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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/23562-8.txt b/23562-8.txt new file mode 100644 index 0000000..44aea30 --- /dev/null +++ b/23562-8.txt @@ -0,0 +1,2802 @@ +The Project Gutenberg EBook of Studies in Central American Picture-Writing, by +Edward S. Holden + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Studies in Central American Picture-Writing + First Annual Report of the Bureau of Ethnology to the + Secretary of the Smithsonian Institution, 1879-80, + Government Printing Office, Washington, 1881, pages 205-245 + +Author: Edward S. Holden + +Release Date: November 20, 2007 [EBook #23562] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CENTRAL AMERICAN PICTURE-WRITING *** + + + + +Produced by PM for Bureau of American Ethnology, Julia +Miller, and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by the Bibliothèque nationale +de France (BnF/Gallica) at http://gallica.bnf.fr) + + + + + +Transcriber's Note: + +This book was originally published as a part of: + + Powell, J. W. + 1881 _First Annual Report of the Bureau of Ethnology to the + Secretary of the Smithsonian Institution, 1879-'80._ pp. + 205-245. Government Printing Office, Washington, D.C. + +The table of contents and index included in this version of the book was +extracted from the complete volume. + +A number of typographical errors found in the original text have been +maintained in this version. They are marked in the text with a [TN-#]. +A description of each error is found in the complete list at the end of +the text. Original spelling has been maintained. A list of inconsistently +spelled words is found at the end of the text. + + + + + + SMITHSONIAN INSTITUTION--BUREAU OF ETHNOLOGY. + J. W. POWELL, DIRECTOR. + + + STUDIES + IN + CENTRAL AMERICAN PICTURE-WRITING. + + + BY + + EDWARD S. HOLDEN, + PROFESSOR OF MATHEMATICS, U. S. NAVAL OBSERVATORY. + + + + +TABLE OF CONTENTS + + +List of illustrations 206 +Introductory 207 +Materials for the present investigation 210 +System of nomenclature 211 +In what order are the hieroglyphs read? 221 +The card catalogue of hieroglyphs 223 +Comparison of plates I and IV (Copan) 224 +Are the hieroglyphs of Copan and Palenque identical? 227 +Huitzilopochtli, Mexican god of war, etc. 229 +Tlaloc, or his Maya representative 237 +Cukulean or Quetzalcoatl 239 +Comparison of the signs of the Maya months 243 + + + + +LIST OF ILLUSTRATIONS + + Figure 48.--The Palenquean Group of the Cross 221 + 49.--Statue at Copan 224 + 50.--Statue at Copan 225 + 51.--Synonymous Hieroglyphs from Copan and Palenque 227 + 52.--Yucatec Stone 229 + 53.--Huitzilopochtli (front) 232 + 54.--Huitzilopochtli (side) 232 + 55.--Huitzilopochtli (back) 232 + 56.--Miclantecutli 232 + 57.--Adoratorio 233 + 58.--The Maya War-God 234 + 59.--The Maya Rain-God 234 + 60.--Tablet at Palenque 234 + + + + +STUDIES IN CENTRAL AMERICAN PICTURE-WRITING. + +BY EDWARD S. HOLDEN. + + +I. + +Since 1876 I have been familiar with the works of Mr. JOHN L. STEPHENS +on the antiquities of Yucatan, and from time to time I have read works +on kindred subjects with ever increasing interest and curiosity in +regard to the meaning of the hieroglyphic inscriptions on the stones and +tablets of Copan, Palenque, and other ruins of Central America. In +August, 1880, I determined to see how far the principles which are +successful when applied to ordinary cipher-writing would carry one in +the inscriptions of Yucatan. The difference between an ordinary +cipher-message and these inscriptions is not so marked as might at first +sight appear. The underlying principles of deciphering are quite the +same in the two cases. + +The chief difficulty in the Yucatec inscriptions is our lack of any +definite knowledge of the nature of the records of the aborigines. The +patient researches of our archæologists have recovered but very little +of their manners and habits, and one has constantly to avoid the +tempting suggestions of an imagination which has been formed by modern +influences, and to endeavor to keep free from every suggestion not +inherent in the stones themselves. I say the stones, for I have only +used the Maya manuscripts incidentally. They do not possess, to me, the +same interest, and I think it may certainly be said that all of them are +younger than the Palenque tablets, and far younger than the inscriptions +at Copan. + +I therefore determined to apply the ordinary principles of deciphering, +without any bias, to the Yucatec inscriptions, and to go as far as I +could _certainly_. Arrived at the point where demonstration ceased, it +would be my duty to stop. For, while even the conjectures of a mind +perfectly trained in archæologic research are valuable and may +subsequently prove to be quite right, my lack of familiarity with +historical works forced me to keep within narrow and safe limits. + +My programme at beginning was, _first_, to see if the inscriptions at +Copan and Palenque were written in the same tongue. When I say "to see," +I mean to definitely prove the fact, and so in other cases; _second_, to +see how the tablets were to be read. That is, in horizontal lines, are +they to be read from right to left, or the reverse? In vertical columns, +are they to be read up or down? _Third_, to see whether they were +phonetic characters, or merely ideographic, or a mixture of the +two--rebus-like, in fact. + +If the characters turned out to be purely phonetic, I had determined to +stop at this point, since I had not the time to learn the Maya language, +and again because I utterly and totally distrusted the methods which, up +to this time, have been applied by BRASSEUR DE BOURBOURG and others who +start, and must start, from the misleading and unlucky alphabet handed +down by LANDA. I believe that legacy to have been a positive misfortune, +and I believe any process of the kind attempted by BRASSEUR DE BOURBOURG +(for example, in his essay on the _MS. Troano_) to be extremely +dangerous and difficult in application, and to require a degree of +scientific caution almost unique. + +Dr. HARRISON ALLEN, in his paper, "The Life Form in Art," in the +_Transactions of the American Philosophical Society_, is the only +investigator who has applied this method to Central American remains +with success, so it seems to me; and even here errors have occurred. + +The process I allude to is something like the following: A set of +characters, say the alphabet of LANDA, is taken as a starting point. The +_variants_ of these are formed. Then the basis of the investigation is +ready. From this, the interpretation follows by identifications of each +new character with one of the standard set or with one of its +_variants_. Theoretically, there is no objection to this procedure. +Practically, also, there is no objection if the work is done strictly in +the order named. In fact, however, the list of _variants_ is filled out +not before the work is begun, but during its progress, and in such a way +as to satisfy the necessities of the interpreter in carrying out some +preconceived idea. With a sufficient latitude in the choice of +_variants_ any MS. can receive any interpretation. For example, the _MS. +Troano_, which a casual examination leads me to think is a _ritual_, and +an account of the adventures of several Maya gods, is interpreted by +BRASSEUR DE BOURBOURG as a record of mighty geologic changes. It is next +to impossible to avoid errors of this nature at least, and in fact they +have not been avoided, so far as I know, except by Dr. ALLEN in the +paper cited. + +I, personally, have chosen the stones and not the manuscripts for study +largely because _variants_ do not exist in the same liberal degree in +the stone inscriptions as they have been supposed to exist in the +manuscripts. + +At any one ruin the characters for the same idea are alike, and alike to +a marvelous degree. At another ruin the type is just a little different, +but the fidelity to this type is equally great. Synonyms exist; that is, +the same idea may be given by two or more utterly different signs. But a +given sign is made in a fixed and definite way. Finally the MSS. are, I +think, later than the stones. Hence the root of the matter is the +interpretation of the stones, or not so much their full interpretation +as the discovery of a _method of interpretation_, which shall be sure. + +Suppose, for example, that we know the meaning of a dozen characters +only, and the way a half dozen of these are joined together in a +sentence. The _method_ by which these were obtained will serve to add +others to the list, and progress depends in such a case only on our +knowledge of the people who wrote, and of the subjects upon which they +were writing. Such knowledge and erudition belongs to the archæologists +by profession. A step that might take me a year to accomplish might be +made in an instant by one to whom the Maya and Aztec mythology was +familiar, if he were proceeding according to a sound method. At the +present time we know nothing of the meaning of any of the Maya +hieroglyphs. + +It will, therefore, be my object to go as far in the subject as I can +proceed with certainty, every step being demonstrated so that not only +the archæologist but any intelligent person can follow. As soon as the +border-land is reached in which proof disappears and opinion is the only +guide, the search must be abandoned except by those whose cultivated and +scientific opinions are based on knowledge far more profound and various +than I can pretend or hope to have. + +If I do not here push my own conclusions to their farthest limit, it +must not be assumed that I do not see, at least in some cases, the +direction in which they lead. Rather, let this reticence be ascribed to +a desire to lay the foundations of a new structure firmly, to prescribe +the method of building which my experience has shown to be adequate and +necessary, and to leave to those abler than myself the erection of the +superstructure. If my methods and conclusions are correct (and I have no +doubts on this point, since each one has been reached in various ways +and tested by a multiplicity of criteria) there is a great future to +these researches. It is not to be forgotten that here we have no Rosetta +stone to act at once as key and criterion, and that instead of the +accurate descriptions of the Egyptian hieroglyphics which were handed +down by the Greek cotemporaries[TN-1] of the sculptors of these +inscriptions, we have only the crude and brutal chronicles of an +ignorant Spanish soldiery, or the bigoted accounts of an unenlightened +priesthood. To CORTEZ and his companions a memorandum that it took one +hundred men all day to throw the idols into the sea was all-sufficient. +To the Spanish priests the burning of all manuscripts was praiseworthy, +since those differing from Holy Writ were noxious and those agreeing +with it superfluous. It is only to the patient labor of the Maya +sculptor who daily carved the symbols of his belief and creed upon +enduring stone, and to the luxuriant growths of semi-tropical forests +which concealed even these from the passing Spanish adventurer, that we +owe the preservation of the memorials of past beliefs and vanished +histories. + +Not the least of the pleasures of such researches as these comes from +the recollection that they vindicate the patience and skill of forgotten +men, and make their efforts not quite useless. It was no rude savage +that carved the Palenque cross; and if we can discover what his efforts +meant, his labor and his learning have not been all in vain. It will be +one more proof that human effort, even misdirected, is not lost, but +that it comes, later or earlier, "to forward the general deed of man." + + + + +II. + +MATERIALS FOR THE PRESENT INVESTIGATION. + + +My examination of the works of Mr. J. L. STEPHENS has convinced me that +in every respect his is the most trustworthy work on the _hieroglyphs_ +of Central America. The intrinsic evidence to this effect is very +strong, but when I first became familiar with the works of WALDECK I +found so many points of difference that my faith was for a time shaken, +and I came to the conclusion that while the existing representations +might suffice for the study of the general forms of statues, tablets, +and buildings, yet they were not sufficiently accurate in detail to +serve as a basis for the deciphering I had in mind. I am happy to bear +witness, however, that STEPHENS'S work is undoubtedly amply adequate to +the purpose, and this fact I have laboriously verified by a comparison +of it with various representations, as those of DESAIX and others, and +also with a few photographs. The drawings of WALDECK are very beautiful +and artistic, but either the artist himself or his lithographers have +taken singular liberties in the published designs. STEPHENS'S work is +not only accurate, but it contains sufficient material for my purpose +(over 1,500 separate hieroglyphs), and, therefore, I have based my study +exclusively upon his earliest work, "_Incidents of Travel in Central +America, Chiapas, and Yucatan_," 2 vols., 8vo. New York, 1842 (twelfth +edition). I have incidentally consulted the works on the subject +contained in the Library of Congress, particularly those of BRASSEUR DE +BOURBOURG, KINGSBOROUGH, WALDECK, and others, but, as I have said, the +two volumes above named contain all the the[TN-2] material I have been +able to utilize, and much more which is still under examination. + + * * * * * + +One fact which makes the examination of the Central American antiquities +easier than it otherwise would be, has not, I think, been sufficiently +dwelt upon by former writers. This is the remarkable faithfulness of the +artists and sculptors of these statues and inscriptions to a standard. +Thus, at Copan, wherever the same kind of hieroglyph is to be +represented, it will be found that the human face or other object +employed is almost identically the same in expression and character, +wherever it is found. The same characters at different parts of a tablet +do not differ more than the same letters of the alphabet in two fonts of +type. + +At Palenque the _type_ (font) changes, but the adherence to this is +equally or almost equally rigid. It is to be presumed that in this +latter case, where work was done both in stone and stucco, the nature +of the material affected the portraiture more or less. + +The stone statues at Copan, for example, could not all have been done by +the same artist, nor at the same time. I have elsewhere shown that two +of these statues are absolutely identical. How was this accomplished? +Was one stone taken to the foot of the other and cut by it as a pattern? +This is unlikely, especially as in the case mentioned the _scale_ of the +two statues is quite different. I think it far more likely that each was +cut from a drawing, or series of drawings, which must have been +preserved by priestly authority. The work at any one place must have +required many years, and could not have been done by a single man; nor +is it probable that it was all done in one generation. Separate +hieroglyphs must have been preserved in the same way. It is this rigid +adherence to a type, and the banishment of artistic fancy, which will +allow of progress in the deciphering of the inscriptions or the +comparison of the statues. Line after line, ornament after ornament, is +repeated with utter fidelity. The reason of this is not far to seek. +This, however, is not the place to explain it, but rather to take +advantage of the fact itself. We may fairly say that were it not so, and +with our present data, all advances would be tenfold more difficult. + + + + +III. + +SYSTEM OF NOMENCLATURE. + + +It is impossible without a special and expensive font of type to refer +pictorially to each character, and therefore some system of nomenclature +must be adopted. The one I employ I could now slightly improve, but it +has been used and results have been obtained by it. It is sufficient for +the purpose, and I will, therefore, retain it rather than to run the +risk of errors by changing it to a more perfect system. I have numbered +the plates in STEPHENS'S _Central America_ according to the following +scheme: + +ENGRAVINGS OF VOLUME I. + + Page. + Stone Statue, front view, I have called Plate I _Frontispiece._ + Wall of Copan, Plate II 96 + Plan of Copan, Plate III 133 + Death's Head, Plate III^a 135 + Portrait, Plate III^b 136 + Stone Idol, Plate IV 138 + Portrait, Plate IV^a 139 + Stone Idol, Plate V 140 + Tablet of Hieroglyphics, Plate V^a 141 + No. 1, Sides of Altar, Plate VI 142 + No. 2, Sides of Altar, Plate VII 142 + Gigantic Head, Plate VIII 143 + No. 1, Stone Idol, front view, Plate IX 149 + No. 2, Stone Idol, back view, Plate X 150 + Idol half buried, Plate XI 151 + No. 1, Idol, Plate XII 152 + No. 2, Idol, Plate XIII 152 + No. 1, Idol, Plate XIV 153 + No. 2, Idol, Plate XV 153 + Idol and Altar, Plate XVI 154 + Fallen Idol, Plate XVII 155 + No. 1, Idol, front view, Plate XVIII 156 + No. 2, Idol, back view, Plate XIX 156 + No. 3, Idol, side view, Plate XX 156 + Fallen Idol, Plate XX^a 157 + Circular Altar, Plate XX^b 157 + No. 1, Stone Idol, front view, Plate XXI 158 + No. 2, Stone Idol, back view, Plate XXII 158 + No. 3, Stone Idol, side view, Plate XXIII 158 + Great Square of Antigua Guatimala, Plate XXIII^a 266 + Profile of Nicaragua Canal, Plate XXIII^b 412 + + ENGRAVINGS OF VOLUME II. + Page. + Stone Tablet, Plate XXIV _Frontispiece._ + Idol at Quirigua, Plate XXV 121 + Idol at Quirigua, Plate XXVI 122 + Santa Cruz del Quiché, Plate XXVII 171 + Place of Sacrifice, Plate XXVIII 184 + Figures found at Santa Cruz del Quiché, Plate XXIX 185 + Plaza of Quezaltenango, Plate XXX 204 + Vases found at Gueguetenango, Plate XXXI 231 + Ocosingo, Plate XXXII 259 + Palace at Palenque, Plate XXXIII 309 + Plan of Palace, Plate XXXIV 310 + Stucco Figure on Pier, Plate XXXV 311 + Front Corridor of Palace, Plate XXXVI 313 + No. 1, Court-yard of Palace, Plate XXXVIII 314 + No. 2, Colossal Bas-reliefs in Stone, Plate XXXIX 314 + East side of Court-yard, Plate XXXVII 314 + No. 1, Bas-relief in Stucco, Plate XL 316 + No. 2, Bas-relief in Stucco, Plate XLI 316 + No. 3, Bas-relief in Stucco, Plate XLII 316 + Oval Bas-relief in Stone, Plate XLIII 318 + Bas-relief in Stucco, Plate XLIV 319 + General Plan of Palenque, Plate XLV 337 + Casa No. 1 in Ruins, Plate XLVI 338 + Casa No. 1 restored, Plate XLVII 339 + No. 1, Bas-relief in Stucco, Plate XLVIII 340 + No. 2, Bas-relief in Stucco, Plate XLIX 340 + No. 3, Bas-relief in Stucco, Plate L 340 + No. 4, Bas-relief in Stucco, Plate LI 340 + No. 1, Tablet of Hieroglyphics, Plate LII 342 + No. 2, Tablet of Hieroglyphics, Plate LIII 342 + Tablet on inner Wall, Plate LIV 343 + Casa di Piedras, No. 2, Plate LV 344 + Tablet on back Wall of Altar, Casa No. 2, Plate LVI 345 + Stone Statue, Plate LVII 349 + Casa No. 3, Plate LVIII 350 + Front Corridor, Plate LIX 351 + No. 1, Bas-reliefs in Front of Altar, Plate LX 353 + No. 2, Bas-reliefs in Front of Altar, Plate LXI 353 + Adoratorio or Altar, Plate LXII 354 + Casa No. 4, Plate LXIII 355 + House of the Dwarf, Plate LXIV 420 + Casa del Gobernador, Plate LXV 428 + Sculptured Front of Casa del Gobernador, Plate LXVI 443 + Egyptian Hieroglyphics, Plate LXVIII 441 + Top of Altar at Copan, Plate LXVIII=V^a 454 + Mexican Hieroglyphical Writing, Plate LXIX 454 + +In each plate I have numbered the hieroglyphs, giving each one its own +number. Thus the hieroglyphs of the Copan altar (vol. i, p. 141) which I +have called plate V^a, are numbered from 1 to 36 according to this +scheme-- + + 1 2 3 4 5 6 + 7 8 9 10 11 12 + 13 14 15 16 17 18 + 19 20 21 22 23 24 + 25 26 27 28 29 30 + 31 32 33 34 35 36 + +And the right hand side of the Palenque Cross tablet, as given by RAU in +his memoir published by the Smithsonian Institution (1880), has the +numbers-- + + 2020 2021 2022 2023 2024 2025 + 2030 2031 2032 2033 2034 2035 + 2040 2041 2042 2043 2044 2045 + 2050 2051 2052 2053 2054 2055 + * * * * * * + * * * * * * + 3080 3081 3082 3083 3084 3085 + +These are consecutive with the numbers which I have attached to the +left-hand side, as given by STEPHENS. Whenever I have stated any results +here, I have also given the means by which any one can number a copy of +STEPHENS'S work in the way which I have adopted, and thus the means of +testing my conclusions is in the hands of every one who desires to do +so. + +In cases where only a _part_ of a hieroglyphic is referred to, I have +placed its number in a parenthesis, as 1826 _see_ (122), by which I mean +that the character 1826 is to be compared with a part of the character +122. The advantages of this system are many: for example; a memorandum +can easily be taken that two hieroglyphs are alike, thus 2072=2020 and +2073=2021. Hence the _pair_ 2020--2021, read horizontally, occurs again +at the point 2072--2073, etc. _Horizontal pairs_ will be known by their +numbers being consecutive, as 2020--2021; _vertical pairs_ will usually +be known by their numbers differing by 10. Thus, 2075--2085 are one +above the other. + +This method of naming the _chiffres_, then, is a quick and safe one, and +we shall see that it lends itself to the uses required of it. + +I add here the scheme according to which the principal plates at +Palenque have been numbered. + + +PLATE XXIV (left-hand side). + + v----------v + { 37 37 38 39 94 96 98 100 102 104 106 + {_See_ _See_ _See_ + { 1800 1800 1806 + { + { 40 40 41 42 95 97 99=127 101 103 105 107 + + 43=1810 43^a=46^a 44 45 108 + _See_ + 91 + + 46=1810 46^a=43^a 47 48 + + 49 50 51 + + In the middle of the + 52 52^a=1820? 53 54 plate at the top. + v----------v + 55 56=1840? 57 58 109 115 + _See_ + 1802 + + 59 60 61 62=58? 110 116 + _See_ + 2020 + + 63 64 65[+] 66 111 117 + _See_ + 2025 + + 67 68 69 70 112 118 + _See_ + 1911 + + 71 72=281 73 74 113 119 + _See_ + 2020 + + 75 76=67 77 78 114 120 + + 79 80 81 82 + + 83 84 85 86=56? + + 86[*] 86[*] 87 88 + + 89 90 91 92 + + 93 + + [*] Accidental error in numbering here. + + [+] Possibly Muluc--a Maya day; the meaning is "reunion." + + +PLATE XXIV (right-hand side). + + v-------------------v + 121 122=86?[+] 123=87 124=88 + _See_ 74, _See_ 61, 1822 + 86[*] + + 125 126[++] 127=99 128 + _See_ 1940 _See_ 1940 _See_ (44), 64 + + 129 130 131=147 132 + _See_ 50, 58, 62 + + 133 134 135 136=47? + + 137 138 139 140 + _See_ 39, _See_ 1811 + 91 + + 141 142[§] 143 144 + _See_ 54 _See_ 50, 58, + 62, 132 + + 145 146 147=131 148 + _See_ 71 + + 149 150 151 152 + _See_ 56, + 1882 + + 153 154 155 156 + _See_ 53 _See_ 50, + 58, 132 + + 157[*] 158 159 160 + _See_ 68 _See_ 38 _See_ 46^a, + 49^a, 52^a + + v------------------------------------------v + 161=50 162 [+]163=1936 164 + _See_ 58, _See_ 56, _See_ 57 _See_ 58, 62 + 62, 132 73, 1882 + + 165 166 167 168 + _See_ 81? + + 169 170 171 172 + _See_ 68? + + 173 174 175 176 + _See_ 67, 76, _See_ 57 _See_ 126 + 90, 1910 + + 177 178 179 180 + _See_ 43^a _See_ 50, 58, 62 + + 181 182 183 184 + _See_ 57, + 163, 1936 + + 185 + + [*] Possibly Ymix--a Maya day. + + [+] Possibly Chuen--a Maya day; meaning "a board," "a tree." + + [++] Possibly Ahau--a Maya day; meaning "king." + + [§] Possibly Ezanab--a Maya day. + + +PLATE LII. + + 200 201 202 203 204 205 206 207 208 209 } + } + 210 211 212 214 215 216 217 218 219 } Line 1. + _See_ } + 2020 } + + 220 221 222 223 224=2060 225 226 227 228 229 } + _See_ _See_ _See_ } + 2030 2060 1811-2 } + } Line 2. + 230 231 232 234 235 236 237 238 239 } + _See_ } + 1822 } + + 240 241 242=2020 243=1951 244 245 246 247 248 249 } + } + 250 251 252 254 255 256 257 258 259=1943} Line 3. + _See_ } + 214 } + + v-----------------v + 260 261 262 263 264 265 266 267 268 269 } + _See_ _See_ _See_ } + 2020 2021 2022 } + } Line 4. + 270 271 274=244 275 276 277 278 279 } + _See_ } + 204 } + + 280 281=72 282 283 284 285 286 287 288 } + _See_ _See_ } + 1820 385 } Line 5. + } + 290 294 295 296 297 298 299 } + + 300 301 302 303=360 304 305 306 307 } + _See_ } + 203 } Line 6. + } + 310 311 314 315 316 317 318 319 } + + v-----------v + 320 321 322 323 324=1824 325 326 327 328 329 } + _See_ _See_ _See_ _See_ } + 203 204 285 305 } + } Line 7. + 330 331 332 334 335 336 337 338 339 } + _See_ } + 209 } + + 340 341 342 343 344 345 346 347 348 349 } + _See_ _See_ } + 209 322 } + } Line 8. + 350 351 352 354 355 356=1822 357 358 359 } + _See_ _See_ } + 267, 230 } + 298 } + + 360=303 361 362 363 364 365 366 367 368 369 } + _See_ _See_ } + 351 303, } Line 9. + 360 } + } + 370 371 375 376 377 378 379 } + + 380 381 382 383 384 385 386 387 388 389 } + _See_ } + 286, } Line 10. + 1822 } + } + 390 391 392 394 395 396 397 398 399 } + + 400 401 402 403=360 404 405 406 407 408 409 } + _See_ 367 _See_ } + 326 360 } + } Line 11. + 410 411 412 414 415 416 417 418 419 } + _See_ _See_ } + 326 324 } + + 420 421 422 423 424 425 426 427 } + _See_ } + 324 } Line 12. + } + 430 432 434 435 436 437 438 439 } + + +PLATE LIII. + +[The upper left-hand square is No. 500, the upper right is 519, the +lower left-hand is 720, the lower right is 739. All the squares from 500 +to 508, 520 to 528, 530 to 538, etc., up to 720 to 728, are obliterated +(and their numbers omitted here) except a few.] + + 509 510 511 512 513 514 515 516 517 518 519 + _See_ _See_ _See_ + 1967 509 510 + + 529 530 531 532 533 534 535 536 537 538 539 + _See_ + 3012 + + 549 550 551 552 553 554 555 556 557 558 559 + _See_ + 162 + + 570 571 572 573 574 575 576 577 578 579 + _See_ + 1823 + + 589 590 591 592 593 594 595 596 597 598 599 + + 604 605 609 610 611 612 613 614 615 616 617 618 619 + _See_ + 571 + + 628 629 630 631 632 633 634 635 636 637 638 639 + _See_ + 3054 + + 649 650 651 652 653 654 655 656 657 658 659 + _See_ + 150, + 1882 + + 669 670 671=324 672=322? 673=323? 674 675 676 677 678 679 + _See_ _See_ _See_ + 2042 77 1802 + + 688 689 690 691 692 693 694 695 696 697 698 699 + + 708 709 710 711 712 713=1802 714 715 716 717 718 719 + _See_ + 439 + + 729 730=1845 731 732 733 734 735 736 737 738 739 + _See_ + 2020 + + +PLATE LIV. + + v-----------v + 800 801 802 803 804 805 806 807 808 809 810 811 812 813 + _See_ _See_ _See_ _See_ + 1882 26 1940 1941, + 3011 + + 900 901 902 903 904 905 906 907=1003 908 909 910 911 912 913 + _See_ _See_ + 2020 1310 + + 1000 1001 1002 1003=907 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 + _See_ _See_ _See_ + 2021 3054 1811-2 + + v------------v + 1100 1101 1102=717 1103 1104 1105=2020 1106 1107 1108 1109 1110=1209 1113 1114 1115 + _See_ _See_ _See_ _See_ + 1820 2021 1840 1841? + + 1200 1201 1202=1110 1203 1204=1008 1205 1206 1207 1208 1209=1110 1210 1211 1212 1213 + _See_ 3054 _See_ + 1823 + + 1300 1301 1302 1303=1910 1304 1305 1306 1307 1308 1309 1310 1311 1312 1313 + _See_ + 910 + + 1400=1823 1401 1402 1403 1404 1405 1406 1407 1408 1409 1410 1411 1412 1413 + + 1500 1501 1502=1010 1503 1504=717 1505 1506 1507 1508 1509 1510 1511 1512 1513 + 1102 + + v-----------------v + 1600 1601 1602 1603 1604 1605 1606 1607 1608 1609=1304 1610=1305 1611=1010 1612 1613 + + 1700 1701 1702=1911 1703 1704 1705 1706 1707 1708 1709 1710 1711=1702 1712=1708 1713 + 1911 + + +PLATE LVI (left-hand side--Palenque Cross). + + { 1801 1802 1803 1804 1961 1962 1963 1964 1965 + { _See_ + { 163, + 1800 { 175 + { + { 1805 1806 1807 1808 1966 + {_See_ _See_ + { 155 138 + + v---------------------v + [*]1810 1811 1812 1813 1814 1815 1816 1967 + _See_ _See_ _See_ _See_ _See_ + 150 139, (1852) 131, 126, + 179 146 127, + 176 + + 1820 1821 1822 1823 1824 1825 1826 1968 + _See_ _See_ _See_ + 161 124 122, + 160 + + 1830=1820 1831 1832 1833 1834 1835 1836 1969 + _See_ 161 _See_ _See_ _See_ _See_ _See_ + 123, 121 163 182 123 + 124 + + 1840 1841 1842 1843 1844 1845=1822 1846 1970 + _See_ _See_ _See_ 124 _See_ + 1835 124, 179 + 1836 + + 1850 1851 1852 1853 1854=1806 1855 + _See_ + 122 + + 1860 1861 1862 1863 1864 1865=2021 1866 + _See_ _See_ 144 _See_ + 126, 136?, + 127 184? + + 1870=1820 1871 1872=1842? 1873=1803 1874 1875 1876 + _See_ 160, _See_ 182 + 161 + + 1880 1881 1882 1883 1884=1834 1885 + _See_ _See_ _See_ 163, _See_ + 150, 124 182 132, + 162 144 + + 1890 1891 1892 1893 1894=1822 1895 + _See_ _See_ _See_ _See_ 124 _See_ + 130, 131?, 132? 144 + 158 147? + + 1900 1901 1902 1903 1904 1905=1803 1971 + _See_ _See_ _See_ + 146 157, 1802 + 182 + + 1910 1911 1912 1913=1834 1914 1915 1972 + _See_ _See_ _See_ 1884 + 174 174 141 + + v---------------v + 1920 1921 1922 1923 1924 1925 1973 + _See_ _See_ + 123 124 + + 1930 1931 1932=1811-2? 1933 1934 1935=1884 1975 1974 + _See_ 182 + + v-----------------v + 1940=1862 1941 1942 1943 1944=1922 1945=1923 + _See_ _See_ 123 _See_ 124 + 126, + 127 + + 1950 1951 1952 1953 1954 1955 + _See_ + 164 + + [*] At and after this place, in vertical columns, 1810-1-2, 1820-1-2, +1830-1-2, 1840-1-2, and 1860-1-2 may be taken as 2 or 3 symbols. I have +assumed them to be 3. + + +PLATE LVI (right-hand side--Palenque Cross). + + 1980 1981 1982 2020 2021 2022 2023 2024 2025=123 + _See_ _See_ _See_ + 131, 144 163 + 147, + 150 + + 1983 2030 2031 2032 2033 2034 2035 + _See_ _See_ _See_ _See_ + 132 134, 1811, 124 + 146, 1812 + 149 + + v---------v + 1984 2040 2041 2042 2043=123 2044 2045 + _See_ _See_ _See_ + 131, 131, 132, + 147 147 150 + + 2000 2050 2051 2052 2053 2054 2055 + + 2001 2060 2061 2062 2063 2064 2065 + _See_ + 182 + + 2002=122 2070 2071 2072 2073 2074 2075 + + 2003=2021 2080 2081 2082 2083 2084 2085 + _See_ 130 + + 2004 2090 2091 2092 2093 2094 2095 + + 2005 3000 3001 3002 3003 3004 3005 + + { 1976 1978 2006 3010 3011 3012 3013 3014 3015 + { _See_ + { 1902, + [*] { 1903 + { + { 1977 1979 2007 3020 3021 3022 3023 3024 3025 + { _See_ + { 182? + + 2008 3030 3031 3032 3033 3034 3035 + + 2009 3040 3041 3042 3043 3044 3045 + + 2010 3050 3051 3052 3053 3054 3055 + _See_ + 184 + + 2011 3060 3061 3062 3063 3064 3065 + _See_ + 131, + 2020 + + 2012 3070 3071 3072 3073 3074 3075 + + 2013 3080 3081 3082 3083 3084 3085 + + 2014 + + [*] These four each side of the main stem of the cross. 1976=_Ezanab_--a +Maya day[TN-3] + +[Illustration: FIG. 48.--The Palenquean Group of the Cross.] + + + + +IV. + +IN WHAT ORDER ARE THE HIEROGLYPHS READ? + + +Before any advance can be made in the deciphering of the hieroglyphic +inscriptions, it is necessary to know in what directions, along what +lines or columns, the verbal sense proceeds. + +All the inscriptions that I know of are in rectangular figures. At Copan +they are usually in squares. At Palenque the longest inscriptions are in +rectangles. At Palenque again, there are some cases where there is a +single horizontal line of hieroglyphs over a pictorial tablet. Here +clearly the only question is, do the characters proceed from left to +right, or from right to left? In other cases as in the tablet of the +cross, there are vertical columns. The question here is, shall we read +up or down? + +Now, the hieroglyphs must be phonetic or pictorial, or a mixture of the +two. If they are phonetic, it will take more than one symbol to make a +word, and we shall have groups of like characters when the same word is +written in two places. If the signs are pictorial, the same thing will +follow; that is, we shall have groups recurring when the same idea +recurs. Further, we know that the subjects treated of in these tablets +must be comparatively simple, and that _names_, as of gods, kings, etc., +must necessarily recur. + +The _names_, then, will be the first words deciphered. At present no +single name is known. These considerations, together with our system of +nomenclature, will enable us to take some steps. + +Take, for example, the right-hand side of the Palenque cross tablet as +given by RAU. _See_ our figure 48, which is Plate LVI of STEPHENS (vol. +ii, p. 345), with the addition of the part now in the National Museum at +Washington. + +Our system of numbering is here + + 2020 2021 2022 2023 2024 2025 + 2030 2031 2032 2033 2034 2035 + * * * * * * + * * * * * * + * * * * * * + 3080 3081 3082 3083 3084 3085 + +Now pick out the duplicate hieroglyphs in this; that is, run through the +tablet, and wherever 2020 occurs erase the number which fills the place +and write in 2020. Do the same for 2021, 2022, etc., down to 3084. The +result will be as follows: + +RIGHT-HAND SIDE OF PALENQUE CROSS TABLET (RAU). + + 2020 2021 2022 2023 2024 2025 + ^-----------^ ^-----------^ + + 2030 2031 2032 2033 2034 2035 + ^-----------^ + + 2040 2041 2042 { 2025 2020 2021 + { ^-----------^ + { + 2050 2051 2034 { 2053 2054 2055 + ^-----------^ + + 2053 2061 2062 2063 2064 2065 + + 2070 2071 2020 2021 2022? 