The third picture represents the god with the bird-head of the Moan and his signs are hieroglyphs 10, 11 and 12. One of these, signifying rising birds, is also the offering in 9.
Lastly, the fourth picture is, according to Schellhas, the serpent deity H, and, according to Seler, the "young god," with the snail on his head. His sign is hieroglyph 14. Added to this is the signain 15, and in 16 it isqagain with the same superfix as in sign 15 of the preceding Tonalamatl. The sacrifice in 13 is represented by a Kan sign, which is equivalent to maize, maize bread or tortilla.
Repeatedly, as on page 23b or 29b-31b of our manuscript, we see a portion of game (deer), a bird, a lizard and a fish represented as sacrifices. With this the fish and bird in our second and third pictures agree very well. I shall not venture to explain the other two in the first and fourth pictures. Perhaps future explanations of the curious head-ornament of the four gods will shed further light on the subject.
Page 8c.
The horizontal line should be read in this order; in the manuscript the numbers are in a somewhat unusual order.
An attempt has been made to divide the 52 days into sections of 9 days each, and in doing this the sixth subdivision has fallen short of two days. Since this passage has but two pictures, six of the 12 hieroglyphs must belong to each of the figures. I read the hieroglyphs in the following order:—
Each of the two pictures contains a building and a deity in front of it, each of whom seems to have placed another deityin the building. In the first picture D is putting C inside and in the second F is doing the same to A or the Moan. I will add also, that the day belonging to C (Chuen) is actually 9 days distant from that of D (Ahau). I am uncertain in regard to the other two. In the back of each building we see a cross.
A similar association of two gods appears again elsewhere, as on page 35a, where D lies on a building in which C is sitting, thus showing an association of the same two gods as in our first group.
In both groups the first two hieroglyphs form the common heading, since 1 corresponds in general to 7 and 2 to 8. In the first group 3 and 4 are the hieroglyphs of D and 5 and 6 are the signsqandv; does one of these last signs refer to the god C? In the second group 9 is the sign of F, who stands in front of the house and 10 that of the god in the house, as perhaps is also 11, when we consider the closed eye; this is one of the many hieroglyphs having an uplifted arm as a prefix. On page 9a we find exactly the same sign. The last sign is the hieroglyphq, which sometimes seems to be used merely to fill space; it corresponds, but with a different superfix, to the fifth hieroglyph of the first group.
The last three parts of this section of the manuscript all differ appreciably from the usual form (5 × 52 = 260 days).
Page 9c.
Here for the first time the manuscript contains a Tonalamatl, which is divided into 10 × 26 days. It is true the position of both the days and numbers is quite irregular. The manuscript presents the following order:—
I read it thus:—
Two figures and eight hieroglyphs are given here. I do not venture to decide whether each of the two figures with its hieroglyphs relates only to a period of 26 days or to the half of the whole, 130 days. I think the latter is more likely to be the case. The sign Imix-Kan, which I am inclined to refer to a sacrificial meal, is common to both groups and connects them. The two gods seem also to have a sign pertaining to a meal in their hands; this may be a cup.
The first deity is D or I, but with a female breast and with a serpent on his head. His signs are 2 and 3. The second god is A with a snail on his head and his signs are 6 and 7.
In addition to these, sign 4 of the first group isvand sign 8 of the second group isc.
Pages 10c—11c.
Here we have two independent Tonalamatls as on page 12a. There are subdivisions only for the second; the first should be regarded either as entirely invalid or else its division has merely been omitted.
6 gods with 4 hieroglyphs each are represented on these pages:—
Here too Hieroglyphs 1, 5, 9, 13, 17 and 21 are the common factor; they have the form of the month Mol, but here, as on page 6c, they probably designate the particular object constituting the sacrifice. The following details are to be noted regarding the six divisions:—
1. The god A with his two signs in 2 and 3.
2. D with the signs 6 and 7.
3. F with the signs 10 and 11 (the latterc).
4. E with the signs 14 and 15, having on his head a structure, which is compounded apparently of a Kan sign, a snail and the suggestion of the maize plant.
5. G, clad in the gala cloak and the copal bag. His sign is 18, while 19 suggests rather the Moan or K.
6. B, his headdress displays the little circles, which often occur in connection with him,e.g., pages 30c, 40a and 41a, and which may suggest the starry sky. His sign is 22; the hieroglyphmis added to it in 23 as a determinative.
