Aztec Calendar – Rabbit Trecena

The twentieth and final trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Rabbit for its first numbered day, which is the 8th day of the veintena (20-day “month”). In Nahuatl, Rabbit is Tochtli. It was known as Lamat (Venus, Star) in Yucatec Maya, and K’anil (or Q’anil) (Seed of Life) in Quiché Maya.

The day Rabbit signifies self-sacrifice and service to something greater than oneself. Counter-intuitively, Rabbits were seen as gods of drunkenness, the Centzon Totochtin (400 rabbits) being patrons of all kinds of intoxication or inebriation. The principle rabbit deity was 2 Rabbit (Ome Tochtli or Tepoztecatl). The Aztecs counted “rabbits” for intoxication levels, from 25 rabbits for mild intoxication to 400 rabbits for complete drunkenness. Vessels for the drinking alcoholic pulque often bear rabbit symbolism and/or a crescent moon symbol called the yacametztli—relating to the goddess of the moon Metztli. In fact, Mesoamerican cultures envisioned the figure of a rabbit in the moon, which I’ve surmised was day-named 12 Rabbit.

The patron of the day Rabbit is Mayauel, the goddess of intoxication/pulque and its source, the maguey plant. Seen previously as patron of the Grass Trecena, she’s the purported mother of the Centzon Totochtin, apparently by the deity Patecatl, god of medicine and pharmaceutical intoxication. Other sources suggest that the Cloud Serpent, Mixcoatl, sired some of them, but Aztec paternity wasn’t thoroughly documented, and Mayauel was a hospitable goddess.

PATRON DEITIES RULING THE RABBIT TRECENA

One of the patrons of the Rabbit trecena is Xiuhtecuhtli (Lord of Fire and Time), whom we’ve seen in the Snake trecena. As god of the Center and the Pole Star, he’s an A-list celebrity deity. The other is variously Itztapaltotec, Stone Slab Lord, or Xipe Totec, Lord of Renewal and Liberation. The first is a nagual (manifestation) of the second and deifies the sacrificial knife.

AUGURIES OF THE RABBIT TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

Theme: Leadership and Renewal. During this final trecena in the 260-day cycle, the emphasis is on completion and “cutting away” what is no longer needed, in order to facilitate new growth. This can be an intense period, as combat in some areas could intensify, leading to important conclusions, as the stage is being set for new beginnings to follow in the next trecena. During this period signs or signals may appear that could indicate what lies ahead or new potentialities. This is a good time to watch for signs of change and growth, and a good time to make important decisions in preparation for the new cycle about to begin.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Lamat trecena.

THE 13 NUMBERED DAYS IN THE RABBIT TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with 1 Rabbit, it continues with: 2 Water, 3 Dog, 4 Monkey, 5 Grass, 6 Reed, 7 Jaguar, 8 Eagle, 9 Vulture, 10 Earthquake, 11 Flint, 12 Rain, and ultimately 13 Flower.

There are a few special days in the Rabbit trecena:

One Rabbit (in Nahuatl Ce Tochtli) – a date in the mythic Aztec past when the cosmos was created by gods; also, one of Xiuhtecuhtli’s calendric names.

Five Grass (in Nahuatl Macuil Malinalli) – one of the five male Ahuiateteo/Macuiltonaleque (Lords of the Number 5), usually paired with the female Cihuateotl One Eagle.

Thirteen Flower (in Nahuatl Mahtlactli ihuan yeyi) – a ritually significant day of completion for the 260-day cycle; also associated with period endings, often marking the completion of significant “bundles” of time.

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty-five years ago—on the basis of very limited ethnographic information and iconographic models —I created my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

When I started drawing my tonalamatl, I did the pages in colored pencil, often producing several versions in different color schemes in a palette of four chromatic colors (with some black and white as well): gold—for gods, red—for blood, green—for jade, and blue for turquoise. Each deity had a primary color with a secondary and highlights of the others. For the last trecena, I used models and motifs from Codex Nutall and tried to make it an even balance of all four colors. Maybe I succeeded because everyone admired this image especially.

On the first nineteen trecenas, I followed the limited information available about their patrons (not knowing all of them). Many I created from scratch from Nutall images and sketchy clues on iconography. A few were based on images from Codex Borbonicus found in old books. When I got to the last one, Rabbit, the scholarship said only that its patron was the sacrificial knife, and I found only one gruesome image, probably the monster from Tonalamatl Aubin. (See below.) As an artist, I was aesthetically and philosophically offended and decided to turn heretic.

I installed my own choice of a god as patron of the last trecena, someone considerably more appetizing. Xochipilli, the Flower Prince, is god of art, dance, beauty, ecstasy, sleep, and dreams/hallucinations. In addition, he’s variously patron of homosexuals and male prostitutes; god of fertility (agricultural produce and gardens); patron of writing, painting, and song; and god of games (including the sacred ball-game tlachtli), feasting, and frivolity. His twin sister/wife is Xochiquetzal, patron of the preceding Eagle trecena.

So much for authenticity. The neglected Flower Prince is an eminently worthy “calendar prince.” (You can see the true trecena patrons in the tonalamatls of the historical codices that follow.)

Aztec Calendar – Rabbit trecena – Tonalamatl Balthazar

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – Rabbit Trecena -Tonalamatl Borgia

The page for the Rabbit trecena from Codex Borgia, which I hadn’t seen thirty-five years ago, portrays its orthodox patrons in typically ornate style. Xiuhtecuhtli on the left is loaded down with divine regalia, some of it the same as in his image with the Snake trecena, and in similar coloration. The only truly emblematic piece is his square pectoral, apparently a heavily stylized war-butterfly motif inherited from the ancient Maya. I find his headdress curious in reflecting that of Ixtlilton in the preceding Eagle trecena. Maybe the artist enjoyed drawing those motifs.

On the right side, we have one of the more spectacular images of Xipe Totec illustrating his traditional red and white ornaments and staff. It’s in a much different style than his image as patron of the Dog trecena, sharing only the unique nose-clamp. In this Borgia portrait, he’s definitely the “flayed god,” like a priest in the skin of a sacrificial victim.

If I’d known about this panel, I might have avoided heresy by making Xipe Totec the patron of my Rabbit trecena, but I’d already used him for Dog and wouldn’t have wanted to repeat patrons anyway. The same argument holds for Xiuhtecuhtli already having appeared in Snake. In any case, while perhaps not as eye-catching as Chalchiuhtotolin in the Water trecena, Borgia’s two lords for the final Rabbit trecena are about as stylistically exquisite as its deities get.  

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar – Rabbit Trecena – Tonalamatl Yoal

Here we see on the left the ominously named Itztapaltotec, Stone Slab Lord, himself, the sacrificial knife that grossed me out. This one looks like a guy in a flint knife (tecpatl) costume with flayed arms hanging from his own like an appropriately nagual hybrid of Xipe Totec. He holds an emblematic red and white staff, but I can’t fathom the conch shell in his other left hand.

On the right side sits Xiuhtecuhtli more or less enthroned, which is the first remarkable detail. Almost all the Yoal deities are either standing (like Itztapaltotec) or in what I call the “dancing” pose with bent knees. Only the Cihuateotl in the Flower trecena and Xochiquetzal in the Eagle trecena sit back on their feet, standard female posture, (especially in Codex Nutall where males sit cross-legged.) Adding to this iconographic weirdness, note that Xiuhtecuhtli’s right leg and foot are hidden by the left—an absolutely ideoplastic device.

Above and beyond that odd detail, the Lord of Fire is decked out in opulent finery. Check out that wild serpent/crocodile head by his ear, possibly a plug ornament. His extravagant array of Quetzal plumes splays more feathers than even Xochiquetzal in the Eagle trecena, and between him and Stone Slab they wear more than in any other Yoal patron panel. The artist may have overdone the plumage because in his tailpiece and bustle the feathers had to overlap—a definite problem for Aztec iconography. One of the plumes in the back-fan even droops behind another!

Passing by his war-butterfly pendant, we see in his lower right hand what looks surreally like a rattlesnake with an animal head. It’s in fact a ritual “shaman stick.” More usually it’s called a “deer stick,” though many don’t look at all like a deer’s head. Plain ones were often used for digging, but the rattles on this one were probably there to make magical noises.

In the original, the scepter in the god’s other right hand was terribly drawn and unrecognizable, and I substituted the finer Xiuhcoatl (fire-serpent) he holds in the Snake trecena. The strange position of his fingers—as though holding on to a ring—is an exact duplication of that detail in his Borgia icon. There I simply wondered about it, but seeing it again here, I begin to suspect that there’s some symbolic importance attached to it. I guess we’ll never know.

Moving on to the divine face, I confess to doing radical plastic surgery on the original which looked insanely like the cartoon character Homer Simpson. That simply wouldn’t do! Then I borrowed the face-painting pattern again from his image in Snake. The result was a respectable deity worthy of his portentous headdress (like that worn by him and Mictlantecuhtli in the upper row as lords of the night). According to Gordon Whittaker in “Deciphering Aztec Hieroglyphs,” that turquoise diadem with curved point in front is literally a hieroglyph for “Lord” or “ruler.” Whittaker adds that the Nahuatl word is teykw-tli pronounced in two syllables if you can wrap your tongue around that. Colloquially, that’s te-cuh-tli, as in Xiuhtecuhtli (fire/turquoise-lord).

As with Tonalamatl Borgia, Tonalamatl Yoal went all out on the patrons of the Rabbit trecena, lavishing them with divine detail. The tonalamatl presents many elegant figures, but in my opinion, only the panel for the Vulture trecena (Evening Star and Setting Sun) can compare to this ornate, many-plumed pair. The inspirations behind the Yoal trecena pages are superbly artistic visions of glorious mythological beings.    

The twenty striking patron pairs in the Yoal tonalamatl encapsulate the traditional iconography of those Aztec deities. Having worked closely with the original codex images to re-create their conceptual inspirations, I can say that the later images in the series became progressively more awkward and crude, their construction often downright ramshackle. This suggests to me that other artists may have taken over some panels—or maybe the artist simply slacked off in his work—or equally probable, the artist got drunk or stoned.

In my careful estimation however, the Yoal artist(s)’s concept and vision of the trecena patrons were nevertheless sublime. Sadly, they just lacked the means, skill, medium, and (possibly) the reverence needed to manifest their deities magnificently. I’m thrilled to have turned those flawed visions into the Tonalamatl Yoal, a new treasure in the canon of Aztec art.    

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Rabbit Trecena

The only thing that identifies Xiuhtecuhtli in the Tonalamatl Aubin patron panel is his black face-paint. The generic circular pendant could belong to many deities. On the other hand, the figure on the left is clearly Itztapaltotec, a frighteningly personified sacrificial knife with a surreal face on his shoulder. The item at top center is a hearth-vessel with smoke, fire and possibly incense, but I won’t attempt to identify the other elements.

This patron panel and that for the Water trecena (with Chalchiuhtotolin) are the two most disappointing instances in the Tonalamatl Aubin. Most of the other panels are passingly ornate, while often awkward and distorted. In my humble opinion, this tonalamatl is the least impressive of the several we have seen. It was painted pre-Conquest in the neighboring state of Tlaxcala and as such may represent a crude, provincial document. Its value for scholarship is that it represents the shared themes and motifs across the “religious” territory of central Mexico.

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Codex Borbonicus patron panel for Rabbit Trecena

The panel for this last trecena in Codex Borbonicus is artfully done, supplying the figure of Xiuhtecuhtli that I used as a model in the earlier Snake Trecena in my old tonalamatl. Oddly, I don’t believe I saw this decorative image of Itztapaltotec way back then. I was so taken my Xochipilli apostasy that I probably would’ve ignored the fancy fellow anyway. Though some of the surviving panels in Borbonicus present stunning figures (like Itztlacoliuhqui in the Lizard Trecena), this beautiful pairing of patrons has to be the most impactful composition of the lot.

The patrons’ emblematic paraphernalia is easily recognizable, as are many of the items in the neatly organized conglom. I’m intrigued by the bottom center item resembling a hill or mountain place-symbol with tooth-like appendages (which Whittaker has identified as hieroglyphs meaning “at”) and part of its vegetative detail in utter disarray. Most notable is the curved “deer-stick” hovering over Itztapaltotec’s flint knife, simpler than that in the Yoal panel, but scarcely more deer-like. This one is probably a common digging stick but might still be magical.

Combining these patron panels with a crowded matrix of delicately drawn days, 9 night-lords, and 13 day-lords with their totem-birds, the tonalamatl in Codex Borbonicus stands in my modest opinion as a consummate masterpiece of Aztec art and culture.

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Codex Vaticanus patron panel for Rabbit Trecena

In Codex Vaticanus, the patron pair for the Rabbit Trecena again is well balanced, as in the other tonalamatls, to formally wrap up the last of the trecenas. In its characteristic rough caricature style, Vaticanus again closely follows the images and themes of Tonalamatl Borgia, Xipe Totec and Xiuhtecuhtli simply having switched sides. In its series of trecena panels, Vaticanus faithfully reflects the calendrical “dogma” in the more ornamental Borgia panels. The codices share certain other sections, but each also presents a lot of its own mythological material. Perhaps the calendrical orthodoxy can be explained by both codices having come from Puebla, possibly from the same priestly school (calmecac).

But the tonalamatl in Codex Vaticanus does more than simply restate the Borgia images. In particular, it created that uniquely surreal vision of Itzpapalotl for the House Trecena and produced its own exquisite versions of deities like Chalchiuhtotolin and Xolotl for the Water and Vulture trecenas. In addition, in its other sections, Vaticanus presents incomparably elegant artwork on deities like Tlaloc and Tlahuizcalpantecuhtli. The codex is a veritable goldmine of mythological and ethnological details. One just has to get used to its stylistic strangeness, like the blue finger- and toe-nails.     

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Tonalamatl Borgia is my proudest achievement in this series of re-created Aztec art. Like the Vaticanus version of the trecenas, it’s set amongst several other ritual and religious sections of the codex, many of stupendous artistry. Though several other historical codices are also iconographically superlative, like Fejervary-Mayer and Laud, to my mind, Codex Borgia is the premiere artistic relic of pre-Columbian Mesoamerica.

Unfortunately, over five centuries the document has seriously deteriorated with whole sections of images worn away, the colors of its inks fading and failing, and some pages torn or even burned. Mostly, what we can see nowadays of Codex Borgia (and many other codices) is from the incredible facsimile editions of Joseph Florimond Loubat (1837-1921), an American bibliophile. He faithfully reproduced the Aztec documents in their exact conditions at the end of the nineteenth century, which meant that any earlier deterioration was also reproduced. In 1993 a full-color restoration of the Codex Borgia was published by Giselle Díaz & Alan Rodgers, restoring most dilapidated areas and repairing lost coloration in facsimile fashion.

My re-creations of Tonalamatl Borgia have played somewhat more freely with its colors. I’ve interpreted various shades of greys, browns, and golds in the Loubat facsimiles as deteriorated original blues and greens and in a few instances introduced colors not available to the Aztec artists (like the purples with Chalchiuhtotolin in the Water Trecena). My purpose was to present the deities in authentic but new, vibrant images untouched by the passing centuries.

A curious feature of the Tonalamatl Borgia is that some of its decorative patron panels seem to suggest an underlying narrative, in particular that for the Snake Trecena. Other panels include mysterious and beautiful symbolic items (though not as many as in Codex Borbonicus), and a number of the Borgia deities, like Chalchiuhtlicue in the Reed Trecena and Tlaloc in the Rain Trecena, are perfectly monumental. In summation, I believe that this Tonalamatl Borgia deserves a place of honor amongst the world’s very best religious art.       

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AFTERWORD
by Marguerite Paquin, PhD.

I would like to express my deepest thanks to Richard for his extremely valuable contributions to my Maya Count of Days Horoscope blog. This began in early December of 2019, when he allowed me to use his Tonalamatl Balthazar image for the Chikchan trecena as an illustration for the blog. (https://whitepuppress.ca/the-chikchan-lifeforce-trecena-dec-10-22-2019/) The evolution of imagery continued from there as he developed and refined his work.