2024? } + ^-----------^ } ? + } + 2053 2020 2082 2083 2025 2053 } + + 2021 2091 2092 { 2025 2094 2095 + { + 3000 2023 2034 { 2053 2033 3005 + ^-----------^ + ^-----------^ + + 3010 2083 3012 2024 3014 2091 + + 2053 3021 2023 2020 3024 2024 + + { 2024 2025 2021 3033 { 2025 2034* + ? { ^-----------^ { ^---- + { { + { 2053* 3021 3042 3043 { 2035 3045 + ----^ + + 3050 2083 { 2025 2034 3054 3055 + _See_ 2082 { + ^-----------^ { + { + 2024 2020 { 2035 3063 2024 2025 + ^-----------^ + + 2021 2031 2020 2021 2035 3045 + ^-----------^ + + 3080 3081 2091 2093 2020 2021 + ^-----------^ + + 14 cases of horizontal pairs; 4 cases of vertical pairs; 102 characters + in all, of which 51 appear more than once, so that there are but 51 + independent hieroglyphs. + +Here the first two lines are unchanged. In the third line we find that +2043 is the same as 2025, 2044=2020, 2045=2021, and so on, and we write +the smallest number in each case. + +After this is done, connect like pairs by braces whenever they are +consecutive, either vertical or horizontal. Take the pair 2020 and 2021 +for example; 2020 occurs eight times in the tablet, viz, as 2020, 2044, +2072, 2081, 3023, 3061, 3072, 3084. In five out of the eight cases, it +is followed by 2021, viz, as 2021, 2045, 2073, 3073, 3085. + +It is clear this is not the result of accident. The pair 2020 and 2021 +means something, and when the two characters occur together they must be +read together. There is no point of punctuation between them. We also +learn that they are not inseparable. 2020 will make sense with 2082, +3024 and 3062. Here it looks as if the writing must be read in _lines_ +horizontally. We do not know yet in which direction. + +We must examine other cases. This is to be noticed: If the reading is in +horizontal lines from left to right, then the progress is from top to +bottom in columns, as the case of 3035 and 3040 shows. This occurs at +the end of a line, and the corresponding _chiffre_ required to make the +pair is at the other end of the next line. I have marked this case with +asterisks. If we must read in the lines from right to left we must +necessarily read in columns from bottom to top. Thus the _lines_ are +connected. + +A similar process with all the other tablets in STEPHENS leads to the +conclusion that the reading is in lines horizontally and in columns +vertically. The cases 1835-'45, 1885-'95, 1914-'24, and 1936-'46 should, +however, be examined. We have now to decide at which end of the lines to +begin. The reasons given by Mr. BANCROFT (_Native Races_, vol. ii, p. +782) appeared to me sufficient to decide the question before I was +acquainted with his statement of them. + +Therefore, the sum total of our present data, examined by a rational +method, leads to the conclusion, so far as we can know from these data, +that the verbal sense proceeded in _lines_ from left to right, in +_columns_ from top to bottom; just as the present page is written, in +fact. + +For the present, the introduction of the method here indicated is the +important step. It has, as yet, been applied only to the plates of +STEPHENS' work. The definite conclusion should be made to rest on _all +possible_ data, some of which is not at my disposition at present. +Tablets exist in great numbers at other points besides Palenque, and for +the final conclusion these must also be consulted. If each one is +examined in the way I have indicated, it will yield a certain answer. +The direction of reading for that plate can be thus determined. At +Palenque the progress is in the order I have indicated. + + + + +V. + +THE CARD-CATALOGUE OF HIEROGLYPHS. + + +It has already been explained how a system of nomenclature was gradually +formed. As I have said, this is not perfect, but it is sufficiently +simple and full for the purpose. By it, every plate in STEPHENS' work +receives a number and every hieroglyph in each plate is likewise +numbered. + +This was first done in my private copy of the work. I then procured +another copy and duplicated these numbers both for plates and single +_chiffres_. The plates of this copy were then cut up into single +hieroglyphs and each single hieroglyph was mounted on a library card, +as follows: + + ____________________________________________ + | | | | + | No. 2020. | Hieroglyph. | Plate LVI. | + | |_______________| | + |__________________________________________| + | Same as Numbers. | Similar to Numbers. | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + |__________________________________________| + +The cards were 6.5 by 4.5 inches. The _chiffre_ was pasted on, in the +center of the top space. Its number and the plate from which it came +were placed as in the cut. The numbers of hieroglyphs which resembled +the one in question could be written on the right half of the card, and +the numbers corresponding to different recurrences of this hieroglyph +occupied the left half. + +All this part of the work was most faithfully and intelligently +performed for me by Miss MARY LOCKWOOD, to whom I desire to express the +full amount of my obligations. A mistake in any part would have been +fatal. But no mistakes occurred. + +These cards could now be arranged in any way I saw fit. The simple +_chiffres_, for example, could be placed so as to bring like ones +together. A compound hieroglyph could be placed among simple ones +agreeing with any one of its components, and so on. + +The expense of forming this card catalogue of about 1,500 single +hieroglyphs was borne by the Ethnological Bureau of the Smithsonian +Institution, and the catalogue is the property of that bureau, forming +only one of its many rich collections of American picture-writings. + + + + +VI. + +COMPARISON OF PLATES I AND IV (COPAN). + + +In examining the various statues at Copan, as given by STEPHENS, one +naturally looks for points of striking resemblance or striking +difference. Where all is unknown, even the smallest sign is examined, in +the hope that it may prove a clue. The Plate I, Fig. 49, has a twisted +knot (the "square knot" of sailors) of cords over its head, and above +this is a _chiffre_ composed of ellipses, and above this again a sign +like a sea-shell. A natural suggestion was that these might be the signs +for the name of the personage depicted in Plate I. If this is so and we +should find the same sign elsewhere in connection with a figure, we +should expect to find this second figure like the first in every +particular. This would be a rigid test of the theory. After looking +through the Palenque series, and finding no similar figure and sign, I +examined the Copan series, and in Plate IV, our Fig. 50, I found the +same signs exactly; _i. e._, the knot and the two _chiffres_. + +[Illustration: FIG. 49.--Statue at Copan.] + +[Illustration: FIG. 50.--Statue at Copan.] + +At first sight there is only the most general resemblance between the +personages represented in the two plates; as STEPHENS says in his +original account of them, they are "in many respects similar." If he had +known them to be the same, he would not have wasted his time in drawing +them. The scale of the two drawings and of the two statues is different; +but the two personages are the same identically. Figure for figure, +ornament for ornament, they correspond. It is unnecessary to give the +minute comparison here in words. It can be made by any one from the two +plates herewith. Take any part of Plate I, find the corresponding part +of Plate IV, and whether it is human feature or sculptured ornament the +two will be found to be the same. + +Take the middle face depending from the belt in each plate. The earrings +are the same; the ornament below the chin, the knot above the head, the +complicated beadwork on each side of this face, all are the same. The +bracelets of the right arms of the main figures have each the forked +serpent tongue, and the left-arm bracelets are ornamented alike. The +crosses with beads almost inclosed in the right hands are alike; the +elliptic ornaments above each wrist, the knots and _chiffres_ over the +serpent masks which surmount the faces, all are the same. In the steel +plates given by STEPHENS there are even more coindences[TN-4] to be seen +than in the excellent wood-cuts here given, which have been copied from +them. + +Here, then, is an important fact. The theory that the _chiffre_ over the +forehead is characteristic, though it is not definitively proved, +receives strong confirmation. The parts which have been lost by the +effects of time on one statue can be supplied from the other. Better +than all, we gain a test of the minuteness with which the sculptors +worked, and an idea of how close the adherence to a type was required to +be. Granting once that the two personages are the same (a fact about +which I conceive there can be no possible doubt, since the chances in +favor are literally thousands to one), we learn what license was +allowed, and what synonyms in stone might be employed. Thus, the +ornament suspended from the neck in Plate IV is clearly a tiger's skull. +That from the neck of Plate I has been shown to be the derived form of a +skull by Dr. HARRISON ALLEN,[225-*] and we now know that this common +form relates not to the human skull, as Dr. ALLEN has supposed, but to +that of the tiger. We shall find this figure often repeated, and the +identification is of importance. This is a case in regard to synonyms. +The kind of symbolism so ably treated by Dr. ALLEN is well exemplified +in the conventional sign for the _crotalus_ jaw at the mouth of the mask +over the head of each figure. This is again found on the body of the +snake in Plate LX, and in other places. Other important questions can +be settled by comparison of the two plates. For example, at Palenque we +often find a sign composed of a half ellipse, inside of which bars are +drawn. [Illustration] I shall elsewhere show that there is reason to +believe the ellipse is to represent the concave of the sky, its diameter +to be the level earth, and in some cases at least the bars to be the +descending and fertilizing rain. The bars are sometimes two, three, and +sometimes four in number. Are these variants of a single sign, or are +they synonyms? Before the discovery of the identity of the personages in +these two plates, this question could not be answered. Now we can say +that they are not synonyms, or at least that they must be considered +separately. To show this, examine the bands just above the wristlets of +the two figures. Over the left hands of the figures the bars are two in +number; over the right hands there are four. This exact similarity is +not accidental; there is a meaning in it, and we must search for its +explanation elsewhere, but we now have a valuable test of what needs to +be regarded, and of what, on the other hand, may be passed over as +accidental or unimportant. + +One other case needs mentioning here, as it will be of future use. From +the waist of each figure depend nine oval solids, six being hatched over +like pine cones and the three central ones having two ovals, one within +the other, engraved on them. In Plate IV the inner ovals are all on the +right-hand side of the outer ovals. Would they mean the same if they +were on the left-hand side? Plate I enables us to say that they would, +since one of these inner ovals has been put by the artist on that side +by accident or by an allowed caprice. It is by furnishing us with tests +and criteria like these that the proof of the identity of these two +plates is immediately important. In other ways, too, the proof is +valuable and interesting, but we need not discuss them at this time. + +These statues, then, are to us a dictionary of synonyms in stone--a test +of the degree of adherence to a prototype which was exacted, and a +criterion of the kind of minor differences which must be noticed in any +rigid study. + +I have not insisted more on the resemblances, since the accompanying +figures present a demonstration. Let those who wish to verify these +resemblances compare minutely the ornaments above the knees of the two +figures, those about the waists, above the heads, and the square knots, +etc., etc. + + + + +VII. + +ARE THE HIEROGLYPHS OF COPAN AND PALENQUE IDENTICAL? + + +One of the first questions to be settled is whether the same system of +writing was employed at Palenque and at Copan. Before any study of the +meanings of the separate _chiffres_ can be made, we must have our +material properly assorted, and must not include in the figures we are +examining for the detection of a clue, any which may belong to a system +possibly very different. + +The opinion of STEPHENS and of later writers is confirmed by my +comparison of the Palenque and the Copan series; that is, it becomes +evident that the latter series is far the older. + +In Nicaragua and Copan the statues of gods were placed at the foot of +the pyramid; farther north, as at Palenque, they were placed in temples +at the summit. Such differences show a marked change in customs, and +must have required much time for their accomplishment. In this time did +the picture-writing change, or, indeed, was it ever identical? + +To settle the question whether they were written on the same system, I +give here the results of a rapid survey of the card-catalogue of +hieroglyphs. A more minute examination is not necessary, as the present +one is quite sufficient to show that the system employed at the two +places was the same in its general character and almost identical even +in details. The practical result of this conclusion is that similar +characters of the Copan and Palenque series may be used interchangeably. + +A detailed study of the undoubted synonyms of the two places will afford +much light on the manner in which these characters were gradually +evolved. This is not the place for such a study, but it is interesting +to remark how, even in unmistakable synonyms, the Palenque character is +always the most conventional, the least pictorial; that is, the latest. +Examples of this are No. 7, Plate V^a, and No. 1969, Plate LVI. The +_mask_ in profile which forms the left-hand edge of No. 7 seems to have +been conventionalized into the two hooks and the ball, which have the +same place in No. 1969. + +[Illustration: FIG. 51.--Synonomous[TN-5] hieroglyphs from Copan and +Palenque.] + +The larger of these two was cut on stone, the smaller in stucco. + +The mask has been changed into the ball and hooks; the angular nose +ornament into a single ball, easier to make and quite as significant to +the Maya priest. But to us the older (Copan) figure is infinitely more +significant. The curious rows of little balls which are often placed at +the left-hand edge of the various _chiffres_ are also conventions for +older forms. It is to be noted that these balls always occur on the left +hand of the hieroglyphs, except in one case, the _chiffre_ 1975 in the +Palenque cross tablet, on which the left-hand acolyte stands. + +The conclusion that the two series are both written on the same system, +and that like _chiffres_ occurring at the two places are synonyms, will, +I think, be sufficiently evident to any one who will himself examine the +following cases. It is the _nature_ of the agreements which proves the +thesis, and not the number of cases here cited. The reader will remember +that the Copan series comprises Plates I to XXIII, inclusive; the +Palenque series, Plate XXIV and higher numbers. + +The sign of the group of Mexican gods who relate to hell, _i. e._, a +circle with a central dot, and with four small segments cut out at four +equally distant points of its circumference, is found in No. 4291, Plate +XXII, and in many of the Palenque plates, as Plate LVI, Nos. 2090, 2073, +2045, 2021, etc. In both places this sign is worn by human figures just +below the ear. + +The same sign occurs as an important part of No. 4271, Plate XXII, and +No. 4118, Plate XIII (Copan), and No. 2064, Plate LVI (Palenque), etc. + +No. 7, Plate V^a, and No. 1969, Plate LVI, I regard as absolutely +identical. These are both human figures. No. 12, Plate V^a, and No. +637, Plate LIII, are probably the same. These probably represent or +relate to the long-nosed divinity, YACATEUCTLI, the Mexican god of +commerce, etc., or rather to his Maya representative. + +The sign of TLALOC, or rather the family of TLALOCS, the gods of rain, +floods, and waters, is an eye (or sometimes a mouth), around which there +is a double line drawn. I take No. 26, Plate V^a, of the Copan series, +and Nos. 154 and 165, Plate XXIV, to be corresponding references to +members of this family. No. 4, Plate V^a, and No. 155 also correspond. + +No. 4242, Plate XXII, is probably related to No. 53, Plate XXIV and its +congeners. + +Nos. 14 and 34, Plate V^a, are clearly related to No. 900, Plate LIV, +Nos. 127 and 176, Plate XXIV, No. 3010, Plate LVI, and many others. + +Plate III^a of Copan is evidently identically the same as the No. 75 +of the Palenque Plate No. XXIV. + +The right half of No. 27, Plate V^a, is the same as the right half of +Nos. 3020, 3040, and many others of Plate LVI. + +No. 17, Plate V^a, is related to No. 2051, Plate LVI, and many others +like it. + +The major part of No. 4105, Plate XIII, is the same as No. 124, Plate +XXIV, etc. + +[Illustration: FIG. 52.--Yucatec Stone.] + +It is not necessary to add a greater number of examples here. The +card-catalogue which I have mentioned enables me to at once pick out all +the cases of which the above are specimens, taken just as they fell +under my eye in rapidly turning over the cards. They therefore represent +the _average_ agreement, neither more nor less. Taken together they +show that the same signs were used at Copan and at Palenque. As the same +symbols used at both places occur in like positions in regard to the +human face, etc., I conclude that not only were the same signs used at +both places, but that these signs had the same meaning; _i. e._, were +truly synonyms. In future I shall regard this as demonstrated. + + + + +VIII. + +HUITZILOPOCHTLI (MEXICAN GOD OF WAR), TEOYAOMIQUI (MEXICAN GODDESS OF +DEATH), MICLANTECUTLI (MEXICAN GOD OF HELL), AND TLALOC (MEXICAN +RAIN-GOD), CONSIDERED IN RELATION TO CENTRAL AMERICAN DIVINITIES. + + +In the _Congrès des Américanistes, session de Luxembourg_, vol. ii, p. +283, is a report of a memoir of Dr. LEEMANS, entitled "Description de +quelques antiquités américaines conservées dans le Musée royal +néerlandais d'antiquités à Leide." On page 299 we find-- + + M. G.-H.-BAND, de Arnhiem, a eu la bonté de me confier quelques + antiquités provenant des anciens habitants du Yucatan et de + l'Amérique Centrale, avec autorisation d'en faire prendre des + fac-similes pour le Musée, ce qui me permet de les faire connaître + aux membres du Congrès. Elles ont été trouvées enfouies à une + grande profondeur dans le sol, lors de la construction d'un canal, + vers la rivière Gracioza, près de San Filippo, sur la frontière du + Honduras britannique et de la république de Guatémala par M. + S.-A.-van BRAAM, ingénieur néerlandais au service de la + Guatémala-Company. + +From the maps given in STIELER'S Hand-Atlas and in BANCROFT'S Native +Races of the Pacific States I find that these relics were found 308 +miles from Uxmal, 207 miles from Palenque, 92 miles from Copan, and 655 +miles from the city of Mexico, the distances being in a straight line +from place to place. + +The one of these objects with which we are now concerned is figured in +Plate (63) of the work quoted, and is reproduced here as Fig. 52. + +Dr. LEEMANS refers to a similarity between this figure and others in +Stephens' Travels in Central America, but gives no general comparison. + +I wish to direct attention to some of the points of this cut. The +_chiffre_ or symbol of the principal figure is, perhaps, represented in +his belt, and is a St. Andrew's cross, with a circle at each end of it. +Inside the large circle is a smaller one. It may be said, in passing, +that the cross probably relates to the _air_ and the circle to the +_sun_. + +The main figure has two hands folded against his breast. Two other arms +are extended, one in front, the other behind, which carry two birds. +Each arm has a bracelet. This second pair of hands is not described by +Dr. LEEMANS. The two birds are exact duplicates, except that the eye of +one is shut, of the other open. Just above the bill of each bird is +something which might be taken as a second bill (which probably is not, +however), and on this and on the back of each bird are five spines or +claws. The corresponding claws are curved and shaped alike in the two +sets. The birds are fastened to the neck of the person represented by +two ornaments, which are alike, and which seem to be the usual +hieroglyph of the _crotalus_ jaw. These jaws are placed similarly with +respect to each bird. In KINGSBOROUGH'S Mexican Antiquities, vol. I, +Plate X, we find the parrot as the sign of TONATIHU, the sun, and in +Plate XXV with NAOLIN, the sun. On a level with the nose of the +principal figure are two symbols, one in front and one behind, each +inclosing a St. Andrew's cross, and surmounted by what seems to be a +flaming fire. It is probably the _chiffre_ of the wind, as the cross is +of the rain. Below the rear one of these is a head with protruding +tongue (the sign of QUETZALCOATL); below the other a hieroglyph (perhaps +a bearded face). Each of these is upborne by a hand. It is to be +noticed, also, that these last arms have bracelets different from the +pair on the breast. + +In passing, it may be noted that the head in rear is under a cross, and +has on its cheek the symbol U. These are the symbols of the left-hand +figure in the Palenque cross tablet. + +The head hanging from the rear of the belt has an _open_ eye (like that +of the principal figure), and above it is a crotalus mask, with open +eye, and teeth, and forked fangs. The principal figure wears over his +head a mask, with open mouth, and with tusks, and above this mask is the +eagle's head. This eagle is a sign of TLALOC, at least in Yucatan. In +Mexico the eagle was part of the insignia of TETZCATLIPOCA, "the devil," +who overthrew the good QUETZALCOATL and reintroduced human sacrifice. + +The characteristics of the principal figure, 63, are then briefly as +follows: + +I. His _chiffre_ is an air-cross with the sun-circle. + +II. He has four hands. + +III. He bears two birds as a symbol. + +IV. The claws or spikes on the backs of these are significant. + +V. The mask with tusks over the head. + +VI. The head worn at the belt. + +VII. The captive trodden under foot. + +VIII. The chain from the belt attached to a kind of ornament or symbol. + +IX. The twisted flames (?) or winds (?) on each side of the figure. + +X. His association with QUETZALCOATL or CUCULKAN,[TN-6] as shown by the +mouth with protruding tongue, and with TLALOC or TETZCATLIPOCA, as shown +by the eagle's head. + +We may note here for reference the signification of one of the +hieroglyphs in the right-hand half of Fig. 52, _i. e._, in that half +which contains only writing. The topmost _chiffre_ is undoubtedly the +name, or part of the name, of the principal figure represented in the +other half. It is in pure picture-writing; that is, it expresses the sum +of his attributes. It has the crotalus mask, with nose ornament, which +he wears over his face; then the cross, with the "five feathers" of +Mexico, and the sun symbol. These are in the middle of the _chiffre_. +Below these the oval may be, and probably is, heaven, with the rain +descending and producing from the surface of the earth (the long axis of +the ellipse), the seed, of which three grains are depicted. + +We know by the occurrence of the hieroglyphs on the reverse side of the +stone that this is not of Aztec sculpture. These symbols are of the same +sort as those at Copan, Palenque, etc., and I shall show later that some +of them occur in the Palenque tablets. Hence, we know this engraving to +be Yucatec and not Aztec in its origin. If it had been sculptured on one +side only, and these hieroglyphs omitted, I am satisfied that the facts +which I shall point out in the next paragraphs would have led to the +conclusion that this stone was Mexican in its origin. Fortunately the +native artist had the time to sculpture the Yucatec hieroglyphs, which +are the proof of its true origin. It was not dropped by a traveling +Aztec; it was made by a Yucatec. + +In passing, it may be said that the upper left-hand, hieroglyph of Plate +XIII most probably repeats this name. + +I collect from the third volume of BANCROFT'S _Native Races_, chapter +viii, such descriptions of HUITZILOPOCHTLI as he was represented among +the Mexicans as will be of use to us in our comparisons. No display of +learning in giving the references to the original works is necessary +here, since Mr. BANCROFT has placed all these in order and culled them +for a use like the present. It will suffice once for all to refer the +critical reader to this volume, and to express the highest sense of +obligation to Mr. BANCROFT'S compilation, which renders a survey of the +characteristic features of the American divinities easy. + +In Mexico, then, this god had, among other symbols, "five balls of +feathers arranged in the form of a cross." This was in reference to the +mysterious conception of his mother through the _powers of the air_. The +upper hieroglyph in Fig. 52, and one of the lower ones, contain this +sign: "In his right hand he had an azured staff cutte in fashion of a +waving snake." (See Plate LXI of STEPHENS.) "Joining to the temple of +this idol there was a piece of less work, where there was another idol +they called TLALOC. These two idolls were alwayes together, for that +they held them as companions and of equal power." + +To his temple "there were foure gates," in allusion to the form of the +cross. The temple was surrounded by rows of skulls (as at Copan) and the +temple itself was upon a high pyramid. SOLIS says the war god sat "on a +throne supported by a blue globe.[TN-7] From this, supposed to represent +the heavens, projected four staves with serpents' heads. (See Plate +XXIV, STEPHENS.) "The image bore on its head a bird of wrought plumes," +"its right hand rested upon a crooked serpent." "Upon the left arm was a +buckler bearing five white plums arranged in form of a cross." SAHAGUN +describes his device as a dragon's head, "frightful in the extreme, and +casting fire out of his mouth." + +HERRARA describes HUITZILOPOCHTLI and TEZCATLIPOCA[TN-8] together, and +says they were "beset with pieces of gold wrought like birds, beasts, +and _fishes_." "For collars, they had ten hearts of men," "and in their +necks Death painted." + +TORQUEMADA derives the _name_ of the war god in two ways. According to +some it is composed of two words, one signifying "a humming bird" and +the other "a sorcerer that spits fire." Others say that the last word +means "the left hand," so that the whole name would mean "the shining +feathered left hand." "This god it was that led out the Mexicans from +their own land and brought them into Anáhuac." Besides his regular +statue, set up in Mexico, "there was another renewed every year, made of +different kinds of grains and seeds, moistened with the blood of +children." This was in allusion to the nature-side of the god, as fully +explained by MÜLLER (_Americanische Urreligionen_). + +No description will give a better idea of the general features of this +god than the following cuts from BANCROFT'S _Native Races_, which are +copied from LEON Y GAMA, _Las Dos Piedras_, etc. Figs. 53 and 54 are the +war god himself; Fig. 55 is the back of the former statue on a larger +scale; Fig. 56 is the god of hell, and was engraved on the bottom of the +block. + +[Illustration: FIG. 53.--HUITZILOPOCHTLI (front).] + +[Illustration: FIG. 54.--HUITZILOPOCHTLI (side).] + +These three were a trinity well nigh inseparable. It has been doubted +whether they were not different attributes of the same personage. In the +natural course of things the primitive idea would become differentiated +into its parts, and in process of time the most important of the parts +would each receive a separate pictorial representation. + +[Illustration: FIG. 55.--Huitzilopochtli (back).[TN-9]] + +[Illustration: FIG. 56.--MICLANTECUTLI.] + +[Illustration: FIG. 57.--Adoratorio.] + +By referring back a few pages the reader will find summarized the +principal characteristics of the Central American figure represented in +Fig. 52. He will also have noticed the remarkable agreement between the +attributes of this figure and those contained in the cuts or in the +descriptions of the Mexican gods. Thus-- + +I. The symbol of both was the cross. + +II. Fig. 52 and Fig. 55 each have four hands.[233-*] + +III. Both have birds as symbols. + +It is difficult to regard the bird of Fig. 52 as a humming bird, as it +more resembles the parrot, which, as is well known, was a symbol of some +of the Central American gods. Its occurrence here in connection with the +four arms fixes it, however, as the bird symbol of HUITZILOPOCHTLI. In +the _Ms. Troano_, plate xxxi (lower right-hand figure), we find this +same personage with his two parrots, along with TLALOC, the god of rain. + +IV. The claws of the Mexican statue may be symbolized by the spikes on +the back of the birds in Fig. 52, but these latter appear to me to +relate rather to the fangs and teeth of the various crotalus heads of +the statues. + +V. The mask, with tusks, of Fig. 52, is the same as that at the top of +Fig. 55, where we see that they represent the teeth of a serpent, and +not the tusks of an animal. This is shown by the forked tongue beneath. +The three groups of four dots each on HUITZILOPOCHTLI'S statue are +references to his relationship with TLALOC. + +With these main and striking duplications, and with other minor and +corroborative resemblances, which the reader can see for himself, there +is no doubt but that the two figures, Mexican and Yucatec, relate to the +same personage. The Yucatec figure combines several of the attributes of +the various members of the Mexican trinity named above, but we should +not be surprised at this, for, as has been said, some writers consider +that this trinity was one only of attributes and not of persons. + +What has been given above is sufficient to show that the personage +represented in Fig. 52 is the Yucatec equivalent of HUITZILOPOCHTLI, and +has relations to his trinity named at the head of this section, and also +to the family of TLALOC. I am not aware that the relationship of the +Yucatec and Aztec gods has been so directly shown, on evidence almost +purely pictorial, and therefore free from a certain kind of bias. + +If the conclusions above stated are true, there will be many +corroborations of them, and the most prominent of these I proceed to +give, as it involves the explanation of one of the most important +tablets of Palenque, parts of which are shown in Plates XXIV, LX, LXI, +and LXII, vol. ii, of STEPHENS. + +Plate LXII, Fig. 57, represents the "Adoratorio or Alta Casa, No. 3" of +Palenque. This is nothing else than the temple of the god +HUITZILOPOCHTLI and of his equal, TLALOC. The god of war is shown on a +larger scale in Plate LXI, Fig. 58, while TLALOC is given in Plate LX, +Fig. 59, and the tablet inside the temple in Plate XXIV, Fig. 60. The +resemblances of Plate XXIV and of the Palenque cross tablet and their +meanings will be considered farther on. + +Returning to Plate LXII, the symbols of the roof and cornice refer to +these two divinities. The faces at the ends of the cornice, with the +double lines for eye and mouth, are unmistakable TLALOC signs. The +association of the two gods in one temple, as at Mexico, is a strong +corroboration. + +Let us now take Plate LXI, Fig. 58, which represents HUITZILOPOCHTLI, or +rather, the Yucatec equivalent of this Aztec god. I shall refer to him +by the Aztec appelation, but I shall in future write it in italics; and +in general the Yucatec equivalents of Aztec personages in italics, and +the Aztec names in small capitals. + +Compare Fig. 52 and the Plate LXI (Fig. 58). As the two plates are +before the reader, I need only point out the main resemblances, and, +what is more important, the differences. + +The sandals, the belt, its front pendant, the bracelets, the neck +ornament, the helmet, should be examined. The four hands of Fig. 52 are +not in LXI, nor the parrots; but if we refer to KINGSBOROUGH, Vol. II, +Plates 6 and 7 of the LAUD manuscript, we shall find figures of +HUITZILOPOCHTLI with a parrot, and of TLALOC with the stork with a fish +in its mouth, as in the head-dress here. The prostrate figure of Fig. 52 +is here led by a chain. At Labphak (BANCROFT, Vol. iv., p. 251), he is +held aloft in the air, and he is on what _may be_ a sacrificial yoke. +The _Tlaloc_ eagle is in the head of the staff carried in the hand. This +eagle is found in the second line from the bottom of Fig. 52, we may +remark in passing. Notice also the crescent moon in the ornament back of +the shoulders of the personage of Fig. 58. The twisted cords which form +the bottom of this ornament are in the hieroglyph No. 37, Plate XXIV +(Fig. 60). + +Turning now to Plate LX (Fig. 59). + +This I take to be the sorcerer _Tlaloc_. He is blowing the wind from his +mouth; he has the eagle in his head-dress, the jaw with grinders, the +peculiar eye, the four TLALOC dots over his ear and on it, the snake +between his legs, curved in the form of a yoke (this is known to be a +serpent by the conventional crotalus signs of jaw and rattles on it in +nine places), the four TLALOC dots again in his head-dress, etc. He has +a leopard skin on his back (the tiger was the earth in Mexico) and his +naked feet have peculiar anklets which should be noticed. + +Although I am deferring the examination of the hieroglyphs to a later +section, the _chiffre_ 3201 should be noticed. It is the TLALOC eye +again, and 3203 is the _chiffre_ of the Mexican gods of hell. + +[Illustration: FIG. 58.