As usual, the fourth sign of each group is the most puzzling. 4 and 12 are Imix with the uplifted arm as a prefix, as on page 13a, 8 is the hieroglypho, 16 isa, 20 iscand the principal part of 24 isr. This signrseems to me to suggest the week of 13 days (see above the explanation of page 4a); four weeks of this kind end here.
It is to be noted further that all the six gods are holding one hand outstretched:—A downward, B upward and the four in the centre forward.
Page 12c.
This is another Tonalamatl divided into 4 × 65, the subdivisions being transferred to the end of the second, fourth and fifth weeks. The Chuen at the bottom is superfluous.
The twelve hieroglyphs standing here according to rule are grouped together in fours by the three pairs of the first row. Of these 1, 5 and 9 are the fist, familiar from the inscriptions, and which we also see on page 10b of this manuscript, where, to be sure, it occurs with the sign of B, as often happens, but here it has the closed eye of the death-god A. On the other hand, 2, 6 and 10 are the sign Kin = sun, with merely a dotted outline, and the three gods pictured below all hold the same Kin sign in their hands. This passage, may refer to the dying sun, the winter solstice.
The first god is D, who, however, has B's head on top of his own. An object like a spyglass projects from the eye of B, which one could hardly venture to pronounce a nose-peg. The sign 4 (Ahau) refers to D; but what is the meaning of 3, the hieroglyph of the serpent deity H? Is the sun wounded?
The second god is the baldheaded old deity, whom Schellhas designates as N. The hieroglyph 7, apparently referring to the five Uayeyab days, is his sign; we found it on page 4b and shall again find it on page 21c, and this time likewise with the old man. What is the meaning of the grain-goddess E denoted by sign 8? As N is connected with the close of the year, so E seems to be in various ways connected with the beginning of the new year.
The third picture is unmistakably the sun-god G with the copal pouch hanging from his neck. His sign is 11, while sign 12, which suggests the wind-god K and balled-up clouds, is as difficult to explain here as it was on page 11c. The signs 8 and 12 seem, therefore, to refer to one another, and, if I do not see too much, look like a promise of rain and harvest.
On page 12 the Tonalamatls of the three sections of the page come to an end and a new part of the manuscript begins.
Page 13a.
I shall here group together pages 13 and 14, the top third of 14 encroaches a little upon page 15. 13a has the following Tonalamatl:—
I have supplied the first day, which is effaced. The week days are wanting. The 52 days are divided into halves of 26 days each.
Of the 8 hieroglyphs the fifth seems to be the same as the destroyed first; aside from the prefix, it is the signs.
The two halves of the period have two gods, the first is B with a very singular head-ornament, and the second A, perhaps with the symbol of a snail on his head. Both hold a plant (agave) in their hands, as on pages 10b and 12a. Hieroglyph 2, which is mostly destroyed, must have been B's monogram, 4has the Ahau as its determinative, and 3 is the elongated headqwith Ben-Ik.
In the second group 6 and 8 are the signs of A, and 7 is an Imix with the uplifted arm prefixed, as on page 10c.
Pages 14a—15a.
The month days 13 and 5 have changed places in the manuscript. The initial day VIII Ahau will prove to be of especial importance in the second part of the manuscript (compare page 70). Here, as in the preceding Tonalamatl, the period is divided into equal parts.
Little can be said of the hieroglyphs, 16 in number, since 6, 9, 10, 12, 13, 14, 15 and 16 are wholly or mostly destroyed. 3, 7 and 11 seem here to be a comprehensive element, as is also probably 15, but I am unable to refer this head to a particular god; 2, 6, 10 and 14 may also be alike, but this is very uncertain. 1, 5, 9 and 13 may have denoted the four cardinal points, at least 1 suggests the south and 5 the north.
Thus we have left for the four deities E, H, A and G, only the signs 4, 8, 12 and 16; 4 surely belongs to E, and 8 to H, but the other two are erased.
Pages 13b—14b.
