Xochitl, flower, closes the twenty day signs as the caiman opens them, and it gathers the arts to itself in its reading: the flower born were read as makers, embroiderers, painters and singers, generous with what they make, one of the count's most consistently celebrated signs for artistic gift, matched among the twenty only by Ozomahtli's gentler sociable talent and by the arts favouring augury of its own trecena. Sahagun's augury carries a condition typical of the count's gifted signs: the gift prospers with discipline and fails without it, the same warning against unchecked indulgence that governs Xochitl's own trecena, Trecena 4, where Huehuecoyotl's trickster patronage makes the risk of indulgence especially pointed.
As the sign that closes the twenty day vocabulary, Xochitl carries a symbolic weight beyond its individual augury, standing at the threshold before the count restarts at Cipactli, an ending read across Mesoamerican thought generally as a culmination, flowers and song together forming one of the most persistent images of a life or an age brought to its full, fruitful close in Nahua poetry surviving from the pre conquest and early colonial period. A day of accomplishment and of the arts brought to their finished expression, Xochitl's reading gave the tonalpouhque a genuinely hopeful note to end their explanation of the full twenty sign count on.