--Maya War God.] + +[Illustration: FIG. 59.--Maya Rain God.] + +In passing I may just refer the reader to p. 164, Vol. ii, of STEPHENS' +book on Yucatan, where a figure occurring at Labphax is given. This I +take to be the same as _Huitzilopochtli_ of Plate LXI. Also in the MS. +_Troano_, published by BRASSEUR DE BOURBOURG, a figure in Plate XXV and +in other plates sits on a hieroglyph like 3201, and is _Tlaloc_. +This is known by the head-dress, the teeth, the air-trumpet, the serpent +symbol, etc. In Plates XXVIII, XXXI, and XXXIII of the same work +HUITZILOPOCHTLI and TLALOC are represented together, in various +adventures. + +[Illustration: FIG. 60.--Tablet at Palenque.] + +In Plate LX (Fig. 59) notice also the _chiffre_ on the tassels before +and behind the main personage. + +Now turn to the Plate XXIV (Fig. 60), which is the main object in the +"Adoratorio" (Fig. 57), where the human figures serve as flankers. + +First examine the caryatides who support the central structure. These +are _Tlalocs_. Each has an eagle over his face, is clothed in leopard +skin, has the characteristic eye and teeth, and the wristlets of Plate +LX (Fig. 59). + +A vertical line through the center of Plate XXIV (Fig. 60) would +separate the figures and ornaments into two groups. These groups are +very similar, but never identical, and this holds good down to the +minutest particulars and is not the result of accident. One side (the +right-hand) belongs to _Tlaloc_, the other to _Huitzilopochtli_. + +The right-hand priest (let us call him, simply for a name and not to +commit ourselves to a theory) has the sandals of Plate LXI; the +left-hand priest the anklets of Plate LX. + +The beast on which the first stands and the man who supports the other +are both marked with the tassel symbol of Plate LX. There is a certain +rude resemblance between the supplementary head of this beast and the +pendant in front of the belt of Fig. 52. Four of these beasts supply +rain to the earth with _Tlaloc_ in Plate XXVI of the MS. _Troano_. The +infant offered by the right-hand priest has the _two_ curls on his +forehead which was a necessary mark of the victims for TLALOC'S +sacrifices. The center of the whole plate is a horrid mask with an open +mouth. Behind this are two staves with _different_ ornaments crossed in +the form of the air-cross. On either hand of this the ornaments are +different though similar. + +A curious resemblance may be traced between the positions, etc., of +these two staves and those of the figure on p. 563, vol. iv, of +BANCROFT'S _Native Races_, which is a Mexican stone. Again, this latter +figure has at its upper right-hand corner a crouching animal (?) very +similar to the gateway ornament given in the same volume, p. 321. This +last is at Palenque. I quote these two examples in passing simply to +reinforce the idea of similarity between the sacred sculptures of +Yucatan and Mexico. + +I take it that the examination of which I have sketched the details will +have left no doubt but that the personage of Fig. 52 is truly +_Huitzilopochtli_, the Yucatec representative of HUITZILOPOCHTLI; that +Plate LXI (Fig. 58) is the same personage; that Plate LX (Fig. 59) +represents TLALOC; and that Plate XXIV (Fig. 60) is a tablet relating to +the service of these two gods. + +I have previously shown that the Palenque hieroglyphs are read in order +from left to right. We should naturally expect, then, that the sign for +_Tlaloc_ or for _Huitzilopochtli_ would occupy the upper left-hand +corner of Plate XXIV. In fact it does, and I was led to this discovery +in the way I have indicated. + +No. 37 is the Palenque manner of writing the top sign of Fig. 52. I +shall call the signs of Fig. 52 _a_, _b_, _c_, etc., in order downwards. + +The crouching face in _a_ occupies the lower central part of No. 37. +Notice also that this face occurs below the small cross in the detached +ornament to the left of the central mask of Fig. 60. The crescent moon +of Plate LXI (Fig. 58) is on its cheek; back of this is the sun-sign; +the cross of _a_ is just above its eye; the three signs for the +celestial concave are at the top of 37, crossed with rain bands; the +three seeds (?) are below these. The feathers are in the lower +right-hand two-thirds. This is the sign or part of the sign for +_Huitzilopochtli_. If a Maya Indian had seen either of these signs a few +centuries ago, he would have had the successive ideas--a war-god, with a +feather-symbol, related to sun and moon, to fertilizing rain and +influences, to clouds and seed; that is _Huitzilopochtli_, the companion +of _Tlaloc_. Or if he had seen the upper left-hand symbol of the +Palenque cross tablet (1800), he would have had _related_ ideas, and so +on. + +What I have previously said about the faithfulness with which the +Yucatec artist adhered to his prototypes in signs is perfectly true, +although apparently partly contradicted by the identification I have +just made. When a given attribute of a god (or other personage) was to +be depicted, the _chiffres_ expressing this were marvellously alike. +Witness the _chiffres_ Nos. 2090, 2073, 2021, 2045, 3085, 3073, 3070, +3032 of the Palenque cross tablet. But directly afterwards some other +attribute is to be brought out, and the _chiffre_ changes; thus the +hieroglyph 1009 of Plate LIV, or 265, Plate LII, has the same protruding +tongue as 2021, etc., and is the same personage, but the style is quite +changed. In Fig. 52, _Huitzilopochtli_ is the war-god, in Plate XXIV he +is the rain-god's companion; and while every attribute is accounted for, +prominence is given to the special ones worshipped or celebrated. Scores +of instances of this have arisen in the course of my examination. + +Again, we must remember that this was no source of ambiguity to the +Yucatecs, however much it may be to us. Each one of them, and specially +each officiating priest, was entirely familiar with every attribute of +every god of the Yucatec pantheon. The sign of the attribute brought the +idea of the power of the god in that special direction; the full idea of +his divinity was the integral of all these special ideas. The limits +were heaven and earth. + +This, then, is the first step. I consider that it is securely based, and +that we may safely say that in proper names, at least, a kind of picture +writing was used which was _not_ phonetic. + +From this point we may go on. I must again remark that great familiarity +with the literature of the Aztecs and Yucatecs is needed--a familiarity +to which I personally cannot pertend[TN-10]--and that it is clear that +the method to reach its full success must be applied by a true scholar +in this special field. + + + + +IX. + +TLALOC, OR HIS MAYA REPRESENTATIVE. + + +Although there is no personage of all the Maya pantheon more easy to +recognize in the form of a _statue_ than _Tlaloc_, there is great +difficulty in being certain of _all_ the hieroglyphs which relate to +him. There is every reason to believe that in Yucatan, as in Mexico, +there was a family of rain-gods, _Tlalocs_, and the distinguishing signs +of the several members are almost impossible of separation, so long as +we know so little of the special functions of each member of this +family. + +In Yucatan, as in Mexico, _Tlaloc's_ main sign was a double line about +the eye or mouth, or about both; and further, some of the _Tlalocs_, at +least, were bearded.[237-*] + +CUKULCAN was also bearded, but we have separated out in the next section +the _chiffres_, or certainly most of them, that relate to him. Those +that are left remain to be distributed among the family of rain-gods; +and this, as I have said, can only be done imperfectly, on account of +our slight knowledge of the character of these gods. + +If we examine the plates given by STEPHENS, we shall find many pictorial +allusions to _Tlaloc_. These are often used as mere ornaments or +embellishments, as in borders, etc., and probably served only to notify, +in a general way, the fact of the relationship of the personage +represented, to this family, and probably not to convey any specific +meaning. + +Thus, in Plate XXXV of STEPHENS' work the upper left-hand ornament of +the border is a head of _Tlaloc_ with double lines about eye and mouth, +and this ornament is repeated in a different form at the lower +right-hand corner of the border just back of the right hand of the +sitting figure, and also in the base of the border below the feet of the +principal figure. + +Plate XLVIII (of STEPHENS') is probably CHALCHIHUITLICUE (that is, the +Yucatec equivalent of that goddess), who was the sister of _Tlaloc_. His +sign occurs in the upper left-hand corner of the border, and in Plate +XLIX the same sign occurs in a corresponding position. + +Plate XXIV (our Fig. 60) is full of _Tlaloc_ signs. The bottom of the +tablet has a hieroglyph, 93 (_Huitzilopochtli_), at one end and 185 +(_Tlaloc_) at the other. The leopard skin, eagle, and the crouching +tiger (?) under the feet of the priest of _Tlaloc_ (the right-hand +figure) are all given. The infant (?) offered by this priest has two +locks of curled hair at its forehead, as was prescribed for children +offered to this god. + +In Plate LVI (our Fig. 48) the mask at the foot of the cross is a human +mask, and not a serpent mask, as has been ingeniously proved by Dr. +HARRISON ALLEN in his paper so often quoted. It is the mask of _Tlaloc_, +as shown by the teeth and corroborated (not proved) by the way in which +the eye is expressed. The curved hook within the eyeball here, as in +185, stands for the air--the wind--of which _Tlaloc_ was also god. The +Mexicans had a similar sign for breath, message. + +The _chiffre_ 1975, on which _Huitzilopochtli's_ priest is standing, I +believe to be the synonym of 185 in Plate XXIV. Just in front of +_Tlaloc's_ priest is a sacrificial yoke (?), at the top of which is a +face, with the eye of the _Tlalocs_, and various decorations. This face +is to be found also at the lower left-hand corner of Plate XLI (of +STEPHENS'), and also (?) in the same position in Plate XLII (of +STEPHENS'). These will serve as subjects for further study. + +Notice in Plate LVI (our Fig. 48) how the ornaments in corresponding +positions on either side of the central line are similar, yet never the +same. A careful study of these pairs will show how the two gods +celebrated, differed. A large part, at least, of the attributes of each +god is recorded in this way by antithesis. I have not made enough +progress in this direction to make the very few conclusions of which I +am certain worth recording. The general fact of such an antithesis is +obvious when once it is pointed out, and it is in just such paths as +this that advances must be looked for. + +I have just mentioned, in this rapid survey of the plates of vol. ii of +STEPHENS' work, the principal pictorial signs relating to _Tlaloc_. +There are a number almost equally well marked in vol. i, in Plates VII, +IX, X, XIII, and XV, but they need not be described. Those who are +especially interested can find them for themselves. + +The following brief account and plate of a _Tlaloc_ inscription at Kabah +will be useful for future use, and is the more interesting as it is +comparatively unknown. + + +_INSCRIPTION AT KABAH (Yucatan)._ + +This hitherto unpublished inscription on a rock at Kabah is given in +_Archives paléographiques_, vol. i, part ii, Plate 20. It deserves +attention on account of its resemblances, but still more on account of +its differences, with certain other Yucatec glyphs. + +We may first compare it with the Plate LX of STEPHENS (our Fig. 59). + +The head-dress in Plate 20 is quite simple, and presents no resemblance +to the elaborate gear of Plate LX, in which the ornament of a leaf (?), +or more probably feather, cross-hatched at the end and divided +symmetrically by a stem (?) or quill about which four dots are placed, +seems characteristic. + +_Possibly_, and only possibly, the square in the rear of the head of +Plate 20, which has two cross-hatchings, may refer to the elaborate +cross-hatchings in Plate LX. The four dots are found twice, once in +front and once in rear of the figure. The heads of the two figures have +only one resemblance, but this is a very important one. The tusks belong +to HUITZILOPOCHTLI and to his trinity, and specially to TLALOC, his +companion. + +Both Plate 20 and LX have the serpent wand or yoke clearly expressed. In +LX the serpent is decorated with crotalus heads; in 20 by images of the +sun (?), as in the FERJAVARY MS. (KINGSBOROUGH). The front apron or +ornament of Plate 20 is of snake skin, ornamented with sun-symbols. +Comparing Plate 20 with Fig. 52 (_ante_), we find quite other +resemblances. The head-dress of 20 is the same as the projecting arm of +the head-dress of Fig. 52; and the tusks are found in the helmet or mask +of Fig. 52. + +These and other resemblances show the Kabah inscription to be a TLALOC. +It is interesting specially on account of its hieroglyphs, which I hope +to examine subsequently. The style of this writing appears to be late, +and may serve as a connecting link between the stones and the +manuscripts, and it is noteworthy that even the style of the drawing +itself seems to be in the manner of the Mexican MS. of LAUD, rather than +in that of the Palenque stone tablets. + +From the card catalogue I select the following _chiffres_ as +appertaining to the family of the _Tlalocs_. As I have said, these must +for the present remain in a group, unseparated. Future studies will be +necessary to discriminate between the special signs which relate to +special members of the family. The _chiffres_ are Nos. 3200; 1864; 1403; +811; 1107?; 1943?; 4114??; _b_?; 1893 (bearded faces, or faces with +teeth very prominent); 166?; 4??; 807?; 62?; 155?; 26; 154?; 165?; 164?; +805; 4109; 1915?; 675??; 635?? (distinguished by the characteristic eye +of the TLALOCS). + +Here, again, the writing is ideographic, and not phonetic. + + + + +X. + +CUKULCAN OR QUETZALCOATL. + + +The character 2021 occurs many times in Plate LVI (Fig. 48), and +occasionally elsewhere. The personage represented is distinguished by +having a protruding tongue, and was therefore at once suspected to be +QUETZALCOATL. (See BANCROFT'S _Native Races_, vol. iii, p. 280.) The +protruding tongue is probably a reference to his introduction of the +sacrificial acts performed by wounding that member. + +The rest of the sign I suppose to be the rebus of his name, +"Snake-plumage"; the part cross-hatched being "snake," the feather-like +ornament at the upper left-hand corner being "plumage." It is necessary, +however, to prove this before accepting the theory. To do this I had +recourse to Plates I and IV (Figs. 49, 50), my dictionary of synonyms. + +This _cross-hatching_ occurs in Plate I. In the six tassels below the +waist, where the cross-hatching _might_ indicate the serpent skin, +notice the ends of the tassels; these are in a scroll-like form, and as +if rolled or coiled tip. In Plate IV they are the same, naturally. So +far there is but little light. + +In Plate IV, just above each wrist, is a sign composed of ellipse and +bars; a little above each of these signs, among coils which may be +serpent coils, and on the horizontal line through the top of the +necklace pendant, are two surfaces cross-hatched all over. What do these +mean? Referring to Plate I, we find, in exactly the same relative +situation, the forked tongue and the rattles of the crotalus. These are, +then, synonyms, and the _guess_ is confirmed. The cross-hatching means +serpent-skin. Is this _always_ so? We must examine other plates to +decide. + +The same ornament is found in Plates IX, XIV, XVI, XVIII, XIX, XX, XXI, +XXXV (of STEPHENS'), but its situation does not allow us to gain any +additional light. + +In Plate XII (STEPHENS') none of the ornaments below the belt will help +us. At the level of the mouth are four patches of it. Take the upper +right-hand one of these. Immediately to its right is a serpent's head; +below the curve and above the frog's (?) head are the rattles. Here is +another confirmation. In Plate XVIII I refer the cross-hatching to the +jaw of the crocodile. In Plate XXII I have numbered the _chiffres_ as +follows: + + 4201 4202 4203 4204. + 4211 4212 4213 4214. + * * * * + * * * * + * * * * + 4311 4312 4313 4314. + +4204 has the cross-hatching at its top, and to its left in 4203 is the +serpent's head. The same is true in 4233-4. In 4264 we have the same +symbol that we are trying to interpret; it is in its perfect form here +and in No. 1865 of the Palenque series. In the caryatides of Plate XXIV +(Fig. 60) the cross-hatching is included in the spots of the leopard's +skin; in the ornaments at the base, in and near the masks which, they +are supporting, it is again serpent skin. Take the lower mask; its jaws, +forked-tongue, and teeth prove it to be a serpent-mask, as well as the +ornament just above it. In Plate LX (Fig. 59) it is to be noticed that +the leopard spots are not cross-hatched, but that this ornament is given +at the lower end of the leopard robe, which ends moreover in a crotalus +tongue marked with the sign of the jaw (near the top of this ornament) +and of the rattles (near the bottom). This again confirms the theory of +the rebus meaning of the cross-hatching. In Plate XXIV (Fig. 60) the +cross-hatching on the leopard spots probably is meant to _add_ the +serpent attribute to the leopard symbol, and not simply to denote the +latter. + +Thus an examination of the _whole_ of the material available, shows that +the preceding half of the hieroglyph 2021 and its congeners is nothing +but the _rebus_ for QUETZALCOATL, or rather for CUKULCAN, the Maya name +for this god. BRASSEUR DE BOURBOURG, as quoted in BANCROFT'S _Native +Races_, vol. ii, p. 699, foot note, says CUKULCAN, comes from _kuk_ or +_kukul_, a bird, which appears to be the same as the _quetzal_, and from +_can_, serpent; so that CUKULCAN in Maya is the same as QUETZALCOATL in +Aztec. It is to be noticed how checks on the accuracy of any deciphering +of hieroglyphs occur at every point, if we will only use them. + +The Maya equivalents of HUITZILOPOCHTLI and TLALOC are undoubtedly +buried in the _chiffres_ already deciphered, but we have no means of +getting their names in Maya from the rebus of the _chiffres_. + +In the cases of these two gods we got the _chiffre_, and the rebus is +still to seek. In the case of _Quetzalcoatl_ or CUKULCAN, the rebus was +the means of getting the name; and if the names of this divinity had not +been equivalent in the two tongues, our results would have led us to the +(almost absurd) conclusion that a god of certain attributes was called +by his Aztec name in the Maya nations. + +Thus every correct conclusion confirms every former one and is a basis +for subsequent progress. The results of this analysis are that the Maya +god CUKULCAN is named in each one of the following _chiffres_, viz: Nos. +1009, 265, 2090, 2073, 2021, 3085, 2045, 3073, 3070, 3032, 1865, 265, +268?, 4291? 73?? I give the numbers in the order in which they are +arranged in the card-catalogue. There is, of course, a reason for this +order. + +BANCROFT, vol. iii, p. 268, says of QUETZALCOATL that "his symbols were +the bird, the serpent, the cross, and the flint, representing the +clouds, the lightning, the four winds, and the thunderbolt." + +We shall find all of his titles except one, the bird, in what follows. +We must notice here that in the _chiffre_ 2021 and its congeners the +bird appears directly over the head of CUKULCAN. It is plainly shown in +the heliotype which accompanies Professor RAU'S work on the Palenque +cross, though not so well in our Fig. 48. + +In what has gone before, we have seen that the characters 2021, 2045, +2073, 3073, 3085, 265, etc., present the portrait and the rebus of +CUKULCAN. It will not be forgotten that in the examination of the +question as to the order in which the stone inscriptions were read we +found a number of _pairs_ in Plate LVI, Fig. 48; the characters 2021, +etc., being one member of each. The other members of the pairs in the +Plate LVI were 2020, 2044, 2072, 3072, 3084, etc. 264-265 is another +example of the same pair elsewhere. + +I hoped to find that the name CUKULCAN, or 2021, was associated in these +pairs with some adjective or verb, and therefore examined the other +members of the pair. + +In a case like this the card-catalogue is of great assistance; for +example, I wish to examine here the _chiffres_ Nos. 2020, 2044, 2072, +3072, 3084, etc. In the catalogue their cards occur in the same +compartment, arranged so that two cards that are exactly alike are +contiguous. We can often know that two _chiffres_ are alike when one is +in a far better state of preservation than the other. Hence we may +select for study that one in which the lines and figures are best +preserved; or from several characters known to be alike, and of which no +one is entirely perfect, we may construct with accuracy the type upon +which they were founded. In this case the hieroglyph 2020 is well +preserved (see the right-hand side of Plate LVI, Fig. 48, the upper +left-hand glyph). It consists of a _human hand_, with the symbol of the +_sun_ in it; above this is a sign similar to that of the Maya day +_Ymix_; above this again, in miniature, is the rebus "snake plumage" or +_Cukulcan_; and to the left of the hieroglyph are some curved lines not +yet understood. No. 2003 of the same plate is also well preserved. It +has the hand as in 2020, the rebus also, and the sign for _Ymix_ is +slightly different, being modified with a sign like the top of a cross, +the symbol of the _four winds_. The symbol _Ymix_ may be seen, by a +reference to Plate XXVII (lower half) of the MS. _Troano_, to relate to +the _rain_. The figure of that plate is pouring rain upon the earth from +the orifices represented by _Ymix_. The cross of the _four winds_ is +still more plain in Nos. 2072, 3084, and 3072. + +The part of this symbol 2020 and its synonyms which consists of curved +lines occupying the left hand one-third of the whole _chiffre_ occurs +only in this set of characters, and thus I cannot say _certainly_ what +this particular part of the hieroglyph means; but if the reader will +glance back over the last one hundred lines he will find that these +_chiffres_ contain the _rebus_ CUKULCAN, the sign of a _human hand_, of +the _sun_, of the _rain_, and of the _four winds_. + +In BANCROFT'S _Native Races_, vol. iii, chapter vii, we find that the +titles of QUETZALCOATL (CUKULCAN) were the _air_, the _rattlesnake_, the +_rumbler_ (in allusion to thunder), the _strong hand_, the lord of the +_four winds_. The bird symbol exists in 2021, etc. Now in 2020 and its +congeners we have found every one of these titles, save only that +relating to the _thunder_. And we have found a meaning for every part of +the hieroglyph 2020 save only one, viz, the left-hand one-third, +consisting of concentric half ellipses or circles. It may be said to be +quite _probable_ that the unexplained part of the sign (2020) +corresponds to the unused title, "the rumbler." But it is not rigorously +proved, although very probable. The thunder would be well represented by +repeating the sign for sky or heaven. This much seems to me certain. The +sign is but another summing up of the attributes and titles of CUKULCAN. +2021 gave his portrait, his bird symbol, made allusion to his +institution of the sacrifice of wounding the tongue, and spelled out his +name in rebus characters. 2020 repeats his name as a rebus and adds the +titles of lord of the four winds, of the sun, of rain, of the strong +hand, etc. It is his biography, as it were. + +In this connection, a passing reference to the characters 1810, etc., +1820, etc., 1830, etc., 1840, etc., 1850, etc., of the left-hand side of +Plate LVI should be made. Among these, all the titles named above are to +be found. These are suitable subjects for future study. + +We now see _why_ the pair 2020, 2021 occurs so many times in Plate LVI, +and again as 264, 265, etc. The right-hand half of this tablet has much +to say of CUKULCAN, and whenever his name is mentioned a brief list of +his titles accompanies it. Although it is disappointing to find _both_ +members of this well-marked pair to be proper names, yet it is +gratifying to see that the theory of pairs, on which the proof of the +order in which the tablets are to be read must rest, has received such +unexpected confirmation. + +To conclude the search for the hieroglyphs of CUKULCAN'S name, it will +be necessary to collect all those faces with "_round_ beards" (see +BANCROFT'S _Native Races_, vol. iii, p. 250). TLALOC was also bearded, +but all the historians refer to QUETZALCOATL as above cited. I refer +hieroglyphs Nos. 658, 651?, 650?, and 249? to this category. + +Perhaps also the sign No. 153 is the sign of QUETZALCOATL, as something +very similar to it is given as his sign in the _Codex Telleriano +Remensis_, KINGSBOROUGH, vol. i, Plates I, II, and V (Plate I the best), +where he wears it at his waist. + +In Plate LXIII of STEPHENS (vol. ii) is a small figure of CUKULCAN +which, he calls "Bas Relief on Tablet." WALDECK gives a much larger +drawing (incorrect, however, in many details), in which the figure, the +"Beau Relief," is seen to wear bracelets high up on the arm. This was a +distinguishing sign of QUETZALCOATL (see BANCROFT'S _Native Races_, vol. +iii, pp. 249 and 250), and this figure probably is a representation of +the Maya divinity. He is on a stool with tigers for supports. The tiger +belongs to the attributes which he had in common with TLALOC, and we see +again the intimate connection of these divinities--a connection often +pointed out by BRASSEUR DE BOURBOURG. + +This is the third proper name which has been deciphered. All of them +have been pure picture-writing, except in so far as their rebus +character may make them in a sense phonetic. + + + + +XI. + +COMPARISON OF THE SIGNS OF THE MAYA MONTHS (LANDA) WITH THE TABLETS. + + +We have a set of signs for Maya months and days handed down to us by +LANDA along with his phonetic alphabet. _A priori_ these are more likely +to represent the primitive forms as carved in stone than are the +alphabetic hieroglyphs, which may well have been invented by the +Spaniards to assist the natives to memorize religious formulæ.[243-*] + +BRASSEUR DE BOURBOURG has analyzed the signs for the day and month in +his publication on the MS. _Troano_, and the strongest arguments which +can be given for their phonetic origin are given by him. + +I have made a set of MS. copies of these signs and included them in my +card-catalogue, and have carefully compared them with the tablets XXIV +and LVI. My results are as follows: + +PLATE XXIV (our Fig. 60). + + No. 42 is the Maya month _Pop_, beginning July 16. + No. 54 is _Zip_??, beginning August 25. + No. 47 is _Tzoz_??, beginning September 14. + No. 57 is _Tzec_? beginning October 4. + No. 44-45 is _Mol_?, beginning December 3. + No. 39 is _Yax_, _Zac_, or _Ceh_, beginning January 12, February 1, + February 21, respectively. + +PLATE LVI (our Fig. 48). + + No. 1804 is _Uo_???? + No. 1901 is _Zip_???? + No. 1816 is _Tzoz_?? + No. 1814 is _Tzec_? + No. 1807 is _Mol_? + No. 1855 is _Yax_, _Zac_, or _Ceh_. + No. 1844 is _Mac_? + +The only sign about which there is little or no doubt is No. 42, which +seems pretty certainly to be the sign of the Maya month _Pop_, which +began July 16. + +No. 39, just above it, seems also to be _one_ of the months _Yax_, +_Zac_, or _Ceh_, which began on January 12, February 1, and February 21, +respectively. Which one of these it corresponds to must be settled by +other means than a direct comparison. The signs given by LANDA for these +three months all contain the same radical as No. 39, but it is +impossible to decide with entire certainty to which it corresponds. It, +however, most nearly resembles the sign for _Zac_ (February 1); and it +is noteworthy that it was precisely in this month that the greatest +feast of TLALOC took place,[244-*] and its presence in this tablet, +which relates to _Tlaloc_, is especially interesting. + +In connection with the counting of time, a reference to the bottom part +of the _chiffre_ 3000 of the Palenque cross tablet should be made. This +is a _knot_ tied up in a string or scarf; and we know this to have been +the method of expressing the expiration and completion of a cycle of +years. It occurs just above the symbol 3010, the _chiffre_ for a metal. + +An examination of the original stone in the National Museum, Washington, +which is now in progress, has already convinced me that the methods +which I have described in the preceding pages promise other interesting +confirmations of the results I have reached. For the time, I must leave +the matter in its present state. I think I am justified in my confidence +that suitable methods of procedure have been laid down, and that certain +important results have already been reached. + +I do not believe that the conclusions stated will be changed, but I am +confident that a rich reward will be found by any competent person who +will continue the study of these stones. The proper names now known will +serve as points of departure, and it is probable that some research will +give us the signs for verbs or adjectives connected with them. + +It is an immense step to have rid ourselves of the phonetic or +alphabetic idea, and to have found the manner in which the Maya mind +represented attributes and ideas. Their method was that of all nations +at the origin of written language; that is, pure picture-writing. At +Copan this is found in its earliest state; at Palenque it was already +highly conventionalized. The step from the Palenque character to that +used in the Kabah inscription is apparently not greater than the step +from the latter to the various manuscripts. An important research would +be the application of the methods so ably applied by Dr. ALLEN to +tracing the evolution of the latter characters from their earlier forms. +In this way it will be possible to extend our present knowledge +materially. + + +FOOTNOTES: + +[225-*] The Life Form in Art, Trans. Amer. Phil. Soc., vol. xv, 1873, p. +325. + +[233-*] From KINGSBOROUGH, vol. i, plate 48, it appears that TLACLI +TONATIO may have had four hands. His name meant (?) Let there be light. + +[237-*] See KINGSBOROUGH, vol. ii, Plate I, of the LAUD MS. + +[243-*] Since this was written I have seen a paper by Dr. VALENTINI, +"The LANDA alphabet a Spanish fabrication" (read before the American +Antiquarian Society, April 28, 1880), and the conclusions of that paper +seem to me to be undoubtedly correct. They are the same as those just +given, but while my own were reached by a study of the stones and in the +course of a general examination, Dr. VALENTINI has addressed himself +successfully to the solution of a special problem. + +[244-*] See BRASSEUR DE BOURBOURG, _Histoire du Mexique_, vol. i, p. +328. + + + + +Index + + +Allen, Dr Harrison 208, 225, 238, 245 + + +Bancroft, H. H., Huitzilopochtli, description of 231 + , Maya hieroglyphics, mode of reading 223 + +Band, G. H. 229 + +Braam, S. A. van 229 + +Brasseur de Bourbourg, C. E. 208, 210, 243, 244 + + +Card catalogue of hieroglyphs 223 + +Chalchihuitlicue 237 + +Codex Telleriano Remensis 243 + +Copan, Statues of 207, 224, 227, 228, 229, 245 + +Cortez, H. 209 + +Cuculkan. (_See_ Quetzalcoatl.) + + +Deciphering, Principles of 207 + +Desaix, le Capitaine 210 + + +Herrera 232 + +Hieratic art 210 + +Hieroglyphs 210 + are read in a certain order 223 + +Huitzilopochtli 229, 230, 231, 232, 233, 234, 235, 236, 238, 239, 241 + + +Kingsborough, Lord 210 + + +Landa, Bishop 208, 243 + +Landa's hieroglyphic alphabet 208 + +Leemans, Dr 229 + +Leon y Gama 232 + +Lockwood, Miss Mary 224 + + +Manuscript Troano 234 + +Miclantecutli 229, 232 + +Months, their hieroglyphs 243 + +MS. Troano 234 + +Müller, J. G., Mexican gods 232 + + +Naolin 230 + +Nomenclature 211, 220 + + +Palenque, Statues of 207, 224, 237-239, 245 + + +Quetzalcoatl 230, 237, 239, 240, 241, 242, 243 + + +Rau, Dr 221 + + +Stephens, John L. 207-210 + + +Teoyaomiqui 229 + +Tetzcatlipoca 230 + +Tlaloc 229, 230, 231, 233-239, 241, 244 + +Torquemada 232 + +Touatihu 230 + +Troano, Manuscript 234 + + +Valentini 243 + +Variank 208 + + +Waldeck 210, 243 + + + + +Transcriber's Note + + TN-1 209 cotemporaries should read contemporaries + TN-2 210 the the should read the + TN-3 220 Maya day should read Maya day. + TN-4 225 coindences should read coincidences + TN-5 227 Synonomous should read Synonymous + TN-6 230 Cuculkan should read Cukulcan + TN-7 231 blue globe. should read blue globe." + TN-8 232 Tezcatlipoca should read Tetzcatlipoca + TN-9 Fig. 55 Huitzilopochtli should read HUITZILOPOCHTLI + TN-10 237 pertend should read pretend + +The following word was inconsistently spelled: + +Labphak / Labphax + +The following phrase had inconsistent use of italics and +capitalization: + +_MS. Troano_ / _Ms. Troano_ / MS. _Troano_ + + + + + +End of the Project Gutenberg EBook of Studies in Central American +Picture-Writing, by Edward S. 