There are 24 hieroglyphs for the 6 divisions:—
Of these the upper row again contains the comprehensive signs, and the lower the discriminating characters. The closed eye in 1, 5, 9, 13, 17 and 21 suggests A, who also appears below as the first of the six gods, and the superfix of these signs suggests the south. 2, 6, 10, 14, 18 and 22 are the Kan sign, and we alsofind this sign in the hand of each of the six gods. Thus the subject of this passage seems strictly speaking to be harvest or food.
The six gods are A, E, C, L, F and D; the second, third fourth and fifth have a bird on their heads. The first and fourth birds are eating, as on pages 11a and 12b, and thus probably represent enemies of the harvest. The first is of a different species from the other two. The four gods in the centre have the copal pouch about their necks. Signs 3 and 4 are the common hieroglyphs for A; 7 that for E, to whichois added as a determinative; 11 is C's hieroglyph with anaadded to it, and L is undoubtedly denoted by sign 15; 16 isr(equal to 13 days; it is meant here for the day III Cib). F appears quite according to rule in 19, which is appropriately followed by the signcin 20. Finally the hieroglyphs for D in 23 and 24 are the usual ones.
We come now to the large section extending to page 23, which, owing to the numerous pictures of women, forms a section quite by itself. It is not likely that this contains anything else than oracles relating to pregnancy; in fact, the period of 260 days represented here with great frequency is in excellent accord with this subject. In the Codex Tro-Cort. there is also a section devoted to women, which corresponds to this chapter and particularly page 19* of the Troano affords remarkable parallels to the Dresdensis, even in details.
Pages 13c—14c.
The second of the two vertical rows on the left should be considered as immediately joined to the first. Thus we have here the second example in this manuscript of a Tonalamatl of ten parts; the first was on page 9c.
The entire representation on 13c and 14c looks like an introduction to the following section, as though treating in general of the relation to one another of pairs of animals, of humanbeings and of deities. Corresponding with the Tonalamatl, there are four pairs of this kind represented.
The hieroglyphs belonging to these pictures are distributed among the four sections as follows:—
Apparently, the first two pictures have only 4 signs each, and the other two 6, but this is equalized by the fact, that hieroglyphs 1, 3, 5, and 7 are clearly each composed of two signs. The comprehensive sign appearing in 2, 6, 9 and 16, is, properly speaking, the signt, which may denote coition, and, not unsuitably, contains in its centre two black figures side by side.
Passing now to the separate four groups, I think the male figure is always on the right and the female on the left. In the first and second groups the two face each other, and in the other two groups the male is behind the female.
1. The female figure is an animal, perhaps a deer, the male is a black and white spotted deity having a human form and his head appropriately embellished with horns. The hieroglyphs belonging to these are:—1, a combination of Manik and Chuen with a prefixed 4, just as on page 21b; 3, likewise a compound sign, with a prefixed 7, which occurs also on page 46c on the left, and which I do not venture to explain, but which seems to denote horns, and lastly the hieroglyphc.
2. The female figure is an animal (on page 19a the female is represented more in resemblance to the human form) with a bird-head, to which belongs the compound signs, still unexplained; the male figure is a barking (or howling?) dog, as on page 21b. Hieroglyph 7 is composite and contains first the sign generally belonging to the dog and suggesting a skeleton, which also represents the 14th month, and secondly, a Cimi closely related to it, precisely the same as in the parallel passage 21b. The well-knownqfollows in the 8th place.
3. The god D holds in front of himself an animal, which may be a rabbit. His signs are hieroglyphs 11 and 12, while 13, the principal part of which is a grasping hand, clutching a Moan sign, seems to refer to the animal in the picture. 10 isband 14 isa.
4. Lastly, two beings in human guise, showing thus a closer connection with what follows. They are the black god L with his hieroglyph in 18 enlarged by an Imix, and a woman holding a Kan sign in her hand, hieroglyph 20 likewise showing the ordinary combination of Imix-Kan. Sign 15, however, refers to the woman, and lastly 17 and 19 are the signsmandr; I note thatrends a period of 13 days.
The contents of the following seem to suggest that we should first read page 15 (including the middle section of 16) from top to bottom, then pages 16-23, partly from left to right and partly from top to bottom, according to the subject.
Page 15a.
There are two pictures with 4 hieroglyphs each.
