fers the weapon he holds in his right hand to his victor. Amongst
the sixteen subjugated personages are two women and above each are
hieroglyphs expressing the names of well-known localities, some of which
are mentioned in native chronicles as having been conquered in historical
times by Mexican rulers.

In my account of the Plan of the Ancient City of Mexico, I shall
illustrate these hieroglyphs, locate the places to which they refer and
further discuss this monument. Meanwhile I shall but state that it
undoubtedly belongs to the same category of monuments as the tablets in
the "Temple of the Sun" at Palenque; the bas-relief at Ixkun and that in
the house of the "Tennis-court" at Chichen-Itza where warriors in a
procession render homage to a seated personage, by presenting their
spear-throwers to him in precisely the same manner as shown on the Mexican
Tribute-Stone.

The upper surface of this exhibits the same division into eight parts,
marked by four large and four smaller rays, pointing to the quarters and
half-quarters. Observation shows that of the sixteen localities four were
assigned to each quarter and it is evident that the monument determined
the time and the order in which the tribute for each was paid and
collected at the capital. The one-footed man again graphically symbolizes
axial rotation and conveys the idea of a central ruler who in turn seizes
and exerts control upon 4x4 tribal chiefs. The monument establishes,
moreover, the interesting fact that amongst the subjugated communities
were two gynocracies, represented by women who, instead of spear-throwers,
present their weaving shuttle to the victor.

We shall next consider a monument whose uncouth and ugly form embodies a
deep and nobly planned conception of the "divine twin," or "divine Four,"
that so completely dominated the minds of the native philosophers.

Let us now carefully examine the monolith now preserved in the National
Museum of Mexico (fig. 57). Leon y Gama, having observed that what
appeared to be the foundation of the statue was carved and that massive
projections existed under its so-called arms, logically concluded that the
original design had been to support the figure from the sides, so that its
base was lifted from the ground and the figure upon it exposed to view
from underneath. His inference is borne out by the carving on the base
which belongs to the same category as the image of Mictlan-tecuhtli, and
represents a semi-huma