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Holden + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Studies in Central American Picture-Writing + First Annual Report of the Bureau of Ethnology to the + Secretary of the Smithsonian Institution, 1879-80, + Government Printing Office, Washington, 1881, pages 205-245 + +Author: Edward S. Holden + +Release Date: November 20, 2007 [EBook #23562] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CENTRAL AMERICAN PICTURE-WRITING *** + + + + +Produced by PM for Bureau of American Ethnology, Julia +Miller, and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by the Bibliothèque nationale +de France (BnF/Gallica) at http://gallica.bnf.fr) + + + + + + +</pre> + + + + +<div style="background-color: #EEE; color: inherit; padding: 0.5em 1em 0.5em 1em;"> +<p class="center"><b>Transcriber’s Note</b></p> + +<p class="noindent">This book was originally published as a part of:</p> + +<p class="noindent">Powell, J. W.<br /> +1881 <i>First Annual Report of the Bureau of Ethnology to the +Secretary of the Smithsonian Institution, 1879-’80.</i> pp. +205-245. Government Printing Office, Washington, D.C.</p> + +<p class="noindent">The table of contents and index included in this version of the book was +extracted from the complete volume.</p> + +<p class="noindent">A number of typographical errors have been maintained +in the current version of this book. They are <ins class="correction" title="correction">marked</ins> +and the corrected text is shown in the popup. A <a href="#trans_note">list</a> of these +errors is found at the end of this book.</p> + +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_205" id="Page_205">[205]</a></span></p> + + +<div class="tpborder"> +<div class="tpborder2"> +<h3 style="font-weight: normal; margin-top: 2em;">SMITHSONIAN INSTITUTION—BUREAU OF ETHNOLOGY.<br /> +J. W. POWELL, DIRECTOR.</h3> + +<hr style='width: 45%; border: solid 1px;' /> + +<h1><span style="letter-spacing: 0.2em; font-weight: normal; margin-top: 2em;">STUDIES</span><br /> +<span style="font-size: 60%; font-weight: normal;">IN</span><br /> +CENTRAL AMERICAN PICTURE-WRITING.</h1> + +<p class="titlepage" style="margin-top: 2em;">BY</p> + +<p class="titlepage" style="margin-top: 2em; margin-bottom: 2em;">EDWARD S. HOLDEN,<br /> +PROFESSOR OF MATHEMATICS, U. S. NAVAL OBSERVATORY.</p> +</div> +</div> + +<hr style="width: 65%;" /> + + +<h2 class="chapterhead">TABLE OF CONTENTS</h2> + +<table width="80%" border="0" cellpadding="0" cellspacing="0" summary="Table of Contents"> +<tr> + <td><a href="#LIST_OF_ILLUSTRATIONS">List of illustrations</a></td> + <td><a href="#LIST_OF_ILLUSTRATIONS">206</a></td> +</tr> +<tr> + <td><a href="#I">Introductory</a></td> + <td><a href="#I">207</a></td> +</tr> +<tr> + <td><a href="#II">Materials for the present investigation</a></td> + <td><a href="#II">210</a></td> +</tr> +<tr> + <td><a href="#III">System of nomenclature</a></td> + <td><a href="#III">211</a></td> +</tr> +<tr> + <td><a href="#IV">In what order are the hieroglyphs read?</a></td> + <td><a href="#IV">221</a></td> +</tr> +<tr> + <td><a href="#V">The card catalogue of hieroglyphs</a></td> + <td><a href="#V">223</a></td> +</tr> +<tr> + <td><a href="#VI">Comparison of plates I and IV (Copan)</a></td> + <td><a href="#VI">224</a></td> +</tr> +<tr> + <td><a href="#VII">Are the hieroglyphs of Copan and Palenque identical?</a></td> + <td><a href="#VII">227</a></td> +</tr> +<tr> + <td><a href="#VIII">Huitzilopochtli, Mexican god of war, etc.</a></td> + <td><a href="#VIII">229</a></td> +</tr> +<tr> + <td><a href="#IX">Tlaloc, or his Maya representative</a></td> + <td><a href="#IX">237</a></td> +</tr> +<tr> + <td><a href="#X">Cukulean or Quetzalcoatl</a></td> + <td><a href="#X">239</a></td> +</tr> +<tr> + <td><a href="#XI">Comparison of the signs of the Maya months</a></td> + <td><a href="#XI">243</a></td> +</tr> +</table> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_206" id="Page_206">[206]</a></span></p> + +<h2 class="chapterhead"><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> + + +<table width="80%" border="0" cellpadding="0" cellspacing="0" summary="List of Illustrations"> +<tr> + <td>Figure</td> + <td><a href="#fig48">48.—The Palenquean Group of the Cross</a></td> + <td><a href="#fig48">221</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig49">49.—Statue at Copan</a></td> + <td><a href="#fig49">224</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig50">50.—Statue at Copan</a></td> + <td><a href="#fig50">225</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig51">51.—Synonymous Hieroglyphs from Copan and Palenque</a></td> + <td><a href="#fig51">227</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig52">52.—Yucatec Stone</a></td> + <td><a href="#fig52">229</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig53">53.—Huitzilopochtli (front)</a></td> + <td><a href="#fig53">232</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig54">54.—Huitzilopochtli (side)</a></td> + <td><a href="#fig54">232</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig55">55.—Huitzilopochtli (back)</a></td> + <td><a href="#fig55">232</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig56">56.—Miclantecutli</a></td> + <td><a href="#fig56">232</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig57">57.—Adoratorio</a></td> + <td><a href="#fig57">233</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig58">58.—The Maya War-God</a></td> + <td><a href="#fig58">234</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig59">59.—The Maya Rain-God</a></td> + <td><a href="#fig59">234</a></td> +</tr> +<tr> + <td></td> + <td><a href="#fig60">60.—Tablet at Palenque</a></td> + <td><a href="#fig60">234</a></td> +</tr> +</table> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_207" id="Page_207">[207]</a></span></p> + +<h2 class="chapterhead"><a name="I" id="I"></a>STUDIES IN CENTRAL AMERICAN PICTURE-WRITING.</h2> + +<p class="titlepage smcap" style="margin-top: 2em;">By Edward S. Holden.</p> + +<hr class="bbox" style="width: 5em;" /> + + +<h3 class="sectionhead">I.</h3> + +<p>Since 1876 I have been familiar with the works of Mr. <span class="smcap">John L. Stephens</span> +on the antiquities of Yucatan, and from time to time I have read works +on kindred subjects with ever increasing interest and curiosity in +regard to the meaning of the hieroglyphic inscriptions on the stones and +tablets of Copan, Palenque, and other ruins of Central America. In +August, 1880, I determined to see how far the principles which are +successful when applied to ordinary cipher-writing would carry one in +the inscriptions of Yucatan. The difference between an ordinary +cipher-message and these inscriptions is not so marked as might at first +sight appear. The underlying principles of deciphering are quite the +same in the two cases.</p> + +<p>The chief difficulty in the Yucatec inscriptions is our lack of any +definite knowledge of the nature of the records of the aborigines. The +patient researches of our archæologists have recovered but very little +of their manners and habits, and one has constantly to avoid the +tempting suggestions of an imagination which has been formed by modern +influences, and to endeavor to keep free from every suggestion not +inherent in the stones themselves. I say the stones, for I have only +used the Maya manuscripts incidentally. They do not possess, to me, the +same interest, and I think it may certainly be said that all of them are +younger than the Palenque tablets, and far younger than the inscriptions +at Copan.</p> + +<p>I therefore determined to apply the ordinary principles of deciphering, +without any bias, to the Yucatec inscriptions, and to go as far as I +could <i>certainly</i>. Arrived at the point where demonstration ceased, it +would be my duty to stop. For, while even the conjectures of a mind +perfectly trained in archæologic research are valuable and may +subsequently prove to be quite right, my lack of familiarity with +historical works forced me to keep within narrow and safe limits.</p> + +<p>My programme at beginning was, <i>first</i>, to see if the inscriptions at +Copan and Palenque were written in the same tongue. When I say “to see,” +I mean to definitely prove the fact, and so in other cases; <i>second</i>, to +see how the tablets were to be read. That is, in horizontal lines, are<span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span> +they to be read from right to left, or the reverse? In vertical columns, +are they to be read up or down? <i>Third</i>, to see whether they were +phonetic characters, or merely ideographic, or a mixture of the +two—rebus-like, in fact.</p> + +<p>If the characters turned out to be purely phonetic, I had determined to +stop at this point, since I had not the time to learn the Maya language, +and again because I utterly and totally distrusted the methods which, up +to this time, have been applied by <span class="smcap">Brasseur de Bourbourg</span> and others who +start, and must start, from the misleading and unlucky alphabet handed +down by <span class="smcap">Landa</span>. I believe that legacy to have been a positive misfortune, +and I believe any process of the kind attempted by <span class="smcap">Brasseur de Bourbourg</span> +(for example, in his essay on the <i>MS. Troano</i>) to be extremely +dangerous and difficult in application, and to require a degree of +scientific caution almost unique.</p> + +<p>Dr. <span class="smcap">Harrison Allen</span>, in his paper, “The Life Form in Art,” in the +<i>Transactions of the American Philosophical Society</i>, is the only +investigator who has applied this method to Central American remains +with success, so it seems to me; and even here errors have occurred.</p> + +<p>The process I allude to is something like the following: A set of +characters, say the alphabet of <span class="smcap">Landa</span>, is taken as a starting point. The +<i>variants</i> of these are formed. Then the basis of the investigation is +ready. From this, the interpretation follows by identifications of each +new character with one of the standard set or with one of its +<i>variants</i>. Theoretically, there is no objection to this procedure. +Practically, also, there is no objection if the work is done strictly in +the order named. In fact, however, the list of <i>variants</i> is filled out +not before the work is begun, but during its progress, and in such a way +as to satisfy the necessities of the interpreter in carrying out some +preconceived idea. With a sufficient latitude in the choice of +<i>variants</i> any MS. can receive any interpretation. For example, the <i>MS. +Troano</i>, which a casual examination leads me to think is a <i>ritual</i>, and +an account of the adventures of several Maya gods, is interpreted by +<span class="smcap">Brasseur de Bourbourg</span> as a record of mighty geologic changes. It is next +to impossible to avoid errors of this nature at least, and in fact they +have not been avoided, so far as I know, except by Dr. <span class="smcap">Allen</span> in the +paper cited.</p> + +<p>I, personally, have chosen the stones and not the manuscripts for study +largely because <i>variants</i> do not exist in the same liberal degree in +the stone inscriptions as they have been supposed to exist in the +manuscripts.</p> + +<p>At any one ruin the characters for the same idea are alike, and alike to +a marvelous degree. At another ruin the type is just a little different, +but the fidelity to this type is equally great. Synonyms exist; that is, +the same idea may be given by two or more utterly different signs. But a +given sign is made in a fixed and definite way. Finally the MSS. are, I +think, later than the stones. Hence the root of the matter is the +interpretation of the stones, or not so much their full interpretation +as the discovery of a <i>method of interpretation</i>, which shall be sure.</p> + +<p><span class='pagenum'><a name="Page_209" id="Page_209">[209]</a></span>Suppose, for example, that we know the meaning of a dozen characters +only, and the way a half dozen of these are joined together in a +sentence. The <i>method</i> by which these were obtained will serve to add +others to the list, and progress depends in such a case only on our +knowledge of the people who wrote, and of the subjects upon which they +were writing. Such knowledge and erudition belongs to the archæologists +by profession. A step that might take me a year to accomplish might be +made in an instant by one to whom the Maya and Aztec mythology was +familiar, if he were proceeding according to a sound method. At the +present time we know nothing of the meaning of any of the Maya +hieroglyphs.</p> + +<p>It will, therefore, be my object to go as far in the subject as I can +proceed with certainty, every step being demonstrated so that not only +the archæologist but any intelligent person can follow. As soon as the +border-land is reached in which proof disappears and opinion is the only +guide, the search must be abandoned except by those whose cultivated and +scientific opinions are based on knowledge far more profound and various +than I can pretend or hope to have.</p> + +<p>If I do not here push my own conclusions to their farthest limit, it +must not be assumed that I do not see, at least in some cases, the +direction in which they lead. Rather, let this reticence be ascribed to +a desire to lay the foundations of a new structure firmly, to prescribe +the method of building which my experience has shown to be adequate and +necessary, and to leave to those abler than myself the erection of the +superstructure. If my methods and conclusions are correct (and I have no +doubts on this point, since each one has been reached in various ways +and tested by a multiplicity of criteria) there is a great future to +these researches. It is not to be forgotten that here we have no Rosetta +stone to act at once as key and criterion, and that instead of the +accurate descriptions of the Egyptian hieroglyphics which were handed +down by the Greek <a name="corr1" id="corr1"></a><ins class="correction" title="contemporaries">cotemporaries</ins> of the sculptors of these +inscriptions, we have only the crude and brutal chronicles of an +ignorant Spanish soldiery, or the bigoted accounts of an unenlightened +priesthood. To <span class="smcap">Cortez</span> and his companions a memorandum that it took one +hundred men all day to throw the idols into the sea was all-sufficient. +To the Spanish priests the burning of all manuscripts was praiseworthy, +since those differing from Holy Writ were noxious and those agreeing +with it superfluous. It is only to the patient labor of the Maya +sculptor who daily carved the symbols of his belief and creed upon +enduring stone, and to the luxuriant growths of semi-tropical forests +which concealed even these from the passing Spanish adventurer, that we +owe the preservation of the memorials of past beliefs and vanished +histories.</p> + +<p>Not the least of the pleasures of such researches as these comes from +the recollection that they vindicate the patience and skill of forgotten +men, and make their efforts not quite useless. It was no rude savage +that carved the Palenque cross; and if we can discover what his efforts<span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span> +meant, his labor and his learning have not been all in vain. It will be +one more proof that human effort, even misdirected, is not lost, but +that it comes, later or earlier, “to forward the general deed of man.”</p> + + + +<h3 class="sectionhead"><a name="II" id="II"></a>II.<br /> +MATERIALS FOR THE PRESENT INVESTIGATION.</h3> + + +<p>My examination of the works of Mr. <span class="smcap">J. L. Stephens</span> has convinced me that +in every respect his is the most trustworthy work on the <i>hieroglyphs</i> +of Central America. The intrinsic evidence to this effect is very +strong, but when I first became familiar with the works of <span class="smcap">Waldeck</span> I +found so many points of difference that my faith was for a time shaken, +and I came to the conclusion that while the existing representations +might suffice for the study of the general forms of statues, tablets, +and buildings, yet they were not sufficiently accurate in detail to +serve as a basis for the deciphering I had in mind. I am happy to bear +witness, however, that <span class="smcap">Stephens’s</span> work is undoubtedly amply adequate to +the purpose, and this fact I have laboriously verified by a comparison +of it with various representations, as those of <span class="smcap">Desaix</span> and others, and +also with a few photographs. The drawings of <span class="smcap">Waldeck</span> are very beautiful +and artistic, but either the artist himself or his lithographers have +taken singular liberties in the published designs. <span class="smcap">Stephens’s</span> work is +not only accurate, but it contains sufficient material for my purpose +(over 1,500 separate hieroglyphs), and, therefore, I have based my study +exclusively upon his earliest work, “<i>Incidents of Travel in Central +America, Chiapas, and Yucatan</i>,” 2 vols., 8vo. New York, 1842 (twelfth +edition). I have incidentally consulted the works on the subject +contained in the Library of Congress, particularly those of <span class="smcap">Brasseur de +Bourbourg</span>, <span class="smcap">Kingsborough</span>, <span class="smcap">Waldeck</span>, and others, but, as I have said, the +two volumes above named contain all <a name="corr2" id="corr2"></a><ins class="correction" title="the">the the</ins> material I have been +able to utilize, and much more which is still under examination.</p> + + +<p style="margin-top: 2em;">One fact which makes the examination of the Central American antiquities +easier than it otherwise would be, has not, I think, been sufficiently +dwelt upon by former writers. This is the remarkable faithfulness of the +artists and sculptors of these statues and inscriptions to a standard. +Thus, at Copan, wherever the same kind of hieroglyph is to be +represented, it will be found that the human face or other object +employed is almost identically the same in expression and character, +wherever it is found. The same characters at different parts of a tablet +do not differ more than the same letters of the alphabet in two fonts of +type.</p> + +<p>At Palenque the <i>type</i> (font) changes, but the adherence to this is +equally or almost equally rigid. It is to be presumed that in this +latter<span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span> case, where work was done both in stone and stucco, the nature +of the material affected the portraiture more or less.</p> + +<p>The stone statues at Copan, for example, could not all have been done by +the same artist, nor at the same time. I have elsewhere shown that two +of these statues are absolutely identical. How was this accomplished? +Was one stone taken to the foot of the other and cut by it as a pattern? +This is unlikely, especially as in the case mentioned the <i>scale</i> of the +two statues is quite different. I think it far more likely that each was +cut from a drawing, or series of drawings, which must have been +preserved by priestly authority. The work at any one place must have +required many years, and could not have been done by a single man; nor +is it probable that it was all done in one generation. Separate +hieroglyphs must have been preserved in the same way. It is this rigid +adherence to a type, and the banishment of artistic fancy, which will +allow of progress in the deciphering of the inscriptions or the +comparison of the statues. Line after line, ornament after ornament, is +repeated with utter fidelity. The reason of this is not far to seek. +This, however, is not the place to explain it, but rather to take +advantage of the fact itself. We may fairly say that were it not so, and +with our present data, all advances would be tenfold more difficult.</p> + + + +<h3 class="sectionhead"><a name="III" id="III"></a>III.<br /> + +SYSTEM OF NOMENCLATURE.</h3> + + +<p>It is impossible without a special and expensive font of type to refer +pictorially to each character, and therefore some system of nomenclature +must be adopted. The one I employ I could now slightly improve, but it +has been used and results have been obtained by it. It is sufficient for +the purpose, and I will, therefore, retain it rather than to run the +risk of errors by changing it to a more perfect system. I have numbered +the plates in <span class="smcap">Stephens’s</span> <i>Central America</i> according to the following +scheme:</p> + +<p class="tabletitle">ENGRAVINGS OF VOLUME I.</p> + +<table width="80%" border="0" cellpadding="0" cellspacing="0" summary="List of engravings, volume 1"> +<tr> + <td></td> + <td class="tdr">Page.</td> +</tr> +<tr> + <td>Stone Statue, front view, I have called Plate I</td> + <td class="tdr"><i>Frontispiece.</i></td> +</tr> +<tr> + <td>Wall of Copan, Plate II</td> + <td class="tdr">96</td> +</tr> +<tr> + <td>Plan of Copan, Plate III</td> + <td class="tdr">133</td> +</tr> +<tr> + <td>Death’s Head, Plate III<sup class="a">a</sup></td> + <td class="tdr">135</td> +</tr> +<tr> + <td>Portrait, Plate III<sup class="b">b</sup></td> + <td class="tdr">136</td> +</tr> +<tr> + <td>Stone Idol, Plate IV</td> + <td class="tdr">138</td> +</tr> +<tr> + <td>Portrait, Plate IV<sup class="a">a</sup></td> + <td class="tdr">139</td> +</tr> +<tr> + <td>Stone Idol, Plate V</td> + <td class="tdr">140</td> +</tr> +<tr> + <td>Tablet of Hieroglyphics, Plate V<sup class="a">a</sup></td> + <td class="tdr">141</td> +</tr> +<tr> + <td>No. 1, Sides of Altar, Plate VI</td> + <td class="tdr">142</td> +</tr> +<tr> + <td>No. 2, Sides of Altar, Plate VII</td> + <td class="tdr">142</td> +</tr> +<tr> + <td>Gigantic Head, Plate VIII</td> + <td class="tdr">143</td> +</tr> +<tr> + <td><span class='pagenum'><a name="Page_212" id="Page_212">[212]</a></span>No. 1, Stone Idol, front view, Plate IX</td> + <td class="tdr">149</td> +</tr> +<tr> + <td>No. 2, Stone Idol, back view, Plate X</td> + <td class="tdr">150</td> +</tr> +<tr> + <td>Idol half buried, Plate XI</td> + <td class="tdr">151</td> +</tr> +<tr> + <td>No. 1, Idol, Plate XII</td> + <td class="tdr">152</td> +</tr> +<tr> + <td>No. 2, Idol, Plate XIII</td> + <td class="tdr">152</td> +</tr> +<tr> + <td>No. 1, Idol, Plate XIV</td> + <td class="tdr">153</td> +</tr> +<tr> + <td>No. 2, Idol, Plate XV</td> + <td class="tdr">153</td> +</tr> +<tr> + <td>Idol and Altar, Plate XVI</td> + <td class="tdr">154</td> +</tr> +<tr> + <td>Fallen Idol, Plate XVII</td> + <td class="tdr">155</td> +</tr> +<tr> + <td>No. 1, Idol, front view, Plate XVIII</td> + <td class="tdr">156</td> +</tr> +<tr> + <td>No. 2, Idol, back view, Plate XIX</td> + <td class="tdr">156</td> +</tr> +<tr> + <td>No. 3, Idol, side view, Plate XX</td> + <td class="tdr">156</td> +</tr> +<tr> + <td>Fallen Idol, Plate XX<sup class="a">a</sup></td> + <td class="tdr">157</td> +</tr> +<tr> + <td>Circular Altar, Plate XX<sup class="b">b</sup></td> + <td class="tdr">157</td> +</tr> +<tr> + <td>No. 1, Stone Idol, front view, Plate XXI</td> + <td class="tdr">158</td> +</tr> +<tr> + <td>No. 2, Stone Idol, back view, Plate XXII</td> + <td class="tdr">158</td> +</tr> +<tr> + <td>No. 3, Stone Idol, side view, Plate XXIII</td> + <td class="tdr">158</td> +</tr> +<tr> + <td>Great Square of Antigua Guatimala, Plate XXIII<sup class="a">a</sup></td> + <td class="tdr">266</td> +</tr> +<tr> + <td>Profile of Nicaragua Canal, Plate XXIII<sup class="b">b</sup></td> + <td class="tdr">412</td> +</tr> +</table> + +<p class="tabletitle">ENGRAVINGS OF VOLUME II.</p> + +<table width="80%" border="0" cellpadding="0" cellspacing="0" summary="List of engravings, volume 1"> +<tr> + <td></td> + <td class="tdr">Page.</td> +</tr> +<tr> + <td>Stone Tablet, Plate XXIV</td> + <td class="tdr"><i>Frontispiece.</i></td> +</tr> +<tr> + <td>Idol at Quirigua, Plate XXV</td> + <td class="tdr">121</td> +</tr> +<tr> + <td>Idol at Quirigua, Plate XXVI</td> + <td class="tdr">122</td> +</tr> +<tr> + <td>Santa Cruz del Quiché, Plate XXVII</td> + <td class="tdr">171</td> +</tr> +<tr> + <td>Place of Sacrifice, Plate XXVIII</td> + <td class="tdr">184</td> +</tr> +<tr> + <td>Figures found at Santa Cruz del Quiché, Plate XXIX</td> + <td class="tdr">185</td> +</tr> +<tr> + <td>Plaza of Quezaltenango, Plate XXX</td> + <td class="tdr">204</td> +</tr> +<tr> + <td>Vases found at Gueguetenango, Plate XXXI</td> + <td class="tdr">231</td> +</tr> +<tr> + <td>Ocosingo, Plate XXXII</td> + <td class="tdr">259</td> +</tr> +<tr> + <td>Palace at Palenque, Plate XXXIII</td> + <td class="tdr">309</td> +</tr> +<tr> + <td>Plan of Palace, Plate XXXIV</td> + <td class="tdr">310</td> +</tr> +<tr> + <td>Stucco Figure on Pier, Plate XXXV</td> + <td class="tdr">311</td> +</tr> +<tr> + <td>Front Corridor of Palace, Plate XXXVI</td> + <td class="tdr">313</td> +</tr> +<tr> + <td>No. 1, Court-yard of Palace, Plate XXXVIII</td> + <td class="tdr">314</td> +</tr> +<tr> + <td>No. 2, Colossal Bas-reliefs in Stone, Plate XXXIX</td> + <td class="tdr">314</td> +</tr> +<tr> + <td>East side of Court-yard, Plate XXXVII</td> + <td class="tdr">314</td> +</tr> +<tr> + <td>No. 1, Bas-relief in Stucco, Plate XL</td> + <td class="tdr">316</td> +</tr> +<tr> + <td>No. 2, Bas-relief in Stucco, Plate XLI</td> + <td class="tdr">316</td> +</tr> +<tr> + <td>No. 3, Bas-relief in Stucco, Plate XLII</td> + <td class="tdr">316</td> +</tr> +<tr> + <td>Oval Bas-relief in Stone, Plate XLIII</td> + <td class="tdr">318</td> +</tr> +<tr> + <td>Bas-relief in Stucco, Plate XLIV</td> + <td class="tdr">319</td> +</tr> +<tr> + <td>General Plan of Palenque, Plate XLV</td> + <td class="tdr">337</td> +</tr> +<tr> + <td>Casa No. 1 in Ruins, Plate XLVI</td> + <td class="tdr">338</td> +</tr> +<tr> + <td>Casa No. 1 restored, Plate XLVII</td> + <td class="tdr">339</td> +</tr> +<tr> + <td>No. 1, Bas-relief in Stucco, Plate XLVIII</td> + <td class="tdr">340</td> +</tr> +<tr> + <td>No. 2, Bas-relief in Stucco, Plate XLIX</td> + <td class="tdr">340</td> +</tr> +<tr> + <td>No. 3, Bas-relief in Stucco, Plate L</td> + <td class="tdr">340</td> +</tr> +<tr> + <td>No. 4, Bas-relief in Stucco, Plate LI</td> + <td class="tdr">340</td> +</tr> +<tr> + <td>No. 1, Tablet of Hieroglyphics, Plate LII</td> + <td class="tdr">342</td> +</tr> +<tr> + <td>No. 2, Tablet of Hieroglyphics, Plate LIII</td> + <td class="tdr">342</td> +</tr> +<tr> + <td>Tablet on inner Wall, Plate LIV</td> + <td class="tdr">343</td> +</tr> +<tr> + <td>Casa di Piedras, No. 2, Plate LV</td> + <td class="tdr">344</td> +</tr> +<tr> + <td>Tablet on back Wall of Altar, Casa No. 2, Plate LVI</td> + <td class="tdr">345</td> +</tr> +<tr> + <td>Stone Statue, Plate LVII</td> + <td class="tdr">349</td> +</tr> +<tr> + <td><span class='pagenum'><a name="Page_213" id="Page_213">[213]</a></span>Casa No. 3, Plate LVIII</td> + <td class="tdr">350</td> +</tr> +<tr> + <td>Front Corridor, Plate LIX</td> + <td class="tdr">351</td> +</tr> +<tr> + <td>No. 1, Bas-reliefs in Front of Altar, Plate LX</td> + <td class="tdr">353</td> +</tr> +<tr> + <td>No. 2, Bas-reliefs in Front of Altar, Plate LXI</td> + <td class="tdr">353</td> +</tr> +<tr> + <td>Adoratorio or Altar, Plate LXII</td> + <td class="tdr">354</td> +</tr> +<tr> + <td>Casa No. 4, Plate LXIII</td> + <td class="tdr">355</td> +</tr> +<tr> + <td>House of the Dwarf, Plate LXIV</td> + <td class="tdr">420</td> +</tr> +<tr> + <td>Casa del Gobernador, Plate LXV</td> + <td class="tdr">428</td> +</tr> +<tr> + <td>Sculptured Front of Casa del Gobernador, Plate LXVI</td> + <td class="tdr">443</td> +</tr> +<tr> + <td>Egyptian Hieroglyphics, Plate LXVIII</td> + <td class="tdr">441</td> +</tr> +<tr> + <td>Top of Altar at Copan, Plate LXVIII=V<sup class="a">a</sup></td> + <td class="tdr">454</td> +</tr> +<tr> + <td>Mexican Hieroglyphical Writing, Plate LXIX</td> + <td class="tdr">454</td> +</tr> +</table> + +<p>In each plate I have numbered the hieroglyphs, giving each one its own +number. Thus the hieroglyphs of the Copan altar (vol. i, p. 141) which I +have called plate V<sup class="a">a</sup>, are numbered from 1 to 36 according to this +scheme—</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="Order of hieroglyphs"> +<tr> + <td class="tdrpad">1</td> + <td class="tdrpad">2</td> + <td class="tdrpad">3</td> + <td class="tdrpad">4</td> + <td class="tdrpad">5</td> + <td class="tdrpad">6</td> +</tr> +<tr> + <td class="tdrpad">7</td> + <td class="tdrpad">8</td> + <td class="tdrpad">9</td> + <td class="tdrpad">10</td> + <td class="tdrpad">11</td> + <td class="tdrpad">12</td> +</tr> +<tr> + <td class="tdrpad">13</td> + <td class="tdrpad">14</td> + <td class="tdrpad">15</td> + <td class="tdrpad">16</td> + <td class="tdrpad">17</td> + <td class="tdrpad">18</td> +</tr> +<tr> + <td class="tdrpad">19</td> + <td class="tdrpad">20</td> + <td class="tdrpad">21</td> + <td class="tdrpad">22</td> + <td class="tdrpad">23</td> + <td class="tdrpad">24</td> +</tr> +<tr> + <td class="tdrpad">25</td> + <td class="tdrpad">26</td> + <td class="tdrpad">27</td> + <td class="tdrpad">28</td> + <td class="tdrpad">29</td> + <td class="tdrpad">30</td> +</tr> +<tr> + <td class="tdrpad">31</td> + <td class="tdrpad">32</td> + <td class="tdrpad">33</td> + <td class="tdrpad">34</td> + <td class="tdrpad">35</td> + <td class="tdrpad">36</td> +</tr> +</table> + +<p>And the right hand side of the Palenque Cross tablet, as given by <span class="smcap">Rau</span> in +his memoir published by the Smithsonian Institution (1880), has the +numbers—</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="Order of hieroglyphs"> +<tr> + <td class="padded">2020</td> + <td class="padded">2021</td> + <td class="padded">2022</td> + <td class="padded">2023</td> + <td class="padded">2024</td> + <td class="padded">2025</td> +</tr> +<tr> + <td class="padded">2030</td> + <td class="padded">2031</td> + <td class="padded">2032</td> + <td class="padded">2033</td> + <td class="padded">2034</td> + <td class="padded">2035</td> +</tr> +<tr> + <td class="padded">2040</td> + <td class="padded">2041</td> + <td class="padded">2042</td> + <td class="padded">2043</td> + <td class="padded">2044</td> + <td class="padded">2045</td> +</tr> +<tr> + <td class="padded">2050</td> + <td class="padded">2051</td> + <td class="padded">2052</td> + <td class="padded">2053</td> + <td class="padded">2054</td> + <td class="padded">2055</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="padded">3080</td> + <td class="padded">3081</td> + <td class="padded">3082</td> + <td class="padded">3083</td> + <td class="padded">3084</td> + <td class="padded">3085</td> +</tr> +</table> + +<p>These are consecutive with the numbers which I have attached to the +left-hand side, as given by <span class="smcap">Stephens</span>. Whenever I have stated any results +here, I have also given the means by which any one can number a copy of +<span class="smcap">Stephens’s</span> work in the way which I have adopted, and thus the means of +testing my conclusions is in the hands of every one who desires to do +so.