo antiguo o pintar la fruta."
61. Xillone (Xilonen): Literally, "Tender Maize Ear-Doll." She seems to have been essentially just a younger aspect of Chicomecoatl.
62. In the depiction, the upper half is red, the lower half, yellow.