n body, of quadriform shape soaring downward.

[Illustration.]

Figure 57.

The centre (fig. 51) exhibits on a square the five-dot figure, and the
square, in turn, is enclosed in a circle; the whole symbolism relating to
the now well-worn theme of the centre and four quarters and the union of
the earth=the square and the heaven=the circle. It clearly exhibits a
skull attached to each limb, typifying the four quarters or the clans and
their chiefs, whilst the hands hold the larger heads, emblematic of
supreme dual rulership. It is interesting to find that the above carving,
under the feet of the sculptured figure, embodies the entire meaning of
the statue, which is but a variation of the native philosophical theme of
"Divine Twain" or Quetzalcoatl. Two serpents' heads surmount a semi-human
body and meeting form the semblance of two single faces turned to the
front and back of the statue. By this ingenious device the unity, yet
duality of the divine twin is graphically rendered and one-half of each
countenance is represented as belonging to each serpent. These are thus
shown to be indissolubly linked together, yet distinct. Their single, yet
dual head has four eyes, eight fangs and two forked tongues. The figure
and skirt composed of intertwined rattlesnakes, constitute feminine
attributes given to the symbolical figure of the "twin-lord and
twin-lady," the "father and mother of all." Instead of hands the arms
terminate in serpents' heads and the huge feet in great claws.

Between these, in the front and at the back, a rattlesnake's body and head
appear. The belt consists of a large snake whose head and tail hang down
in front, as the ends of a bow. A skull is attached to the front and
another to the back of the belt. In the latter case it surmounts a
fan-shaped, curiously plaited ornamental appendage partly decorated with
feathers. Forming a sort of necklace in front are four hands, _i. e._
4x5=20 and two conventionalized hearts. At the back there are two hands
and two hearts and an intricate knot which fastens the necklace, the real
meaning of which is far from what it may appear to be. It probably
signified the same as the painted hearts and hands on ceremonial garments
of which Sahagun tells us that "they meant that the people who wore them
lifted their hearts and hands to the Creator to implore for rain and
food." At the same time, the arrangement in fr