After the inclusion of one full cycle of his Tonalamatl Balthazar, I began including his early renditions of the Codex Borgia in the blog. At first the images were somewhat sketchy (but valuable nonetheless) but over the years he kept refining them, and the full set is now gorgeously complete. I am blessed to have them available for my blog, as they allow my readers to see at a glance the nature of the energies that I discuss every 13 days.

When Richard began adding descriptions of his work (regarding the evolution of the images, and the detailing that was included) in his own site, this added yet another layer of interest. I am extremely appreciative of Richard’s talent, research, formidable attention to detail, and generosity in this regard, and have no doubt that the ancients who devised these images in the first place would be proud. Muchas gracias, Richard!

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You can view all the calendar pages from the Balthazar, Borgia, and Yoal Tonalamatls
in the
Tonalamatl gallery.

Aztec Calendar – Eagle Trecena

The nineteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Eagle for its first numbered day, which is the 15th day of the veintena (20-day “month”). In Nahuatl, Eagle is Cuauhtli. It was known as Men (Eagle, Sage or Wise One) in Yucatec Maya and Tz’ikin (Eagle) in Quiché Maya.

Ever since the Maya, the day Eagle has signified bravery, lofty ideals, acuity of vision and mind. The Eagle was seen as an avatar of the sun and emblematic of high authority. The elite order of Eagle Knights was prominent in Aztec society. The day-sign was anatomically connected to various parts of the body, including the right ear and right foot. The patron of the day Eagle is Xipe Totec, the god of Spring and renewal, who was seen as patron of the Dog Trecena.

PATRON DEITY RULING THE EAGLE TRECENA

Xochiquetzal (Flower Feather) is the ever-young goddess of love, beauty, sexuality, and fertility. She protects young mothers in pregnancy and childbirth and is patron of weaving, embroidery, artisans, artists, and prostitutes. Her day-name is Ce Mazatl (One Deer). Reflecting her intense sexuality, among her several reputed husbands/lovers were her twin brother Xochipilli, Tlaloc, Tezcatlipoca, Centeotl, and Xiuhtecuhtli. However, despite her patronage of fertility, I’ve not seen any reports of progeny. Very recently, I was advised that Tezcatlipoca is a possibly secondary/minor patron of the trecena in one of his many nagual disguises.

AUGURIES OF THE EAGLE TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

Theme: Supremacy/War, Lofty Vision. The juxtaposition of the “supremacy” oriented energies of the Eagle with a patron energy of a goddess aligned with artistry and creativity, brings to mind the idea that women who died in childbirth were seen as “warriors” and, like warriors who died in battle, were esteemed for their bravery. The “creativity” component may refer to the valor and creativity involved in bringing forth new life. This combination of energies places emphasis on the courage needed to overcome obstacles and move life forward despite enormous challenges. Power, military strength, and transformative action are often highlighted during this period.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Men (Eagle) trecena.

THE 13 NUMBERED DAYS IN THE EAGLE TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with 1 Eagle, it continues with: 2 Vulture, 3 Earthquake, 4 Flint, 5 Rain, 6 Flower, 7 Crocodile, 8 Wind, 9 House, 10 Lizard, 11 Snake, 12 Death, and 13 Deer.

There are a few special days in the Eagle trecena:
One Eagle (in Nahuatl Ce Cuauhtli) – Day-name of one of the Cihuateteo, spirits of women who died in childbirth. It’s also associated with Cihuacoatl (Snake Woman), a goddess of fertility, motherhood, midwives, and sweat baths.

Three Earthquake (in Nahuatl Yeyi Ollin) and Seven Crocodile (in Nahuatl Chicome Cipactli) Noted in the Florentine Codex as special days for bathing newborns and celebrating births.

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

Aztec Calendar – Eagle trecena – Tonalamatl Balthazar

When I drew Xochiquetzal so long ago, I knew only her many-plumed image from Codex Borbonicus (see below) and simplified that model, omitting her lascivious snake. I replaced the flower stalks sticking out of her mouth with one of the few iconographic conventions I knew of, the song-symbol cuciatl. However, I mistakenly turned the front stalk from under her throne into a flower when it was in fact a centipede representing the Underworld.

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – Eagle Trecena -Tonalamatl Borgia

The Codex Borgia version of Xochiquetzal on the left is downright punk with her intricate facial tattoos, but she displays no specific emblems of her divine identity. In fact, her Earth Monster headdress would be more appropriate for Chalchiuhtlicue. The matrix in the lower center could suggest her patronage of weaving, but I think it’s in fact a game-board for patolli because she’s also patron of gaming. The four hemispheres may be playing pieces for the game.

At first, I was confused by the lack of emblems specific to Tezcatlipoca on the figure on the right—other than the black body and smoky curls around his eye. Then a knowledgeable friend advised that this was in fact a nagual of the otherwise invisible Tezcatlipoca, Ixtlilton (Small Black Face), also known as Tlaltetecuin (Lord of the Black Water Tlilatl). The symbolic item at top center is his scrying bowl or jar of dark water used for hydromancy, diagnosing ailments and prescribing cures. A gentle god of medicine and healing specifically in relation to children, Ixtlilton brought them peaceful sleep at night. Like Tezcatlipoca, Ixtlilton was a deity of divination, Tezcatlipoca consulting his obsidian mirror, and Ixtlilton studying reflections in dark water. He was also a god of dance and music sometimes called the brother of Five Flower (a nagual of Xochipilli)

The divinatory relationship between Xochiquetzal and Tezcatlipoca isn’t clear to me, other than in their being erstwhile consorts. I may not have my mythological wires straight, but I gather Xochiquetzal was once upon a time the wife of the Storm God Tlaloc (see the Rain trecena) who ruled in the Third Sun (Four Rain), a happy era perhaps set historically in ancient Teotihuacan. However, the nefarious Tezcatlipoca abducted her, and Tlaloc flew into an inordinate rage, destroying his idyllic world with a rain of fire (volcano). Its poor people became butterflies, dogs, or birds, some say turkeys. Afterwards, Tlaloc apparently married Chalchiuhtlicue (see the Reed trecena), who became the ruler of the Fourth Sun (Four Water). Meanwhile, the philandering Tezcatlipoca apparently moved on to an affair with Tlazolteotl (see Deer and Earthquake trecenas). Quite a family saga…

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar – Eagle Trecena – Tonalamatl Yoal

The Yoal version of Xochiquetzal (on the left), like most deities in this tonalamatl, is loaded down with identifying motifs, including the facial tattoos. Here, she’s accompanied by an Underworld centipede under her throne, a libidinous snake looking out from between her thighs, a weirdly colored jaguar in her bustle, an eagle in her headdress, and an exorbitant display of quetzal plumes.

Xochiquetzal’s skirt is a beautiful example of her weaving prowess, and that blue thing in one of her left hands may well be a loom comb, a tool used to move weft yarns into place. That still doesn’t explain a similar (banded) object held by Chalchiuhtlicue in the Yoal Reed trecena, but it’s my best guess. In any event, this goddess is even grander than the Borbonicus image (see below) that inspired my own version.

The surreal deity on the right is not named in Codex Telleriano-Remensis, but in Codex Rios it’s labelled generically as Tezcatlipoca, its obvious nagual status indicated by a smoking mirror in the headdress. The anomalous creature in which the deity is disguised bears no relation to Borgia’s Ixtlilton or to any other known nagual of the Invisible One.

Some scholars suggest that this is a coyote—reflecting Tezcatlipoca’s talent for shape-shifting—like his walk-on appearance as a vulture in the Earthquake trecena. However, while this head might be canine, the ears are totally wrong, as are its eagle talons/claws and feline tail. Then there are those blue things stuck all over it (chips of turquoise or lapis?) which turn it into some mythical jeweled creature. Of course, such scholarly suggestions (like most scholarship) are simply authoritative guesswork, and I don’t require final answers to mysteries.

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Eagle trecena

As a mythical jeweled creature, that in Tonalamatl Aubin sports red, gold, and blue jewels. It’s clearly no coyote, looking more like a jaguar with anatomically proper claws though with too short a tail. Note also the contrast with the true jaguar pelt it sits on. Its sketchy headdress resembles in form that of Borgia’s Ixtlilton, but nothing about it suggests Tezcatlipoca. Just a regular old jeweled critter?

On the right side, an understated Xochiquetzal at least has a fat centipede under her throne and an eagle in her headdress but is sorely lacking in quetzal plumes and imagination in her facial tattoo. Oddly, I think that thing she holds with both hands is an animal-headed digging stick, which doesn’t seem to relate to any of her themes.

The square would seem to be another patolli board, and the ballcourt design in the upper left is a new emblem, reflecting Xochiquetzal’s additional patronage (along with Xochipilli’s) of the sacred ballgame tlachtli. The decapitated individual may indicate the traditional fate of losers at tlachtli. (I’m not aware of her predilection for that style of sacrifice otherwise. However, somewhere long ago I read of a ritual sacrifice to her of a female, the victim’s flayed skin being donned by her priestess. Oh, my, the wild and crazy things goddesses do in the privacy of their temples…)

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Codex Borbonicus patron panel for Eagle trecena

The image of Xochiquetzal in Codex Borbonicus is one of the most famous in Aztec iconography, obviously a bit more subtle than my old one and not as exuberant as that in Tonalamatl Yoal. But she does have a rather sexy snake. The major item to note is that most of her feathers are red. Deities usually wear green quetzal plumes like those in the topknots here, and the quetzal apparently only has little red feathers on its breast. These big red feathers probably come from the scarlet macaw, a bird sacred to her brother/spouse Xochipilli.

Almost lost among the twenty ritual items, the de-emphasized jeweled beast is still anomalous: coyote-like ears but a jaguar tail and avian claws. Whatever it’s supposed to mean, I guess it does so minimally. The three symbolic motifs we saw in the Aubin panel, the patolli gameboard, beheaded ballgame loser, and schematic ballcourt, are grouped at the top of this panel. In the upper right corner is a reference to Xochiquetzal’s importance as a patron of sex. The couple modestly hidden behind a blanket is the standard symbol of marriage (or intercourse). Seen in the Yoal panel for the Crocodile trecena, it also appears in several other codices.

The other items of the conglom don’t bear discussion, except to note the Borbonicus fondness for scorpions which appear in many of its patron panels.

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Codex Vaticanus patron panel for Eagle trecena

Once again, Codex Vaticanus closely reflects the elements of Tonalamatl Borgia. This Xochiquetzal again has complex tattoos and an Earth Monster headdress. However, now she clearly dominates the secondary figure of Ixtlilton, that nagual of Tezcatlipoca identified by the Black Water Tlilatl above. The position of his arms akimbo (very like his posture in the Borgia panel) reminds me of the dancing figure in the Borgia Flower trecena whom I took to be his purported brother Five Flower (Macuil Xochitl). That deity, this one, and the Borgia Ixtlilton all have unusual face-paint patterns around their mouths that suggest a brotherly relationship—or at least more identity confusion among the minor-deity crowd.

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As far as patrons of the Eagle trecena go, these various naguals of Tezcatlipoca don’t seem to contribute much to the trecena’s themes of Supremacy/War and Lofty Vision. Maybe Ixtlilton and the jeweled beast really were included merely to reflect Xochiquetzal’s romantic history with Tezcatlipoca. After all, that would tie in well with her divine sexuality and beauty. Dr. Paquin also suggests that Ixtlilton/Tlaltetecuin (and the jeweled beasts) are acting as cheerleaders for Xochiquetzal, dancing to ward off harmful influences and maintain her high position of supreme strategist in oversight of the game of life-death-resurrection.

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.

Aztec Calendar – Wind Trecena

The eighteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Wind for its first numbered day, which is the 2nd day of the veintena (20-day “month”). In Nahuatl, Wind is Ehecatl. It was known as Ik’ (Wind, Breath, Spirit) in Yucatec Maya, and Iq’ (Strong Wind) in Quiché Maya. The patron of the day Wind is Quetzalcoatl (See Icon #14), also patron of the Jaguar Trecena, and the eponymous wind deity Ehecatl (See Icon #5), the Breath of Life and spirit of the Tree of Life itself, is his principal nagual (manifestation).

PATRON DEITY RULING THE WIND TRECENA

Chantico, the Lady of the House (See Icon #4), is the goddess of fire (both in the home/hearth and in the earth), representing the feminine side of life (cooking, eating, and domesticity), the waters of birth, the fire of spirit, fertility and self-sacrifice. Her consort is variously seen as Xiuhtecuhtli, Lord of Fire and patron of the Snake Trecena, or as Tepeyollotl, Heart of the Mountain, the god of volcanoes (See Icon #17) and a patron of the Deer Trecena.

AUGURIES OF THE WIND TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

Theme: Inspiration, Communication, Necromancy. Traditionally associated with the magical arts, this trecena was used by diviners to select propitious days on which to perform rituals. As Ehecatl represents the divine wind of the spirit, this energy is associated with life, breath, inspiration, and communication, but it can also conjure up storms and bring great change. Under the influence of Chantico, goddess of fire, the Wind trecena can often breathe new life into ideas, and inspire activities aligned with heart-felt communication and the provision of comfort. Use of the magical arts during this period could also help to bring nourishment for the spirit.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Ik’ trecena.

THE 13 NUMBERED DAYS IN THE WIND TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with 1 Wind, it continues the trecena with: 2 House, 3 Lizard, 4 Snake, 5 Death, 6 Deer, 7 Rabbit, 8 Water, 9 Dog, 10 Monkey, 11 Grass, 12 Reed, and 13 Jaguar.

There are two special days in the Wind trecena:
One Wind (in Nahuatl Ce Ehecatl) -traditional day for offerings to be made to Quetzalcoatl. The day appropriately introduces a trecena devoted to sorcery and necromancy.

Nine Dog (in Nahuatl Chicnahui Itzcuintli) – the festival day of magicians, perhaps because the patron of the number Nine was the great Quetzalcoatl himself, and Dog (Xolotl) was a divine magician. Significantly, it is also the birth-day-name of Chantico, the trecena’s patron.

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

Aztec Calendar – Wind trecena – Tonalamatl Balthazar

At the time, I didn’t know about Chantico’s importance as a volcano goddess, and my version of her is a quintessentially Codex Nuttall matron tending a stylized hearth-fire. I acknowledged her domestic role by including the weaving spindle—a detail far more appropriate for the goddess Tlazolteotl. The golden bird in her headdress is probably completely out of place, but her jaguar-pelt throne is perfectly appropriate for a goddess. In my Icon #4, I posed Chantico in an ornamental house (temple), which must have been aesthetically successful because that was the one icon banner stolen from the last venue of my YE GODS! show.

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – Wind Trecena -Tonalamatl Borgia

The Wind Trecena page in Codex Borgia shows Chantico, sometimes called the Lady of Jewels (Lady of Wealth) as ornately adorned with what may be numerous pearls, but there is little else to identify her. Her nose ornament is a little too generic to serve that purpose, and the enigmatic item (inverted pot?) under her throne doesn’t help either.

More to the point, the three ornate symbols in the center of the panel are glyphs illustrating Chantico’s realms of power. At the top center is a burning temple, metaphorical for fire in the earth (volcano), and in the center is the fire in a hearth/container, both with orangish and gray curlicues of flame and smoke. The large conch at bottom center is probably a reverent gesture or reference to Quetzalcoatl on his special day One Wind.

Much more puzzling than the upside-down pot is the emphatic image on the right side of the panel: an inverted person seemingly falling across a mat or piece of fabric, most definitely not dead—which falling headfirst usually signified—and holding bouquets of vegetation and brightly flowering penitential thorns. Not much to go on here for what this apparently important third of the patron panel might mean. The commentary by Bruce Byland in the Diaz & Rodgers restoration of Codex Borgia doesn’t devote even one syllable to this intriguing detail.

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar – Wind Trecena – Tonalamatl Yoal

As usual, in its images of deities for the Wind Trecena, Codex Telleriano-Remensis (and consequently Codex Rios) didn’t skimp on displaying emblems, symbols, and traditional regalia, though the codex-artists didn’t always agree on details. The figures recreated here are based mostly on T/R images with occasional minutiae from Rios. Both figures, of course, had to undergo radical orthopedic surgery for iconographic anatomical awkwardness.