The two pictures represent D and A, the latter probably as feminine. Both are falling headfirst, and both have leaves about them as if they were falling from a tree and a cry is issuing from A's mouth. The common element is given in hieroglyphs 2, 3 and 7, which are all signs of D. Further, 4 is the Chuen sign, the ape (as the animal living on trees?), its prefix is hieroglyphr, which I regard as denoting the week of 13 days and which falls here exactly on the day XIII. And the same Chuen sign is repeated in the second group as the first part of sign 6, the second part of which is illegible. 8 is the sign of A and 1 is effaced.
Pages 15b—16b.
That is 4 × 65 = 260 days. Hence the sign of Ik repeated at the bottom, as is usual in such cases, is superfluous.
The Tonalamatl contains 4 figures, of which 1 and 2 form one pair and 3 and 4 another.
As on page 15a, the pair at the left are falling down and alsohave leaves about them. They are god B, who holds a Kan sign in his hand, and a woman, whose eyes are closed and who holds the sign of death before her breast. B is falling down in a similar fashion in Cort. 17. Hieroglyphs 1-8 belong to this pair. Of these, 1, 5 and 8 and also 7 refer to death, 3 with the determinative sign, 4, added (which is the signqwith a Ben-Ik), refers to B, while signs 2 and 6 belonging to god D, who occurred in the preceding Tonalamatl, should be noted.
The pair at the right on the other hand isseated, the woman apparently on the curved handle of a vessel. The head-ornament and hieroglyph of the female figure prove that she is the serpent deity H, while the male figure is the rare black deity M, whom we find again with his sign on page 43a for example; he holds a bone in his hand. Hieroglyphs 9 and 13 agree. The lower part of these hieroglyphs is the fist with the thumb unfolded, the sign at the top seeming to be merely an empty outline (Muluc?) and thus, like 1 and 5 of the preceding group, they seem to refer to a sacrifice offered to the death-god. 10 and 14 are again, strange to say, like 2 and 6 of the preceding group, the sign of D. 11 is the hieroglyph of H, who is represented below as feminine, and that 12 is a complement of 11 is proved by the upper part of this uncommon hieroglyph, which corresponds to the object in H's hand, and which is repeated on page 18a with the same figure; compare also page 8b. 15 is surely the hieroglyph of M, who is pictured below, as in the Tro. 2a and 22*a where the same M appears with the same hieroglyph, and to him belongs in 16 the signr, which I am inclined to consider the week of 13 days, and which here, as on 14c, ends a section of 13 days.
Page 15c.
This is a Tonalamatl of ten parts, the days are to be read in the following order:—Lamat, Ix, Ahau, Cimi, etc.
There are two figures, A probably conceived as feminine and D with the same head-ornament as on page 10; both hold in their hands a Kin = sun. Hieroglyphs 2 and 6 are also the Kin sign, while 1 and 5 have the closed eye of A, but differ in their secondary parts, the sign suggesting the south being a suffix in 1 and a superfix in 5; 1, however, has an affix, while 5 has as a prefix a sign differing from the affix in 1. 3 and 4 are the signs of A, 7 that of D, next to which in 8 one would expect to see an Ahau, but instead of this there is again the sign of H (borrowed from page 15b?).
This seems to end the subject of coition; now, in natural course, follows the subject of pregnancy, to which I believe the following Tonalamatl is exclusively devoted.
Page 16a.
There are no red numerals, hence the Tonalamatl seems to apply to any one of the initial week days.
Two women are portrayed, both of whom are stretching a hand forward and upward. There are 8 hieroglyphs of which, however, the top row is almost entirely obliterated; 3 and 7 in the lower row are just alike, being the usual sign for woman.
There is a decided contrast between the two figures, which might suggest barrenness and fruitfulness. Observation of their physical differences would give us that idea. Furthermore, the first carries on her back an unfamiliar head, perhaps A's, while the second has the Ahau, Imix and Kan signs, from which plants seem to be sprouting. The first is represented in the fourth hieroglyph by the signc, which is closely allied to the death deities, while the second woman is denoted by hieroglyph 8 which is the sign of the deity E, the grain-god.
Pages 16a—17a.
In the following I will group together all the pages from page 16-23 as follows:—First, I shall discuss the top thirds, then the middle and lastly the lower thirds. The sense, however,often seems to require that the first third should connect with the second, and the second with the third; but I find it impossible to determine exactly the intended order.
