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Rh lower portion of the jar was rounded and coloured red and black (the colours of the octli-gods), the wings were green with a yellow border, and three small dots of the same colour on each. The neck of this jar had the form of the marquesota of a tunic, crowned with four small rods embroidered in red and blue feathers. These jar designs were scattered on a white field. This cloak had two red stripes along its front border, passing over white bands grouped two by two" (see the textile in Fig. 18, s; p. 118). Many of the details in patterns such as the above were added in embroidery, at which the Mexican women were equally expert. Good polychrome weaving was performed by the Otomi in maguey fibre, and the Tarascan and Huaxtec ranked high as textile artists. "The Tarascan women were said to prepare food for a couple of days before starting to weave, so that they might not be disturbed at their task. Weaving and embroidery were under the especial patronage of the goddess Xochiquetzal. Mat-and basketmaking was also an important industry, though of these arts also specimens are lacking. However, the use of mat seats was a privilege of rank, though perhaps less so than in the Maya region, and the mat-makers paid reverence to a special patron-deity, Napatecutli, one of the Tlaloque. The consideration of Mexican pottery will be deferred until the architectural remains have been discussed.

A certain amount of information concerning the dress and ornaments of the Mexicans can be gleaned from the foregoing pages, and repetition will be unnecessary. The ordinary dress for a man, worn by nearly all the peoples mentioned in this book, was a girdle, maxtlatl, the ends of which hung down before and behind, and a shoulder-cloak (e.g. Fig. 23; p. 143). The woman's dress, equally universal, consisted of a skirt and a tunic, usually without sleeves (e.g. Fig. 27, b; p. 148). The original costume of the Aztec was