In any case, the paired images make a striking combination. Let’s come back later to the guy on the right and scope out the divine Chantico on the left. Would you look at that headdress! A dark-feathered and be-sea-shelled crest of quetzal plumes pours forth streams of fire and water, creating an elegant atl-tlachinolli (water-fire) glyph—as discussed in the Snake Trecena—usually a symbol of war, but here I think it represents the waters of birth and fire of spirit, attributes of the goddess. Her facial markings and matching ear- and nose-pieces are unusual, but the most disturbing (and unique) detail is her set of Tlaloc-like fangs. How does one fit that sinister motif into Chantico’s official hagiography?

Now we can check out the guy on the right, a figure most unusually in a decorative frame. The little day-sign attached to the back of his head is One Reed—which was used in the Snake Trecena to identify Tlahuizcalpantecuhtli, a nagual of Quetzalcoatl. However, this seems to be Quetzalcoatl himself, probably in honor of his One Wind Festival. Strong evidence is the circular pendant, serpent accessories, black body, and tri-colored face. In fact, Quetzalcoatl was known as One Reed in central Mexico from the ancient Toltec tradition (and in more southerly areas with even older Maya traditions as Nine Wind).

The notations on the T/R and Rios pages (in Spanish and Italian) clearly name the guy Quetzalcoatl but only comment on the frame as his casa de oro. But there’s no way the little falling guy in Borgia can be construed as the great god Quetzalcoatl nor can that decorative mat compare to this deity’s golden house. Whatever Borgia meant by that strange scene may have been used by the T/R artist as an excuse to celebrate Quetzalcoatl as a star of the trecena.

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Wind trecena

The patron panel in Tonalamatl Aubin merely complicates the situation, presenting an upright little guy with bouquets and without any emblems of Quetzalcoatl—though now in a casa de oro. That motif may bode a deeper significance than even Borgia’s fancy mat. Thinking at first that Yoal’s One Reed glyph might in fact identify Tlahuizcalpantecuhtli, I wondered if maybe the casa de oro could represent the House of the Dawn. That motif also has a connection to Quetzalcoatl as the planet Venus, but I know of no connection between Chantico and dawn. The matter of the little guy remains mysterious.

The hearth fire at the top center is of course symbolic of Chantico, whose plumed headdress is similar to that worn by both figures in the Yoal panel. Her atl-tlachinolli glyph and skull-bustle are repeated here, but the conch over her head seems damaged. The big serpent under her throne must symbolize emphatic sexuality, but I can’t explain the pile of something or other pierced by penitential thorns. The central offering bowl seems rather pitiful, as do the grotesque hands and feet on both figures. Overall, this patron panel isn’t particularly inspiring.

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Codex Borbonicus patron panel for Wind trecena

On the other hand, the patron panel from Codex Borbonicus is enchantingly ornate. It presents another casa de oro on the left with a common mortal who carries a standard bouquet/weapon and incense bag but again wears the Yoal-style plumed headdress. He does nothing to clarify the mystery. On the right, Chantico sports great bunches of quetzal plumes, another dramatic atl-tlachinolli glyph, and under her throne familiar plumed tassels with seashells. Her unusual sitting posture (hovering above instead of in front of the throne) may be intended to add to her ethereal/divine presence. That nose-clamp looks painful.

The scattered conglom of ritual items raises several questions. Starting in the upper left, what’s the significance of the day-sign One Crocodile (first day of the tonalpohualli)? Or of the standard-design rock/stone. No idea… Top center may be a glyphic hearth-fire. On the lower left seems to be an incense burner, but the leafy swatches beside it are inscrutable. The mounded item just above may be a metaphor for fire in the earth (volcano) and could relate to Aubin’s pile of something or other. But most iconic is the little frilled circle in the center with a star or divine eye in the middle. A traditional symbol of magic or sorcery, it’s the only reference in these patron panels to this trecena’s theme of necromancy.

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Codex Vaticanus patron panel for Wind trecena

The patron panel from Codex Vaticanus again repeats the inventory of motifs from Borgia, including burning temple, hearth-fire, and conch. But it deepens the mystery of what the little guy represents. Here, he’s a blue figure (possibly a corpse?) in what looks like a box rather than on a mat or in a casa de oro. Still no answers… Apart from her fancy skirt, cape, and body-tattoos, Chantico is pretty plain. Her sitting with feet forward is most unusual, and the confusion of her arms detracts from any divine magnificence.

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My ancient intuition about Chantico was apparently right on making her a normal, stylish woman. Appropriately, some patron panels give her dramatic emblems I didn’t know about like plumed headdress, fire-water glyph, and power symbols of hearth-fires and volcanoes. While her Borgia portrait is glamorous, her image in Yoal is more ornamental than most calendrical deities in that tonalamatl. Her pairing with the cameo of Quetzalcoatl makes one of the more exquisite Yoal panels, but we can’t take that to mean that he’s also a patron of the trecena. This guy One Reed seems more like a Master of Ceremonies for the magicians’ fiesta week. Maybe the strange little guys in the other tonalamatls are sorcerer-performers.

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.

The Evening Star – Apotheosis of Dog

After wrapping up my little piece about Morning Star mythology in Pre-Columbian America, I turned back to re-creating Aztec codex pages from the calendar and my work on the Vulture trecena (13-day ‘week’), its patron being the god of the Evening Star. The detailed process of pixelating is fairly time-consuming and lends itself to much cogitation and curiosity about the deity at hand. But first some Maya stuff on the Evening Star.

Lady Evening Star of Yaxchilan

No surprise, but my internet search provided precious few hits for Maya Evening Star, the only one being for a Maya queen of Yaxchilan named Great Skull and known as Lady Evening Star. Here’s some fancy ancient royalty gossip: A princess from the formidable city-state Calakmul, she married the ruler of Yaxchilan, Itzamnaaj B’alam III (Shield Jaguar the Great), was the mother of Yaxun B’alam IV (Bird Jaguar) and ruled 742-751 CE until her son’s maturity.

Apart from being the title of a regal queen, other Maya concepts of the Evening Star, if there were any, have been lost to the fires of history. Unless they were carved in stone like this portrait of Lady Evening Star on Stela 35 from Yaxchilan. References on Venus, a hugely important theme in Maya astronomy and culture, rarely even mention the Evening Star, though the Maya well knew it was related to the Morning Star as another phase of that planet.

I have no doubt that the famous Dresden Codex probably discusses the Evening Star, but I can’t read through those boggling glyphs looking for mentions and have no idea what it was called in either the Yucatec or Quiché Maya languages. But I really wanted to find out something of the history and mythology of my Vulture trecena patron.

That’s why I went back to my program from the Getty Museum show of the Maya Codex of Mexico (the Grolier Codex), a Maya-Toltec document dating 1021-1154 CE, where in the fragmentary pages on the cycles of Venus, I’d found the Morning Star image that inspired my earlier blog. In fact, for the Evening Star phases, the Maya Codex contains three gruesome images that show a deity with a death’s-head/skull-face. The best preserved presents a deity holding up a victim/prisoner’s bleeding head, apparently having recently decapitated the poor fellow with a large flint knife in his other hand. The skull-faces no doubt mean that the Maya identified the Evening Star is an entity of the Underworld (Xibalba), which wasn’t necessarily a bad thing. They considered life and death a mystical continuum.

Evening Star, Codex Maya de Mexico

The Underworld connection could well belong to an original Maya notion of the Evening Star. In later traditions, it was considered the guide/companion of the sun on its nightly journey through the Underworld. The earlier Maya may well have had a similar myth for the bright star that followed the setting sun. I hesitate to speculate on the Maya meaning of the victim in this scene, but it bears witness to the long-standing tradition of human sacrifice in Mesoamerica. Natural phenomena (like the movement of the sun, the rain, etc.) always came at a price in human blood.

Though the Maya Codex shows the Morning and Evening phases of Venus as different types of figures (including a being with a mask suggestive of a storm-deity), they understood well that it was all the same planet. Maybe Chak Ek’ was actually the deity of Venus itself, making no distinction between its phases: 236 days as Morning Star, 90 days in superior conjunction (behind the Sun), 250 days as Evening Star, and 8 days in inferior conjunction (passing between Earth and Sun). That would explain finding no evidence of separate deities, but of course finding no evidence of something doesn’t prove the absence of that something.

Similarly, I’ve found nothing on what the Venus-phases meant to the culture of Teotihuacan, which certainly revered the planet as the god Quetzalcoatl. That central Mexican metropolis possibly also didn’t separately deify the Morning and Evening Stars. However, the Maya Codex indicates that by Toltec times the concepts of the two phases were diverging, at least in their visualizations. At some time in succeeding centuries, later Nahua cultures evidently completed the separation, generating the new deity Tlahuizcalpantecuhtli (Lord of the House of the Dawn) for the Morning Star and another called Xolotl for the Evening Star.

Oddly, they deified the dog as the Evening Star—literally the apotheosis of dog! In two of the surviving “Aztec” codices, the new god appears in strikingly similar poses vividly recalling the decapitation motif in the Maya Codex. The earlier Underworld connection of the Evening Star is suggested by the night-capes both of these Xolotls wear.

Two Xolotls with Victims, Codex Fejervary-Mayer l., Codex Vaticanus r.

Since so little is known about the Maya Evening Star, most authorities like to extrapolate the later mythology of Xolotl back into that period, but I wonder if such lore was in fact inherited. The Maya indeed revered the dog as a guide, companion, protector and bringer of light to darkness, which may have involved escorting the sun through the night. However, Xolotl’s role as psychopomp for souls through the Land of the Dead (Mictlan), eerily paralleling the Hellenic concept of Cerberus in Hades and the Egyptian god Anubis, may well be a later elaboration.

A specific Maya reference to the dog is four images on pp. 25, 26, 27 & 28 of the Dresden Codex shown in relation to rituals for celebrating new years, but I don’t know how that might fit into the ancestry of Xolotl. In any case, they underline the cultural importance of the dog.

Xolotl appears relatively often in the surviving codices, in all but one instance in the guise of a dog. In Codex Borgia the dog-god occurs three times in its typically ornamented style, one too damaged to make out any details. The figure on the left below appears in the “magical journey” sequence, and the central image is from a “heaven temple.” The Sun symbol on its back refers to escorting the Sun through the Underworld at night. Earlier in the codex, as patron of the day Earthquake, Xolotl appears uniquely as a deformed human—which is no doubt why scholars have called him the deity of monstrosities, including twins. (The twin theme obviously refers to the close relationship between the Evening and Morning Stars.)

Three Xolotls, Codex Borgia

In two other codices, Xolotl is depicted as a fairly naturalistic dog, unfortunately not naturalistic enough to discern its breed. In the Nahuatl language, “dog” is Itzcuintli, but that’s also a generic term. These images only indicate some sort of a shaggy dog, not at all like the hairless canine Xoloitzcuintli (named for the god) which has been designated the national dog of Mexico. These dogs also look nothing like the small chihuahua which was apparently raised for eating. The spiked collar on the left example I expect is an abstracted “night-sun” symbol, and the explicit anatomy of the central figure is hard to overlook.

Three Naturalistic Xolotls, Two (l.) from Codex Vaticanus and One (r.) from Codex Laud

Said to have come from the area of Veracruz, Codex Fejervary-Mayer conversely presents Xolotl as a full-fledged, anthropomorphic canine deity ensconced in an elegant temple. In addition, the codex contains several pages with this Xolotl in various aggressive postures, (including eating someone’s head!), which recall panels of Morning Star violence. In one, Tlahuizcalpantecuhtli mysteriously wears a dog’s head. These Codex F-M scenes may indicate a lingering conceptual overlap between the two phases of Venus in a distant conservative area of Mexico.

Two Xolotls, Codex Fejervary-Mayer

The scene on the right surely relates to the earlier images with victim, but here blood issues from his body like from a heart sacrifice. Another conservative aspect of Codex F-M iconography is that, except for the first one holding the victim and heart, its Xolotl dog-gods all have the same head—basically that of those anthropomorphic New-Year dogs in the Dresden Codex. Here we see examples of mythological evolution in action.

In codices with tonalamatls (books of the Aztec Calendar), Xolotl is celebrated as the patron of the Vulture trecena and formally consecrated as the god-dog, often enthroned.

Three Divine Xolotls, (l – r) Codices Borbonicus, Borgia and Vaticanus

Besides their masses of divine regalia, all three wear the conch-shell pendant (‘wind-jewel’) symbolizing their connection to Quetzalcoatl/Venus, but none is breed-specific. Curiously, the Vaticanus example is swaddled in a traditional corpse-bundle, perhaps a veiled reference to the Evening Star’s Underworld connection. Now that’s a trio of indisputably alpha dogs!

In its Vulture trecena patron panel, Codex Telleriano-Remensis, an early post-Conquest text painted on European paper, takes the dog to a yet higher level of glory, presenting a fantastic, iconic, metaphorical scene of Xolotl as the brilliant Evening Star with a gleaming Sun (Tonatiuh) setting into the gaping maw of Tlaltecuhtli, Lord of the Earth.

Evening Star with Setting Sun
From Codex Telleriano-Remensis (re-creation)

Personally, as an opinionated artist, I think this eye-boggling panel is an absolute epitome of Aztec iconography. You’re welcome to your own opinion. Meanwhile, I’ll note that here Xolotl looks absurdly like a Pekinese, but that makes no difference to the spectacular metaphor.

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Unlike the myths of the Morning Star, it’s surprising that with the celebrity of Xolotl in Mesoamerica, the Evening Star cult didn’t spread into North America. However, the dog’s traditional loyalty, companionship, guidance and protection was generally appreciated by tribes across the whole continent, and sometimes it was included in rituals and ceremonies. I’ve only found a few legendary references from the Ojibwe and Pawnee (usually about wife or daughter of the Evening Star) and one from the Algonquin about an Osseo, Son of the Evening Star, but there’s no connection to a dog. It seems that Xolotl’s godhead was only valid in Mexico.

But that hasn’t mattered much. All across North America, dogs domesticated humans beings and became de facto gods in their own right, ruling their mortal owners’ Morning (days) and Evening (nights) and living (for the most part) idle lives of divine luxury. Their worshipful care consumes an enormous sector of the economy, I’d bet grossly larger even than that for religious institutions—an apotheosis without even needing an Evening Star mystique or human sacrifice.

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Aztec Calendar – Water Trecena

The seventeenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Water for its first numbered day, which is coincidentally the 9th day of the veintena (20-day “month”). In Nahuatl, Water is Atl. It was known as Muluk (Water) in Yucatec Maya and Toj (Rain or “Thunderpain”) in Quiché Maya.

The Aztecs saw the day Water, typically shown as a container spilling water, as connected with the flow/passage through life and time as well as purification and the accumulation of resources and potentials. It’s associated anatomically with the back of the head/hair. The divine patron of the day is Xiuhtecuhtli, the Lord of Fire/Turquoise, who’s a patron of the Snake trecena.

PATRON DEITY RULING THE WATER TRECENA

Chalchiuhtotolin (see Icon #3), the Jade (or Jeweled) Turkey, is another nagual (manifestation) of Tezcatlipoca (see Lizard trecena). As the magnificent patron of his Jaguar Warriors of the Night and of military power and glory, it cleanses them of contamination, absolves them of guilt, and overcomes their fates. Appropriately it’s the patron of the day Flint, the sacrificial knife.

Though symbolic of sustenance and abundance, Chalchiuhtotolin is also associated with disease and pestilence, a creature of death and decay, regeneration and transformation. Chalchiuhtotolin is also linked to the earth’s fertility, agricultural cycles, and the natural order of life and death. Appeasing Chalchiuhtotolin was believed to ensure a smooth transition for the deceased into the afterlife and promote fertility and abundance in the earthly realm.

AUGURIES OF THE WATER TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

Trecena theme: Generative Vitality, Purification. This life-giving time frame has a generative “firewater” aspect to its energy, representative of the original creation forces that sparked life itself. There is a strong sense of abundance associated with these forces, but these energies can also be “electrical” in the sense that they can “spark” important events, often associated with stimulation and cleansing. Like water itself, this period holds the potential to create pathways that can shape or change the world. This trecena has also been associated with omens.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Muluk trecena.

THE 13 NUMBERED DAYS IN THE WATER TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with 1 Water, it continues the trecena with: 2 Dog, 3 Monkey, 4 Grass, 5 Reed, 6 Jaguar, 7 Eagle, 8 Vulture, 9 Earthquake, 10 Flint, 11 Rain, 12 Flower, and 13 Crocodile.