On pages 16a-17a, we find for the first time in this manuscript not a Tonalamatl, but in its stead all the twenty days arranged in four columns, each of which ends with one of the regents of the year:—
This seems to establish the fact that the day of its birth was of importance to a new-born child.
Between each column and the next there is a picture and above each picture four hieroglyphs, which, however, are mostly destroyed, so that much of the meaning of this passage is lost to us.
The first is an old man walking, who beyond doubt is N, the Uayeyab god, with a staff in his hand and the signs Imix and Kan on his back. He is looking upward and is also pointing upward with his right hand. Of his hieroglyphs only enough of the fourth is visible to enable us to recognize in it the regular sign of N, 5 Zac. The second picture is again an old man walking with a stick, he is baldheaded and hence is probably also N, as on page 12c. His hieroglyph might be the fourth of those written above him, the other three are entirely unrecognizable. He has a carrying-frame on his back, but it is uncertain whether he is carrying anything upon it.
The third figure is a woman who is pointing upward with one hand and with the other holding the bundle on her back, which I am unable to explain (does it refer to the 14th Uinal—the end of pregnancy?) and from which rises an object resembling a flame. Her sign is in the fourth place andqis in the third. 1 and 2 are not legible and perhaps may be supplemented by the third picture on page 19c. Finally, the fourth figure is F,who is sitting and has a Cimi sign on his back. His monogram is the second of the hieroglyphs above him, the third is very appropriatelyband the other two are not very clear to me.
The first two pictures might designate a male birth, the first indicating wealth and the second poverty, the third might denote a female birth and the fourth a still birth. But who can positively assert this!
Pages 18a—19a.
This is a Tonalamatl of five parts with 20 hieroglyphs, which unfortunately are so much injured that no signs comprehending the whole can be distinguished.
There are five women in a sitting attitude.
The first woman corresponds exactly to the third figure on page 15b. She is sitting on a bench, the same implement is in her hand and there is also a serpent on her head, for which reason she likewise reminds us of H. The third hieroglyph is hers, and the 4th sign is an Ahau.
The second woman holds in her hand the Kin sign; above it is the Yax sign and above this a little cross between two dots (the numeral 18?). Compare pages 18c, 19c and 27b, and in the second part, 46b and 50c. I shall venture no opinion regarding the hieroglyphs.
The third woman with the copal pouch hanging from her neck has nothing in her hand. She is pointing upward with her right hand. Her hair seems to be wound in the shape of an 8 in horizontal position and above her is a sign denoting the union of two parts. The hieroglyphs are entirely destroyed. Does this represent the birth of twins?
The eyes of the fourth woman are closed, she is pointing forward with her hand and there is a bird on her head. Nothing is left of the hieroglyphs.
Finally, the fifth is distinguished by a large nose-peg, which, as on 12b, resembles a flower. Her hand is extended forward. The fourth of the hieroglyphs above her is her sign. Thereis nothing to be said regarding the three others. Are these five women engaged here in presenting their thankofferings and prayers of thanksgiving for the birth which has taken place?
Pages 19a—21a.
Instead of Men the Manuscript has incorrectly Eb. Ahau in the fifth place is superfluous, since we have here a Tonalamatl divided into four equal parts.
The hieroglyphs are so nearly obliterated that we can no longer distinguish a common sign. There were in all six signs for the first picture, of which the first two are above the day-signs, while the figures from the second to the fifth have only four signs each, as follows:—
All that can be distinguished here is that the 4th and 13th have the same crossband that 6 and 10 probably contain the same head.
Each of the five pictures contains a woman sitting. In the first representation she sits opposite a male figure, who bends down to her with his bird-head, which we have already seen on page 13c. In the other four pictures the woman is holding the figure of a god on her lap. I do not recognize the god in the first picture on page 20. In the second and third pictures he is related to A or the Moan and the first figure on page 21 may represent the god D. These can only be new-born children represented by the gods under whose signs they were born. It should also be noted that the second woman on page 20 has a serpent on her head and the third a bird. The bird's head resembles that on page 16c.
Pages 21a—22a.
The Cimi and Eb of the second column have changed places in the Manuscript. Instead of the X there is an erroneous 2 and there is no initial VII.