</p> + +<p>In cases where only a <i>part</i> of a hieroglyphic is referred to, I have +placed its number in a parenthesis, as 1826 <i>see</i> (122), by which I mean +that the character 1826 is to be compared with a part of the character +122. The advantages of this system are many: for example; a memorandum +can easily be taken that two hieroglyphs are alike, thus 2072=2020 and +2073=2021. Hence the <i>pair</i> 2020—2021, read horizontally, occurs again +at the point 2072—2073, etc. <i>Horizontal pairs</i> will be known by their +numbers being consecutive, as 2020—2021; <i>vertical pairs</i> will usually +be known by their numbers differing by 10. Thus, 2075—2085 are one +above the other.</p> + +<p><span class='pagenum'><a name="Page_214" id="Page_214">[214]</a></span>This method of naming the <i>chiffres</i>, then, is a quick and safe one, and +we shall see that it lends itself to the uses required of it.</p> + +<p>I add here the scheme according to which the principal plates at +Palenque have been numbered.</p> + +<p class="tabletitle">PLATE XXIV (left-hand side).</p> + +<table class="glyphs" summary="Plate XXIV glyphs"> +<tr> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 9em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> </td> + </tr> + </table></td> + <td class="under">37<br /><i>See</i> 1800</td> + <td class="under">37<br /><i>See</i> 1800</td> + <td class="under">38<br /><i>See</i> 1806</td> + <td class="under">39</td> + <td class="under">94</td> + <td class="under">96</td> + <td class="under">98</td> + <td class="under">100</td> + <td class="under">102</td> + <td class="under">104</td> + <td class="under">106</td> +</tr> +<tr> + <td>40</td> + <td>40</td> + <td>41</td> + <td>42</td> + <td>95</td> + <td>97</td> + <td>99=127</td> + <td>101</td> + <td>103</td> + <td>105</td> + <td>107</td> +</tr> +<tr> + <td></td> + <td>43=1810</td> + <td>43<sup class="a">a</sup>=46<sup class="a">a</sup></td> + <td>44</td> + <td>45</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>108<br /><i>See</i> 91</td> +</tr> +<tr> + <td></td> + <td>46=1810</td> + <td>46<sup class="a">a</sup>=43<sup class="a">a</sup></td> + <td>47</td> + <td>48</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>49</td> + <td></td> + <td>50</td> + <td>51</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>52</td> + <td>52<sup class="a">a</sup>=1820?</td> + <td>53</td> + <td>54</td> + <td></td> + <td></td> + <td class="tdc" colspan="3" rowspan="7"><table border="0" cellpadding="8" cellspacing="0" summary="insert"> + <tr> + <td colspan="2">In the middle of the<br /> + plate at the top.</td> + </tr> + <tr> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 7em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + </tr> + <tr> + <td class="under">109</td> + <td class="under">115</td> + </tr> + <tr> + <td>110</td> + <td>116<br /><i>See</i> 2020</td> + </tr> + <tr> + <td>111</td> + <td>117</td> + </tr> + <tr> + <td>112</td> + <td>118</td> + </tr> + <tr> + <td>113</td> + <td>119</td> + </tr> + <tr> + <td>114</td> + <td>120</td> + </tr> + </table></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>55</td> + <td>56=1840?</td> + <td>57<br /><i>See</i> 1802</td> + <td>58</td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>59</td> + <td>60</td> + <td>61</td> + <td>62=58?</td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>63</td> + <td>64</td> + <td>65†</td> + <td>66<br /><i>See</i> 2025</td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>67<br /><i>See</i> 1911</td> + <td>68</td> + <td>69</td> + <td>70</td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>71<br /><i>See</i> 2020</td> + <td>72=281</td> + <td>73</td> + <td>74</td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>75</td> + <td>76=67</td> + <td>77</td> + <td>78</td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>79</td> + <td>80</td> + <td>81</td> + <td>82</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>83</td> + <td>84</td> + <td>85</td> + <td>86=56?</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>86*</td> + <td>86*</td> + <td>87</td> + <td>88</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>89</td> + <td>90</td> + <td>91</td> + <td>92</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>93</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +</table> + +<div class="tablenotes"> +* Accidental error in numbering here.<br /> +† Possibly Muluc—a Maya day; the meaning is “reunion.” +</div> + +<p><span class='pagenum'><a name="Page_215" id="Page_215">[215]</a></span></p> + +<p class="tabletitle">PLATE XXIV (right-hand side).</p> + +<table class="glyphs" summary="Plate XXIV glyphs"> +<tr> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 12.5em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> +</tr> +<tr> + <td class="under">121<br /><i>See</i> 74, 86*</td> + <td class="under">122=86?†</td> + <td class="under">123=87</td> + <td class="under">124=88<br /><i>See</i> 61, 1822</td> +</tr> +<tr> + <td>125</td> + <td>126‡<br /><i>See</i> 1940</td> + <td>127=99<br /><i>See</i> 1940</td> + <td>128<br /><i>See</i> (44), 64</td> +</tr> +<tr> + <td>129</td> + <td>130</td> + <td>131=147</td> + <td>132<br /><i>See</i> 50, 58, 62</td> +</tr> +<tr> + <td>133</td> + <td>134</td> + <td>135</td> + <td>136=47?</td> +</tr> +<tr> + <td>137</td> + <td>138<br /><i>See</i> 39, 91</td> + <td>139<br /><i>See</i> 1811</td> + <td>140</td> +</tr> +<tr> + <td>141</td> + <td>142§<br /><i>See</i> 54</td> + <td>143</td> + <td>144<br /><i>See</i> 50, 58, 62, 132</td> +</tr> +<tr> + <td>145</td> + <td>146</td> + <td>147=131<br /><i>See</i> 71</td> + <td>148</td> +</tr> +<tr> + <td>149</td> + <td>150<br /><i>See</i> 56, 1882</td> + <td>151</td> + <td>152</td> +</tr> +<tr> + <td>153</td> + <td>154<br /><i>See</i> 53</td> + <td>155<br /><i>See</i> 50, 58, 132</td> + <td>156</td> +</tr> +<tr> + <td>157*</td> + <td>158<br /><i>See</i> 68</td> + <td>159<br /><i>See</i> 38</td> + <td>160<br /><i>See</i> 46<sup class="a">a</sup>, 49<sup class="a">a</sup>, 52<sup class="a">a</sup></td> +</tr> +<tr> + <td></td> + <td class="holdhoriza" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 21em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + +</tr> +<tr> + <td class="under">161=50<br /><i>See</i> 58, 62, 132</td> + <td class="under">162<br /><i>See</i> 56, 73, 1882</td> + <td class="under">†163=1936<br /><i>See</i> 57</td> + <td class="under">164<br /><i>See</i> 58, 62</td> +</tr> +<tr> + <td>165</td> + <td>166<br /><i>See</i> 81?</td> + <td>167</td> + <td>168</td> +</tr> +<tr> + <td>169<br /><i>See</i> 68?</td> + <td>170</td> + <td>171</td> + <td>172</td> +</tr> +<tr> + <td>173</td> + <td>174<br /><i>See</i> 67, 76, 90, 1910</td> + <td>175<br /><i>See</i> 57</td> + <td>176<br /><i>See</i> 126</td> +</tr> +<tr> + <td>177</td> + <td>178<br /><i>See</i> 43<sup class="a">a</sup></td> + <td>179</td> + <td>180<br /><i>See</i> 50, 58, 62</td> +</tr> +<tr> + <td>181</td> + <td>182<br /><i>See</i> 57, 163, 1936</td> + <td>183</td> + <td>184</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td>185</td> +</tr> +</table> + +<div class="tablenotes"> +* Possibly Ymix—a Maya day.<br /> +† Possibly Chuen—a Maya day; meaning “a board,” “a tree.”<br /> +‡ Possibly Ahau—a Maya day; meaning “king.”<br /> +§ Possibly Ezanab—a Maya day. +</div> + +<p><span class='pagenum'><a name="Page_216" id="Page_216">[216]</a></span></p> + +<p class="tabletitle">PLATE LII.</p> + +<table class="glyphs" summary="Plate XXIV glyphs"> +<tr> + <td>200</td> + <td>201</td> + <td>202</td> + <td>203</td> + <td>204</td> + <td>205</td> + <td>206</td> + <td>207</td> + <td>208</td> + <td>209</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 1.</td> +</tr> +<tr> + <td>210</td> + <td>211</td> + <td>212</td> + <td></td> + <td>214</td> + <td>215</td> + <td>216</td> + <td>217</td> + <td>218</td> + <td>219<br /><i>See</i> 2020</td> +</tr> +<tr> + <td>220<br /><i>See</i> 2030</td> + <td>221</td> + <td>222<br /><i>See</i> 2060</td> + <td>223</td> + <td>224=2060</td> + <td>225</td> + <td>226</td> + <td>227</td> + <td>228</td> + <td>229<br /><i>See</i> 1811-2</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 2.</td> +</tr> +<tr> + <td>230<br /><i>See</i> 1822</td> + <td>231</td> + <td>232</td> + <td></td> + <td>234</td> + <td>235</td> + <td>236</td> + <td>237</td> + <td>238</td> + <td>239</td> +</tr> +<tr> + <td>240</td> + <td>241</td> + <td>242=2020</td> + <td>243=1951</td> + <td>244</td> + <td>245</td> + <td>246</td> + <td>247</td> + <td>248</td> + <td>249</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 3.</td> +</tr> +<tr> + <td>250</td> + <td>251</td> + <td>252<br /><i>See</i> 214</td> + <td></td> + <td>254</td> + <td>255</td> + <td>256</td> + <td>257</td> + <td>258</td> + <td>259=1943</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 15em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">260</td> + <td class="under">261</td> + <td class="under">262</td> + <td class="under">263</td> + <td class="under">264<br /><i>See</i> 2020</td> + <td class="under">265<br /><i>See</i> 2021</td> + <td class="under">266<br /><i>See</i> 2022</td> + <td class="under">267</td> + <td class="under">268</td> + <td class="under">269</td> + <td class="vert under" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> <br /> </td> + </tr> + </table></td> + <td class="under" rowspan="2" style="vertical-align: middle;">Line 4.</td> +</tr> +<tr> + <td>270</td> + <td>271</td> + <td></td> + <td></td> + <td>274=244</td> + <td>275</td> + <td>276</td> + <td>277</td> + <td>278<br /><i>See</i> 204</td> + <td>279</td> +</tr> +<tr> + <td>280<br /><i>See</i> 1820</td> + <td>281=72</td> + <td>282</td> + <td>283</td> + <td>284</td> + <td>285</td> + <td>286<br /><i>See</i> 385</td> + <td>287</td> + <td>288</td> + <td></td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 5.</td> +</tr> +<tr> + <td>290</td> + <td></td> + <td></td> + <td></td> + <td>294</td> + <td>295</td> + <td>296</td> + <td>297</td> + <td>298</td> + <td>299</td> +</tr> +<tr> + <td>300<br /><i>See</i> 203</td> + <td>301</td> + <td>302</td> + <td>303=360</td> + <td>304</td> + <td>305</td> + <td>306</td> + <td>307</td> + <td></td> + <td></td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 6.</td> +</tr> +<tr> + <td>310</td> + <td>311</td> + <td></td> + <td></td> + <td>314</td> + <td>315</td> + <td>316</td> + <td>317</td> + <td>318</td> + <td>319</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 9em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">320</td> + <td class="under">321</td> + <td class="under">322</td> + <td class="under">323<br /><i>See</i> 203</td> + <td class="under">324=1824<br /><i>See</i> 204</td> + <td class="under">325<br /><i>See</i> 285</td> + <td class="under">326<br /><i>See</i> 305</td> + <td class="under">327</td> + <td class="under">328</td> + <td class="under">329</td> + <td class="vert under" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> <br /> </td> + </tr> + </table></td> + <td class="under" rowspan="2" style="vertical-align: middle;">Line 7.</td> +</tr> +<tr> + <td>330</td> + <td>331</td> + <td>332<br /><i>See</i> 209</td> + <td></td> + <td>334</td> + <td>335</td> + <td>336</td> + <td>337</td> + <td>338</td> + <td>339</td> +</tr> +<tr> + <td>340</td> + <td>341</td> + <td>342<br /><i>See</i> 209</td> + <td>343</td> + <td>344<br /><i>See</i> 322</td> + <td>345</td> + <td>346</td> + <td>347</td> + <td>348</td> + <td>349</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 8.</td> +</tr> +<tr> + <td>350</td> + <td>351</td> + <td>352</td> + <td></td> + <td>354<br /><i>See</i> 267, 298</td> + <td>355</td> + <td>356=1822<br /><i>See</i> 230</td> + <td>357</td> + <td>358</td> + <td>359</td> +</tr> +<tr> + <td>360=303</td> + <td>361</td> + <td>362</td> + <td>363</td> + <td>364</td> + <td>365</td> + <td>366<br /><i>See</i> 351</td> + <td>367<br /><i>See</i> 303, 360</td> + <td>368</td> + <td>369</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 9.</td> +</tr> +<tr> + <td>370</td> + <td>371</td> + <td></td> + <td></td> + <td></td> + <td>375</td> + <td>376</td> + <td>377</td> + <td>378</td> + <td>379</td> +</tr> +<tr> + <td>380</td> + <td>381</td> + <td>382</td> + <td>383</td> + <td>384</td> + <td>385<br /><i>See</i> 286, 1822</td> + <td>386</td> + <td>387</td> + <td>388</td> + <td>389</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 10.</td> +</tr> +<tr> + <td>390</td> + <td>391</td> + <td>392</td> + <td></td> + <td>394</td> + <td>395</td> + <td>396</td> + <td>397</td> + <td>398</td> + <td>399</td> +</tr> +<tr> + <td>400</td> + <td>401</td> + <td>402<br /><i>See</i> 326</td> + <td><table border="0" cellpadding="0" cellspacing="0" summary=""><tr><td style="vertical-align: middle; padding: 0;">403=</td><td style="padding: 0;">360<br />367</td></tr></table></td> + <td>404</td> + <td>405</td> + <td>406</td> + <td>407<br /><i>See</i> 360</td> + <td>408</td> + <td>409</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 11.</td> +</tr> +<tr> + <td>410<br /><i>See</i> 326</td> + <td>411</td> + <td>412</td> + <td></td> + <td>414</td> + <td>415</td> + <td>416<br /><i>See</i> 324</td> + <td>417</td> + <td>418</td> + <td>419</td> +</tr> +<tr> + <td>420</td> + <td>421</td> + <td>422</td> + <td>423</td> + <td>424</td> + <td>425</td> + <td>426<br /><i>See</i> 324</td> + <td>427</td> + <td></td> + <td></td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td> + <td rowspan="2" style="vertical-align: middle;">Line 12.</td> +</tr> +<tr> + <td>430</td> + <td></td> + <td>432</td> + <td></td> + <td>434</td> + <td>435</td> + <td>436</td> + <td>437</td> + <td>438</td> + <td>439</td> +</tr> +</table> + +<p><span class='pagenum'><a name="Page_217" id="Page_217">[217]</a></span></p> + +<p class="tabletitle">PLATE LIII.</p> + +<p class="titlepage">[The upper left-hand square is No. 500, the upper right is 519, the +lower left-hand is 720, the lower right is 739. All the squares from 500 +to 508, 520 to 528, 530 to 538, etc., up to 720 to 728, are obliterated +(and their numbers omitted here) except a few.]</p> + +<table class="glyphs" summary="Plate LIII glyphs"> +<tr> + <td></td> + <td></td> + <td>509</td> + <td>510</td> + <td>511</td> + <td>512<br /><i>See</i> 1967</td> + <td>513</td> + <td>514</td> + <td>515<br /><i>See</i> 509</td> + <td>516<br /><i>See</i> 510</td> + <td>517</td> + <td>518</td> + <td>519</td> +</tr> +<tr> + <td></td> + <td></td> + <td>529<br /><i>See</i> 3012</td> + <td>530</td> + <td>531</td> + <td>532</td> + <td>533</td> + <td>534</td> + <td>535</td> + <td>536</td> + <td>537</td> + <td>538</td> + <td>539</td> +</tr> +<tr> + <td></td> + <td></td> + <td>549</td> + <td>550</td> + <td>551</td> + <td>552</td> + <td>553</td> + <td>554</td> + <td>555</td> + <td>556<br /><i>See</i> 162</td> + <td>557</td> + <td>558</td> + <td>559</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td>570</td> + <td>571</td> + <td>572</td> + <td>573<br /><i>See</i> 1823</td> + <td>574</td> + <td>575</td> + <td>576</td> + <td>577</td> + <td>578</td> + <td>579</td> +</tr> +<tr> + <td></td> + <td></td> + <td>589</td> + <td>590</td> + <td>591</td> + <td>592</td> + <td>593</td> + <td>594</td> + <td>595</td> + <td>596</td> + <td>597</td> + <td>598</td> + <td>599</td> +</tr> +<tr> + <td>604</td> + <td>605</td> + <td>609</td> + <td>610</td> + <td>611<br /><i>See</i> 571</td> + <td>612</td> + <td>613</td> + <td>614</td> + <td>615</td> + <td>616</td> + <td>617</td> + <td>618</td> + <td>619</td> +</tr> +<tr> + <td></td> + <td>628</td> + <td>629</td> + <td>630</td> + <td>631</td> + <td>632</td> + <td>633</td> + <td>634</td> + <td>635</td> + <td>636<br /><i>See</i> 3054</td> + <td>637</td> + <td>638</td> + <td>639</td> +</tr> +<tr> + <td></td> + <td></td> + <td>649</td> + <td>650</td> + <td>651</td> + <td>652</td> + <td>653</td> + <td>654</td> + <td>655<br /><i>See</i>150, 1882</td> + <td>656</td> + <td>657</td> + <td>658</td> + <td>659</td> +</tr> +<tr> + <td></td> + <td></td> + <td>669</td> + <td>670</td> + <td>671=324<br /><i>See</i> 2042</td> + <td>672=322?</td> + <td>673=323?</td> + <td>674<br /><i>See</i> 77</td> + <td>675</td> + <td>676</td> + <td>677<br /><i>See</i> 1802</td> + <td>678</td> + <td>679</td> +</tr> +<tr> + <td></td> + <td>688</td> + <td>689</td> + <td>690</td> + <td>691</td> + <td>692</td> + <td>693</td> + <td>694</td> + <td>695</td> + <td>696</td> + <td>697</td> + <td>698</td> + <td>699</td> +</tr> +<tr> + <td></td> + <td>708</td> + <td>709</td> + <td>710</td> + <td>711</td> + <td>712</td> + <td>713=1802</td> + <td>714</td> + <td>715</td> + <td>716</td> + <td>717<br /><i>See</i> 439</td> + <td>718</td> + <td>719</td> +</tr> +<tr> + <td></td> + <td></td> + <td>729</td> + <td>730=1845</td> + <td>731</td> + <td>732</td> + <td>733</td> + <td>734</td> + <td>735</td> + <td>736</td> + <td>737<br /><i>See</i> 2020</td> + <td>738</td> + <td>739</td> +</tr> +</table> + +<p><span class='pagenum'><a name="Page_218" id="Page_218">[218]</a></span></p> + +<p class="tabletitle">PLATE LIV.</p> + +<table class="glyphs" style="font-size: 80%;" summary="Plate LIV glyphs"> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 7em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> +</tr> +<tr> + <td class="under">800</td> + <td class="under">801</td> + <td class="under">802</td> + <td class="under">803</td> + <td class="under">804</td> + <td class="under">805</td> + <td class="under">806</td> + <td class="under">807</td> + <td class="under">808<br /><i>See</i> 1882</td> + <td class="under">809</td> + <td class="under">810</td> + <td class="under">811<br /><i>See</i> 26</td> + <td class="under">812<br /><i>See</i> 1940</td> + <td class="under">813<br /><i>See</i> 1941, 3011</td> +</tr> +<tr> + <td>900</td> + <td>901</td> + <td>902</td> + <td>903</td> + <td>904</td> + <td>905</td> + <td>906</td> + <td>907=1003</td> + <td>908<br /><i>See</i> 2020</td> + <td>909</td> + <td>910<br /><i>See</i> 1310</td> + <td>911</td> + <td>912</td> + <td>913</td> +</tr> +<tr> + <td>1000</td> + <td>1001</td> + <td>1002</td> + <td>1003=907</td> + <td>1004</td> + <td>1005</td> + <td>1006</td> + <td>1007</td> + <td>1008</td> + <td>1009<br /><i>See</i> 2021</td> + <td>1010<br /><i>See</i> 3054</td> + <td>1011<br /><i>See</i> 1811-2</td> + <td>1012</td> + <td>1013</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 7em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">1100</td> + <td class="under">1101</td> + <td class="under">1102=717</td> + <td class="under">1103</td> + <td class="under">1104<br /><i>See</i> 1820</td> + <td class="under">1105=2020</td> + <td class="under">1106<br /><i>See</i> 2021</td> + <td class="under">1107<br /><i>See</i> 1840</td> + <td class="under">1108<br /><i>See</i> 1841?</td> + <td class="under">1109</td> + <td class="under">1110=1209</td> + <td class="under">1113</td> + <td class="under">1114</td> + <td class="under">1115</td> +</tr> +<tr> + <td>1200</td> + <td>1201</td> + <td>1202=1110<br /><i>See</i> 3054</td> + <td>1203</td> + <td>1204=1008</td> + <td>1205</td> + <td>1206</td> + <td>1207<br /><i>See</i> 1823</td> + <td>1208</td> + <td>1209=1110</td> + <td>1210</td> + <td>1211</td> + <td>1212</td> + <td>1213</td> +</tr> +<tr> + <td>1300</td> + <td>1301</td> + <td>1302</td> + <td>1303=1910</td> + <td>1304</td> + <td>1305</td> + <td>1306</td> + <td>1307</td> + <td>1308</td> + <td>1309</td> + <td>1310<br /><i>See</i> 910</td> + <td>1311</td> + <td>1312</td> + <td>1313</td> +</tr> +<tr> + <td>1400=1823</td> + <td>1401</td> + <td>1402</td> + <td>1403</td> + <td>1404</td> + <td>1405</td> + <td>1406</td> + <td>1407</td> + <td>1408</td> + <td>1409</td> + <td>1410</td> + <td>1411</td> + <td>1412</td> + <td>1413</td> +</tr> +<tr> + <td>1500</td> + <td>1501</td> + <td>1502=1010</td> + <td>1503</td> + <td><table border="0" cellpadding="0" cellspacing="0" summary=""><tr><td style="vertical-align: middle; padding: 0;">1504=</td><td style="padding: 0em;">717<br />1102</td></tr></table></td> + <td>1505</td> + <td>1506</td> + <td>1507</td> + <td>1508</td> + <td>1509</td> + <td>1510</td> + <td>1511</td> + <td>1512</td> + <td>1513</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 9.5em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">1600</td> + <td class="under">1601</td> + <td class="under">1602</td> + <td class="under">1603</td> + <td class="under">1604</td> + <td class="under">1605</td> + <td class="under">1606</td> + <td class="under">1607</td> + <td class="under">1608</td> + <td class="under">1609=1304</td> + <td class="under">1610=1305</td> + <td class="under">1611=1010</td> + <td class="under">1612</td> + <td class="under">1613</td> +</tr> +<tr> + <td>1700</td> + <td>1701</td> + <td>1702=1911</td> + <td>1703</td> + <td>1704</td> + <td>1705</td> + <td>1706</td> + <td>1707</td> + <td>1708</td> + <td>1709</td> + <td>1710</td> + <td><table border="0" cellpadding="0" cellspacing="0" summary=""><tr><td style="vertical-align: middle; padding: 0;">1711=</td><td style="padding: 0;">1702<br />1911</td></tr></table></td> + <td>1712=1708</td> + <td>1713</td> +</tr> +</table> + +<p><span class='pagenum'><a name="Page_219" id="Page_219">[219]</a></span></p> + +<p class="tabletitle">PLATE LVI (left-hand side—Palenque Cross).</p> + +<table class="glyphs" summary="Plate LIV glyphs"> +<tr> + <td rowspan="2" style="padding: 0;"><table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr> +<td style="vertical-align: middle;">1800</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> <br /> </td> + </tr> + </table></td> +</tr> +</table></td> + <td>1801</td> + <td>1802<br /><i>See</i> 163, 175</td> + <td>1803</td> + <td>1804</td> + <td></td> + <td></td> + <td>1961</td> + <td>1962</td> + <td>1963</td> + <td>1964</td> + <td>1965</td> +</tr> +<tr> + <td>1805<br /><i>See</i> 155</td> + <td>1806</td> + <td>1807<br /><i>See</i> 138</td> + <td>1808</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>1966</td> +</tr> +<tr> + <td class="holdhoriza" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 16em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">*1810<br /><i>See</i> 150</td> + <td class="under">1811<br /><i>See</i> 139, 179</td> + <td class="under">1812<br /><i>See</i> (1852)</td> + <td class="under">1813<br /><i>See</i> 131, 146</td> + <td class="under">1814<br /><i>See</i> 126, 127, 176</td> + <td class="under">1815</td> + <td class="under">1816</td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under">1967</td> +</tr> +<tr> + <td>1820<br /><i>See</i> 161</td> + <td>1821</td> + <td>1822<br /><i>See</i> 124</td> + <td>1823</td> + <td>1824</td> + <td>1825</td> + <td>1826<br /><i>See</i> 122, 160</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>1968</td> +</tr> +<tr> + <td>1830=1820<br /><i>See</i> 161</td> + <td>1831</td> + <td>1832<br /><i>See</i> 123, 124</td> + <td>1833<br /><i>See</i> 121</td> + <td>1834<br /><i>See</i> 163</td> + <td>1835<br /><i>See</i> 182</td> + <td>1836<br /><i>See</i> 123</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>1969</td> +</tr> +<tr> + <td>1840</td> + <td>1841</td> + <td>1842<br /><i>See</i> 1835</td> + <td>1843<br /><i>See</i> 124, 1836</td> + <td>1844</td> + <td>1845=1822<br /><i>See</i> 124</td> + <td>1846<br /><i>See</i> 179</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>1970</td> +</tr> +<tr> + <td>1850</td> + <td>1851</td> + <td>1852</td> + <td>1853<br /><i>See</i> 122</td> + <td>1854=1806</td> + <td>1855</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td>1860</td> + <td>1861</td> + <td>1862<br /><i>See</i> 126, 127</td> + <td>1863</td> + <td>1864</td> + <td>1865=2021<br /><i>See</i> 144</td> + <td>1866<br /><i>See</i> 136?, 184?</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td>1870=1820<br /><i>See</i> 160, 161</td> + <td>1871</td> + <td>1872=1842?<br /><i>See</i> 182</td> + <td>1873=1803</td> + <td>1874</td> + <td>1875</td> + <td>1876</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td>1880</td> + <td>1881</td> + <td>1882<br /><i>See</i> 150, 162</td> + <td>1883<br /><i>See</i> 124</td> + <td>1884=1834<br /><i>See</i> 163, 182</td> + <td>1885<br /><i>See</i> 132, 144</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td>1890<br /><i>See</i> 130, 158</td> + <td>1891<br /><i>See</i> 131?, 147?</td> + <td>1892<br /><i>See</i> 132?</td> + <td>1893</td> + <td>1894=1822<br /><i>See</i> 124</td> + <td>1895<br /><i>See</i> 144</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td>1900<br /><i>See</i> 146</td> + <td>1901</td> + <td>1902</td> + <td>1903<br /><i>See</i> 157, 182</td> + <td>1904</td> + <td>1905=1803</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>1971<br /><i>See</i> 1802</td> +</tr> +<tr> + <td>1910<br /><i>See</i> 174</td> + <td>1911<br /><i>See</i> 174</td> + <td>1912<br /><i>See</i> 141</td> + <td><table border="0" cellpadding="0" cellspacing="0" summary=""><tr><td style="vertical-align: middle; padding: 0;">1913=</td><td style="padding: 0;">1834<br />1884</td></tr></table></td> + <td>1914</td> + <td>1915</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td>1972</td> +</tr> +<tr> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 9.7em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">1920</td> + <td class="under">1921</td> + <td class="under">1922<br /><i>See</i> 123</td> + <td class="under">1923<br /><i>See</i> 124</td> + <td class="under">1924</td> + <td class="under">1925</td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under">1973</td> +</tr> +<tr> + <td>1930</td> + <td>1931</td> + <td>1932=1811-2?</td> + <td>1933</td> + <td>1934</td> + <td>1935=1884<br /><i>See</i> 182</td> + <td></td> + <td>1975</td> + <td></td> + <td></td> + <td></td> + <td>1974</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2" style="padding-left: 0.5em;"><table border="0" cellpadding="0" cellspacing="0" style="width: 11em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="under">1940=1862<br /><i>See</i> 126, 127</td> + <td class="under">1941</td> + <td class="under">1942</td> + <td class="under">1943</td> + <td class="under">1944=1922<br /><i>See</i> 123</td> + <td class="under">1945=1923<br /><i>See</i> 124</td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> +</tr> +<tr> + <td>1950<br /><i>See</i> 164</td> + <td>1951</td> + <td>1952</td> + <td>1953</td> + <td>1954</td> + <td>1955</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +</table> + +<div style="font-size: 90%;"> +* At and after this place, in vertical columns, 1810-1-2, 1820-1-2, +1830-1-2, 1840-1-2, and 1860-1-2 may be taken as 2 or 3 symbols. I have +assumed them to be 3. +</div> + +<p><span class='pagenum'><a name="Page_220" id="Page_220">[220]</a></span></p> + +<p class="tabletitle">PLATE LVI (right-hand side—Palenque Cross).</p> + +<table class="glyphs" summary="Plate LVI glyphs"> +<tr> + <td></td> + <td>1980</td> + <td>1981</td> + <td>1982</td> + <td></td> + <td>2020<br /><i>See</i> 131,<br />147, 150</td> + <td>2021<br /><i>See</i> 144</td> + <td>2022</td> + <td>2023</td> + <td>2024<br /><i>See</i> 163</td> + <td>2025=123</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td>1983</td> + <td></td> + <td>2030<br /><i>See</i> 132</td> + <td>2031<br /><i>See</i> 134,<br />146, 149</td> + <td>2032<br /><i>See</i> 1811, 1812</td> + <td>2033</td> + <td>2034<br /><i>See</i> 124</td> + <td>2035</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhoriza" colspan="2"><table border="0" cellpadding="0" cellspacing="0" style="width: 11em;" summary="horizontal bracket"><tr><td class="horizabove" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> +</tr> +<tr> + <td class="under"></td> + <td class="under"></td> + <td class="under"></td> + <td class="under">1984<br />131, 147</td> + <td class="under"></td> + <td class="under">2040</td> + <td class="under">2041</td> + <td class="under">2042</td> + <td class="under">2043=123</td> + <td class="under">2044<br /><i>See</i> 131, 147</td> + <td class="under">2045<br /><i>See</i> 132, 150</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2000</td> + <td>2050</td> + <td>2051</td> + <td>2052</td> + <td>2053</td> + <td>2054</td> + <td>2055</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2001<br /><i>See</i> 182</td> + <td>2060</td> + <td>2061</td> + <td>2062</td> + <td>2063</td> + <td>2064</td> + <td>2065</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2002=122</td> + <td>2070</td> + <td>2071</td> + <td>2072</td> + <td>2073</td> + <td>2074</td> + <td>2075</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2003=2021<br /><i>See</i> 130</td> + <td>2080</td> + <td>2081</td> + <td>2082</td> + <td>2083</td> + <td>2084</td> + <td>2085</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2004</td> + <td>2090</td> + <td>2091</td> + <td>2092</td> + <td>2093</td> + <td>2094</td> + <td>2095</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2005</td> + <td>3000</td> + <td>3001</td> + <td>3002</td> + <td>3003</td> + <td>3004</td> + <td>3005</td> +</tr> +<tr> + <td rowspan="2" style="padding: 0;"><table border="0" cellpadding="0" cellspacing="0" summary=""><tr><td style="vertical-align: middle;">*</td> <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> <br /> <br /> </td> + </tr> + </table></td></tr></table></td> + <td>1976</td> + <td>1978</td> + <td></td> + <td>2006<br /><i>See</i> 1902,<br />1903</td> + <td>3010</td> + <td>3011</td> + <td>3012</td> + <td>3013</td> + <td>3014</td> + <td>3015</td> +</tr> +<tr> + <td>1977</td> + <td>1979</td> + <td></td> + <td>2007<br /><i>See</i> 182?</td> + <td>3020</td> + <td>3021</td> + <td>3022</td> + <td>3023</td> + <td>3024</td> + <td>3025</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2008</td> + <td>3030</td> + <td>3031</td> + <td>3032</td> + <td>3033</td> + <td>3034</td> + <td>3035</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2009</td> + <td>3040</td> + <td>3041</td> + <td>3042</td> + <td>3043</td> + <td>3044</td> + <td>3045</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2010<br /><i>See</i> 184</td> + <td>3050</td> + <td>3051</td> + <td>3052</td> + <td>3053</td> + <td>3054</td> + <td>3055</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2011<br /><i>See</i> 131, 2020</td> + <td>3060</td> + <td>3061</td> + <td>3062</td> + <td>3063</td> + <td>3064</td> + <td>3065</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2012</td> + <td>3070</td> + <td>3071</td> + <td>3072</td> + <td>3073</td> + <td>3074</td> + <td>3075</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2013</td> + <td>3080</td> + <td>3081</td> + <td>3082</td> + <td>3083</td> + <td>3084</td> + <td>3085</td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td>2014</td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +</table> + +<div class="center" style="font-size: 90%;"> +* These four each side of the main stem of the cross. 