There’s one special day in the Water trecena:

One Water (in Nahuatl Ce Atl) –the day-name of Chalchiuhtlicue, the Jade Skirt, the patron of the Reed trecena. In the Florentine Codex, it’s noted as a feast day for those involved in the water industries, but I can only speculate what those were.

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

Aztec Calendar – Water trecena – Tonalamatl Balthazar

Yet again, I knew nothing about traditional images of the Jade Turkey and simply played with a Nuttall-style guy in a turkey-suit, the dominant green color reflecting the “jade.” Only many years later did I discover true details of this deity’s mythology—and the unusual type of turkey it references. The following patron panels will explain a lot of little-known turkey-trivia.

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – Water trecena – Tonalamatl Borgia

Besides the “Jade Turkey,” Chalchiuhtotolin is also called the “Jeweled Turkey”—referring to Meleagris ocellata, an endangered species native to Yucatan, Belize, and Guatemala and named for “eyes” on its imposing fan of tail feathers. With stunning blue-to-purple-to-green plumage, this rara avis is a distant cry from the standard “Thanksgiving” turkey (Meleagris gallopavo).

Ocellated Turkey

Surely known personally to the Maya but likely only mythically in Mexico, this rare bird as patron of the Water trecena shows its ancient heritage. The peoples of Mexico found significant sustenance and abundance in its drabber but larger cousin, the Wild Turkey, ancestor of our even bigger domestic turkey. But they “idolized” a mythical jeweled fowl that could be called the “Turquoise Turkey” (Xiuhtotolin). Coincidentally and appropriately, that could also mean “Fire Turkey.” Since the bodies of ocellata were many shades of iridescent emerald-green, simply “Jade Turkey” is its best label.

The color palettes of codex artists included very few shades of blue which differed over time and area. The Maya had a famous blue of unknown source, and the Mexicans later achieved a generous blue like in Codex Borbonicus. In Codex Borgia, most intended blues have degraded into shades of grey (as have any hues of green into brownish-golds). Codex Laud and Codex Fejervary-Mayer use a dark greenish or slate tone for blues and/or greens, with other colors fairly vivid. In Vaticanus b (predominantly cochineal red and brownish gold), they managed some subdued blues and greens almost like highlights. But a true turquoise was way out of an artist’s reach, not to mention any shade of purple.

That made it essentially impossible to depict Chalchiuhtotolin in all its iridescence. The Jade Turkey mostly appears in codices with a red head and brownish feathers, like their common farmyard gobblers. But in Codex Borgia, the mythical bird has a stylized ocellated fantail (now become blacks and greys) and brownish-gold medallions for the glowing green on its breast.

I chose to color our divine bird naturalistically—i.e., just about as supernaturally as it gets, that turquoise head and purplish tail. I wonder about that suspicious ear on the back of its head. Turkeys don’t have ears like mammals. And what’s that big tassel-thing on its breast? Well, recently I learned about turkeys’ beards. When toms (and some hens) get on in years, they can grow a long spike of feathers straight out from their breasts. That ornament and a many-eyed fan makes a formidable fowl of military majesty, a great patron for the Jaguar Warriors of the Night.

Chalchiuhtotolin seriously dominates this patron panel, especially with all that stuff the deity is evidently exhaling. The upper curlicues we now know are grey smoke and orangish fire, which makes sense for a “Fire Turkey,” a fire-breathing warrior-bird, but the curly thing caught in the disembodied claw sure doesn’t. Hanging right there in the center of the panel, it must be primally important, maybe a hieroglyphic message or utterance by the deity. Or it may be simply an abstraction for the wide range of calls, cackles, and gobbles that turkeys make.

Meanwhile, the surreal item on the right invites more interpretation. No doubt, it involves two spotted serpent tails encircling a body of water. However, the snakes’ heads lift up between knobbed sides like spouts of water (with eyes and mouths!) and top off with big flowers. The motif of a snake containing a volume of water is also seen in ancient Maya iconography—and this is after all, the Water trecena. Gathering and containing water, the essence of accumulation, provides the Jade Turkey’s abundance. So, here there be water-serpents.

Which raises a neat linguistic point: At a recent lecture, I learned that in Aztec iconography many of the images are actually hieroglyphs, pictorially and/or phonetically significant. For instance, a pot or jug with water splashing out of it can be read as a word in Nahuatl. The first syllable of their word for pot/jug/jar is co-,and their word for ‘water’ is atl. So, co-atl spells ‘snake.’ This item is in fact a decorative and emphatic hieroglyph for ‘water-serpent.’

This page for the Water trecena I consider perhaps the most glorious in the Tonalamatl Borgia, not only for its intended colors but for its surrealism. Even without the appended material and fancy water-serpent glyph, this image of Chalchiuhtotolin is inarguably the apotheosis of the turkey. (Worshipping it is a whole lot kinder—and respectful—than cooking it for dinner.)

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar –Water trecena – Tonalamatl Yoal

This series of compiled trecena pages that I call Tonalamatl Yoal opts for a far less naturalistic image of an ocellata with the brown feathers and red head of the common gallopavo. However, there’s no clear reason for its yellow feet or the epaulets on its wings. The “jeweled” aspect of divine Chalchiuhtotolin is shown by the jade pendants on its plumage and probably the turquoise collar, but I can’t explain the apron of quetzal plumes that almost hides its jaguar-pelt “pants.” Those may indicate its nagual connection to Tezcatlipoca as does the variant smoking mirror in its headdress—a logical source of the flame and smoke seen before as the breath of the Borgia bird. Apart from the shape of the head, this heavily stylized portrayal of the deity doesn’t look much like a turkey, especially that tail, but it’s certainly an elegant fowl.

Instead of any water-serpent reference, on the right side is another figure of a human worshipper performing a ritual blood sacrifice like the guy in the Jaguar trecena. That one (with the same bound hairdo but no headdress) pierces his tongue with a pointed stick. This one jabs himself in the ear with a sharpened flowering shinbone—oddly emblematic of Quetzalcoatl, as are the two ornamental conch shells. The devout fellow also offers the deity a fancy incense bag.

Though it shares the stage here with a worshipper, Chalchiuhtotolin is clearly the sole patron of this Water trecena. As before with the tongue-piercer with Quetzalcoatl in the Jaguar trecena, this ear-stabber may merely indicate the preferred method of blood-sacrifice to the Jade Turkey. I haven’t studied the matter, but I suspect the Aztecs had prescribed rituals of phlebotomy for specific deities, including slicing other body-parts, flagellation, flaying, and eye-poking (like in the Flower trecena). It was obviously a great culture for masochists.

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Water trecena

It’s no surprise that the turkey in the Tonalamatl Aubin patron panel can scarcely be called elegant. Looking more like a limp rubber chicken, it’s nevertheless supposed to be the divine Chalchiuhtotolin as shown by a half-hearted smoking mirror in its headdress. While the little guy pretends to stab his ear, three awkward conch shells seem to relate to familiar water-serpent symbols. Apparently, the Aubin artist(s) held Chalchiuhtotolin in only minimal awe.

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Codex Borbonicus patron panel for Water trecena

The Jade Turkey in the Codex Borbonicus patron panel, however, is rather awesome with an ornate smoking mirror and Tezcatlipoca’s beribboned circular pendant. Its anthropomorphic nature (a guy in a turkey suit) nicely justifies my own even more awesome interpretation in Tonalamatl Balthazar. In the crowd of ritual paraphernalia, I wonder about that central green pulque pot; is he drinking from it or vomiting into it? The little guy on the right of it with the colorful snake is again stabbing an ear and carrying an incense bag and a conch shell. The co-atl glyph in the lower right corner must refer to both the Water trecena and water-serpent, and fire and smoke issue from a burning temple. The cluster of symbols (including a familiar scorpion) might be elements of some hieroglyphic sentence.

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Codex Vaticanus patron panel for Water trecena

In Codex Vaticanus, the Jade Turkey distinctly reflects the Borgia image, some blue in the fantail with stylized “eyes, a geometrically abstracted wing, and a small beard on its breast. One gets the feeling that the artist probably intended to paint the white spaces in ocellata colors but didn’t get around to it. (I’m tempted to finish the job but have other fish to fry right now.)

The cluster of motifs above its head also reflects the Borgia image: plumes of smoke and fire and stylized water-serpent heads (without faces) capped with flowers. In this instance, the red “walls” of the waterspouts are evidently penitential thorns, explaining the knobbed structures in Borgia. Most interesting is the curly exhalation with stars attached grasped again in a disembodied claw; it suggests darkness or night, possibly explaining the enigmatic brown Borgia detail. The deity was sometimes called the “Precious Night Turkey”—maybe since Tezcatlipoca was the god of the night or for its patronage of the Jaguar Warriors of the Night.

This Vaticanus Chalchiuhtotolin is exceptional, both in stylized detail and in being the sole image in the patron panel. Displaying no specific emblem of Tezcatlipoca, this Jade Turkey seems (like the Borgia bird) to proclaim its independent divinity.

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I’m impressed by the virtuosity of the Vaticanus artist(s) in stylizing certain animals like the dog (discussed in the previous Vulture trecena) and this Jade Turkey. Elsewhere in the codex they have twice drawn turkeys in the context of their patronage of the day Flint, on pp. 29 and 93:

Two Turkeys, Codex Vaticanus

From different sections of the codex but in similar poses (and both sporting impressive beards), these two gobblers may well have been drawn by different artists in slightly different personal styles. The one on the left is clearly a common variety tom, but apart from the necessarily red head, the one on the right looks to be an authentic ocellata with the eyes on its fantail and more intricate plumage. Perhaps the magnificent trecena patron image was created by yet a third artist, someone more fluent in religious symbolism.

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.

Aztec Calendar – Vulture Trecena

The sixteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Vulture for its first numbered day, which is coincidentally the 16th day of the veintena (20-day “month”). In Nahuatl, Vulture is Cozcacuauhtli. However, for the Maya, the day apparently had only a peripheral association with the vulture and was known as Kib’ (Wax or Candle) in Yucatec and Ajmac (Owl or “sinner”) in Quiché with different significance. Per Dr. Paquin’s fine book (cited below), the Maya saw Kib’ as connected with the four Bacabs (directions or sky-bearers) and associated it with incense, the “soul force” of the universe, and notably bees.

On the other hand, the Aztec saw the day Vulture connected with the spiritual realm, restoring order and balance, and prosperity. Folks born on a Vulture day would be vigorous, prudent, wise, and good teachers and advisors. Those born on One Vulture would be happy, wealthy, admired, and lucky in business. Anatomically, the day was connected with the right ear.

PATRON DEITY RULING THE VULTURE TRECENA

The patron of the trecena is Xolotl, the Evening Star, god of twins, often called the “Evil Twin” of Quetzalcoatl (by the goddess Chimalma, while other lore has them borne by Ometeotl, the Creative Pair). Still other lore says Xolotl and Tlahuizcalpantecuhtli (Morning Star) are the real twins, though the Morning Star is the more dangerous/evil, and what’s more they’re both naguals of Quetzalcoatl (Venus). Also, reflecting the Maya Hero Twins, Quetzalcoatl and Tezcatlipoca are supposedly the famous twins, which further obfuscates divine family trees.

Usually, twins were seen as monstrosities, one of the two often killed at birth, and so Xolotl is called the deity of monstrosities. Adding to his “evil” reputation, he’s considered the god of malice and treachery, representing the bestial side of people, the opposite of intellect.

Recalling the European three-headed dog Cerberus in Hades and the jackal/dog Anubis in ancient Egypt’s Duat, Xolotl is most often depicted as a dog—who serves as psychopomp of souls in Mictlan. In the same way, when the Cihuateteo have brought the sun to its setting, the dog-god escorts Tonatiuh on his nightly journey through the Underworld. The setting sun-god is called Tlalchi-Tonatiuh, Sun close to (or under) the Earth, and is occasionally thought of as an ephemeral “patron” of the Vulture trecena.

AUGURIES OF THE VULTURE TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

Trecena theme: Mischief, Duality, Transformation. With the patron deities of this trecena both representing of the close proximity of the sun to the earth, it is not unusual to see some tendency towards “fire in the earth” during this period. These energies seem to underscore the dualistic nature of this trecena, metaphorically suggestive of the sun’s journey through the underworld, and its struggle towards rebirth. This can precipitate havoc, often of an intense or fiery nature, often involving some form of duality. However, the ultimate purpose is often transmutation, a push towards the birth of something new, as suggested by the initiating energy of Kib’, the Vulture energy that is ultimately oriented towards a restoration of order.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/   Look for the Kib’ trecena.

THE 13 NUMBERED DAYS IN THE VULTURE TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 16th day of the veintena, 1 Vulture, it continues: 2 Earthquake, 3 Flint, 4 Rain, 5 Flower, 6 Crocodile, 7 Wind, 8 House, 9 Lizard, 10 Snake, 11 Death, 12 Deer, and 13 Rabbit.

There are two special days in the Vulture trecena:

Four Rain (in Nahuatl Nahui Quiahuitl) – Featured on the Stone of the Suns, this is the day-name of the idyllic Third Sun/Era ruled by the Storm God Tlaloc. However, when Tezcatlipoca abducted his wife Xochiquetzal, the angry deity destroyed the world in a rain of fire (probably a volcano). Its people became butterflies, dogs, or birds—some say turkeys.

Five Flower (in Nahuatl Macuil Xochitl) is patron of games (particularly patolli) and gambling, music and singing, who brings and cures hemorrhoids and venereal diseases. He’s one of the five Ahuiateteo (Gods of pleasure and excess thereof). So far we’ve seen Five Lizard, Five Vulture, and Five Rabbit, and we’ll meet Five Grass in the last trecena, Rabbit. They are sometimes also called the Macuiltonaleque (Lords of Number 5) who escort the sun (Tonatiuh) across the day-sky and deliver him to the five Cihuateteo to prepare him for sunset, whereupon Xolotl takes him through the Underworld night.

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

In those dark ages of the early 90s, my information on most Aztec deities was severely limited. I’d read about Xolotl being the Evening Star and god of monstrosities but had no clue about his canine or solar characteristics. Reacting solely to a comment about his “reversed hands and feet” (but unaware that iconographically a great many divine hands and feet got reversed), I once again gathered regalia and motifs from Codex Nuttall, without realizing its appropriateness made up a wicked kind of Tlaloc mask, and to ice the cake, gave my Xolotl a hunched back. Though terribly inaccurate in detail, the result was sufficiently monstrous for its purpose. In fact, you’ll see shortly that it’s rather nicer than a disturbing authentic image of Xolotl Deformed.

Aztec Calendar – Vulture trecena – Tonalamatl Balthazar

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – Vulture trecena – Tonalamatl Borgia

The Vulture trecena panel in Codex Borgia is a great piece of positive PR for Xolotl showing an almost cuddly puppy-dog (major fangs and jaguar claws notwithstanding). It avoids implying any sinister aspect, except perhaps the bloody teardrop. Meanwhile, his nagual-connection to Quetzalcoatl is stressed by that god’s emblematic conch-shell pendant (wind-jewel).

Xolotl is obviously the sole patron in this panel, the other items being simply ritual details. The Earthquake day-sign by his foot indicates his patronage of that day, and the four dots specify the day-name of the current Fifth Sun. The deer-leg in the bowl above is a frequent offering to deities, but I can’t even guess what the bag of plumes might mean. The chopped-up snake we now know as a common symbol of sacrifice. Overall, the panel makes a pretty poster.

However, Codex Borgia doesn’t always issue pretty propaganda for Xolotl. Other pages may well have been drawn by different artists—like the panel depicting Xolotl as patron of the day Earthquake. Rather than as a dog, it shows him as a deformed monstrosity:

Xolotl Deformed, Codex Borgia

Here the bloody teardrop has become a drooping eyeball which a dubious legend ascribes to his “crying his eyes out” when at the creation of the Fifth Sun, Ehecatl supposedly massacred various gods. I frankly can’t accept that wild story, nor the claim that Xolotl was also murdered by the Wind God and turned into an axolotl (a “water-dog” salamander). After all, who would now lead Tonatiuh through the Underworld at night (or souls through Mictlan)?