We have here a Tonalamatl consisting of 10 × 26 days, and the 26 days are subdivided into six parts. I have just assumed that the 2 is wrong and the initial VII is wanting over the first column, yet the 2 followed by the laterally elongated headqmight here, perhaps, be explained in some manner as the sign of the day VII Oc.
Apart from this sign which occupies an entirely exceptional position, we have here 24 hieroglyphs,i.e., 4 for each of the six groups.
The fourth sign in the first five groups is in each case a Chuen combined with the crossband the suffix, which seems to be a knife, and also with a numeral, which, however, is not recognizable in the first group; in the second it is a 3, in the third a 7, in the fourth a 5 and in the fifth a 3. What can these numbers mean? 3 + 7 + 5 + 3 = 18, and Chuen with the meaning of 20 (especially in the inscriptions) would be 18 × 20 = 360.
In the fourth place of the sixth group there is a compound character, the main part of which (top, right) seems to be the sign for the thirteenth month, Mac, and which may also, as we shall see on page 24, denote the entire Tonalamatl. It is again compounded with a Chuen, an uplifted arm and a kind of suffix, and hence might denote the end of a Tonalamatl.
The remaining 18 signs are in the main destroyed. In the second of the fourth group we recognize the lock of hair denoting a woman, in the third of the second group the superfix suggesting the south, which we find above the Cimi sign, for example on page 13b. Lastly, the other third signs are in the third group Imix-Kan, in the fourth group the headq, in the fifth the bird c and in the sixth a Manik sign with prefix and superfix resembling the signi; in a few places (24, 39a, 53a, 56b, 58b, 61a, 61c, 68c) the prefix might have the meaning of 20.
Since the intention was to close this section on the next page, the space had to be used as economically as possible, and instead of the six pictures to be expected, there is only one and that is the first. It is a woman in whom I observe nothing characteristic except that she has a kind of cloak, which has fallen down over the lower part of her body, and who therefore remains unexplained.
Pages 22a—23a.
The Tonalamatl is no doubt to be read in this way after the correction of a few inaccuracies in the Manuscript.
The 20 days, all of which occur again here as on pages 16a-17a, should be read from the right top to the left bottom, since they form but one series.
As a matter of fact Ezanab is distant 19 days from the future Caban, but 39 days distant from the desired weekday of the same name (see my "Erläuterungen," p. 24). Thus we have here a period of 20 × 39 days = 780,i.e., a three-fold Tonalamatl. The three Tonalamatls represented on the pages between the preceding passage (pages 16a-17a), where all the 20 days appear, and this, are of threedifferentkinds (5 × 52, 4 × 65, and 10 × 26). This in itself is very remarkable. Furthermore a fourth kind of Tonalamatl seems to be introduced here, which embraces, as it were, these three Tonalamatls.
The hieroglyphs, which are mostly destroyed, were arranged in groups of four for each subdivision, in the following order:—
Of the above the third hieroglyph of each group,i.e., 7, 11, 15, 19 (probably also 3) is always the same and is the sign of D, the moon and night-god. In detail we should expect to find five pictures here, but owing to lack of space only the first of these is given. It represents a deity with a Kan sign in its hand and a serpent on its head, who is probably E, and he is falling down here in exactly the same manner as the four deities on page 15 at the beginning of this section.
Now, which were the other four deities? Signs 8, 12, 20 refer to A, H and C. 16 is the laterally elongated headq, to which Seler is inclined to refer the day Men, and Schellhas an undetermined deity I. On account of its frequency this sign must have besides a more general significance. In addition, however, we have in 14 and 18 the signs of F and B. 6 is uncertain, 10 is probably C, and the top row is entirely illegible. If to these deities is added the D repeated five times in the third row, it will be seen that all the important gods are grouped together here on the last page of this section.
Pages 16b—17b.
I will now attempt (for it cannot be more than an attempt) to separate into three parts, according to their contents, the middle and lowest thirds of pages 16 to 23. The first part, 16b to 18b and 16c to 20c, contains six Tonalamatls with pictures of women, each of whom carries on her back the figure or symbol of a deity. This deity can hardly be any other than the one to which the horoscope of the child especially refers.