1976=<i>Ezanab</i>—a +Maya <a name="corr3" id="corr3"></a><ins class="correction" title="day.">day</ins></div> + +<div class="figcenter" style="width: 548px; margin-top: 4em;"> +<a name="fig48" id="fig48"></a><a href="images/fig48-full.jpg"><img src="images/fig48.jpg" width="548" height="315" alt="Fig. 48.—The Palenquean Group of the Cross." title="" /></a> +<span class="caption"><span class="smcap">Fig. 48.</span>—The Palenquean Group of the Cross.</span> +</div> + + +<p><span class='pagenum'><a name="Page_221" id="Page_221">[221]</a></span></p> + +<h3 class="sectionhead"><a name="IV" id="IV"></a>IV.<br /> +IN WHAT ORDER ARE THE HIEROGLYPHS READ?</h3> + + +<p>Before any advance can be made in the deciphering of the hieroglyphic +inscriptions, it is necessary to know in what directions, along what +lines or columns, the verbal sense proceeds.</p> + +<p>All the inscriptions that I know of are in rectangular figures. At Copan +they are usually in squares. At Palenque the longest inscriptions are in +rectangles. At Palenque again, there are some cases where there is a +single horizontal line of hieroglyphs over a pictorial tablet. Here +clearly the only question is, do the characters proceed from left to +right, or from right to left? In other cases as in the tablet of the +cross, there are vertical columns. The question here is, shall we read +up or down?</p> + +<p>Now, the hieroglyphs must be phonetic or pictorial, or a mixture of the +two. If they are phonetic, it will take more than one symbol to make a +word, and we shall have groups of like characters when the same word is +written in two places. If the signs are pictorial, the same thing will +follow; that is, we shall have groups recurring when the same idea +recurs. Further, we know that the subjects treated of in these tablets +must be comparatively simple, and that <i>names</i>, as of gods, kings, etc., +must necessarily recur.</p> + +<p>The <i>names</i>, then, will be the first words deciphered. At present no +single name is known. These considerations, together with our system of +nomenclature, will enable us to take some steps.</p> + +<p>Take, for example, the right-hand side of the Palenque cross tablet as +given by <span class="smcap">Rau</span>. <i>See</i> our <a href="#fig48">figure 48</a>, which is Plate LVI of <span class="smcap">Stephens</span> (vol. +ii, p. 345), with the addition of the part now in the National Museum at +Washington.</p> + +<p style="margin-top: 2em;">Our system of numbering is here</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="Order of hieroglyphs"> +<tr> + <td class="padded">2020</td> + <td class="padded">2021</td> + <td class="padded">2022</td> + <td class="padded">2023</td> + <td class="padded">2024</td> + <td class="padded">2025</td> +</tr> +<tr> + <td class="padded">2030</td> + <td class="padded">2031</td> + <td class="padded">2032</td> + <td class="padded">2033</td> + <td class="padded">2034</td> + <td class="padded">2035</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="padded">3080</td> + <td class="padded">3081</td> + <td class="padded">3082</td> + <td class="padded">3083</td> + <td class="padded">3084</td> + <td class="padded">3085</td> +</tr> +</table> + +<p>Now pick out the duplicate hieroglyphs in this; that is, run through the +tablet, and wherever 2020 occurs erase the number which fills the place +and write in 2020. Do the same for 2021, 2022, etc., down to 3084. The +result will be as follows:</p> + +<p class="tabletitle"><span class='pagenum'><a name="Page_222" id="Page_222">[222]</a></span>RIGHT-HAND SIDE OF PALENQUE CROSS TABLET (<span class="smcap">Rau</span>).</p> + +<table class="glyphs" summary="Plate LVI glyphs"> +<tr> + <td class="above"></td> + <td class="above">2020</td> + <td class="above"> </td> + <td class="above">2021</td> + <td class="above"></td> + <td class="above">2022</td> + <td class="above"></td> + <td class="above">2023</td> + <td class="above"></td> + <td class="above">2024</td> + <td class="above"> </td> + <td class="above">2025</td> + <td></td> +</tr> +<tr> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6.5em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">2030</td> + <td class="above"></td> + <td class="above">2031</td> + <td class="above"></td> + <td class="above">2032</td> + <td class="above"></td> + <td class="above">2033</td> + <td class="above"></td> + <td class="above">2034</td> + <td class="above"></td> + <td class="above">2035</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">2040</td> + <td class="above"></td> + <td class="above">2041</td> + <td class="above"></td> + <td class="above">2042</td> + <td class="vert above" rowspan="3"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> </td> + </tr> + </table></td> + <td class="above">2025</td> + <td class="above"></td> + <td class="above">2020</td> + <td class="above"></td> + <td class="above">2021</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">2050</td> + <td class="above"></td> + <td class="above">2051</td> + <td class="above"></td> + <td class="above">2034</td> + <td class="above">2053</td> + <td class="above"></td> + <td class="above">2054</td> + <td class="above"></td> + <td class="above">2055</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>2053</td> + <td></td> + <td>2061</td> + <td></td> + <td>2062</td> + <td></td> + <td>2063</td> + <td></td> + <td>2064</td> + <td></td> + <td>2065</td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">2070</td> + <td class="above"></td> + <td class="above">2071</td> + <td class="above"></td> + <td class="above">2020</td> + <td class="above"></td> + <td class="above">2021</td> + <td class="above"></td> + <td class="above">2022?</td> + <td class="above"></td> + <td class="above">2024?</td> + <td class="above" rowspan="3"><table border="0" cellpadding="0" cellspacing="0" summary=""><tr> <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertright"> <br /> <br /> </td> + </tr> + </table></td><td style="vertical-align: middle;">?</td></tr></table></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>2053</td> + <td></td> + <td>2020</td> + <td></td> + <td>2082</td> + <td></td> + <td>2083</td> + <td></td> + <td>2025</td> + <td></td> + <td>2053</td> +</tr> +<tr> + <td></td> + <td>2021</td> + <td></td> + <td>2091</td> + <td></td> + <td>2092</td> + <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> </td> + </tr> + </table></td> + <td>2025</td> + <td></td> + <td>2094</td> + <td></td> + <td>2095</td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">3000</td> + <td class="above"></td> + <td class="above">2023</td> + <td class="above"></td> + <td class="above">2034</td> + <td class="above">2053</td> + <td class="above"></td> + <td class="above">2033</td> + <td class="above"></td> + <td class="above">3005</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td></td> + <td>3010</td> + <td></td> + <td>2083</td> + <td></td> + <td>3012</td> + <td></td> + <td>2024</td> + <td></td> + <td>3014</td> + <td></td> + <td>2091</td> + <td></td> +</tr> +<tr> + <td></td> + <td>2053</td> + <td></td> + <td>3021</td> + <td></td> + <td>2023</td> + <td></td> + <td>2020</td> + <td></td> + <td>3024</td> + <td></td> + <td>2024</td> + <td></td> +</tr> +<tr> + <td class="vert above" rowspan="4"><table border="0" cellpadding="0" cellspacing="0" summary=""><tr><td style="vertical-align: middle;">?</td> <td class="vert" rowspan="2"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> </td> + </tr> + </table></td></tr></table></td> + <td class="above">2024</td> + <td class="above"></td> + <td class="above">2025</td> + <td class="above"></td> + <td class="above">2021</td> + <td class="above"></td> + <td class="above">3033</td> + <td class="vert above" rowspan="3"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> </td> + </tr> + </table></td> + <td class="above">2025</td> + <td class="above"></td> + <td class="above">2034*</td> + <td class="above"></td> +</tr> +<tr> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb"><table border="0" cellpadding="0" cellspacing="0" style="width: 2em;" summary="horizontal bracket"><tr><td class="bl bb" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> +</tr> +<tr> + <td class="above">2053*</td> + <td class="above"></td> + <td class="above">3021</td> + <td class="above"></td> + <td class="above">3042</td> + <td class="above"></td> + <td class="above">3043</td> + <td class="above">2035</td> + <td class="above"></td> + <td class="above">3045</td> + <td class="above"></td> +</tr> +<tr> + <td class="holdhorizb"><table border="0" cellpadding="0" cellspacing="0" style="width: 2em;" summary="horizontal bracket"><tr><td class="br bb" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">3050<br /><i>See</i> 2082</td> + <td class="above"></td> + <td class="above">2083</td> + <td class="vert above" rowspan="3"><table border="0" cellpadding="0" cellspacing="0" summary="bracket"> + <tr> + <td class="vertleft"> <br /> <br /> </td> + </tr> + </table></td> + <td class="above">2025</td> + <td class="above"></td> + <td class="above">2034</td> + <td class="above"></td> + <td class="above">3054</td> + <td class="above"></td> + <td class="above">3055</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">2024</td> + <td class="above"></td> + <td class="above">2020</td> + <td class="above">2035</td> + <td class="above"></td> + <td class="above">3063</td> + <td class="above"></td> + <td class="above">2024</td> + <td class="above"></td> + <td class="above">2025</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">2021</td> + <td class="above"></td> + <td class="above">2031</td> + <td class="above"></td> + <td class="above">2020</td> + <td class="above"></td> + <td class="above">2021</td> + <td class="above"></td> + <td class="above">2035</td> + <td class="above"></td> + <td class="above">3045</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> +</tr> +<tr> + <td class="above"></td> + <td class="above">3080</td> + <td class="above"></td> + <td class="above">3081</td> + <td class="above"></td> + <td class="above">2091</td> + <td class="above"></td> + <td class="above">2093</td> + <td class="above"></td> + <td class="above">2020</td> + <td class="above"></td> + <td class="above">2021</td> + <td class="above"></td> +</tr> +<tr> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td></td> + <td class="holdhorizb" colspan="3"><table border="0" cellpadding="0" cellspacing="0" style="width: 6em;" summary="horizontal bracket"><tr><td class="horizbelow" style="line-height: 0.5em; padding: 0em;"> </td></tr></table></td> + <td></td> +</tr> +</table> + +<div class="tablenotes"> +14 cases of horizontal pairs; 4 cases of vertical pairs; 102<br /> +characters in all, of which 51 appear more than once, so that<br /> +there are but 51 independent hieroglyphs. +</div> + +<p style="margin-top: 3em;">Here the first two lines are unchanged. In the third line we find that +2043 is the same as 2025, 2044=2020, 2045=2021, and so on, and we write +the smallest number in each case.</p> + +<p>After this is done, connect like pairs by braces whenever they are +consecutive, either vertical or horizontal. Take the pair 2020 and 2021 +for example; 2020 occurs eight times in the tablet, viz, as 2020, 2044, +2072, 2081, 3023, 3061, 3072, 3084. In five out of the eight cases, it +is followed by 2021, viz, as 2021, 2045, 2073, 3073, 3085.</p> + +<p>It is clear this is not the result of accident. The pair 2020 and 2021 +means something, and when the two characters occur together they must be +read together. There is no point of punctuation between them. We<span class='pagenum'><a name="Page_223" id="Page_223">[223]</a></span> also +learn that they are not inseparable. 2020 will make sense with 2082, +3024 and 3062. Here it looks as if the writing must be read in <i>lines</i> +horizontally. We do not know yet in which direction.</p> + +<p>We must examine other cases. This is to be noticed: If the reading is in +horizontal lines from left to right, then the progress is from top to +bottom in columns, as the case of 3035 and 3040 shows. This occurs at +the end of a line, and the corresponding <i>chiffre</i> required to make the +pair is at the other end of the next line. I have marked this case with +asterisks. If we must read in the lines from right to left we must +necessarily read in columns from bottom to top. Thus the <i>lines</i> are +connected.</p> + +<p>A similar process with all the other tablets in <span class="smcap">Stephens</span> leads to the +conclusion that the reading is in lines horizontally and in columns +vertically. The cases 1835-’45, 1885-’95, 1914-’24, and 1936-’46 should, +however, be examined. We have now to decide at which end of the lines to +begin. The reasons given by Mr. <span class="smcap">Bancroft</span> (<i>Native Races</i>, vol. ii, p. +782) appeared to me sufficient to decide the question before I was +acquainted with his statement of them.</p> + +<p>Therefore, the sum total of our present data, examined by a rational +method, leads to the conclusion, so far as we can know from these data, +that the verbal sense proceeded in <i>lines</i> from left to right, in +<i>columns</i> from top to bottom; just as the present page is written, in +fact.</p> + +<p>For the present, the introduction of the method here indicated is the +important step. It has, as yet, been applied only to the plates of +<span class="smcap">Stephens’</span> work. The definite conclusion should be made to rest on <i>all +possible</i> data, some of which is not at my disposition at present. +Tablets exist in great numbers at other points besides Palenque, and for +the final conclusion these must also be consulted. If each one is +examined in the way I have indicated, it will yield a certain answer. +The direction of reading for that plate can be thus determined. At +Palenque the progress is in the order I have indicated.</p> + + + +<h3 class="sectionhead"><a name="V" id="V"></a>V.<br /> + +THE CARD-CATALOGUE OF HIEROGLYPHS.</h3> + + +<p>It has already been explained how a system of nomenclature was gradually +formed. As I have said, this is not perfect, but it is sufficiently +simple and full for the purpose. By it, every plate in <span class="smcap">Stephens’</span> work +receives a number and every hieroglyph in each plate is likewise +numbered.</p> + +<p>This was first done in my private copy of the work. I then procured +another copy and duplicated these numbers both for plates and single +<i>chiffres</i>. The plates of this copy were then cut up into single +hiero<span class='pagenum'><a name="Page_224" id="Page_224">[224]</a></span>glyphs and each single hieroglyph was mounted on a library card, +as follows:</p> + +<table class="bbox" border="0" cellpadding="0" cellspacing="0" summary="catalog card"> +<tr> + <td class="tdc">No. 2020.</td> + <td colspan="2" class="tdc bl bb br">Hieroglyph.</td> + <td class="tdc">Plate LVI.</td> +</tr> +<tr> + <td style="width: 30%;"> </td> + <td style="width: 20%;"> </td> + <td style="width: 20%;"> </td> + <td style="width: 30%;"> </td> +</tr> +<tr> + <td class="bt center" colspan="2" style="width: 60%">Same as Numbers.</td> + <td class="bt bl center" colspan="2" style="width: 40%">Similar to Numbers.</td> +</tr> +<tr> + <td colspan="2" style="border-bottom: black dotted 1px;"> </td> + <td colspan="2" class="bl" style="border-bottom: black dotted 1px;"> </td> +</tr> +<tr> + <td colspan="2" style="border-bottom: black dotted 1px;"> </td> + <td colspan="2" class="bl" style="border-bottom: black dotted 1px;"> </td> +</tr> +<tr> + <td colspan="2" style="border-bottom: black dotted 1px;"> </td> + <td colspan="2" class="bl" style="border-bottom: black dotted 1px;"> </td> +</tr> +<tr> + <td colspan="2" style="border-bottom: black dotted 1px;"> </td> + <td colspan="2" class="bl" style="border-bottom: black dotted 1px;"> </td> +</tr> +<tr> + <td colspan="2" style="border-bottom: black dotted 1px;"> </td> + <td colspan="2" class="bl" style="border-bottom: black dotted 1px;"> </td> +</tr> +<tr> + <td> </td> + <td> </td> + <td class="bl"> </td> + <td> </td> +</tr> +</table> + +<p>The cards were 6.5 by 4.5 inches. The <i>chiffre</i> was pasted on, in the +center of the top space. Its number and the plate from which it came +were placed as in the cut. The numbers of hieroglyphs which resembled +the one in question could be written on the right half of the card, and +the numbers corresponding to different recurrences of this hieroglyph +occupied the left half.</p> + +<p>All this part of the work was most faithfully and intelligently +performed for me by Miss <span class="smcap">Mary Lockwood</span>, to whom I desire to express the +full amount of my obligations. A mistake in any part would have been +fatal. But no mistakes occurred.</p> + +<p>These cards could now be arranged in any way I saw fit. The simple +<i>chiffres</i>, for example, could be placed so as to bring like ones +together. A compound hieroglyph could be placed among simple ones +agreeing with any one of its components, and so on.</p> + +<p>The expense of forming this card catalogue of about 1,500 single +hieroglyphs was borne by the Ethnological Bureau of the Smithsonian +Institution, and the catalogue is the property of that bureau, forming +only one of its many rich collections of American picture-writings.</p> + + + +<h3 class="sectionhead"><a name="VI" id="VI"></a>VI.<br /> + +COMPARISON OF PLATES I AND IV (COPAN).</h3> + + +<p>In examining the various statues at Copan, as given by <span class="smcap">Stephens</span>, one +naturally looks for points of striking resemblance or striking +difference. Where all is unknown, even the smallest sign is examined, in +the hope that it may prove a clue. The Plate I, <a href="#fig49">Fig. 49</a>, has a twisted +knot (the “square knot” of sailors) of cords over its head, and above +this is a <i>chiffre</i> composed of ellipses, and above this again a sign +like a sea-shell. A natural suggestion was that these might be the signs +for the name of the personage depicted in Plate I. If this is so and we +should find the same sign elsewhere in connection with a figure, we +should expect to find this second figure like the first in every +particular. This would be<span class='pagenum'><a name="Page_225" id="Page_225">[225]</a></span> a rigid test of the theory. After looking +through the Palenque series, and finding no similar figure and sign, I +examined the Copan series, and in Plate IV, our <a href="#fig50">Fig. 50</a>, I found the +same signs exactly; <i>i. e.</i>, the knot and the two <i>chiffres</i>.</p> + +<table border="0" cellpadding="0" cellspacing="0" style="width: 100%;" summary=""> +<tr> + <td class="tdc" style="vertical-align: bottom;"><a name="fig49" id="fig49"></a><a href="images/fig49-full.jpg"><img src="images/fig49.jpg" width="295" height="500" alt="Fig. 49.—Statue at Copan." title="" /></a><br /> +<span class="caption"><span class="smcap">Fig. 49.</span>—Statue at Copan.</span></td> + <td class="tdc" style="vertical-align: bottom;"><a name="fig50" id="fig50"></a><a href="images/fig50-full.jpg"><img src="images/fig50.jpg" width="287" height="463" alt="Fig. 50.—Statue at Copan." title="" /></a><br /> +<span class="caption"><span class="smcap">Fig. 50.</span>—Statue at Copan.</span></td> +</tr> +</table> + +<p style="clear: both;">At first sight there is only the most general resemblance between the +personages represented in the two plates; as <span class="smcap">Stephens</span> says in his +original account of them, they are “in many respects similar.” If he had +known them to be the same, he would not have wasted his time in drawing +them. The scale of the two drawings and of the two statues is different; +but the two personages are the same identically. Figure for figure, +ornament for ornament, they correspond. It is unnecessary to give the +minute comparison here in words. It can be made by any one from the two +plates herewith. Take any part of Plate I, find the corresponding part +of Plate IV, and whether it is human feature or sculptured ornament the +two will be found to be the same.</p> + +<p>Take the middle face depending from the belt in each plate. The earrings +are the same; the ornament below the chin, the knot above the head, the +complicated beadwork on each side of this face, all are the same. The +bracelets of the right arms of the main figures have each the forked +serpent tongue, and the left-arm bracelets are ornamented alike. The +crosses with beads almost inclosed in the right hands are alike; the +elliptic ornaments above each wrist, the knots and <i>chiffres</i> over the +serpent masks which surmount the faces, all are the same. In the steel +plates given by <span class="smcap">Stephens</span> there are even more <a name="corr4" id="corr4"></a><ins class="correction" title="coincidences">coindences</ins> to be seen +than in the excellent wood-cuts here given, which have been copied from +them.</p> + +<p>Here, then, is an important fact. The theory that the <i>chiffre</i> over the +forehead is characteristic, though it is not definitively proved, +receives strong confirmation. The parts which have been lost by the +effects of time on one statue can be supplied from the other. Better +than all, we gain a test of the minuteness with which the sculptors +worked, and an idea of how close the adherence to a type was required to +be. Granting once that the two personages are the same (a fact about +which I conceive there can be no possible doubt, since the chances in +favor are literally thousands to one), we learn what license was +allowed, and what synonyms in stone might be employed. Thus, the +ornament suspended from the neck in Plate IV is clearly a tiger’s skull. +That from the neck of Plate I has been shown to be the derived form of a +skull by Dr. <span class="smcap">Harrison Allen</span>,<a name="Anchor_225-1" id="Anchor_225-1"></a><a title="Go to footnote 225-1" href="#Footnote_225-1" class="fnanchor">225-*</a> and we now know that this common +form relates not to the human skull, as Dr. <span class="smcap">Allen</span> has supposed, but to +that of the tiger. We shall find this figure often repeated, and the +identification is of importance. This is a case in regard to synonyms. +The kind of symbolism so ably treated by Dr. <span class="smcap">Allen</span> is well exemplified +in the conventional sign for the <i>crotalus</i> jaw at the mouth of the mask +over the head of each figure. This is again found on the body of the +snake in<span class='pagenum'><a name="Page_226" id="Page_226">[226]</a></span> Plate LX, and in other places. Other important questions can +be settled by comparison of the two plates. For example, at Palenque we +often find a sign composed of a half ellipse, inside of which bars are +drawn. <span class="figleft"><img style="vertical-align: middle;" src="images/illus-226.jpg" width="100" height="55" alt="Half-circle with 3 lines drawn across" title="" /></span> + I shall elsewhere show that there is reason to +believe the ellipse is to represent the concave of the sky, its diameter +to be the level earth, and in some cases at least the bars to be the +descending and fertilizing rain. The bars are sometimes two, three, and +sometimes four in number. Are these variants of a single sign, or are +they synonyms? Before the discovery of the identity of the personages in +these two plates, this question could not be answered. Now we can say +that they are not synonyms, or at least that they must be considered +separately. To show this, examine the bands just above the wristlets of +the two figures. Over the left hands of the figures the bars are two in +number; over the right hands there are four. This exact similarity is +not accidental; there is a meaning in it, and we must search for its +explanation elsewhere, but we now have a valuable test of what needs to +be regarded, and of what, on the other hand, may be passed over as +accidental or unimportant.</p> + +<p>One other case needs mentioning here, as it will be of future use. From +the waist of each figure depend nine oval solids, six being hatched over +like pine cones and the three central ones having two ovals, one within +the other, engraved on them. In Plate IV the inner ovals are all on the +right-hand side of the outer ovals. Would they mean the same if they +were on the left-hand side? Plate I enables us to say that they would, +since one of these inner ovals has been put by the artist on that side +by accident or by an allowed caprice. It is by furnishing us with tests +and criteria like these that the proof of the identity of these two +plates is immediately important. In other ways, too, the proof is +valuable and interesting, but we need not discuss them at this time.</p> + +<p>These statues, then, are to us a dictionary of synonyms in stone—a test +of the degree of adherence to a prototype which was exacted, and a +criterion of the kind of minor differences which must be noticed in any +rigid study.</p> + +<p>I have not insisted more on the resemblances, since the accompanying +figures present a demonstration. Let those who wish to verify these +resemblances compare minutely the ornaments above the knees of the two +figures, those about the waists, above the heads, and the square knots, +etc., etc.<span class='pagenum'><a name="Page_227" id="Page_227">[227]</a></span></p> + + + +<h3 class="sectionhead"><a name="VII" id="VII"></a>VII.<br /> + +ARE THE HIEROGLYPHS OF COPAN AND PALENQUE IDENTICAL?</h3> + + +<p>One of the first questions to be settled is whether the same system of +writing was employed at Palenque and at Copan. Before any study of the +meanings of the separate <i>chiffres</i> can be made, we must have our +material properly assorted, and must not include in the figures we are +examining for the detection of a clue, any which may belong to a system +possibly very different.</p> + +<p>The opinion of <span class="smcap">Stephens</span> and of later writers is confirmed by my +comparison of the Palenque and the Copan series; that is, it becomes +evident that the latter series is far the older.</p> + +<p>In Nicaragua and Copan the statues of gods were placed at the foot of +the pyramid; farther north, as at Palenque, they were placed in temples +at the summit. Such differences show a marked change in customs, and +must have required much time for their accomplishment. In this time did +the picture-writing change, or, indeed, was it ever identical?</p> + +<p>To settle the question whether they were written on the same system, I +give here the results of a rapid survey of the card-catalogue of +hieroglyphs. A more minute examination is not necessary, as the present +one is quite sufficient to show that the system employed at the two +places was the same in its general character and almost identical even +in details. The practical result of this conclusion is that similar +characters of the Copan and Palenque series may be used interchangeably.</p> + +<p>A detailed study of the undoubted synonyms of the two places will afford +much light on the manner in which these characters were gradually +evolved. This is not the place for such a study, but it is interesting +to remark how, even in unmistakable synonyms, the Palenque character is +always the most conventional, the least pictorial; that is, the latest. +Examples of this are No. 7, Plate V<sup class="a">a</sup>, and No. 1969, Plate LVI. The +<i>mask</i> in profile which forms the left-hand edge of No. 7 seems to have +been conventionalized into the two hooks and the ball, which have the +same place in No. 1969.</p> + +<div class="figcenter" style="width: 300px;"> +<a name="fig51" id="fig51"></a><a href="images/fig51-full.jpg"><img src="images/fig51.jpg" width="300" height="81" alt="Fig. 51.—Synonomous hieroglyphs from Copan and +Palenque." title="" /></a> +<span class="caption"><span class="smcap">Fig. 51.</span>—<a name="corr5" id="corr5"></a><ins class="correction" title="Synonymous">Synonomous</ins> hieroglyphs from Copan and +Palenque.</span> +</div> + +<p>The larger of these two was cut on stone, the smaller in stucco.</p> + +<p>The mask has been changed into the ball and hooks; the angular nose +ornament into a single ball, easier to make and quite as significant to +the Maya priest. But to us the older (Copan) figure is infinitely more +significant. The curious rows of little balls which are often placed at<span class='pagenum'><a name="Page_228" id="Page_228">[228]</a></span> +the left-hand edge of the various <i>chiffres</i> are also conventions for +older forms. It is to be noted that these balls always occur on the left +hand of the hieroglyphs, except in one case, the <i>chiffre</i> 1975 in the +Palenque cross tablet, on which the left-hand acolyte stands.</p> + +<p>The conclusion that the two series are both written on the same system, +and that like <i>chiffres</i> occurring at the two places are synonyms, will, +I think, be sufficiently evident to any one who will himself examine the +following cases. It is the <i>nature</i> of the agreements which proves the +thesis, and not the number of cases here cited. The reader will remember +that the Copan series comprises Plates I to XXIII, inclusive; the +Palenque series, Plate XXIV and higher numbers.</p> + +<p>The sign of the group of Mexican gods who relate to hell, <i>i. e.</i>, a +circle with a central dot, and with four small segments cut out at four +equally distant points of its circumference, is found in No. 4291, Plate +XXII, and in many of the Palenque plates, as Plate LVI, Nos. 2090, 2073, +2045, 2021, etc. In both places this sign is worn by human figures just +below the ear.</p> + +<p>The same sign occurs as an important part of No. 4271, Plate XXII, and +No. 4118, Plate XIII (Copan), and No. 2064, Plate LVI (Palenque), etc.</p> + +<p>No. 7, Plate V<sup class="a">a</sup>, and No. 1969, Plate LVI, I regard as absolutely +identical. These are both human figures. No. 12, Plate V<sup class="a">a</sup>, and No. +637, Plate LIII, are probably the same. These probably represent or +relate to the long-nosed divinity, <span class="smcap">Yacateuctli</span>, the Mexican god of +commerce, etc., or rather to his Maya representative.</p> + +<p>The sign of <span class="smcap">Tlaloc</span>, or rather the family of <span class="smcap">Tlalocs</span>, the gods of rain, +floods, and waters, is an eye (or sometimes a mouth), around which there +is a double line drawn. I take No. 26, Plate V<sup class="a">a</sup>, of the Copan series, +and Nos. 154 and 165, Plate XXIV, to be corresponding references to +members of this family. No. 4, Plate V<sup class="a">a</sup>, and No. 155 also correspond.</p> + +<p>No. 4242, Plate XXII, is probably related to No. 53, Plate XXIV and its +congeners.</p> + +<p>Nos. 14 and 34, Plate V<sup class="a">a</sup>, are clearly related to No. 900, Plate LIV, +Nos. 127 and 176, Plate XXIV, No. 3010, Plate LVI, and many others.</p> + +<p>Plate III<sup class="a">a</sup> of Copan is evidently identically the same as the No. 75 +of the Palenque Plate No. XXIV.</p> + +<p>The right half of No. 27, Plate V<sup class="a">a</sup>, is the same as the right half of +Nos. 3020, 3040, and many others of Plate LVI.</p> + +<p>No. 17, Plate V<sup class="a">a</sup>, is related to No. 2051, Plate LVI, and many others +like it.</p> + +<p>The major part of No. 4105, Plate XIII, is the same as No. 124, Plate +XXIV, etc.</p> + +<div class="figcenter" style="width: 434px;"> +<a name="fig52" id="fig52"></a><a href="images/fig52-full.jpg"><img src="images/fig52.jpg" width="434" height="500" alt="Fig. 52.—Yucatec Stone." title="" /></a> +<span class="caption"><span class="smcap">Fig. 52.</span>—Yucatec Stone.</span> +</div> + +<p>It is not necessary to add a greater number of examples here. The +card-catalogue which I have mentioned enables me to at once pick out all +the cases of which the above are specimens, taken just as they fell +under my eye in rapidly turning over the cards. They therefore represent +the<span class='pagenum'><a name="Page_229" id="Page_229">[229]</a></span> <i>average</i> agreement, neither more nor less. Taken together they +show that the same signs were used at Copan and at Palenque. As the same +symbols used at both places occur in like positions in regard to the +human face, etc., I conclude that not only were the same signs used at +both places, but that these signs had the same meaning; <i>i. e.