There’s a lot of confused lore about Xolotl, often cited by Spanish priests/ethnographers for nefarious reasons, including a claim that he helped Quetzalcoatl bring the bones of people from the Fourth Sun up from Mictlan to create the people of the Fifth Sun. In much more likely fact, it’s actually Ehecatl who made that arrangement with Mictlancihuatl, the Lady of Mictlan. As well, being the Breath of Life, Ehecatl is an extremely unlikely mass murderer. Conversely, Spanish writers tried to whitewash Quetzalcoatl as being opposed to human sacrifice—in order to use him in their catechism as a Christ-figure.

By the way, the drooping eyeball might symbolize an Underworld connection. It’s emblematic of the Cihuateteo and shown in Borgia Plate 42 on several figures being “generated” by a death-deity. The hand across Xolotl’s lower face is essentially an emblem of the Ahuiateteo, and these two details may intend his connection with those other escorts of Tonatiuh.

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar –Vulture trecena – Tonalamatl Yoal

Talk about pretty posters! I think this Tonalamatl Yoal patron panel takes the cake, so to speak. In Yoal’s colorful, fancy style, a super-ornate Xolotl (nothing at all sinister here) is paired with an equally ornate Tlalchi-Tonatiuh as the sun sinking into the gaping maw of Tlaltecuhtli, Lord of the Earth. It’s a stunning image of the Evening Star at the ephemeral moment of sunset, epitomizing the myth of Xolotl as the sun’s companion through the night.

In this regard, let me opine that the artist(s) of Tonalamatl Yoal had splendid artistic concepts for their trecena patron pairs—which were unfortunately isolated on separate pages—but frankly they lacked the technical expertise to fully achieve those concepts. That’s why I felt justified in “re-creating” their images—to make them more of what the original artist(s) must have had in mind. Their original sketchy, careless images simply couldn’t convey the art of their vision.

I hesitate to comment more on this panel but must. You will note that in Yoal’s fashion, the figure of Xolotl is heavily loaded with divine regalia, naturally including several items associated with Quetzalcoatl. Curious is the inclusion in his headdress of a bunch of unspun cotton and a spindle of spun thread, generally emblems of the goddess Tlazolteotl. But even more curious is the fact that Xolotl’s canine head looks very like a Pekinese, another cuddly puppy.

This gorgeous image of Tlalchi-Tonatiuh wears a Tlaloc-like mask with a goggle-eye but remarkably has no traditional fangs. Though Codex Rios annotated this figure (in Italian) as “Tlachitonalie,” I didn’t know what that meant, and several years ago I took this to be the God of Rain Quiahuitl to use for my Icon #15. Now I understand that it’s in fact the setting sun, and the rain-mask is probably connected with the sun’s watery route through Mictlan (where nine rivers must be crossed). Live and learn. However, I’ve yet to learn what that strange item is protruding from his mouth with all the shell ornaments. No clue…

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Vulture trecena

Forget cuddly puppies in the Tonalamatl Aubin panel. Here Xolotl is so clumsily (one might say monstrously) drawn that he scarcely even resembles a dog. At least the three crosses on his regalia, the wind-jewel pendant, and the bow in his headdress connect him to Quetzalcoatl. Meanwhile, the little Tlalchi-Tonatiuh on the left with a full Tlaloc face wears a “night-sun” symbol and sinks into the merely schematic mouth of Tlaltecuhtli. The unusual border of flowing water may well be one of the rivers of Mictlan.

So far, so un-impressive. However, I’m struck by the free-floating items. The little bundle of sticks with a carrying strap is rather innocuous and uninteresting, but the chili pepper is quite emphatic. This is the first time I’ve seen one depicted in the codices, and other culinary ingredients are usually shown all together in a bowl or pot. This chili probably has some ritual significance. Maybe the inherent penance of eating something so hot?

This panel is perhaps the most disappointing in the whole troubling Aubin series. But that’s just me with my modern refined aesthetic. This Tonalamatl was painted in the state of Tlaxcala, and maybe the Tlaxcalans back then found it hugely beautiful. Eye of the beholder and all that…

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Codex Borbonicus patron panel for Vulture trecena

The sunset theme is repeated in Codex Borbonicus, also with a Mictlan-river border, which like in Aubin is unique in its series of trecena patron panels. This Tlalchi-Tonatiuh with a bestial head and unknown something protruding from its mouth resembles Tlaloc or Quiahuitl only in the goggle eye. An exquisite “night-sun” symbol replaces its body as it sinks into the maw of an ornate Tlaltecuhtli. Paired with an ornamented Xolotl as a cute dog (Chihuahua?), this panel is a great metaphorical sunset with Evening Star, but I feel the Yoal panel outshines it vastly.

The conglom of ritual items is familiar: a deer-leg offering (as in Borgia and Aubin) and a wrapped bundle of sticks (as in Aubin). Occurring twice now, the latter must surely mean something divinatory. I’m amused by the impertinent snake in the incense bag—and struck by another penitential chili pepper! This intricate panel is perhaps the clearest example of iconographic connections between Tonalamatl Aubin and Codex Borbonicus.

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Codex Vaticanus patron panel for Vulture trecena

As often noted before, iconographic connections between Codex Borgia and Codex Vaticanus are obvious in the Vulture trecena panel, portraying basically the same motifs in their individual styles. This Vaticanus Xolotl isn’t quite as cuddly as the Borgia version, but it’s elegantly adorned (with another emblematic wind-jewel). Its body being wrapped in a corpse bundle might lead one to think the Vaticanus artist simply got hooked on this simplistic device (after four other panels with the motif), but I believe it was used here with reason. Like in Borgia, there’s no reference to Tlalchi-Tonatiuh, and the corpse bundle establishes Xolotl’s important connection to the Underworld. I’ve taken the liberty of seriously restoring and rectifying this panel because it’s such a striking image of a mythical dog—worthy of a tattoo.

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I’m still staggered by the jewel-like Yoal sunset scene with Xolotl as the Evening Star, but after this review of the Vulture trecena patron panels, I can’t help but conclude that the dog-god has been mythologically maligned. I’ve seen nothing to indicate malice, treachery, or even mischief. Though he might represent the animal and anti-intellectual aspects of nature, I expect that his monstrous reputation rests in that one Borgia image as patron of the day Earthquake. In the parallel day-panel in Vaticanus, he’s an almost naturalistic, enthusiastic hound:

Xolotl, Codex Vaticanus

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.

Aztec Calendar – House Trecena

The fifteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called House for its first numbered day, which is the 3rd day of the veintena (20-day “month”). In Nahuatl, House is Calli, and it’s known as Ak’b’al in Yucatec Maya and Ak’ab’al in Quiché.

My early research told me that for the Aztecs, the day House represents nobility and intelligence. Its sign is a stylized house (calli) or temple (teocalli); educational centers were a telpochcalli, and priests were trained in the calmecac. My great Maya advisor, Dr. Paquin, tells me that they considered Ak’b’al to represent a sanctuary or place of retreat, a place for contemplation, study, and creative exploration. She adds that the day also represents the night and darkness, i.e., the magical nocturnal realm. How much of that made it into Aztec symbology, one wonders, but they associated the day House anatomically with the right eye. The patron of the day is the Heart of the Mountain, Tepeyollotl (See Icon #17), god of caves (speaking of sanctuary/retreat), who appeared in the Deer trecena as Jaguar of the Night, another rather appropriate detail.

PATRON DEITY RULING THE HOUSE TRECENA

The ruler of the House trecena is the frankly frightening Itzpapalotl (the Obsidian Butterfly), the ancestral goddess of the stars (Milky Way), lady of mystery and death—but perversely, also of beauty and fertility. (See Icon #8.) Patron of the day Cozcacuauhtli (Vulture), she’s a fearsome warrior who rules over the paradise of Tamoanchan for victims of infant mortality. She may be the mother of Mixcoatl, the Cloud Serpent, and is a patron of the dire sisterhood of Cihuateteo (Divine Women), warrior spirits of women who die in childbirth. She’s patron and leader of the Tzitzimime, star demons that come down and devour people during solar eclipses. Like them, Itzpapalotl can be depicted with a skull-face and butterfly or eagle wings, but she can also be a beautiful woman. Below, we’ll see her in all those aspects—and as a surreal nightmare!

AUGURIES OF HOUSE TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

The theme of the House trecena is Darkness, Mystery, Trauma, and Challenge. Overseen by a deity who appears to represent the struggles of the soul as it strives to overcome the traumas and tribulations of life, this trecena often places emphasis on events and issues that have significant moral and ethical implications for humanity. Personal sacrifices and “warrior” instincts may be needed to navigate through the challenges of the earthly realm. This is a good period for reflection, assessment, and soul-searching in order to find new ways to move through the darkness and into the light.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Ak’b’al trecena.

THE 13 NUMBERED DAYS IN THE HOUSE TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 3rd day of the current veintena, 1 House, it continues: 2 Lizard, 3 Snake, 4 Death, 5 Deer, 6 Rabbit, 7 Water, 8 Dog, 9 Monkey, 10 Grass, 11 Reed, 12 Jaguar, and 13 Eagle.

There’s one special day in the House trecena:

One House (in Nahuatl Ce Calli)—Day-name of one of the five main Cihuateteo (Divine Women), spirits of women who die in childbirth. Except for One Eagle (Ce Cuauhtli), we’ve seen all the others in their respective trecenas: One Deer (Ce Mazatl), One Monkey (Ce Ozomatli), and One Rain (Ce Quiahuitl). The picture below shows a Cihuateotl, One Deer, seen in two codices with clearly very orthodox iconography. They mainly differ in which way the snakes hang from their arms and the patterns on their skirts. The bloody teardrops are emblematic of the Cihuateteo as spirits of the Underworld (Mictlan).

A Cihuateotl: Codex Borgia (l.), Codex Vaticanus (r.)

Somewhere I read that One House may be the day-name of Itzpapalotl herself, so that could in truth be a cameo appearance of the goddess in the Flower trecena as a seductive woman. Meanwhile, Tlazolteotl is sometimes called a Cihuateotl, but I’d bet as the celebrity mother-goddess, she’s probably another patron of the five Divine Women.

Lore has it that especially on their name-day nights, the Cihuateteo lurk at crossroads to seduce and murder men or to capture young children—so they can become mothers. Although honored as fallen warriors, they’re sometimes shown with skeletal faces and clawed feet and hands, goddesses of the twilight. Their supernatural chore is to conduct the sun into the underworld at the end of the day—then go out and haunt the crossroads like bogey-mamas.

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

Aztec Calendar – House trecena – Tonalamatl Balthazar

After trying my best to be authentic in portraying the first fourteen trecena patrons, I indulged in a bit of imagination in this representation of Itzpapalotl, modelled on the Codex Borbonicus image (See below). However, fascinated by her “butterfly” persona, I replaced her Borbonicus bird-wings with those of a tropical butterfly called Armandia Lidderdalei. Please forgive my artistic license. Meanwhile, I cued to her claws in the Borbonicus panel (for which she’s called “the Clawed Butterfly”), though confusing jaguar claws and eagle talons. Noting a reference to her “skeletal face,” I gave her one not unlike that in the following Borgia image.

The result is probably the most gruesomely gorgeous deity I’ve ever drawn. By the way, that’s a sacrificial knife she holds in her left hand/claw. I adapted this image for my coloring-book series Ye Gods! Icons of Aztec Deities (2017-2020), and it was the big hit of the show. In fact, an arts-for-youth group used the black-and-white image as a “cartoon” for their huge rainbow-winged mural of the goddess that can still be seen from the highway. I greatly appreciate the anonymous recognition and welcome anyone’s use of my artwork however they like.

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – House trecena – Tonalamatl Borgia

Compared to my Itzpapalotl, this one in Tonalamatl Borgia is merely pretty ghastly, just enough for the leader of the Star Demons (Tzitzimime, singular Tzitzimitl). In the following image I drew from the Post-Conquest Codex Tudela, they look fairly grisly, like a Mesoamerican Medusa.

A Tzitzimitl, Star Demon

Honestly, I can think of little else to say about this ghastly Itzpapalotl. The central motifs embody her message of mystery and darkness: her temple of night/stars, an overthrown throne and dead guy, and a fellow blindfolded for some reason. (Sometimes a blindfold indicates weeping—but then why’s he crying?) On the other hand, the tree with a monster-head for roots is an ancient symbol that occurs often in codices, also bleeding, sometimes chopped/wounded by a deity. The motif is inherited from Maya iconography where a crocodile (caiman) head represents the Earth Monster, out of which grows the Tree of Life. The bleeding, monster-rooted tree also appears with Itzpapalotl in her day-Vulture patron panels both in Borgia and Vaticanus.

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar – House trecena – Tonalamatl Yoal

In both the Telleriano-Remensis and Rios versions, the intricate figure of Itzpapalotl includes her eponymous butterfly, though stylized within an inch of its insect life as a clawed bug with an outrageously unreal head (triple fangs and star-studded antennae!). For my Tonalamatl Yoal, I gave it the elongated and segmented abdomen added in the Rios copy reflecting a simple arc in Telleriano-Remensis, and I made it blue to suggest a psychedelic dragonfly. If you’re going to hallucinate, you might as well go all the way.

As far as claws go, notice that these are distinctly avian as opposed to the jaguar type in Borgia. Relying on her exuberant accessories in Telleriano-Remensis, I merely replaced some shapeless golden baubles on her unusual furry anklets and wristlets with symbolic stars and gave her a skirt, blouse and mantle in an appropriate night pattern borrowed from Borgia’s temple. Maybe we could also call her Itztlicue (Obsidian Skirt).

While the green plumes are standard ceremonial quetzal feathers, the brown ones in headdress and bustle would seem to be those of the Vulture, the day of which she’s the patron. In the course of re-positioning the goddess’s arms, I emphasized her reputedly alluring femininity by exposing her breast in an iconographically acceptable way, but that doesn’t do very much to beautify her sardonic, toothy grin. Overall, Itzpapalotl is one scary mother of mystery and darkness, an impressive Cihuateotl or Tzitzimitl.

Rather than a monster-head, this bleeding tree has a mass of normal roots and so maybe doesn’t refer to the ancestral Maya theme. Its luxurious display of many kinds of stylized fruit and flowers is in no way botanically realistic but tells us this is still a Tree of Life. Its divinatory purport is unclear (mysterious), and why the pretty thing been chopped in half is still unknown (another mystery). Thus it’s a fitting patron-companion for Itzpapalotl.

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for House trecena

The panel in Tonalamatl Aubin leaves no doubt that the central blooming, fruited Tree of Life (again chopped in half) is some kind of a secondary patron of the House trecena. This one is bigger than Itzpapalotl, who’s relatively plain, except for many vulture feathers and bird-claws. In Aubin’s typical awkward stylization, I’d be hard-pressed to call her an attractive woman. Her lack of divine ornamentation suggests to me that the artist was way more concerned symbolically with the Tree and other divinatory clues in the trecena panel.

In terms of clues, I’m genuinely puzzled by the white thing she holds, possibly a conch shell, but the wrong shape and of inscrutable significance. The inverted pot of water and snake-head censer are common motifs, but that strange blue bar with bows in the dead center is a profound mystery. Another such bar is held by Chalchiuhtlicue in the Yoal Reed trecena, where I figured it was a blade of some sort. Maybe this one is too, considering the beheaded sacrificial bird…

And considering the decapitated human figure on the left, which must certainly be important for the auguries of this trecena. With the blindfolded head floating above, it easily reflects the impending fate of that blindfolded figure in Borgia. The detail of two serpents “bleeding” out of the guy’s severed neck is particularly striking because I’ve only seen it elsewhere in that famous huge (8.3 ft.) statue of Coatlicue, the Snake Skirt, sometimes reputed to be mother of the gods and mortals. I think that coincidence is mostly stylistic and has little to do with Itzpapalotl.

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Codex Borbonicus patron panel for House trecena

This eagle- (or vulture-) winged figure of Itzpapalotl in Codex Borbonicus was the model for my butterfly version of the goddess, though I ignored those furry wrist- and ankle-bands also seen in Yoal and opted for the skeletal face from Borgia. Here in the upper left, her companion Tree of Life with its severely stylized blossoms is planted in a fancy pot and has again been cut in half. However, rather than bleeding, the base has grown new flowering shoots, whatever that might mean for interpretations.