The first of these Tonalamatls, on pages 16b-17b, runs as follows:—
The red numerals are wanting and were probably forgotten.
The hieroglyphs stand thus:—
Of these 3, 7, 11 and 15 are the sign for women, 2, 6, 10 and 14 are likewise all the same sign, which is repeated in the same places on pages 17c to 18c. I do not understand its meaning; it may have reference merely to the carrying-frame. Instead of the four women, whom we should expect to find here, only the first two are portrayed. The first carries B, whose sign is the first hieroglyph, while the fourth hieroglyph is the signq.
The second woman carries A to whom hieroglyphs 5 and 8 refer. The third woman would have carried D, which is plainly proved by hieroglyphs 9 and 12, and the fourth, F, as follows from sign 13 and probably also from 16 (q).
Pages 17b—18b.
Here again there are no red numerals.
The 24 hieroglyphs of the six divisions stand thus:—
Again, six women should be portrayed here, but there are only four; the second and third are wanting. The signs for the women are given in 3, 7, 11, 15, 19 and 23, but in 15 and 19 the prefix is different from that of the rest. As from here on the women repeatedly carry a bird, the signs for this are 2, 6, 10, 14, 18 and 22, which are the symbol of a rising bird, as in the sign of the 15th Uinal (Moan), which in my opinion generally coincides with the 13th month of 28 days.
The women pictured here have nothing in their hands, which they hold stretched forward, as is usually the case in this section. The first woman carries a vulture on her head. Compare 8a. In regard to it see also Schellhas, "Göttergestalten," p. 31. The hieroglyph of the vulture, which we find repeated on page 17c, 24, 37b, 46, 50, 65, is here hieroglyph 1, usually regarded as the sign of the bat deity, and near it in 4 isq.
The second woman would have carried the black deity L (hieroglyph 5), to whichqis added in 8.
The third would have had the dog,i.e., the lightning dog, which we find in hieroglyph 9 and in the month sign Kankin; anais added to them in 12.
The fourth woman carries A, as is proved by his signs in 13 and 16.
The fifth carries nothing; according to the hieroglyphs 17 and 20 she ought to carry D.
Lastly the sixth carries the Moan as is proved by signs 21 and 24.
Pages 16c—17c.
This is a Tonalamatl of 4 × 65 days. The Muluc at the bottom is, therefore, superfluous. I have been obliged to correct the 12 in the last column of the Manuscript by changing it into a 10. The red numerals are again wanting.
This passage admirably continues the one in the preceding Tonalamatl containing the women carrying birds, and is also divided into six parts.
The hieroglyphs stand thus:—
Signs 3, 7, 11, 14, 19 and 23 (14 and 15 have changed places) denote women. Of the six women only the first three are here portrayed.
The first carries the Moan with which signs 1, 2 and 4 agree perfectly. The second and third carry two birds, which may be parrots of a different species. They are very seldom represented elsewhere and hence their hieroglyphs, 5 and 9, with the added determinative 10 are unfamiliar. In 8 and 12 the well-known determinativesaandcare added.
Judging by sign 13 the fourth woman would have carried the same vulture, which we see in the middle section of this page; 15 and 16 are again signscandq.
The fifth woman would have carried an unknown bird of prey, the signs of which are 17 and 18, and 18=10; 20 is againq, but with a superfix different from that in 16.
Finally the sixth woman, like the third in 17b, seems to have carried the dog, as is proved by sign 21, but in 22 the symbol of a bird is again added. This passage ends in 24 with the well-known Imix-Kan.
Pages 17c—18c.
Here we again find the regular red numerals (Roman in my transcription of the text), which were wanting in the last three Tonalamatls. That they were not added until after the black script and drawings were completed, is evident in several passages of our Manuscript and also in this one, where they have been faintly indicated in black by the scribe (or corrector). The absence of red numbers in the passages 17b-18b and 16c-17c is an evidence that I was right in proceeding directly from the former to the latter.