</i>, were +truly synonyms. In future I shall regard this as demonstrated.</p> + + + +<h3 class="sectionhead"><a name="VIII" id="VIII"></a>VIII.<br /> + +HUITZILOPOCHTLI (MEXICAN GOD OF WAR), TEOYAOMIQUI (MEXICAN GODDESS OF +DEATH), MICLANTECUTLI (MEXICAN GOD OF HELL), AND TLALOC (MEXICAN +RAIN-GOD), CONSIDERED IN RELATION TO CENTRAL AMERICAN DIVINITIES.</h3> + + +<p>In the <i>Congrès des Américanistes, session de Luxembourg</i>, vol. ii, p. +283, is a report of a memoir of Dr. <span class="smcap">Leemans</span>, entitled “Description de +quelques antiquités américaines conservées dans le Musée royal +néerlandais d’antiquités à Leide.” On page 299 we find—</p> + +<div class="blockquot"><p>M. <span class="smcap">G.-H.-Band</span>, de Arnhiem, a eu la bonté de me confier quelques +antiquités provenant des anciens habitants du Yucatan et de +l’Amérique Centrale, avec autorisation d’en faire prendre des +fac-similes pour le Musée, ce qui me permet de les faire connaître +aux membres du Congrès. Elles ont été trouvées enfouies à une +grande profondeur dans le sol, lors de la construction d’un canal, +vers la rivière Gracioza, près de San Filippo, sur la frontière du +Honduras britannique et de la république de Guatémala par M. +S.-A.-van <span class="smcap">Braam</span>, ingénieur néerlandais au service de la +Guatémala-Company.</p></div> + +<p>From the maps given in <span class="smcap">Stieler’s</span> Hand-Atlas and in <span class="smcap">Bancroft’s</span> Native +Races of the Pacific States I find that these relics were found 308 +miles from Uxmal, 207 miles from Palenque, 92 miles from Copan, and 655 +miles from the city of Mexico, the distances being in a straight line +from place to place.</p> + +<p>The one of these objects with which we are now concerned is figured in +Plate (63) of the work quoted, and is reproduced here as <a href="#fig52">Fig. 52</a>.</p> + +<p>Dr. <span class="smcap">Leemans</span> refers to a similarity between this figure and others in +Stephens’ Travels in Central America, but gives no general comparison.</p> + +<p>I wish to direct attention to some of the points of this cut. The +<i>chiffre</i> or symbol of the principal figure is, perhaps, represented in +his belt, and is a St. Andrew’s cross, with a circle at each end of it. +Inside the large circle is a smaller one. It may be said, in passing, +that the cross probably relates to the <i>air</i> and the circle to the +<i>sun</i>.</p> + +<p>The main figure has two hands folded against his breast. Two other arms +are extended, one in front, the other behind, which carry two birds. +Each arm has a bracelet. This second pair of hands is not described by +Dr. <span class="smcap">Leemans</span>. The two birds are exact duplicates, except that the eye of +one is shut, of the other open. Just above the bill of each bird is +something which might be taken as a second bill (which probably is not,<span class='pagenum'><a name="Page_230" id="Page_230">[230]</a></span> +however), and on this and on the back of each bird are five spines or +claws. The corresponding claws are curved and shaped alike in the two +sets. The birds are fastened to the neck of the person represented by +two ornaments, which are alike, and which seem to be the usual +hieroglyph of the <i>crotalus</i> jaw. These jaws are placed similarly with +respect to each bird. In <span class="smcap">Kingsborough’s</span> Mexican Antiquities, vol. I, +Plate X, we find the parrot as the sign of <span class="smcap">Tonatihu</span>, the sun, and in +Plate XXV with <span class="smcap">Naolin</span>, the sun. On a level with the nose of the +principal figure are two symbols, one in front and one behind, each +inclosing a St. Andrew’s cross, and surmounted by what seems to be a +flaming fire. It is probably the <i>chiffre</i> of the wind, as the cross is +of the rain. Below the rear one of these is a head with protruding +tongue (the sign of <span class="smcap">Quetzalcoatl</span>); below the other a hieroglyph (perhaps +a bearded face). Each of these is upborne by a hand. It is to be +noticed, also, that these last arms have bracelets different from the +pair on the breast.</p> + +<p>In passing, it may be noted that the head in rear is under a cross, and +has on its cheek the symbol U. These are the symbols of the left-hand +figure in the Palenque cross tablet.</p> + +<p>The head hanging from the rear of the belt has an <i>open</i> eye (like that +of the principal figure), and above it is a crotalus mask, with open +eye, and teeth, and forked fangs. The principal figure wears over his +head a mask, with open mouth, and with tusks, and above this mask is the +eagle’s head. This eagle is a sign of <span class="smcap">Tlaloc</span>, at least in Yucatan. In +Mexico the eagle was part of the insignia of <span class="smcap">Tetzcatlipoca</span>, “the devil,” +who overthrew the good <span class="smcap">Quetzalcoatl</span> and reintroduced human sacrifice.</p> + +<p>The characteristics of the principal figure, 63, are then briefly as +follows:</p> + +<p>I. His <i>chiffre</i> is an air-cross with the sun-circle.</p> + +<p>II. He has four hands.</p> + +<p>III. He bears two birds as a symbol.</p> + +<p>IV. The claws or spikes on the backs of these are significant.</p> + +<p>V. The mask with tusks over the head.</p> + +<p>VI. The head worn at the belt.</p> + +<p>VII. The captive trodden under foot.</p> + +<p>VIII. The chain from the belt attached to a kind of ornament or symbol.</p> + +<p>IX. The twisted flames (?) or winds (?) on each side of the figure.</p> + +<p>X. His association with <span class="smcap">Quetzalcoatl</span> or <a name="corr6" id="corr6"></a><ins class="correction" title="Cukulcan,"><span class="smcap">Cuculkan</span>,</ins> as shown by the +mouth with protruding tongue, and with <span class="smcap">Tlaloc</span> or <span class="smcap">Tetzcatlipoca</span>, as shown +by the eagle’s head.</p> + +<p>We may note here for reference the signification of one of the +hieroglyphs in the right-hand half of <a href="#fig52">Fig. 52</a>, <i>i. e.</i>, in that half +which contains only writing. The topmost <i>chiffre</i> is undoubtedly the +name, or part of the name, of the principal figure represented in the +other half. It is in pure picture-writing; that is, it expresses the sum +of his attributes.<span class='pagenum'><a name="Page_231" id="Page_231">[231]</a></span> It has the crotalus mask, with nose ornament, which +he wears over his face; then the cross, with the “five feathers” of +Mexico, and the sun symbol. These are in the middle of the <i>chiffre</i>. +Below these the oval may be, and probably is, heaven, with the rain +descending and producing from the surface of the earth (the long axis of +the ellipse), the seed, of which three grains are depicted.</p> + +<p>We know by the occurrence of the hieroglyphs on the reverse side of the +stone that this is not of Aztec sculpture. These symbols are of the same +sort as those at Copan, Palenque, etc., and I shall show later that some +of them occur in the Palenque tablets. Hence, we know this engraving to +be Yucatec and not Aztec in its origin. If it had been sculptured on one +side only, and these hieroglyphs omitted, I am satisfied that the facts +which I shall point out in the next paragraphs would have led to the +conclusion that this stone was Mexican in its origin. Fortunately the +native artist had the time to sculpture the Yucatec hieroglyphs, which +are the proof of its true origin. It was not dropped by a traveling +Aztec; it was made by a Yucatec.</p> + +<p>In passing, it may be said that the upper left-hand, hieroglyph of Plate +XIII most probably repeats this name.</p> + +<p>I collect from the third volume of <span class="smcap">Bancroft’s</span> <i>Native Races</i>, chapter +viii, such descriptions of <span class="smcap">Huitzilopochtli</span> as he was represented among +the Mexicans as will be of use to us in our comparisons. No display of +learning in giving the references to the original works is necessary +here, since Mr. <span class="smcap">Bancroft</span> has placed all these in order and culled them +for a use like the present. It will suffice once for all to refer the +critical reader to this volume, and to express the highest sense of +obligation to Mr. <span class="smcap">Bancroft’s</span> compilation, which renders a survey of the +characteristic features of the American divinities easy.</p> + +<p>In Mexico, then, this god had, among other symbols, “five balls of +feathers arranged in the form of a cross.” This was in reference to the +mysterious conception of his mother through the <i>powers of the air</i>. The +upper hieroglyph in <a href="#fig52">Fig. 52</a>, and one of the lower ones, contain this +sign: “In his right hand he had an azured staff cutte in fashion of a +waving snake.” (See Plate LXI of <span class="smcap">Stephens</span>.) “Joining to the temple of +this idol there was a piece of less work, where there was another idol +they called <span class="smcap">Tlaloc</span>. These two idolls were alwayes together, for that +they held them as companions and of equal power.”</p> + +<p>To his temple “there were foure gates,” in allusion to the form of the +cross. The temple was surrounded by rows of skulls (as at Copan) and the +temple itself was upon a high pyramid. <span class="smcap">Solis</span> says the war god sat “on a +throne supported by a blue <a name="corr7" id="corr7"></a><ins class="correction" title="globe.”">globe.</ins> From this, supposed to represent +the heavens, projected four staves with serpents’ heads. (See Plate +XXIV, <span class="smcap">Stephens</span>.) “The image bore on its head a bird of wrought plumes,” +“its right hand rested upon a crooked serpent.” “Upon the left arm was a +buckler bearing five white plums arranged in form of a cross.” <span class="smcap">Sahagun</span> +describes his device as a dragon’s head, “frightful in the extreme, and +casting fire out of his mouth.”</p> + +<p><span class='pagenum'><a name="Page_232" id="Page_232">[232]</a></span><span class="smcap">Herrara</span> describes <span class="smcap">Huitzilopochtli</span> and <a name="corr8" id="corr8"></a><ins class="correction" title="Tetzcatlipoca"><span class="smcap">Tezcatlipoca</span></ins> together, and +says they were “beset with pieces of gold wrought like birds, beasts, +and <i>fishes</i>.” “For collars, they had ten hearts of men,” “and in their +necks Death painted.”</p> + +<p><span class="smcap">Torquemada</span> derives the <i>name</i> of the war god in two ways. According to +some it is composed of two words, one signifying “a humming bird” and +the other “a sorcerer that spits fire.” Others say that the last word +means “the left hand,” so that the whole name would mean “the shining +feathered left hand.” “This god it was that led out the Mexicans from +their own land and brought them into Anáhuac.” Besides his regular +statue, set up in Mexico, “there was another renewed every year, made of +different kinds of grains and seeds, moistened with the blood of +children.” This was in allusion to the nature-side of the god, as fully +explained by <span class="smcap">Müller</span> (<i>Americanische Urreligionen</i>).</p> + +<p>No description will give a better idea of the general features of this +god than the following cuts from <span class="smcap">Bancroft’s</span> <i>Native Races</i>, which are +copied from <span class="smcap">Leon y Gama</span>, <i>Las Dos Piedras</i>, etc. Figs. <a href="#fig53">53</a> and <a href="#fig54">54</a> are the +war god himself; <a href="#fig55">Fig. 55</a> is the back of the former statue on a larger +scale; <a href="#fig56">Fig. 56</a> is the god of hell, and was engraved on the bottom of the +block.</p> + +<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="Figs. 53 and 54"> +<tr> + <td class="tdc" style="vertical-align: bottom;"><a name="fig53" id="fig53"></a><a href="images/fig53-full.jpg"><img src="images/fig53.jpg" width="155" height="250" alt="Fig. 53.—Huitzilopochtli (front)." title="" /></a><br /> +<span class="caption"><span class="smcap">Fig. 53.—Huitzilopochtli</span> (front).</span></td> + <td class="tdc" style="vertical-align: bottom;"><a name="fig54" id="fig54"></a><a href="images/fig54-full.jpg"><img src="images/fig54.jpg" width="168" height="241" alt="Fig. 54.—Huitzilopochtli (side)." title="" /></a><br /> +<span class="caption"><span class="smcap">Fig. 54.—Huitzilopochtli</span> (side).</span></td> +</tr> +</table> + +<div class="figright"> +<a name="fig56" id="fig56"></a><a href="images/fig56-full.jpg"><img src="images/fig56.jpg" width="122" height="136" alt="Fig. 56.—Miclantecutli." title="" /></a><br /> +<span class="caption smcap">Fig. 56.—Miclantecutli.</span> +</div> + +<p style="margin-top: 4em;">These three were a trinity well nigh inseparable. It has been doubted +whether they were not different attributes of the same personage. In the +natural course of things the primitive idea would become differentiated +into its parts, and in process of time the most important of the parts +would each receive a separate pictorial representation.</p> + +<p style="clear: both;"> </p> + +<div class="figcenter" style="width: 314px;"> +<a name="fig55" id="fig55"></a><a href="images/fig55-full.jpg"><img src="images/fig55.jpg" width="314" height="500" alt="Fig. 55.—Huitzilopochtli (back)." title="" /></a> +<span class="caption"><span class="smcap">Fig.</span> 55.—<a name="corr9" id="corr9"></a><ins class="correction" title="HUITZILOPOCHTLI">Huitzilopochtli</ins> (back).</span> +</div> + + +<div class="figcenter" style="width: 500px; margin-top: 3em;"> +<a name="fig57" id="fig57"></a><a href="images/fig57-full.jpg"><img src="images/fig57.jpg" width="500" height="335" alt="Fig. 57.—Adoratorio." title="" /></a> +<span class="caption"><span class="smcap">Fig. 57.</span>—Adoratorio.</span> +</div> + +<p>By referring back a few pages the reader will find summarized the +principal characteristics of the Central American figure represented in +<a href="#fig52">Fig. 52</a>. He will also have noticed the remarkable agreement between the +attributes of this figure and<span class='pagenum'><a name="Page_233" id="Page_233">[233]</a></span> those contained in the cuts or in the +descriptions of the Mexican gods. Thus—</p> + +<p>I. The symbol of both was the cross.</p> + +<p>II. <a href="#fig52">Fig. 52</a> and <a href="#fig55">Fig. 55</a> each have four hands.<a name="Anchor_233-1" id="Anchor_233-1"></a><a title="Go to footnote 233-1" href="#Footnote_233-1" class="fnanchor">233-*</a></p> + +<p>III. Both have birds as symbols.</p> + +<p>It is difficult to regard the bird of <a href="#fig52">Fig. 52</a> as a humming bird, as it +more resembles the parrot, which, as is well known, was a symbol of some +of the Central American gods. Its occurrence here in connection with the +four arms fixes it, however, as the bird symbol of <span class="smcap">Huitzilopochtli</span>. In +the <i>Ms. Troano</i>, plate xxxi (lower right-hand figure), we find this +same personage with his two parrots, along with <span class="smcap">Tlaloc</span>, the god of rain.</p> + +<p>IV. The claws of the Mexican statue may be symbolized by the spikes on +the back of the birds in <a href="#fig52">Fig. 52</a>, but these latter appear to me to +relate rather to the fangs and teeth of the various crotalus heads of +the statues.</p> + +<p>V. The mask, with tusks, of <a href="#fig52">Fig. 52</a>, is the same as that at the top of +<a href="#fig55">Fig. 55</a>, where we see that they represent the teeth of a serpent, and +not the tusks of an animal. This is shown by the forked tongue beneath. +The three groups of four dots each on <span class="smcap">Huitzilopochtli’s</span> statue are +references to his relationship with <span class="smcap">Tlaloc</span>.</p> + +<p>With these main and striking duplications, and with other minor and +corroborative resemblances, which the reader can see for himself, there +is no doubt but that the two figures, Mexican and Yucatec, relate to the +same personage. The Yucatec figure combines several of the attributes of +the various members of the Mexican trinity named above, but we should +not be surprised at this, for, as has been said, some writers consider +that this trinity was one only of attributes and not of persons.</p> + +<p>What has been given above is sufficient to show that the personage +represented in <a href="#fig52">Fig. 52</a> is the Yucatec equivalent of <span class="smcap">Huitzilopochtli</span>, and +has relations to his trinity named at the head of this section, and also +to the family of <span class="smcap">Tlaloc</span>. I am not aware that the relationship of the +Yucatec and Aztec gods has been so directly shown, on evidence almost +purely pictorial, and therefore free from a certain kind of bias.</p> + +<p>If the conclusions above stated are true, there will be many +corroborations of them, and the most prominent of these I proceed to +give, as it involves the explanation of one of the most important +tablets of Palenque, parts of which are shown in Plates XXIV, LX, LXI, +and LXII, vol. ii, of <span class="smcap">Stephens</span>.</p> + +<p>Plate LXII, <a href="#fig57">Fig. 57</a>, represents the “Adoratorio or Alta Casa, No. 3” of +Palenque. This is nothing else than the temple of the god +<span class="smcap">Huitzilopochtli</span> and of his equal, <span class="smcap">Tlaloc</span>. The god of war is shown on a +larger scale in Plate LXI, <a href="#fig58">Fig. 58</a>, while <span class="smcap">Tlaloc</span> is given in Plate LX, +<a href="#fig59">Fig. 59</a>, and the tablet inside the temple in Plate XXIV, <a href="#fig60">Fig. 60</a>. The<span class='pagenum'><a name="Page_234" id="Page_234">[234]</a></span> +resemblances of Plate XXIV and of the Palenque cross tablet and their +meanings will be considered farther on.</p> + +<p>Returning to Plate LXII, the symbols of the roof and cornice refer to +these two divinities. The faces at the ends of the cornice, with the +double lines for eye and mouth, are unmistakable <span class="smcap">Tlaloc</span> signs. The +association of the two gods in one temple, as at Mexico, is a strong +corroboration.</p> + +<p>Let us now take Plate LXI, <a href="#fig58">Fig. 58</a>, which represents <span class="smcap">Huitzilopochtli</span>, or +rather, the Yucatec equivalent of this Aztec god. I shall refer to him +by the Aztec appelation, but I shall in future write it in italics; and +in general the Yucatec equivalents of Aztec personages in italics, and +the Aztec names in small capitals.</p> + +<p>Compare <a href="#fig52">Fig. 52</a> and the Plate LXI (<a href="#fig58">Fig. 58</a>). As the two plates are +before the reader, I need only point out the main resemblances, and, +what is more important, the differences.</p> + +<p>The sandals, the belt, its front pendant, the bracelets, the neck +ornament, the helmet, should be examined. The four hands of <a href="#fig52">Fig. 52</a> are +not in LXI, nor the parrots; but if we refer to <span class="smcap">Kingsborough</span>, Vol. II, +Plates 6 and 7 of the <span class="smcap">Laud</span> manuscript, we shall find figures of +<span class="smcap">Huitzilopochtli</span> with a parrot, and of <span class="smcap">Tlaloc</span> with the stork with a fish +in its mouth, as in the head-dress here. The prostrate figure of <a href="#fig52">Fig. 52</a> +is here led by a chain. At Labphak (<span class="smcap">Bancroft</span>, Vol. iv., p. 251), he is +held aloft in the air, and he is on what <i>may be</i> a sacrificial yoke. +The <i>Tlaloc</i> eagle is in the head of the staff carried in the hand. This +eagle is found in the second line from the bottom of <a href="#fig52">Fig. 52</a>, we may +remark in passing. Notice also the crescent moon in the ornament back of +the shoulders of the personage of <a href="#fig58">Fig. 58</a>. The twisted cords which form +the bottom of this ornament are in the hieroglyph No. 37, Plate XXIV +(<a href="#fig60">Fig. 60</a>).</p> + +<p>Turning now to Plate LX (<a href="#fig59">Fig. 59</a>).</p> + +<p>This I take to be the sorcerer <i>Tlaloc</i>. He is blowing the wind from his +mouth; he has the eagle in his head-dress, the jaw with grinders, the +peculiar eye, the four <span class="smcap">Tlaloc</span> dots over his ear and on it, the snake +between his legs, curved in the form of a yoke (this is known to be a +serpent by the conventional crotalus signs of jaw and rattles on it in +nine places), the four <span class="smcap">Tlaloc</span> dots again in his head-dress, etc. He has +a leopard skin on his back (the tiger was the earth in Mexico) and his +naked feet have peculiar anklets which should be noticed.</p> + +<p>Although I am deferring the examination of the hieroglyphs to a later +section, the <i>chiffre</i> 3201 should be noticed. It is the <span class="smcap">Tlaloc</span> eye +again, and 3203 is the <i>chiffre</i> of the Mexican gods of hell.</p> + +<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="Figs. 58 and 59"> +<tr> + <td class="tdc" style="vertical-align: bottom;"><a name="fig58" id="fig58"></a><a href="images/fig58-full.jpg"><img src="images/fig58.jpg" width="241" height="500" alt="Fig. 58.—Maya War God." title="" /></a><br /> +<span class="caption"><span class="smcap">Fig. 58.</span>—Maya War God.</span></td> + <td class="tdc" style="vertical-align: bottom;"><a name="fig59" id="fig59"></a><a href="images/fig59-full.jpg"><img src="images/fig59.jpg" width="247" height="500" alt="Fig. 59.—Maya Rain God." title="" /></a><br /> +<span class="caption"><span class="smcap">Fig. 59.</span>—Maya Rain God.</span></td> +</tr> +</table> + +<p>In passing I may just refer the reader to p. 164, Vol. ii, of <span class="smcap">Stephens’</span> +book on Yucatan, where a figure occurring at Labphax is given. This I +take to be the same as <i>Huitzilopochtli</i> of Plate LXI. Also in the MS. +<i>Troano</i>, published by <span class="smcap">Brasseur de Bourbourg</span>, a figure in Plate XXV and +in other plates sits on a hieroglyph like 3201, and is<span class='pagenum'><a name="Page_235" id="Page_235">[235]</a></span> <i>Tlaloc</i>. +This is known by the head-dress, the teeth, the air-trumpet, the serpent +symbol, etc. In Plates XXVIII, XXXI, and XXXIII of the same work +<span class="smcap">Huitzilopochtli</span> and <span class="smcap">Tlaloc</span> are represented together, in various +adventures.</p> + +<div class="figcenter" style="width: 427px; margin-top: 2em;"> +<a name="fig60" id="fig60"></a><a href="images/fig60-full.jpg"><img src="images/fig60.jpg" width="427" height="308" alt="Fig. 60.—Tablet at Palenque." title="" /></a> +<span class="caption"><span class="smcap">Fig. 60.</span>—Tablet at Palenque.</span> +</div> + +<p>In Plate LX (<a href="#fig59">Fig. 59</a>) notice also the <i>chiffre</i> on the tassels before +and behind the main personage.</p> + +<p>Now turn to the Plate XXIV (<a href="#fig60">Fig. 60</a>), which is the main object in the +“Adoratorio” (<a href="#fig57">Fig. 57</a>), where the human figures serve as flankers.</p> + +<p>First examine the caryatides who support the central structure. These +are <i>Tlalocs</i>. Each has an eagle over his face, is clothed in leopard +skin, has the characteristic eye and teeth, and the wristlets of Plate +LX (<a href="#fig59">Fig. 59</a>).</p> + +<p>A vertical line through the center of Plate XXIV (<a href="#fig60">Fig. 60</a>) would +separate the figures and ornaments into two groups. These groups are +very similar, but never identical, and this holds good down to the +minutest particulars and is not the result of accident. One side (the +right-hand) belongs to <i>Tlaloc</i>, the other to <i>Huitzilopochtli</i>.</p> + +<p>The right-hand priest (let us call him, simply for a name and not to +commit ourselves to a theory) has the sandals of Plate LXI; the +left-hand priest the anklets of Plate LX.</p> + +<p>The beast on which the first stands and the man who supports the other +are both marked with the tassel symbol of Plate LX. There is a certain +rude resemblance between the supplementary head of this beast and the +pendant in front of the belt of <a href="#fig52">Fig. 52</a>. Four of these beasts supply +rain to the earth with <i>Tlaloc</i> in Plate XXVI of the MS. <i>Troano</i>. The +infant offered by the right-hand priest has the <i>two</i> curls on his +forehead which was a necessary mark of the victims for <span class="smcap">Tlaloc’s</span> +sacrifices. The center of the whole plate is a horrid mask with an open +mouth. Behind this are two staves with <i>different</i> ornaments crossed in +the form of the air-cross. On either hand of this the ornaments are +different though similar.</p> + +<p>A curious resemblance may be traced between the positions, etc., of +these two staves and those of the figure on p. 563, vol. iv, of +<span class="smcap">Bancroft’s</span> <i>Native Races</i>, which is a Mexican stone. Again, this latter +figure has at its upper right-hand corner a crouching animal (?) very +similar to the gateway ornament given in the same volume, p. 321. This +last is at Palenque. I quote these two examples in passing simply to +reinforce the idea of similarity between the sacred sculptures of +Yucatan and Mexico.</p> + +<p>I take it that the examination of which I have sketched the details will +have left no doubt but that the personage of <a href="#fig52">Fig. 52</a> is truly +<i>Huitzilopochtli</i>, the Yucatec representative of <span class="smcap">Huitzilopochtli</span>; that +Plate LXI (<a href="#fig58">Fig. 58</a>) is the same personage; that Plate LX (<a href="#fig59">Fig. 59</a>) +represents <span class="smcap">Tlaloc</span>; and that Plate XXIV (<a href="#fig60">Fig. 60</a>) is a tablet relating to +the service of these two gods.</p> + +<p>I have previously shown that the Palenque hieroglyphs are read in<span class='pagenum'><a name="Page_236" id="Page_236">[236]</a></span> order +from left to right. We should naturally expect, then, that the sign for +<i>Tlaloc</i> or for <i>Huitzilopochtli</i> would occupy the upper left-hand +corner of Plate XXIV. In fact it does, and I was led to this discovery +in the way I have indicated.</p> + +<p>No. 37 is the Palenque manner of writing the top sign of <a href="#fig52">Fig. 52</a>. I +shall call the signs of <a href="#fig52">Fig. 52</a> <i>a</i>, <i>b</i>, <i>c</i>, etc., in order downwards.</p> + +<p>The crouching face in <i>a</i> occupies the lower central part of No. 37. +Notice also that this face occurs below the small cross in the detached +ornament to the left of the central mask of <a href="#fig60">Fig. 60</a>. The crescent moon +of Plate LXI (<a href="#fig58">Fig. 58</a>) is on its cheek; back of this is the sun-sign; +the cross of <i>a</i> is just above its eye; the three signs for the +celestial concave are at the top of 37, crossed with rain bands; the +three seeds (?) are below these. The feathers are in the lower +right-hand two-thirds. This is the sign or part of the sign for +<i>Huitzilopochtli</i>. If a Maya Indian had seen either of these signs a few +centuries ago, he would have had the successive ideas—a war-god, with a +feather-symbol, related to sun and moon, to fertilizing rain and +influences, to clouds and seed; that is <i>Huitzilopochtli</i>, the companion +of <i>Tlaloc</i>. Or if he had seen the upper left-hand symbol of the +Palenque cross tablet (1800), he would have had <i>related</i> ideas, and so +on.</p> + +<p>What I have previously said about the faithfulness with which the +Yucatec artist adhered to his prototypes in signs is perfectly true, +although apparently partly contradicted by the identification I have +just made. When a given attribute of a god (or other personage) was to +be depicted, the <i>chiffres</i> expressing this were marvellously alike. +Witness the <i>chiffres</i> Nos. 2090, 2073, 2021, 2045, 3085, 3073, 3070, +3032 of the Palenque cross tablet. But directly afterwards some other +attribute is to be brought out, and the <i>chiffre</i> changes; thus the +hieroglyph 1009 of Plate LIV, or 265, Plate LII, has the same protruding +tongue as 2021, etc., and is the same personage, but the style is quite +changed. In <a href="#fig52">Fig. 52</a>, <i>Huitzilopochtli</i> is the war-god, in Plate XXIV he +is the rain-god’s companion; and while every attribute is accounted for, +prominence is given to the special ones worshipped or celebrated. Scores +of instances of this have arisen in the course of my examination.</p> + +<p>Again, we must remember that this was no source of ambiguity to the +Yucatecs, however much it may be to us. Each one of them, and specially +each officiating priest, was entirely familiar with every attribute of +every god of the Yucatec pantheon. The sign of the attribute brought the +idea of the power of the god in that special direction; the full idea of +his divinity was the integral of all these special ideas. The limits +were heaven and earth.</p> + +<p>This, then, is the first step. I consider that it is securely based, and +that we may safely say that in proper names, at least, a kind of picture +writing was used which was <i>not</i> phonetic.</p> + +<p>From this point we may go on. I must again remark that great familiarity +with the literature of the Aztecs and Yucatecs is needed—a famil<span class='pagenum'><a name="Page_237" id="Page_237">[237]</a></span>iarity +to which I personally cannot <a name="corr10" id="corr10"></a><ins class="correction" title="pretend">pertend</ins>—and that it is clear that +the method to reach its full success must be applied by a true scholar +in this special field.</p> + + + +<h3 class="sectionhead"><a name="IX" id="IX"></a>IX.<br /> + +TLALOC, OR HIS MAYA REPRESENTATIVE.</h3> + + +<p>Although there is no personage of all the Maya pantheon more easy to +recognize in the form of a <i>statue</i> than <i>Tlaloc</i>, there is great +difficulty in being certain of <i>all</i> the hieroglyphs which relate to +him. There is every reason to believe that in Yucatan, as in Mexico, +there was a family of rain-gods, <i>Tlalocs</i>, and the distinguishing signs +of the several members are almost impossible of separation, so long as +we know so little of the special functions of each member of this +family.</p> + +<p>In Yucatan, as in Mexico, <i>Tlaloc’s</i> main sign was a double line about +the eye or mouth, or about both; and further, some of the <i>Tlalocs</i>, at +least, were bearded.<a name="Anchor_237-1" id="Anchor_237-1"></a><a title="Go to footnote 237-1" href="#Footnote_237-1" class="fnanchor">237-*</a></p> + +<p><span class="smcap">Cukulcan</span> was also bearded, but we have separated out in the next section +the <i>chiffres</i>, or certainly most of them, that relate to him. Those +that are left remain to be distributed among the family of rain-gods; +and this, as I have said, can only be done imperfectly, on account of +our slight knowledge of the character of these gods.</p> + +<p>If we examine the plates given by <span class="smcap">Stephens</span>, we shall find many pictorial +allusions to <i>Tlaloc</i>. These are often used as mere ornaments or +embellishments, as in borders, etc., and probably served only to notify, +in a general way, the fact of the relationship of the personage +represented, to this family, and probably not to convey any specific +meaning.</p> + +<p>Thus, in Plate XXXV of <span class="smcap">Stephens’</span> work the upper left-hand ornament of +the border is a head of <i>Tlaloc</i> with double lines about eye and mouth, +and this ornament is repeated in a different form at the lower +right-hand corner of the border just back of the right hand of the +sitting figure, and also in the base of the border below the feet of the +principal figure.</p> + +<p>Plate XLVIII (of <span class="smcap">Stephens’</span>) is probably <span class="smcap">Chalchihuitlicue</span> (that is, the +Yucatec equivalent of that goddess), who was the sister of <i>Tlaloc</i>. His +sign occurs in the upper left-hand corner of the border, and in Plate +XLIX the same sign occurs in a corresponding position.</p> + +<p>Plate XXIV (our <a href="#fig60">Fig. 60</a>) is full of <i>Tlaloc</i> signs. The bottom of the +tablet has a hieroglyph, 93 (<i>Huitzilopochtli</i>), at one end and 185 +(<i>Tlaloc</i>) at the other. The leopard skin, eagle, and the crouching +tiger (?) under the feet of the priest of <i>Tlaloc</i> (the right-hand +figure) are all given. The infant (?) offered by this priest has two +locks of curled hair at its forehead, as was prescribed for children +offered to this god.