The dispersed conglom of familiar ritual items includes a beheaded eagle (with blade), incense bag, serpent, etc., as well as the scorpion seen in many Borbonicus patron panels. Most notable is on the lower left where a blindfolded guy lies on a temple of the starry night with two snakes wrapped around his neck, harking directly back to the Aubin image. Perhaps this was to indicate a severed neck without removing the head? In any case, this assemblage fairly well restates all the themes in the Borgia panel—except for the enigmatic overthrown throne.

As in most Borbonicus patron panels there are graphic discrepancies and distortions that I’ve not bothered to remark upon, but in this one, I challenge you to discover the glaring error. Did you find it? Answer: Itzpapalotl’s clawed right hand has a real thumb. The artist may have simply forgotten to color it like a claw. Not that it makes much difference to this elegant image of the goddess of the stars.

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Codex Vaticanus patron panel for House trecena

As might be expected, Codex Vaticanus returns to the canonical motifs of Tonalamatl Borgia, simply rearranged and severely re-visioned. The gruesome goddess has here become a surreal monster worthy of a nightmare. It has a crocodilian head (with an insect’s antennae), a lizard-like body with jaguar claws, and a radiating “wing” not at all like that of a bird or butterfly. In fact, it looks more like a dinosaur’s bony crest. This Itzpapalotl gets my vote as the freakiest freak in the in the whole freaking Aztec pantheon.

I can’t imagine what to make of the geometric item behind the throne—or why this “bug-zilla” is urinating so copiously. A similar composite creature portrays Itzpapalotl in a Vaticanus panel as patron of the day Vulture. For a long while, I assumed this thing was the god of monstrosities, Xolotl, and only in reviewing the House trecena panels did I realize my mistake. Now I know.

It’s interesting that this patron panel once again emphasizes the overthrown throne and dead and blindfolded guys—but still doesn’t explain their divinatory significance. And odd how it greatly de-emphasizes the bleeding Tree of Life with its little caiman-head root.

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These five authentic patron panels show the remarkable orthodoxy of the ceremonial calendar, only differing in small details and degrees of emphasis. In this House trecena, of course, the threatening goddess Itzpapalotl in her wildly varying manifestations is effectively balanced by the positive, hopeful Tree of Life—which leaves the prophetic doors wide open. Meanwhile, considering these demonic images of Itzpapalotl (and Tzitzimime), I can almost understand how the Spanish priests might call the thousands of codices they burned “devil books.”

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.

Aztec Calendar – Dog Trecena

The fourteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Dog for its first numbered day, which is the 10th day of the veintena (20-day “month”). In the Nahuatl language, Dog is Itzcuintli, and it’s known as Ok in Yucatec Maya and Tz’i’ in Quiché Maya.

Understandably, the day Dog is connected anatomically with the nose (i.e., the olfactory sense) and symbolizes protection, loyalty, companionship, comfort, compassion, watchfulness, and devotion. It guards households and lineages as well as the portal between worlds, conducting the sun through Underworld at night and leading souls of the dead to Mictlan. In those functions, Dog represents a light in the dark and night vision. As the psychopomp (guide) in Mictlan, that Dog is a breed called Xoloitzcuintli, the “Mexican hairless” dog, named for the dog-god Xolotl, also an Underworld figure. Meanwhile, the Xoloitzcuintli is Mexico’s national dog and a symbol of Mexico City. Per Fr. Duran’s 16th-century account, people born on a Dog day will be courageous and generous, ascend in the world, and have many children.

In line with the Dog’s duties in the Underworld, the patron of that day is Mictlantecuhtli, Lord of the Land of the Dead (See Icon #10), a patron of the Flint trecena.

PATRON DEITY RULING THE DOG TRECENA

The patron of the Dog Trecena is Xipe Totec, god of liberation, rebirth, and springtime. He’s the lord of nature, agriculture, and vegetation and patron of gold- and silver-smiths and the day Eagle. Counter-intuitively he’s the god that invented warfare. In another paradox, as lord of the sunset, Xipe Totec is called the Red Tezcatlipoca (a nagual of that god) but also seen—along with Tlahuizcalpantecuhtli (see Snake trecena)—as a god of the East. Symbolizing renewal, like an ear of maize stripped out of its husk, he (and his cult’s priests) often wore the skins of flayed sacrificial victims. He brings and cures rashes, boils, pimples, inflammations, and eye infections.

AUGURIES OF DOG TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

Overseen by the Lord of Renewal and the life-affirming Feathered Serpent, this fire-oriented trecena tends to be oriented around the renewal of leadership, the forging of new directions, and the restoration of life. One of the key symbols associated with this time frame is a dog holding a torch, bringing light into darkness and showing the way. As guidance, justice, and forgiveness tend to be prominent themes in this period, it’s a good time to slough off the old, burn away transgressions, and take steps towards new possibilities.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Ok trecena.

THE 13 NUMBERED DAYS IN THE DOG TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 10th day of the current veintena, 1 Dog, this trecena counts: 2 Monkey, 3 Grass, 4 Reed, 5 Jaguar, 6 Eagle, 7 Vulture, 8 Earthquake, 9 Flint, 10 Rain, 11 Flower, 12 Crocodile, and 13 Wind.

Special days in the Dog trecena:

One Dog (in Nahuatl Ce Itzcuintli)—According to the Florentine Codex, this was a great feast day dedicated to Xiuhtecuhtli, the lord of fire, when people fed the fire with offerings (including decorative paper arrays) and incense. On this day rulers were elected, a court of justice sentenced wrong-doers, and minor offenders were released and absolved of transgressions.

Four Reed (in Nahuatl Nahui Acatl) was known as “the ruler’s day sign,” the day when new lords and rulers were installed, and tribute was paid to them. It was also a propitious day for the drilling of a New Fire because nahui acatl also meant “fire drills in all 4 directions.”

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

Aztec Calendar – Dog trecena – Tonalamatl Balthazar

In my image of Xipe Totec, modelled on Codex Borbonicus (see below), I stuck close to its form but in my ignorant enthusiasm played with psychedelic colors that broke iconographic traditions. Instead of the usual yellow or brown flayed skin and red body, I chose a dramatic red skin and white body; unaware of the cultural significance of his green quetzal plumes, I gave him multi-colored crests; and rather than his standard red-and-white streamers and scarf, I fancied him up with wildly colorful decorations. Note the sunset scene on his back-flap, the eagle on his shield (as patron of that day-sign), and other unwitting departures from tradition. Inspired by the spring connection, I gave him a nice “bouquet” of greenery to hold, indicating his lordship of nature and vegetation. Despite all the heresies (blasphemies?), I think my Xipe Totec is a great vision of this outrageous divinity. Now for some “dogmatic” views.

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar – Dog trecena – Tonalamatl Borgia

Though this elegant Borgia image of Xipe Totec on the left doesn’t wear a victim’s flayed skin, he displays his standard red-and-white accessories. Some other traditional motifs are the convex red curve down his face and the bundle of arrows in his hand (signaling his connection to warfare and lordship). Most unusual is his stupendous crown, unlike anything I’ve ever seen elsewhere on any deity. His strange Y-shaped nosepiece only occurs in some of his Borgia portraits (including in the final Rabbit trecena). It’s another unique puzzle.

Amongst the ritual items in the center of this panel, the pointed red-and-white striped scepter is an emblem of Xipe Totec in his images in many codices. In some, it’s a full-scale staff with one or two points and in some the circular motif is an open oblong shape. Beyond a diagnostic of this deity, I’ve yet to figure out the significance of this scepter/staff and probably never will.

The figure on the right Dr. Paquin and many scholars see as a Feathered Serpent (Quetzalcoatl), a deity of “many faces.” (See Icon #14). I find it puzzling, first because if it’s supposed to be “life-affirming,” why is it eating the little guy? That doesn’t seem to embody the trecena’s theme of forgiveness. But I mostly question why it has a claw-footed leg (one only!) and a crocodilian head (without a snake’s fangs). Frankly, it looks to me more like an Earth Monster (Cipactli) shown often in the codices with a single leg and crocodilian snout and representing the mouth of the Underworld which both devours and produces life. That ties in well with the themes of renewal and rebirth. Another interpretation is that it may be a fire-serpent (Xiuhcoatl) relating to Xipe Totec’s militarism. In any case, I won’t presume to decide this eminently debatable issue.

Looking for an answer to the puzzle of that Y-shaped nosepiece, I checked out other images of Xipe Totec and found another Borgia portrait of him as patron of the day Eagle.

Xipe Totec as Patron of Day Eagle
(Codex Borgia)

Imagine my revulsion to see him holding a severed arm, the hand pinching his nose as though to block a stench. In fact, the wearing of a (rotting) human skin must have stunk to high heaven. Like a clothespin, that Y-shaped nosepiece must have served the same purpose. And then just imagine my surprise to see again in the upper register the one-clawed serpent, this time either eating or spitting out a rabbit. As the parallel day-Eagle patron panel in Codex Vaticanus portrays these very same motifs, there must be a deeper relationship between Xipe Totec and the ambiguous creature beyond their companionship in the Dog trecena. Again, renewal and rebirth?

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar – Dog trecena – Tonalamatl Yoal

This dramatic image on the right is virtually identical in both source codices, a plumed, legless serpent devouring a little guy. Its head looks more like a snake, but it still lacks a serpent’s fangs. No doubt this is the good reason scholars see it as the Feathered Serpent (Quetzalcoatl). The discrepancy may lie in slight doctrinal differences between the areas where the codices were drawn, but either way, I figure the creature/deity still represents renewal and rebirth.

On the other hand, in terms of iconographic detail, the figure of Xipe Totec on the left is much more “dogmatic” than those in Borgia. In particular, he wears the (stinky) flayed skin, here in a pale yellow like that worn by Tlazolteotl in the Earthquake trecena, and I’ve given him the brown eagle-feathered skirt which Rios will give him later in the Rabbit trecena.

Most intriguing is his shield with the unusual, divided device, and I’m puzzled by the bundle of arrows (reeds) without arrow heads. Since his Telleriano-Remensis page is missing, I had to rely on the Rios copy, and instead of its murky brownish tones, I’ve colored many of his ornaments in his trademark red-and-white. My big question is how come, when Xipe Totec isn’t a lord of the day, he’s holding a totem bird? Such a blue bird is normally brandished by Xiuhtecuhtli, but in that case it should more properly be a blue hummingbird and not a parrot. I suppose this might simply be another instance of doctrinal difference—or iconographic confusion.

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Dog trecena

Speaking of iconographic confusion, in this patron panel from Tonalamatl Aubin, the expected Feathered Serpent or Earth Monster is now a hungry (fanged) blob of eagle feathers, so we can’t tell which it’s meant to be. Xipe Totec here wears another flayed skin and more brown eagle feathers and carries a shield with a divided device, different than the one in Yoal but similar.

Note the dog behind his head for the trecena, the eagle in the upper left for his day, and that extraneous blue-beaked bird-head. Apropos extraneous, what’s that “Four Earthquake” day-sign on the left? That’s the name of the current Fifth Sun, and Xipe Totec has no connection to that legend. Even more inexplicable is the number eight at the bottom unattached to any day-sign.

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Codex Borbonicus patron panel for Dog trecena

Here’s the Codex Borbonicus model for my trippy Xipe Totec. Even without my psychedelic colors, he’s at least as dramatic and much more authentically detailed. One thing I didn’t understand in my version was the smoking mirror on his head (symbolic of his being the Red Tezcatlipoca). I didn’t and still don’t recognize the scepter in this image, and that was another excuse for giving mine the bouquet of greenery.

The odd little symbol on the banner is totally unfamiliar, but it must be rather important being attached to the concentric shield smack in the middle of the composition. A sort of two-legged ankh? Meanwhile, the One Dog day-sign attached to the shield makes sense for the trecena. Again, I’m mystified by the Four Earthquake day-sign attached to his foot and wonder if that Three Eagle day-sign might be his day-name. I haven’t run across any for him before.

Observe the suggestive bucket of blood by his left foot and the inscrutable item with ten dots and the peak of his traditional staff on top. In the upper right corner is a decapitated green parrot-like bird which I assume means birds may have been a premium sacrifice to the deity. (This detail may well explain that bird-head in the Aubin panel above.)

Since it has no leg at all, we probably should accept Xipe Totec’s plumed companion as the Feathered Serpent/Quetzalcoatl, a clue to that identity being the adjacent double-headed serpent seen in Quetzalcoatl’s headdress in the Jaguar trecena. However, this feathered creature’s head, nose, and dentition are distinctly feline. In any case, the mystical creature fits beautifully into the long history of images of the Plumed Serpent.

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Codex Vaticanus patron panel for Dog trecena

This patron panel from Codex Vaticanus I’ve rectified and restored slightly. Regarding Xipe Totec on the right, one wonders if the Vaticanus artist simply got on an easy “corpse-bundle” kick after Itztlacoliuhqui in the Lizard trecena and similarly bundling up Tlazolteotl in the Earthquake trecena. (The same funerary device will be used later for some reason for Xolotl in the Vulture trecena.) However, here I think it may signify Xipe Totec’s powers of rebirth. To be reborn, I suppose even a deity would have to die. Though he wears no emblematic regalia beyond the red stripe down his face, this god is well identified by his traditional candy-striped staff and standard bundle of arrows. On the left we once again find a one-legged Earth Monster reiterating the ambiguity of this subsidiary patron of the Dog trecena. For the purpose of divination, take your pick.

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Something about these images of Xipe Totec troubles me. Namely, if he’s supposed to be the deity of springtime, nature, agriculture, and vegetation, there are no iconographic references to any of that. Apart from a suspiciously intimate relationship with the Earth Monster, all I see are military and lordship symbols. Perhaps the underlying message of nature is dramatized by the monster/serpent creature eating the little guy (and rabbit)—showing that philosophically speaking, life lives on life. Or if I might use a stronger, but still appropriate idiom: dog eat dog. So, my invented bouquet of greenery in the deity’s hand turns out to be quite apropos.

As for that ambiguous serpentine creature, I’ve concluded that its one leg is actually an epitome of intentional ideoplastic art. As remarked in the Jaguar trecena, that’s an image meant to be understood in intended detail rather than as optically accurate. Here the viewer’s quick brain automatically, unconsciously creates an invisible second leg immediately behind the one in front, a neat trick that makes drawing things in natural perspective conveniently unnecessary.

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.

On Migrations Across the Americas

Arrival of the Mexica at Tenochtitlan

Recently there have been a bunch of media stories about new twists on the out-of-Africa theories of the spread of early humans across the globe, and I’m surprised that invested anthropological authorities are actually considering alternatives to their sacrosanct interpretations about human history. Even more surprising is their grudging recognition that human populations seem to have left Asia and crossed Beringia into the Americas long before 12,000 BC, that set-in-stone date they gamble their scholarly reputations on.

It seems that writing history is actually a game of creating explanations to be assumed true until proven mistaken. In fact, like all things past or future, history is purely immanent—existing only in the mind, and that immanent universe is truly infinite, everything possible. Historians can guess with impunity about past events, and the burden of disproof lies with those who disagree.

I have no difficulty with human populations leaving Asia whenever and spreading south down the American continents (all the way to Tierra del Fuego!), nor with of dozens of primordial populations coming across oceans to the “New World” from Asia, Africa, the Middle East, and Europe. Scholars vociferously deny or simply ignore most of them. Recently, their denial of well-documented Pre-Columbian Viking voyages has been faltering—and they’ve started romanticizing these murderous marauders as handsome, heroic explorers. But you have only to read “The Farfarers” by Farley Mowat to learn the ugly truth about the rapacious Northmen.

Wherever they came from, it’s clear that roving bands of feral humans spread thickly across the American continents. For the most part, those populations seem to have settled permanently into their new locales like water filling low places. But there’s also been a great deal of sloshing around, overflowing into other catchments, draining in various directions, and even drying up or soaking into the earth, often leaving only their “ruins” and cultural artifacts.

My decades of interest in Panamerican prehistory have led me to learn of (and conjure up) some immanent cases of that inter- and intracontinental slosh of peoples on the move. I will now pull together what I think I know about the migrations and interchanges of peoples in the Americas. We need to discuss this immanently important, rarely mentioned subject. Let me begin.