Of the 12 hieroglyphs, 2, 6 and 10 have again the form which we found on pages 16b-17b, and which seems to refer to a carrying-frame; compare, however, the explanation of pages 25-28 below. The women themselves are designated by hieroglyphs 3, 8 and 12. The first woman carries the god A and hieroglyphs 1 and 4 are his regular signs. The second woman has on her back a Kin sign, above that a Yax, and this combination overtopped by a cross between two dots also forms hieroglyph 5; compare the upper section of the same page. That this hieroglyph is nothing else than a designation of god D follows from hieroglyph 7. Finally the fourth woman carries a figure, which has a Moan sign for a head and to which hieroglyphs 9 and 11 certainly refer.
Pages 18c—19c.
The first woman carries the god A, who is denoted by hieroglyphs 4 and 1, though somewhat irregularly by the latter. 2 is the carrying-frame and 3 the woman herself.
The second woman has again the Yax-Kin sign on her back as in the preceding Tonalamatl, and hieroglyph 5 is also a combination of these signs, but here in 7 we find, not the sign of D, but that of E, to which also the Imix-Kan in 8 corresponds. 6 is again the carrying-frame, though, as is also the case in 2, more indistinctly drawn than in the earlier Tonalamatls.
Pages 19c—20c.
This is a Tonalamatl divided into five parts, to which 20 hieroglyphs belong. The hieroglyphs are in the following order:—
At places 2, 7 (6 and 7 have changed places), 10, 14 and 18 we find again the sign which we think means a carrying-frame, while signs 3, 6, 11, 15 and 19 are those of the five women.
The first carries a figure with a Moan head and agreeing with this is the second death-god F in hieroglyph 1 and his determinative in 4.
The second woman, who is seated, carries the same object regarding which I am still uncertain, which is carried by the standing woman on page 17a. This object is denoted by hieroglyph 5 (w). Its determinative is probably 8. It mayperhaps be a step in the right direction to point out that this sign suggests the god K.
The third, like the first, has a figure with a Moan head, with which a female form of A in 12 and hieroglyph 9 accord.
The fourth woman carries the maize deity E. 13 is his sign and the food hieroglyphs, Imix-Kan in 16, agree with it.
The fifth woman seems to carry the somewhat indistinct form of D, if this may be inferred from the Ahau of the 17th sign. 20 is the universal signa.
This ends the six Tonalamatls, which are represented in what I have called the section of the burden-bearing women. Five other Tonalamatls follow, which again suggest the idea of conception, which we met once before on pages 13c-14c.
Page 19b.
The most frequent sign in the five Tonalamatls, which I have grouped together, is the crossb, which plays the most important part in all the Tonalamatls, excepting the third, which differs from the rest also in other respects. It is essentially the sign for union, referring in the case of the stars to their conjunction and here to sexual union.
In this Tonalamatl we see the cross in hieroglyphs 1 and 5, the sign for woman in 2 and 6, and their determinatives in 3 and 7.
The first woman has a deity facing her who is devoid of all characteristic marks, and sign 4 is also nothing but the universala.
The second woman whose eyes are closed, sits facing A, whose hieroglyph is in 8.
Pages 19b—20b.
The arrangement of this Tonalamatl is very similar to that of the preceding.
Hieroglyphs 1 and 5 are again the cross, and 2 and 6 the signs for woman.
The first picture is wanting; hieroglyph 3 withthe number 7 as a prefix denotes a deity with whom I am not familiar. The same sign is found on page 50, left, middle; in 4 the usual headqis added.
Beside the woman in the second group—not facing her—is the serpent deity H, again, as on pages 11c and 12b, with the nose-peg resembling a flower. His sign is 7 to which in 8 the familiar Ahau is again added.
Page 20b.
The hieroglyphs stand thus:—
The subject now passes into the province of astronomy. This is already proved by sign 1, which represents the clouds, between which the sun or moon is usually pictured; the sun is probably omitted here merely owing to limited space. Sign 3 suggests the storm-god K (compare pages 7a and 47 left) to which in 2 the Ahau might be appropriately added, inasmuch as it rules the year here under consideration as on pages 25b to 26c. On account of the Ben-Ik sign I see in 4 one of the months of 28 days as a more exact determination of time. Below the Ben-Ik a head is represented with eyes apparently closed, and this head is repeated in 6 and 10, though, probably for lack of space, without the Ben-Ik. In each of the three places a sign is used as an affix which might readily be the year sign, contracted laterally.
The two similar hieroglyphs 5 and 9, which have the following form, are especially worthy of consideration:—