mantles of some of Montezuma's predecessors. The history of its origin and
development is best learned from the following native illustrations. Fig.
42, nos. 1 and 2, represents sea-waves, the Maya name for which, by the
way, is kukul-yaam, which admits of the interpretation "divine-water" or,
if we connect kukul with the Mexican coliuhqui, "twisted or bent water." A
representation of water, as figured on a mantle in the "Lyfe of the
Indians," conveys the idea of water moved by the action of the wind, the
blank curve reminding one also of the curves so often associated by native
artists with serpents' heads, and with the wind and rain-gods. The
well-known symbol of the air-god is accompanied, as already shown (fig.
26), by an ornament which forms a solid frame for a hollow curve
constituting an air-image. In the following image an analogous ear
ornament is figured and it is surrounded by puffs of air or wind,
conventionally drawn (fig. 43).

[Illustration.]

Figure 43.

Whilst the foregoing illustrations amply prove that the natives associated
the curved and rounded form with water as moved by air, it must be noticed
that in Mexico and Yucatan, as well as in Brazil and Guiana, plain water
was figured by a series of parallel zigzag or undulated lines. For these
reasons I infer that the symbolical design, representing actual waves,
always expressed the union of air and water, and was therefore emblematic
of the cult of the upper elements, or the Above. It is unfortunate that,
in Mexico, no vestiges remain of the circular temples which were
particularly dedicated to Quetzalcoatl=the divine twin or lord of the twin
upper elements=air and water. Doubtlessly they were appropriately
decorated with horizontal bands exhibiting the sacred design. The ruined
condition of Central American round temples scarcely justifies the hope
that such a verification can be made. At the same time the round temple on
a square base, with its peculiar ground plan, was, of itself, an image of
the Above and of central rule extending to the four quarters (fig. 30, p.
97). That the air and water design was actually employed in America as a
frieze on sacred edifices is proven, however, by more than one
illustration in the Vienna Codex and other native MSS. (fig. 35, _c_). We
also see the design decorating the painted drinking bowls named xicalli
which were employed in the distribution of