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Chapter I: The Pacific Littoral

The spectacularly long Pacific coastline (from Tierra del Fuego north to Alaska) has been a sailing route for millennia but is rarely mentioned by historians except for the travels of later European mariners/explorers. From earliest times, the peoples of Peru, Ecuador, and Colombia were seafarers, sailing the shores for fishing and trade. The route north to Mesoamerica is how the art of metalworking came there from the Andes and how the staple crop maize was taken south from Guatemala to South America.

Story #1: CIRCUMSTANTIAL EVIDENCE

Through geographical detective work, I deduced that boatloads of missionaries, merchants, and/or migrants from Chavín de Huantar in Peru (c. 1,500 BC) brought the sacred ceremonial calendar and other cultural concepts probably to Mesoamerica, possibly to ancient Izapa in Guatemala. From there, the complex is thought to have crossed the Isthmus of Tehuantepec into the Vera Cruz lowlands to the timeless Olmecs.  I’ve already told this quite believable story in back in 2018.

Story #2: RELIABLE TESTIMONY

In the first millennium AD when the Maya civilization was in full Classic swing with warring kingdoms in Yucatan and Guatemala, I claim that refugee Maya peoples fled by boat along the Pacific littoral, settling at spots in western Mexico and farther north on the California and Pacific Northwest coasts. I base my claim on the report of Capt. Meriwether Lewis in “The Journals of Lewis and Clark” (ed. Bernard DeVoto) from March 19, 1805, where he wrote (sic!):

The Killamucks, Clatsops, Chinooks, Cathlahmahs, and Wâc-ki-a-cums resemble each other as well in their persons and dress as in their habits and manners. their complexion is not remarkable, being the usual copper brown of most of the tribes of North America. they are low in statu[r]e, reather diminutive, and illy shapen; poss[ess]ing thick broad flat feet, thick ankles, crooked legs wide mouths thick lips, nose moderately large, fleshey, wide at the extremity with large nostrils, black eyes and black coarse hair. their eyes are sometimes of a dark yellowish brown the puple black. the most remarkable trait in their physiognomy is the peculiar flatness and width of forehead which they artificially obtain by compressing the head between two boards while in a state of infancy and from which it never afterwards perfectly recovers. this is a custom among all the nations we have met with West of the Rocky mountains. I have observed the heads of many infants, after this singular bandage has been dismissed, or about the age of 10 or eleven months, that were not more than two inches thick about the upper edge of the forehead and reather thiner still higher. from the top of the head to the extremity of the nose is one straight line. this is done in order to give a greater width to the forehead, which they much admire. this process seems to be continued longer with their female than their mail children, and neither appear to suffer any pain from the operation. it is from this peculiar form of the head that the nations East of the Rocky mountains, call all the nations on this side, except the Aliohtans or snake Indians, by the generic name of Flatheads.

As others surely have, I’ll note Capt. Lewis has described here in exquisite detail the traditional Maya practice of skull deformation. It seems reasonable to me that this widespread cultural practice in the American West could have come from coastal colonies of refugee Maya. The also widespread practice of nose-piercing (as in the Nez Perce tribe and others) could just as easily have been brought by such “civilized” immigrants to the northern forests and mountains.

Story #3: A WILD GUESS

Toltec pressure and even later Aztec aggression no doubt also drove other peoples of western Mexico north in their boats along the ancient Maya route to the Pacific Northwest. I base this intuitive hunch on a linguistic coincidence (which I usually tend to dismiss).

The city of Seattle was named for the “chief” of a Native American tribe on the Olympic Peninsula. Phonetically, “Seattle” amounts to se-atl, and Ce Atl is the Nahuatl day-name (One Water) of the goddess of water, Chalchiuhtlicue, the Jade Skirt. As a name for a “town” or chief, One Water seems quite appropriate for a Nahua “colony” in that eminently watery area. But again, I’ve already told this and Story #2 back in 2018.

DNA tests should be run on Northwest tribes to look for markers of Mesoamerican populations. It would also make sense to compare the languages of those tribes with those of Mesoamerican peoples. (There’s a distinctly Nahuatl-ish sound to the names of the Tlingit and Kwakiutl tribes.)

Story #4: AN EPIC ESCAPE

Let’s back up some centuries and return to the Andes. In book “Advanced Civilizations of Prehistoric America,” Frank Joseph, an independent researcher cold-shouldered by academics, discusses the Huari of the Lake Titicaca area (often called the Wari) and the neighboring Llacuaz people, observing that their principle currency was the spiny oyster Spondylus princeps shell.

That seashell was sometimes found along their coast, but their main source was from the distant north in the Sea of Cortez. In the latter centuries of the first millennium CE, Joseph proposes that these peoples sailed those thousands of miles to collect their “money” and meanwhile “explored” up the Colorado and Green Rivers across Arizona. The Llacuaz established colonies in the Green River basin, and the Huari pushed on into northwestern New Mexico where, by the early ninth century, they started building vast structures at Chaco Canyon.

Joseph suggests that when the Chimu (possibly Chinese!) invaded Peru c. 1,000 CE, establishing a civilization centered at Chan Chan, they drove the Huari and Llacuaz out of their Lake Titicaca home area. Many thousands of refugees boarded their reed boats and balsa rafts and fled north to their distant colonies in North America. The Llacuaz, superb hydrological engineers, became the Hohokam civilization—whose descendants are the Pima and Papago tribes.

The refugee Huari people must have exploded the population at Chaco Canyon, and these “Anasazi” spread out across the Four Corners area, an ancestral culture for the present-day Puebloan peoples. Joseph points out that Chaco architecture (like Pueblo Bonito) replicates their traditional styles in Peru—the D-shaped, multi-storied “apartment complexes” and particularly the round, sunken “kivas” which are now culturally central to their Puebloan descendants.

This is the only “origin story” I’ve found for the ancient civilizations of the American Southwest. Though it involves migration across mind-boggling distances (think of the vast spread of the Indo-Europeans out of Central Asia across Europe and India!), it makes ultimate sense and comes with some dramatic evidence. Until someone offers a better story, I’ll go with this one.

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Chapter II: The Gulf of Mexico

The Gulf of Mexico and Caribbean Sea, enclosed by the archipelago of the Greater and Lesser Antilles, amounted to a prehistoric American “mediterranean” arena of cultures. Sea-faring peoples like the Maya of Mesoamerica and the Arawaks and Caribes of the South and Central American coasts roved around the basin, not unlike Old World traffic on its Mediterranean Sea.

Story #5: THE SANCTUARY

As well as along the Pacific littoral, Maya refugees from civil violence (like the Itza and other Maya peoples) also fled into the American Southeast. In Florida, Georgia, Tennessee, and along the Gulf coast, they settled among resident “natives.” As early as 200 CE, the immigrants brought their mound/pyramid and artistic traditions, contributing to Mississippian culture. See my “Remember Native America!” and my ethnographic essay. I should note that the skull-deformation and nose-piercing mentioned above in Story #2 also occurred in many parts of the world, including among early immigrants into the American Southeast.

Another independent researcher (of Creek heritage), Richard Thornton, writes a blog called “The Americas Revealed,” which I’ve followed for several years. Though vociferously opposed and denied by academic authorities, he discusses the Maya, Arawaks, and Caribes also penetrating in early centuries into the Southeast, and as an accomplished city planner and archaeologist, he has modelled their traditional towns and architecture at archaeological sites in the area.

As well as the early Maya, Thornton says that later Mesoamericans such as the Totonacs and Huastecs also fled the depredations of Toltec and Aztec imperialists and trekked around the Gulf into the Southeast, adding their cultures into the melting pot that would produce the Native American stew of tribes like the Creek, Choctaw, Chickasaw, Caddo, and others. Some retained legends of their migrations from specific locales in Mesoamerica.

In addition, citing serious linguistic evidence, Thornton says that a South American people called the Panoans migrated from Ecuador and Peru into the Southeast and brought their own seasoning into the melting pot. At first there seemed not to have been much friction or violence between the many disparate cultures, each group continuing their ethnic lifeways in their own immigrant communities. Densely scattered across the landscape, they were like the Maya’s decentralized urban pattern of town-states, some bonafide cities with pyramid/temple and plaza complexes.

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Chapter III: Cross-Country Migrations

Thus far we’ve seen sea-rovers on the Pacific littoral and around the American Mediterranean Gulf, and now let’s talk about the land-roving folk within the continents. I know virtually nothing about peoples moving around in South America but suspect a considerable flow between the Amazonian and Pacific slopes of the Andes. However, I’ve just read somewhere that in distant millennia the first peoples of Mesoamerica migrated there from South America. I think they’re talking around 6,000 BP, so that sounds perfectly feasible. Why not?

Story #6: LATECOMERS

Meanwhile, I do know bits and pieces about the land-rovers of North America (besides all that about primordial folk from Asia spreading south through the continents). One bit is a widely discussed issue in American archaeology: Very late, around 13-1400 AD, a small group of Athabaskans (originally of course from Siberia) left their subarctic home in far northwest North America and migrated into the American Southwest, specifically into the Four Corners area, to become today’s Navajo and Apache tribes.

Strategically, these Athabaskans arrived soon after the Chaco civilization “disappeared,” and they were bitter enemies of the remnant populations of Anasazi, the Pueblos along the Rio Grande, and the Hopi in Arizona. In view of this historical migration, I find it curious that Navajo mythology has that people emerging from under the earth somewhere, maybe near Shiprock (a volcanic core mountain) in northwestern New Mexico. However, many peoples the world over claim to have come into this world from the underworld.

Story #7: THE STEW

Meanwhile, in the same centuries, as the Mississippian civilization in the American Southeast (and the Caribe kingdoms in the Antilles) grew more warlike with rival city-states (much like the earlier Maya situation perhaps), various peoples moved around to elude their oppressors. Many migrated across the Mississippi River onto the plains. Thornton tells of the People of the Eagle (Kansa) from central Georgia who moved into what would become Kansas.

By the early 1600s, under pressures of aggressive neighbors and newcoming land-hungry European invaders, some Mississippian folks evacuated the Carolina coast and moved way out onto the plains of the Dakotas. In that strange new environment, they mastered the Europeans’ horse culture and became the Sioux, the quintessential Plains Indian.

Over the centuries, many other ethnic communities in the vast Southeastern woodlands certainly must have upped and gone somewhere else for whatever reason, stirring up the stew of peoples. For instance, in the early 18th century various Southeastern peoples pressed south into La Florida (by then thoroughly depopulated by disease and Spanish occupation) to become the Seminoles.

In the 17th and 18th centuries, probably inspired by contacts with European concepts, many polities in the central Southeast coalesced into the Creek Confederacy, which for a long time constituted an autonomous “country” west of the European colonies along the Atlantic coast. After battling these “Five Civilized Tribes” for several years in the Creek (and Seminole) Wars, General Andrew Jackson became President of the US of A and in one of the hugest land-grabs in history, exiled the Southeastern peoples to the new “Indian Territory,” part of the recent Louisiana Purchase. Between 1830 and 1850, some 60,000 native people took the Trail of Tears hundreds of miles west to Oklahoma, a forced migration on which thousands died.

During the 18th century, before the coastal European colonies had fully occupied Appalachia, a large tribe from the Canadian Maritimes spread south down the mountain chain and by late in the century had encountered the confederated tribes, probably with considerable friction. These were the Cherokee, who now claim to have lived in the Southeast “for thousands of years” and would usurp the history of the diverse “native” tribes. Indeed, some Cherokee joined them on the Trail of Tears. Those remaining in the western Carolinas and elsewhere soon were accepted by the US of A as a “civilized” (pacified) tribe, and in turn they accepted the new country’s dominion.

Story #8: RITUAL JOURNEYS

The culture and cosmology of the Hopi people, an affiliation of several clans now living in northeastern Arizona, is based on migrations. A legend has them migrating from somewhere in the far south, either South America, Central America, or Mexico. In the first case, they may have left Peru along with the Huari and Llacuaz refugees (Story #4), having settled on the desert mesas at roughly the same time in the late first millennium CE when the others were colonizing southern Arizona and Chaco Canyon. Significantly, Hopi architecture with its multi-storied communal dwellings and circular kivas closely reflects Chaco traditions.

Coincidentally, their migration seems also to have involved a long ocean voyage, but some folks theorize that the Hopi sailed all the way from Asia or elsewhere. For linguistic reasons, I incline to the Peruvian story. We don’t know what language was spoken by the immigrant Chaco people, but I bet it was one of the Uto-Aztecan family—since the linguistically related Utes and Shoshoni tribes were likely early offshoots of the Chaco civilization, and the Hopi language is also Uto-Aztecan. (I’m not sure how the Puebloan languages would fit into this matrix.)

On another hand, in the same way as the Navajo and many other peoples, the Hopi “mythology” has their clans emerging from a hole in the earth (cave?) called the “sipapu” located somewhere near those same desert mesas. Then their principle deity Masau-u then sent the many clans on individual ritual migrations to the four ends of the earth and back in order to find their promised land. Surprisingly, after hiking from seas to shining seas, the clans eventually converged again on those same desolate mesas, founding their town of Oraibi around 1100 CE.

Each migrating to the four ends of the earth, the several Hopi clans must have encountered many other peoples, like the Toltecs in Mexico and the Mississippian cities in the Southeast. The possible histories of cultural contacts are legion. Meanwhile, those migrating clans often left petroglyphic evidence of their passing through many areas with their identifying symbols.

Story #9: LEGENDARY MIGRATION

When I ran across “The History of the Indies of New Spain” by Fr. Diego Durán (1537-1588) around 50 years ago, I was enchanted by his detailed account of the legendary migration of the Aztecs into Anahuac (the Valley of Mexico).

The migration legend is intertwined with the mythology of the Mexica’s main deity, the war god Huitzilopochtli, Hummingbird of the South. Leaving their previous home around 1200 CE, he led the Mexica migration for well over a century to finally find their promised land on a swampy island in Lake Texcoco in 1325 CE. Within a century, they’d built a huge city on that island called Tenochtitlan, Place of the Cactus, and had begun assembling an empire based on trade and military might—which in 1519 fell victim to Cortez and his Spanish conquistadores.

The legend describes the impossibly violent birth of Huitzilopochtli at a place where the Mexica were living called Chicomoztoc (Seven Caves) and his autocratic and arbitrary leadership of the nomadic migrants, who settled down in various places for lengthy periods to sow and harvest crops. On their travels, they pillaged the “Red City” (possibly the site in Chihuahua known as Casas Grandes or Paquimé), and they vandalized many resident populations, gaining a reputation as utterly uncivilized barbarians. For an egregiously atrocious offense against the ruler of a city on the lake, they were driven out onto the island where they found the prophesied eagle on a cactus eating a snake. That iconic image is now an official symbol of the Mexican state.

It’s intriguing to know that during their migration and in Anahuac, the Mexica spoke essentially the same language as resident populations, a dialect of Nahuatl—because those peoples had earlier also migrated south from Chicomoztoc. Duran tells us that by 820 CE the first six “nations” (tribes or clans) started sequentially leaving the Seven Caves: the Xochimilca, Chalca, Tecpanecs, Colhua, Tlalhuica, and Tlaxcalans. Settled down again after long wanderings, the several clans established large cities around Lake Texcoco and in various other central areas of Mexico. The Mexica were just the long last tribe to leave the Caves.

This shared history of migration seems to say that the language of the Chaco civilization must have in fact been (as suggested in Story #8) Uto-Aztecan, another dialect of Nahuatl, and it raises again the question of the Huari (Peruvian) language. That question gets complicated by the fact that the Toltec civilization (900-1160 CE) also spoke Nahuatl. An “empire” centered at Tula just north of Lake Texcoco and at Chichen Itza in the Yucatan, they could have also been migrants from the far north—or just as easily, like Chaco, an early invasion or colonization of Huari from Peru, refugees or otherwise. The time frames suggest maybe the earlier Seven Caves migrants had a hand in the destruction of the Toltecs. Remember, history is but an immanent story.

This is not to imply that Chicomoztoc might have been Chaco Canyon. At Chaco, there may have been seven great-house pueblos, but they were nothing like caves. My radical theory is that Chicomoztoc was the several cliff-dwelling towns of Mesa Verde, a major outlier of the Chaco civilization with a real road connecting the centers. That makes vastly more sense to me than the mound-site in Wisconsin ridiculously called Aztalan or some vague spot lost in the deserts of Sonora/Chichimeca. Until someone can convince me otherwise, I’ll go with Mesa Verde.

A deeper legend has the Mexica (and other tribes) coming originally from a place called Aztlan, a “place of whiteness” or “place of herons.” Some speculate it’s somewhere in northwestern Mexico or the American Southwest. In that legend, the peoples lived at a large lake and were driven out by enemies, forced to make a long sea-voyage and then wander lost in deserts—before finally getting to Chicomoztoc. This “place of herons” scenario closely parallels the Huari fleeing before the Chimu from Lake Titicaca to Chaco, and if Chicomoztoc was in fact Mesa Verde, all the puzzle pieces fall neatly into place. Ergo, Aztlan looks like it was Lake Titicaca, and the Huari probably spoke a version of Nahuatl. That story works just fine for me.

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Epilogue

In Story #7: The Stew, I unavoidably remarked on some migrations spurred by cultural pressure of post-Columbian European invaders, like that of the Sioux and the tragic Trail of Tears in the 19th century, but the countless forced migrations of native peoples in recent centuries (like the Navajo to Bosque Redondo) are far more than I can bear to think about.

When Cristóbal Colón arrived in 1492, he and his family immediately started colón-izing the indigenes of the Greater Antilles (Cuba, Puerto Rico, Jamaica, and Hispaniola) by enslaving, slaughtering, and driving them to escape into the interiors of North and South America. As soon as they were decimated or totally wiped out, black slaves were imported from Africa to work the Spanish mines and sugar plantations on the islands. This was just the first small step in the European displacement and destruction of native populations across the American hemisphere.

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Aztec Calendar – Earthquake Trecena

The thirteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Earthquake (or Motion/Movement) for its first numbered day, which is the 17th day of the veintena (20-day “month”). In the Nahuatl language Earthquake is Ollin, and it’s known as Kab’an in Yucatec Maya and No’j in Quiché Maya.

Nineteen of the 20 day-signs of the vientena are glyphs based on concrete things or items, but the one for the day Earthquake is something else entirely, the symbol of an abstract “think” (i.e., a thought or concept). The lobed or flanged form can rotate as needed but varies stylistically across the codices, while usually retaining a similar shape in each one:

Variations of the Day-Sign Earthquake

The enormously embellished symbol for Earthquake in the center of the Stone of the Suns is literally the day-sign “Four Earthquake,” day-name of the current Fifth Sun (which occurs in the Jaguar Trecena), and the central face is that of its titular deity Tonatiuh. Within its four lobes are the day-names of the previous four Suns (starting on upper right and moving counterclockwise): Four Jaguar, Four Wind, Four Rain, and Four Water.

The divine patron of the day Earthquake is Xolotl, god of the Evening Star, who will be seen later as patron of the Vulture Trecena. Sometimes called Quetzalcoatl’s evil twin, he’s the deity of malice, treachery and danger and represents the darkness of the unconscious.

PATRON DEITY RULING THE EARTHQUAKE TRECENA

The patron of the Earthquake Trecena is the far less dire goddess Tlazolteotl (Goddess of Filth), whom we’ve already seen as a patron of the Deer Trecena (in Borgia) and Reed Trecena (in Yoal). Her unprecedented patronage of two (or three) trecenas suggests that she’s one of the most important (powerful) deities in the Aztec pantheon. To recap, Tlazolteotl is goddess of fertility and sexuality, motherhood, midwives, and domestic crafts like weaving, as well as patron of witchcraft and fortune-tellers and of lechery and unlawful love, including adulterers and sexual misdeeds. She cures diseases, particularly venereal, and as the goddess of purification and bathing, forgives sins. People confess their sins to her only once in their life, usually at the very last moment, and besides that rite (which Spanish clergy recognized as parallel to their sacrament of confession), her rituals include offerings of urine and excrement. One of several earthmothers, Tlazolteotl is reputedly the mother (sire unknown) of the maize deities Centeotl and Chicomecoatl. She’s also 7th lord of the night and patron of the mystical number 5.

AUGURIES OF EARTHQUAKE TRECENA

By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny”
https://whitepuppress.ca/manual-for-the-soul/

The theme of this trecena is evolutionary movement. It’s associated with the opening and closing of major eras within the Maya Calendar system and aligned with re-birth or emergence, which can sometimes manifest as world-shaping beginnings and endings. Traditionally this was a generative period during which “confessional rites” were conducted, possibly tied in with the fertile forces of “evolutionary movement” that can bring forth significant change. This would be a good trecena for “stock-taking” and for making “evolutionary” leaps forward.

Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/  Look for the Kab’an trecena.

THE 13 NUMBERED DAYS IN THE EARTHQUAKE TRECENA

The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 17th day of the preceding veintena, 1 Earthquake, this trecena continues with 2 Flint, 3 Rain, 4 Flower, 5 Crocodile, 6 Wind, 7 House, 8 Lizard, 9 Snake, 10 Death, 11 Deer, 12 Rabbit, and 13 Water.

There are only two relatively special days in the Earthquake trecena:

Four Flower (in Nahuatl Nahui Xochitl)—important for the Maya as 4 Ajaw, though some of its significance may have survived into later cultures. Dr. Paquin advises that the energy of the day was associated with the beginning and ending of eras. For the Maya, their Fourth World was created on 4 Ajaw in 3114 BC, and after a long-count cycle of 5126 years, a 4 Ajaw day brought the conclusion to that era on 12/21/2012 when a new Maya Calendar era began.

Twelve Rabbit (in Nahuatl Mahtlactli ihuan ome Tochtli)—day-name of the Rabbit in the Moon as seen in the Borgia Death Trecena. I’ve no idea how the day may have been celebrated, but as a Rabbit-god of intoxication, Twelve Rabbit was likely the deity of lunacy (moon-madness).

THE TONALAMATL (BOOK OF DAYS)

Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)

TONALAMATL BALTHAZAR

As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!

Aztec Calendar –Earthquake trecena – Tonalamatl Balthazar

As the patron of the Earthquake trecena, I based my Tlazolteotl rather loosely on the Codex Borbonicus patron panel (see below), at the time the only readily available image of the goddess. I didn’t realize that the frontal view was absolutely unique in Aztec iconography (meanwhile with a standard profile face). Much later I found a similar Codex Borgia example and a couple in Codex Laud, but Tlazolteotl seems the only deity ever to appear in a “crotch-shot,” which perhaps follows from her role as a mother-goddess. Certain female figures in Codex Nuttall sit with legs crossed in front but with upper body in profile.

I took the Borbonicus image as license to include the new-born infant but didn’t realize the symbolism of crescents and gave her a stepped nosepiece appropriate for Chalchiuhtlicue. The rest of her regalia is my invention, again inspired by figures in Codex Nuttall. I’m not sure how she wound up with that menacing Borgia mouth, but many women have admired this image.

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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)

Aztec Calendar –Earthquake trecena – Tonalamatl Borgia

In the Borgia panel, the only symbolic markers for Tlazolteotl on the left are the three crescents on her clothing, the crescent nosepiece, and the black coloration around her mouth (indicative of her eating the filth of peoples’ sins). Those were apparently considered sufficient to distinguish her under the fairly standard details of regalia and throne.

In the center, the mysterious snake (with stars) was a real puzzle for me until a knowledgeable friend explained that white-striped, red snakes are sacrificial; the odd brown and grey strips of jaguar fur below are fire and smoke. (See them also in central temple scene in the Crocodile trecena.) But why does the snake have three fangs? Also, those aren’t three tongues—just the long bottom one is. I believe that the two brown items represent the snake’s hissing, like the animal-howl symbols in the Deer, Flower, and Monkey trecenas. The large central figure is probably equivalently significant for divination as the other two elements in this elegant panel.

On the right, the third element of temple with ornate bird was also a puzzle for me until I looked closely and realized that under all that stylization was a vulture. The head is much like that of the Borgia day-sign for Vulture (Cozcacuauhtli)—with ears no less! The clincher was the dirty beak. Species identification aside, the vulture’s divinatory significance must come from its meaning as a day-sign: cleansing, purification, and prosperity—reinforcing those defining characteristics of Tlazolteotl. (She’s also a goddess of luxury, which is why I gave my version a fancy fan.)

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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of
Codex Telleriano-Remensis and Codex Rios)

Aztec Calendar – Earthquake trecena – Tonalamatl Yoal

The slapdash sketch of Tlazolteotl in Codex Telleriano-Remensis looks like it was drawn by an artist either with palsy or psychedelically inebriated, distorting her proportions and features and loading her down with identifiers. In “copying” it, the poor Italian artist-copyist for Rios tried with limited success to simplify the mess. I’ve given her more realistic and readable details like some in her bust as seventh Lord of the Night (top row, fourth from the left, and last on lower right). She’s one of the more complicated and enigmatic figures in Tonalamatl Yoal.

To allay any confusion about who she might be, there’s that billboard/banner on her back with 15 crescents, and for consistency, I gave her the standard crescent nosepiece. Reflecting her connection to luxury (mentioned above), she wears a long “granny” skirt with layers of tassels, as well as a sacred jaguar-pelt apron and bustle. This heavy skirt explains her unusual stance as though walking—instead of the standard dancing posture of most figures. The spindles and tassels in her headdress and on her earplug (like those in her image as Night Lord) indicate that she’s the patron of weaving, often called Ixcuina, goddess of cotton.

However, the top half of her body is clothed in the flayed human skin of a (female) sacrifice. See the dangling extra hands and flaccid breasts. Wearing a flayed skin is an attribute of the god Xipe Totec, but it occasionally adorns Tlazolteotl as well. The difference here is that her own body seems to have been flayed (arms and legs), which means that maybe she’s wearing her own skin. How’s that for a horrific scenario? Though the flesh marks might resemble the speckles on her cotton tassels, I’ve given them a red overtone like the flaying marks on Itztlacoliuhqui in the Lizard trecena. The only way I can explain those little shells stuck all over her is that perhaps they’re what was used to flay her. Ouch!

Moving on, consider that bowl of offerings she extends (to the other figure?), a grisly collection of dead baby-head, severed hand, heart, and probably the tail-end of a sacrificed snake. A sharp contrast to her simple, elegant image in Borgia, this gruesome detail is best overlooked. But it’s impossible to overlook the strange circular, apparently transparent, item that magnifies part of her hand and the offering bowl, an enigmatic anachronism if I’ve ever seen one. We have no evidence that the Aztecs had or knew anything about lenses. The Rios artist must have thought the same because this mysterious detail was omitted in that copy. Kudos to whomever can explain this weirdness. Or is this just more psychedelic inebriation?

Assuming that whoever drew the T-R goddess also drew that codex’s image of the “bird-man,” a page which is sadly missing from the document, the Rios copyist probably had to deal with another lot of hallucinatory details. So, we can’t be sure how accurately this guy got copied. In particular, the bird-costume doesn’t relate to any recognizable avian species.

Its brown plumage looks like that of the eagle in the Monkey trecena, but that topknot is outrageously unreal, and the black-striped eye (which may well have been in the T-R original) doesn’t help at all. Guessing from the bird in Borgia, maybe this is supposed to be a vulture too, the fantasy of an artist unfamiliar with the species. There are no vultures in Mexico (or in Italy) that even vaguely resemble this big bird. Also, all vultures seem to have longer, thinner beaks, usually of whitish or darker hue, not gold.

The Rios copy explicitly identifies the figure as Tezcatlipoca, and so a vulture makes sense as the disguise of this invisible deity, since he’s never shown as an eagle. Only that be-ribboned circular pendant is (not exclusively) a diagnostic, but the long nose-bar is uncharacteristic. The artist gave the figure a muddy greyish skin and brownish gold face, but I decided to use the vaguely mauve tone of Quetzalcoatl’s skin in the Jaguar trecena to indicate the supernatural status of this disguised deity.

For divinatory purposes, I expect we should consider themes that the day Vulture shares with Tezcatlipoca, whatever they might be. Besides this appearance in a vulture-suit and his weird epiphany in the Borgia Lizard trecena to support his nagual Itztlacoliuhqui, the invisible Tezcatlipoca will show up again later as the Black One in the Borgia Eagle trecena and in his jaguar disguise in the other tonalamatls. In other trecenas he appears only as a nagual, like Tepeyollotl in the Deer trecena and Chalchiuhtotolin in the Water trecena. Occurring (even in disguise or symbol) in four trecenas must mean that Tezcatlipoca is about as big a shot as a deity can get. He and Tlazolteotl together make a major power couple.

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OTHER TONALAMATLS

Tonalamatl Aubin patron panel for Earthquake trecena

In the patron panel in Tonalamatl Aubin, we find many already familiar motifs in its typically careless execution, both with Tlazolteotl on the right and the other two symbolic elements, though reversed from Borgia’s layout. The deity’s accoutrements (including a flayed skin) are quite like those in Yoal, as well as that honking crescent nosepiece just so we don’t forget who she is. New is the symbol of her lascivious sexuality: a snake under her throne. Note she even has an offering bowl with a heart and severed hand. I question her need for that loincloth—and in particular, those two little footprints in the upper right. My intuition says they signify ritual pilgrimages to her holy places. Any ideas about the little loop of ribbon over her head?

The juxtaposed temple on the left, far less ornate than the one in Borgia, holds another bird of anomalous species, but presumably a vulture. It’s crowned with more outrageous plumes and as an earplug (without an ear!) wears a smoking mirror, trademark of the ephemeral Tezcatlipoca. So, we’re seeing some pretty consistent themes—at least until we look at the central element reflecting the sacrificial snake in Borgia. Here there’s no snake but two intertwined “beings,” the taller one, who may be flayed and wears a crude Ehecatl (life) mask, holds aloft in his right hand an outsized xiuhcoatl (fire-serpent) weapon, symbol of divine power, and carries in his left an incense bag for worship. This is where I must leave further interpretation to you.

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Codex Borbonicus patron panel for Earthquake trecena

In the patron panel in Codex Borbonicus, the monumental full-frontal image of Tlazolteotl, as mentioned earlier, is the source of my own image of the goddess, though I obviously ignored her emphatic iconography—like the dozens of crescents, voluminous draperies of cotton (a true Cotton Queen!), several decorative spindles, and grisly details of the flayed skin she wears over her own flayed body. Missing are the many shells (flaying tools) we saw in both Yoal and Aubin, but other familiar elements can be seen in the scattered conglom: offerings of a head and heart (lower right), sacrificed snake (lower left), and pilgrimage footprints (top center). Particularly significant is the day-sign 9 Reed by her left foot—her sometimes day-name. The spilling bowl of water (upper right) clearly relates to her purification function.

The ornamental bird on the right (with human hands and feet) has generic brown plumage, but its head (apart from the familiar black stripe) looks like a standard eagle. Nevertheless, this many-plumed bird again must be a vulture disguise of Tezcatlipoca—judging by the be-ribboned circular pendant and smoking mirror trademark on its head. The panel also reflects the tripartite layout of Borgia and Aubin with the central pair of intertwined serpent and centipede. The serpent here represents life (like the Ehecatl figure in Aubin), and the centipede is an ancient symbol (since Maya times) of the Underworld.

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Codex Vaticanus patron panel for Earthquake trecena

The Codex Vaticanus artist apparently opted for simplicity. The goddess has only the blackened mouth and crescent nosepiece to identify her, and she’s wrapped in a corpse-bundle, maybe as a reflection of Itztlacoliuhqui in the Lizard trecena. Little attention was devoted to the sacrificial snake in the center, and the bird in the decorative temple is evidently a real vulture—note the dirty beak. Its red topknot and clawed wings, however, are ornithologically hard to explain.

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This review of the Earthquake trecena indicates that we need to add a new (stealth) patron for the time period, the invisible, transcendental Tezcatlipoca (See my Icon #19.)—in his disguise as a vulture. His close association with Tlazolteotl makes me wonder if maybe there’s some mythological hanky-panky going on between the two of them. After all, she’s also the patron of promiscuity and adultery, and he’s a famous seducer. (Might he be the father of Centeotl and Chicomecoatl?)

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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.