</p> + +<p><span class='pagenum'><a name="Page_238" id="Page_238">[238]</a></span>In Plate LVI (our <a href="#fig48">Fig. 48</a>) the mask at the foot of the cross is a human +mask, and not a serpent mask, as has been ingeniously proved by Dr. +<span class="smcap">Harrison Allen</span> in his paper so often quoted. It is the mask of <i>Tlaloc</i>, +as shown by the teeth and corroborated (not proved) by the way in which +the eye is expressed. The curved hook within the eyeball here, as in +185, stands for the air—the wind—of which <i>Tlaloc</i> was also god. The +Mexicans had a similar sign for breath, message.</p> + +<p>The <i>chiffre</i> 1975, on which <i>Huitzilopochtli’s</i> priest is standing, I +believe to be the synonym of 185 in Plate XXIV. Just in front of +<i>Tlaloc’s</i> priest is a sacrificial yoke (?), at the top of which is a +face, with the eye of the <i>Tlalocs</i>, and various decorations. This face +is to be found also at the lower left-hand corner of Plate XLI (of +<span class="smcap">Stephens’</span>), and also (?) in the same position in Plate XLII (of +<span class="smcap">Stephens’</span>). These will serve as subjects for further study.</p> + +<p>Notice in Plate LVI (our <a href="#fig48">Fig. 48</a>) how the ornaments in corresponding +positions on either side of the central line are similar, yet never the +same. A careful study of these pairs will show how the two gods +celebrated, differed. A large part, at least, of the attributes of each +god is recorded in this way by antithesis. I have not made enough +progress in this direction to make the very few conclusions of which I +am certain worth recording. The general fact of such an antithesis is +obvious when once it is pointed out, and it is in just such paths as +this that advances must be looked for.</p> + +<p>I have just mentioned, in this rapid survey of the plates of vol. ii of +<span class="smcap">Stephens’</span> work, the principal pictorial signs relating to <i>Tlaloc</i>. +There are a number almost equally well marked in vol. i, in Plates VII, +IX, X, XIII, and XV, but they need not be described. Those who are +especially interested can find them for themselves.</p> + +<p>The following brief account and plate of a <i>Tlaloc</i> inscription at Kabah +will be useful for future use, and is the more interesting as it is +comparatively unknown.</p> + + +<p class="titlepage" style="margin-top: 1.5em;"><i>INSCRIPTION AT KABAH (Yucatan).</i></p> + +<p>This hitherto unpublished inscription on a rock at Kabah is given in +<i>Archives paléographiques</i>, vol. i, part ii, Plate 20. It deserves +attention on account of its resemblances, but still more on account of +its differences, with certain other Yucatec glyphs.</p> + +<p>We may first compare it with the Plate LX of <span class="smcap">Stephens</span> (our <a href="#fig59">Fig. 59</a>).</p> + +<p>The head-dress in Plate 20 is quite simple, and presents no resemblance +to the elaborate gear of Plate LX, in which the ornament of a leaf (?), +or more probably feather, cross-hatched at the end and divided +symmetrically by a stem (?) or quill about which four dots are placed, +seems characteristic.</p> + +<p><i>Possibly</i>, and only possibly, the square in the rear of the head of +Plate 20, which has two cross-hatchings, may refer to the elaborate +cross-hatchings in Plate LX. The four dots are found twice, once in<span class='pagenum'><a name="Page_239" id="Page_239">[239]</a></span> +front and once in rear of the figure. The heads of the two figures have +only one resemblance, but this is a very important one. The tusks belong +to <span class="smcap">Huitzilopochtli</span> and to his trinity, and specially to <span class="smcap">Tlaloc</span>, his +companion.</p> + +<p>Both Plate 20 and LX have the serpent wand or yoke clearly expressed. In +LX the serpent is decorated with crotalus heads; in 20 by images of the +sun (?), as in the <span class="smcap">Ferjavary</span> MS. (<span class="smcap">Kingsborough</span>). The front apron or +ornament of Plate 20 is of snake skin, ornamented with sun-symbols. +Comparing Plate 20 with <a href="#fig52">Fig. 52</a> (<i>ante</i>), we find quite other +resemblances. The head-dress of 20 is the same as the projecting arm of +the head-dress of <a href="#fig52">Fig. 52</a>; and the tusks are found in the helmet or mask +of <a href="#fig52">Fig. 52</a>.</p> + +<p>These and other resemblances show the Kabah inscription to be a <span class="smcap">Tlaloc</span>. +It is interesting specially on account of its hieroglyphs, which I hope +to examine subsequently. The style of this writing appears to be late, +and may serve as a connecting link between the stones and the +manuscripts, and it is noteworthy that even the style of the drawing +itself seems to be in the manner of the Mexican MS. of <span class="smcap">Laud</span>, rather than +in that of the Palenque stone tablets.</p> + +<p>From the card catalogue I select the following <i>chiffres</i> as +appertaining to the family of the <i>Tlalocs</i>. As I have said, these must +for the present remain in a group, unseparated. Future studies will be +necessary to discriminate between the special signs which relate to +special members of the family. The <i>chiffres</i> are Nos. 3200; 1864; 1403; +811; 1107?; 1943?; 4114??; <i>b</i>?; 1893 (bearded faces, or faces with +teeth very prominent); 166?; 4??; 807?; 62?; 155?; 26; 154?; 165?; 164?; +805; 4109; 1915?; 675??; 635?? (distinguished by the characteristic eye +of the <span class="smcap">Tlalocs</span>).</p> + +<p>Here, again, the writing is ideographic, and not phonetic.</p> + + + +<h3 class="sectionhead"><a name="X" id="X"></a>X.<br /> + +CUKULCAN OR QUETZALCOATL.</h3> + + +<p>The character 2021 occurs many times in Plate LVI (<a href="#fig48">Fig. 48</a>), and +occasionally elsewhere. The personage represented is distinguished by +having a protruding tongue, and was therefore at once suspected to be +<span class="smcap">Quetzalcoatl</span>. (See <span class="smcap">Bancroft’s</span> <i>Native Races</i>, vol. iii, p. 280.) The +protruding tongue is probably a reference to his introduction of the +sacrificial acts performed by wounding that member.</p> + +<p>The rest of the sign I suppose to be the rebus of his name, +“Snake-plumage”; the part cross-hatched being “snake,” the feather-like +ornament at the upper left-hand corner being “plumage.” It is necessary, +however, to prove this before accepting the theory. To do this I had +recourse to Plates I and IV (Figs. <a href="#fig49">49</a>, <a href="#fig50">50</a>), my dictionary of synonyms.</p> + +<p><span class='pagenum'><a name="Page_240" id="Page_240">[240]</a></span>This <i>cross-hatching</i> occurs in Plate I. In the six tassels below the +waist, where the cross-hatching <i>might</i> indicate the serpent skin, +notice the ends of the tassels; these are in a scroll-like form, and as +if rolled or coiled tip. In Plate IV they are the same, naturally. So +far there is but little light.</p> + +<p>In Plate IV, just above each wrist, is a sign composed of ellipse and +bars; a little above each of these signs, among coils which may be +serpent coils, and on the horizontal line through the top of the +necklace pendant, are two surfaces cross-hatched all over. What do these +mean? Referring to Plate I, we find, in exactly the same relative +situation, the forked tongue and the rattles of the crotalus. These are, +then, synonyms, and the <i>guess</i> is confirmed. The cross-hatching means +serpent-skin. Is this <i>always</i> so? We must examine other plates to +decide.</p> + +<p>The same ornament is found in Plates IX, XIV, XVI, XVIII, XIX, XX, XXI, +XXXV (of <span class="smcap">Stephens’</span>), but its situation does not allow us to gain any +additional light.</p> + +<p>In Plate XII (<span class="smcap">Stephens’</span>) none of the ornaments below the belt will help +us. At the level of the mouth are four patches of it. Take the upper +right-hand one of these. Immediately to its right is a serpent’s head; +below the curve and above the frog’s (?) head are the rattles. Here is +another confirmation. In Plate XVIII I refer the cross-hatching to the +jaw of the crocodile. In Plate XXII I have numbered the <i>chiffres</i> as +follows:</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="Order of hieroglyphs"> +<tr> + <td class="padded">4201</td> + <td class="padded">4202</td> + <td class="padded">4203</td> + <td class="padded">4204.</td> +</tr> +<tr> + <td class="padded">4211</td> + <td class="padded">4212</td> + <td class="padded">4213</td> + <td class="padded">4214.</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> + <td class="tdc">*</td> +</tr> +<tr> + <td class="padded">4311</td> + <td class="padded">4312</td> + <td class="padded">4313</td> + <td class="padded">4314.</td> +</tr> +</table> + +<p>4204 has the cross-hatching at its top, and to its left in 4203 is the +serpent’s head. The same is true in 4233-4. In 4264 we have the same +symbol that we are trying to interpret; it is in its perfect form here +and in No. 1865 of the Palenque series. In the caryatides of Plate XXIV +(<a href="#fig60">Fig. 60</a>) the cross-hatching is included in the spots of the leopard’s +skin; in the ornaments at the base, in and near the masks which, they +are supporting, it is again serpent skin. Take the lower mask; its jaws, +forked-tongue, and teeth prove it to be a serpent-mask, as well as the +ornament just above it. In Plate LX (<a href="#fig59">Fig. 59</a>) it is to be noticed that +the leopard spots are not cross-hatched, but that this ornament is given +at the lower end of the leopard robe, which ends moreover in a crotalus +tongue marked with the sign of the jaw (near the top of this ornament) +and of the rattles (near the bottom). This again confirms the theory of +the rebus meaning of the cross-hatching. In Plate XXIV (<a href="#fig60">Fig. 60</a>) the +cross-hatching on the leopard spots probably is meant to <i>add</i> the +serpent attribute to the leopard symbol, and not simply to denote the +latter.</p> + +<p>Thus an examination of the <i>whole</i> of the material available, shows that +the preceding half of the hieroglyph 2021 and its congeners is nothing<span class='pagenum'><a name="Page_241" id="Page_241">[241]</a></span> +but the <i>rebus</i> for <span class="smcap">Quetzalcoatl</span>, or rather for <span class="smcap">Cukulcan</span>, the Maya name +for this god. <span class="smcap">Brasseur de Bourbourg</span>, as quoted in <span class="smcap">Bancroft’s</span> <i>Native +Races</i>, vol. ii, p. 699, foot note, says <span class="smcap">Cukulcan</span>, comes from <i>kuk</i> or +<i>kukul</i>, a bird, which appears to be the same as the <i>quetzal</i>, and from +<i>can</i>, serpent; so that <span class="smcap">Cukulcan</span> in Maya is the same as <span class="smcap">Quetzalcoatl</span> in +Aztec. It is to be noticed how checks on the accuracy of any deciphering +of hieroglyphs occur at every point, if we will only use them.</p> + +<p>The Maya equivalents of <span class="smcap">Huitzilopochtli</span> and <span class="smcap">Tlaloc</span> are undoubtedly +buried in the <i>chiffres</i> already deciphered, but we have no means of +getting their names in Maya from the rebus of the <i>chiffres</i>.</p> + +<p>In the cases of these two gods we got the <i>chiffre</i>, and the rebus is +still to seek. In the case of <i>Quetzalcoatl</i> or <span class="smcap">Cukulcan</span>, the rebus was +the means of getting the name; and if the names of this divinity had not +been equivalent in the two tongues, our results would have led us to the +(almost absurd) conclusion that a god of certain attributes was called +by his Aztec name in the Maya nations.</p> + +<p>Thus every correct conclusion confirms every former one and is a basis +for subsequent progress. The results of this analysis are that the Maya +god <span class="smcap">Cukulcan</span> is named in each one of the following <i>chiffres</i>, viz: Nos. +1009, 265, 2090, 2073, 2021, 3085, 2045, 3073, 3070, 3032, 1865, 265, +268?, 4291? 73?? I give the numbers in the order in which they are +arranged in the card-catalogue. There is, of course, a reason for this +order.</p> + +<p><span class="smcap">Bancroft</span>, vol. iii, p. 268, says of <span class="smcap">Quetzalcoatl</span> that “his symbols were +the bird, the serpent, the cross, and the flint, representing the +clouds, the lightning, the four winds, and the thunderbolt.”</p> + +<p>We shall find all of his titles except one, the bird, in what follows. +We must notice here that in the <i>chiffre</i> 2021 and its congeners the +bird appears directly over the head of <span class="smcap">Cukulcan</span>. It is plainly shown in +the heliotype which accompanies Professor <span class="smcap">Rau’s</span> work on the Palenque +cross, though not so well in our <a href="#fig48">Fig. 48</a>.</p> + +<p>In what has gone before, we have seen that the characters 2021, 2045, +2073, 3073, 3085, 265, etc., present the portrait and the rebus of +<span class="smcap">Cukulcan</span>. It will not be forgotten that in the examination of the +question as to the order in which the stone inscriptions were read we +found a number of <i>pairs</i> in Plate LVI, <a href="#fig48">Fig. 48</a>; the characters 2021, +etc., being one member of each. The other members of the pairs in the +Plate LVI were 2020, 2044, 2072, 3072, 3084, etc. 264-265 is another +example of the same pair elsewhere.</p> + +<p>I hoped to find that the name <span class="smcap">Cukulcan</span>, or 2021, was associated in these +pairs with some adjective or verb, and therefore examined the other +members of the pair.</p> + +<p>In a case like this the card-catalogue is of great assistance; for +example, I wish to examine here the <i>chiffres</i> Nos. 2020, 2044, 2072, +3072, 3084, etc. In the catalogue their cards occur in the same +compartment, arranged so that two cards that are exactly alike are +contiguous.<span class='pagenum'><a name="Page_242" id="Page_242">[242]</a></span> We can often know that two <i>chiffres</i> are alike when one is +in a far better state of preservation than the other. Hence we may +select for study that one in which the lines and figures are best +preserved; or from several characters known to be alike, and of which no +one is entirely perfect, we may construct with accuracy the type upon +which they were founded. In this case the hieroglyph 2020 is well +preserved (see the right-hand side of Plate LVI, <a href="#fig48">Fig. 48</a>, the upper +left-hand glyph). It consists of a <i>human hand</i>, with the symbol of the +<i>sun</i> in it; above this is a sign similar to that of the Maya day +<i>Ymix</i>; above this again, in miniature, is the rebus “snake plumage” or +<i>Cukulcan</i>; and to the left of the hieroglyph are some curved lines not +yet understood. No. 2003 of the same plate is also well preserved. It +has the hand as in 2020, the rebus also, and the sign for <i>Ymix</i> is +slightly different, being modified with a sign like the top of a cross, +the symbol of the <i>four winds</i>. The symbol <i>Ymix</i> may be seen, by a +reference to Plate XXVII (lower half) of the MS. <i>Troano</i>, to relate to +the <i>rain</i>. The figure of that plate is pouring rain upon the earth from +the orifices represented by <i>Ymix</i>. The cross of the <i>four winds</i> is +still more plain in Nos. 2072, 3084, and 3072.</p> + +<p>The part of this symbol 2020 and its synonyms which consists of curved +lines occupying the left hand one-third of the whole <i>chiffre</i> occurs +only in this set of characters, and thus I cannot say <i>certainly</i> what +this particular part of the hieroglyph means; but if the reader will +glance back over the last one hundred lines he will find that these +<i>chiffres</i> contain the <i>rebus</i> <span class="smcap">Cukulcan</span>, the sign of a <i>human hand</i>, of +the <i>sun</i>, of the <i>rain</i>, and of the <i>four winds</i>.</p> + +<p>In <span class="smcap">Bancroft’s</span> <i>Native Races</i>, vol. iii, chapter vii, we find that the +titles of <span class="smcap">Quetzalcoatl</span> (<span class="smcap">Cukulcan</span>) were the <i>air</i>, the <i>rattlesnake</i>, the +<i>rumbler</i> (in allusion to thunder), the <i>strong hand</i>, the lord of the +<i>four winds</i>. The bird symbol exists in 2021, etc. Now in 2020 and its +congeners we have found every one of these titles, save only that +relating to the <i>thunder</i>. And we have found a meaning for every part of +the hieroglyph 2020 save only one, viz, the left-hand one-third, +consisting of concentric half ellipses or circles. It may be said to be +quite <i>probable</i> that the unexplained part of the sign (2020) +corresponds to the unused title, “the rumbler.” But it is not rigorously +proved, although very probable. The thunder would be well represented by +repeating the sign for sky or heaven. This much seems to me certain. The +sign is but another summing up of the attributes and titles of <span class="smcap">Cukulcan</span>. +2021 gave his portrait, his bird symbol, made allusion to his +institution of the sacrifice of wounding the tongue, and spelled out his +name in rebus characters. 2020 repeats his name as a rebus and adds the +titles of lord of the four winds, of the sun, of rain, of the strong +hand, etc. It is his biography, as it were.</p> + +<p>In this connection, a passing reference to the characters 1810, etc., +1820, etc., 1830, etc., 1840, etc., 1850, etc., of the left-hand side of +Plate LVI should be made. Among these, all the titles named above are to +be found. These are suitable subjects for future study.</p> + +<p><span class='pagenum'><a name="Page_243" id="Page_243">[243]</a></span>We now see <i>why</i> the pair 2020, 2021 occurs so many times in Plate LVI, +and again as 264, 265, etc. The right-hand half of this tablet has much +to say of <span class="smcap">Cukulcan</span>, and whenever his name is mentioned a brief list of +his titles accompanies it. Although it is disappointing to find <i>both</i> +members of this well-marked pair to be proper names, yet it is +gratifying to see that the theory of pairs, on which the proof of the +order in which the tablets are to be read must rest, has received such +unexpected confirmation.</p> + +<p>To conclude the search for the hieroglyphs of <span class="smcap">Cukulcan’s</span> name, it will +be necessary to collect all those faces with “<i>round</i> beards” (see +<span class="smcap">Bancroft’s</span> <i>Native Races</i>, vol. iii, p. 250). <span class="smcap">Tlaloc</span> was also bearded, +but all the historians refer to <span class="smcap">Quetzalcoatl</span> as above cited. I refer +hieroglyphs Nos. 658, 651?, 650?, and 249? to this category.</p> + +<p>Perhaps also the sign No. 153 is the sign of <span class="smcap">Quetzalcoatl</span>, as something +very similar to it is given as his sign in the <i>Codex Telleriano +Remensis</i>, <span class="smcap">Kingsborough</span>, vol. i, Plates I, II, and V (Plate I the best), +where he wears it at his waist.</p> + +<p>In Plate LXIII of <span class="smcap">Stephens</span> (vol. ii) is a small figure of <span class="smcap">Cukulcan</span> +which, he calls “Bas Relief on Tablet.” <span class="smcap">Waldeck</span> gives a much larger +drawing (incorrect, however, in many details), in which the figure, the +“Beau Relief,” is seen to wear bracelets high up on the arm. This was a +distinguishing sign of <span class="smcap">Quetzalcoatl</span> (see <span class="smcap">Bancroft’s</span> <i>Native Races</i>, vol. +iii, pp. 249 and 250), and this figure probably is a representation of +the Maya divinity. He is on a stool with tigers for supports. The tiger +belongs to the attributes which he had in common with <span class="smcap">Tlaloc</span>, and we see +again the intimate connection of these divinities—a connection often +pointed out by <span class="smcap">Brasseur de Bourbourg</span>.</p> + +<p>This is the third proper name which has been deciphered. All of them +have been pure picture-writing, except in so far as their rebus +character may make them in a sense phonetic.</p> + + + +<h3 class="sectionhead"><a name="XI" id="XI"></a>XI.<br /> + +COMPARISON OF THE SIGNS OF THE MAYA MONTHS (LANDA) WITH THE TABLETS.</h3> + + +<p>We have a set of signs for Maya months and days handed down to us by +<span class="smcap">Landa</span> along with his phonetic alphabet. <i>A priori</i> these are more likely +to represent the primitive forms as carved in stone than are the +alphabetic hieroglyphs, which may well have been invented by the +Spaniards to assist the natives to memorize religious formulæ.<a name="Anchor_243-1" id="Anchor_243-1"></a><a title="Go to footnote 243-1" href="#Footnote_243-1" class="fnanchor">243-*</a></p> + +<p><span class='pagenum'><a name="Page_244" id="Page_244">[244]</a></span><span class="smcap">Brasseur de Bourbourg</span> has analyzed the signs for the day and month in +his publication on the MS. <i>Troano</i>, and the strongest arguments which +can be given for their phonetic origin are given by him.</p> + +<p>I have made a set of MS. copies of these signs and included them in my +card-catalogue, and have carefully compared them with the tablets XXIV +and LVI. My results are as follows:</p> + +<p class="tabletitle"><span class="smcap">Plate</span> XXIV (our <a href="#fig60">Fig. 60</a>).</p> + +<p class="noindent" style="margin-left: 10%;">No. 42 is the Maya month <i>Pop</i>, beginning July 16.<br /> +No. 54 is <i>Zip</i>??, beginning August 25.<br /> +No. 47 is <i>Tzoz</i>??, beginning September 14.<br /> +No. 57 is <i>Tzec</i>? beginning October 4.<br /> +No. 44-45 is <i>Mol</i>?, beginning December 3.<br /> +No. 39 is <i>Yax</i>, <i>Zac</i>, or <i>Ceh</i>, beginning January 12, February 1, +February 21, respectively.</p> + +<p class="tabletitle"><span class="smcap">Plate</span> LVI (our <a href="#fig48">Fig. 48</a>).</p> + +<p class="noindent" style="margin-left: 10%;">No. 1804 is <i>Uo</i>????<br /> +No. 1901 is <i>Zip</i>????<br /> +No. 1816 is <i>Tzoz</i>??<br /> +No. 1814 is <i>Tzec</i>?<br /> +No. 1807 is <i>Mol</i>?<br /> +No. 1855 is <i>Yax</i>, <i>Zac</i>, or <i>Ceh</i>.<br /> +No. 1844 is <i>Mac</i>?</p> + +<p>The only sign about which there is little or no doubt is No. 42, which +seems pretty certainly to be the sign of the Maya month <i>Pop</i>, which +began July 16.</p> + +<p>No. 39, just above it, seems also to be <i>one</i> of the months <i>Yax</i>, +<i>Zac</i>, or <i>Ceh</i>, which began on January 12, February 1, and February 21, +respectively. Which one of these it corresponds to must be settled by +other means than a direct comparison. The signs given by <span class="smcap">Landa</span> for these +three months all contain the same radical as No. 39, but it is +impossible to decide with entire certainty to which it corresponds. It, +however, most nearly resembles the sign for <i>Zac</i> (February 1); and it +is noteworthy that it was precisely in this month that the greatest +feast of <span class="smcap">Tlaloc</span> took place,<a name="Anchor_244-1" id="Anchor_244-1"></a><a title="Go to footnote 244-1" href="#Footnote_244-1" class="fnanchor">244-*</a> and its presence in this tablet, +which relates to <i>Tlaloc</i>, is especially interesting.</p> + +<p>In connection with the counting of time, a reference to the bottom part +of the <i>chiffre</i> 3000 of the Palenque cross tablet should be made. This +is a <i>knot</i> tied up in a string or scarf; and we know this to have been +the method of expressing the expiration and completion of a cycle of +years. It occurs just above the symbol 3010, the <i>chiffre</i> for a metal.</p> + +<p>An examination of the original stone in the National Museum, Washington, +which is now in progress, has already convinced me that the methods +which I have described in the preceding pages promise other interesting +confirmations of the results I have reached. For the time,<span class='pagenum'><a name="Page_245" id="Page_245">[245]</a></span> I must leave +the matter in its present state. I think I am justified in my confidence +that suitable methods of procedure have been laid down, and that certain +important results have already been reached.</p> + +<p>I do not believe that the conclusions stated will be changed, but I am +confident that a rich reward will be found by any competent person who +will continue the study of these stones. The proper names now known will +serve as points of departure, and it is probable that some research will +give us the signs for verbs or adjectives connected with them.</p> + +<p>It is an immense step to have rid ourselves of the phonetic or +alphabetic idea, and to have found the manner in which the Maya mind +represented attributes and ideas. Their method was that of all nations +at the origin of written language; that is, pure picture-writing. At +Copan this is found in its earliest state; at Palenque it was already +highly conventionalized. The step from the Palenque character to that +used in the Kabah inscription is apparently not greater than the step +from the latter to the various manuscripts. An important research would +be the application of the methods so ably applied by Dr. <span class="smcap">Allen</span> to +tracing the evolution of the latter characters from their earlier forms. +In this way it will be possible to extend our present knowledge +materially.<span class='pagenum'><a name="Page_246" id="Page_246">[246]</a></span></p> + + +<div class="footnotes"> +<p><a name="Footnote_225-1" id="Footnote_225-1"></a><a title="Return to text." href="#Anchor_225-1" class="label">225-*</a> The Life Form in Art, Trans. Amer. Phil. Soc., vol. xv, 1873, p. +325.</p> + +<p><a name="Footnote_233-1" id="Footnote_233-1"></a><a title="Return to text." href="#Anchor_233-1" class="label">233-*</a> From <span class="smcap">Kingsborough</span>, vol. i, plate 48, it appears that <span class="smcap">Tlacli +Tonatio</span> may have had four hands. His name meant (?) Let there be light.</p> + +<p><a name="Footnote_237-1" id="Footnote_237-1"></a><a title="Return to text." href="#Anchor_237-1" class="label">237-*</a> See <span class="smcap">Kingsborough</span>, vol. ii, Plate I, of the <span class="smcap">Laud</span> MS.</p> + +<p><a name="Footnote_243-1" id="Footnote_243-1"></a><a title="Return to text." href="#Anchor_243-1" class="label">243-*</a> Since this was written I have seen a paper by Dr. <span class="smcap">Valentini</span>, +“The <span class="smcap">Landa</span> alphabet a Spanish fabrication” (read before the American +Antiquarian Society, April 28, 1880), and the conclusions of that paper +seem to me to be undoubtedly correct. They are the same as those just +given, but while my own were reached by a study of the stones and in the +course of a general examination, Dr. <span class="smcap">Valentini</span> has addressed himself +successfully to the solution of a special problem.</p> + +<p><a name="Footnote_244-1" id="Footnote_244-1"></a><a title="Return to text." href="#Anchor_244-1" class="label">244-*</a> See <span class="smcap">Brasseur de Bourbourg</span>, <i>Histoire du Mexique</i>, vol. i, p. +328.</p> +</div> + + +<hr style="width: 65%;" /> +<h2 class="chapterhead"><a name="Index" id="Index"></a>Index</h2> + +<ul class="IX"> + <li>Allen, Dr Harrison <a href="#Page_208">208</a>, <a href="#Page_225">225</a>, <a href="#Page_238">238</a>, <a href="#Page_245">245</a></li> +</ul> + +<ul class="IX"> + <li>Bancroft, H. H., Huitzilopochtli, description of <a href="#Page_231">231</a></li> + <li><span style="padding-left: 6em;">, Maya hieroglyphics, mode of reading <a href="#Page_223">223</a></span></li> + <li>Band, G. H. <a href="#Page_229">229</a></li> + <li>Braam, S. A. van <a href="#Page_229">229</a></li> + <li>Brasseur de Bourbourg, C. E. <a href="#Page_208">208</a>, <a href="#Page_210">210</a>, <a href="#Page_243">243</a>, <a href="#Page_244">244</a></li> +</ul> + +<ul class="IX"> + <li>Card catalogue of hieroglyphs <a href="#Page_223">223</a></li> + <li>Chalchihuitlicue <a href="#Page_237">237</a></li> + <li>Codex Telleriano Remensis <a href="#Page_243">243</a></li> + <li>Copan, Statues of <a href="#Page_207">207</a>, <a href="#Page_224">224</a>, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>, <a href="#Page_229">229</a>, <a href="#Page_245">245</a></li> + <li>Cortez, H. <a href="#Page_209">209</a></li> + <li>Cuculkan. (<i>See</i> <a href="#Quetzalcoatl">Quetzalcoatl</a>.)</li> +</ul> + +<ul class="IX"> + <li>Deciphering, Principles of <a href="#Page_207">207</a></li> + <li>Desaix, le Capitaine <a href="#Page_210">210</a></li> +</ul> + +<ul class="IX"> + <li>Herrera <a href="#Page_232">232</a></li> + <li>Hieratic art <a href="#Page_210">210</a></li> + <li>Hieroglyphs <a href="#Page_210">210</a></li> + <li><span style="padding-left: 4.5em;"> are read in a certain order <a href="#Page_223">223</a></span></li> + <li>Huitzilopochtli <a href="#Page_229">229</a>, <a href="#Page_230">230</a>, <a href="#Page_231">231</a>, <a href="#Page_232">232</a>, <a href="#Page_233">233</a>, <a href="#Page_234">234</a>, <a href="#Page_235">235</a>, <a href="#Page_236">236</a>, <a href="#Page_238">238</a>, <a href="#Page_239">239</a>, <a href="#Page_241">241</a></li> +</ul> + +<ul class="IX"> + <li>Kingsborough, Lord <a href="#Page_210">210</a></li> +</ul> + +<ul class="IX"> + <li>Landa, Bishop <a href="#Page_208">208</a>, <a href="#Page_243">243</a></li> + <li>Landa’s hieroglyphic alphabet <a href="#Page_208">208</a></li> + <li>Leemans, Dr <a href="#Page_229">229</a></li> + <li>Leon y Gama <a href="#Page_232">232</a></li> + <li>Lockwood, Miss Mary <a href="#Page_224">224</a></li> +</ul> + +<ul class="IX"> + <li>Manuscript Troano <a href="#Page_234">234</a></li> + <li>Miclantecutli <a href="#Page_229">229</a>, <a href="#Page_232">232</a></li> + <li>Months, their hieroglyphs <a href="#Page_243">243</a></li> + <li>MS. Troano <a href="#Page_234">234</a></li> + <li>Müller, J. G., Mexican gods <a href="#Page_232">232</a></li> +</ul> + +<ul class="IX"> + <li>Naolin <a href="#Page_230">230</a></li> + <li>Nomenclature <a href="#Page_211">211</a>, <a href="#Page_220">220</a></li> +</ul> + +<ul class="IX"> + <li>Palenque, Statues of <a href="#Page_207">207</a>, <a href="#Page_224">224</a>, <a href="#Page_237">237-239</a>, <a href="#Page_245">245</a></li> +</ul> + +<ul class="IX"> + <li><a name="Quetzalcoatl" id="Quetzalcoatl"></a>Quetzalcoatl <a href="#Page_230">230</a>, <a href="#Page_237">237</a>, <a href="#Page_239">239</a>, <a href="#Page_240">240</a>, <a href="#Page_241">241</a>, <a href="#Page_242">242</a>, <a href="#Page_243">243</a></li> +</ul> + +<ul class="IX"> + <li>Rau, Dr <a href="#Page_221">221</a></li> +</ul> + +<ul class="IX"> + <li>Stephens, John L. <a href="#Page_207">207-210</a></li> +</ul> + +<ul class="IX"> + <li>Teoyaomiqui <a href="#Page_229">229</a></li> + <li>Tetzcatlipoca <a href="#Page_230">230</a></li> + <li>Tlaloc <a href="#Page_229">229</a>, <a href="#Page_230">230</a>, <a href="#Page_231">231</a>, <a href="#Page_233">233-239</a>, <a href="#Page_241">241</a>, <a href="#Page_244">244</a></li> + <li>Torquemada <a href="#Page_232">232</a></li> + <li>Touatihu <a href="#Page_230">230</a></li> + <li>Troano, Manuscript <a href="#Page_234">234</a></li> +</ul> + +<ul class="IX"> + <li>Valentini <a href="#Page_243">243</a></li> + <li>Variank <a href="#Page_208">208</a></li> +</ul> + +<ul class="IX"> + <li>Waldeck <a href="#Page_210">210</a>, <a href="#Page_243">243</a></li> +</ul> + + +<hr style="width: 65%;" /> + +<div style="background-color: #EEE; color: inherit; padding: 0.5em 1em 0.5em 1em;"> +<p class="titlepage"><a name="trans_note" id="trans_note"></a><b>Transcriber’s Note</b></p> + +<p class="noindent">The following errors and inconsistencies have been maintained.</p> + +<p class="noindent">Misspelled words and typographical errors:</p> + +<table style="margin-left: 0%;" cellpadding="0" cellspacing="0" summary="typos"> +<tr> + <td class="padr">Page </td> + <td>Error</td> +</tr> +<tr> + <td class="padr"><a href="#corr1">209</a></td> + <td>cotemporaries should read contemporaries</td> +</tr> +<tr> + <td class="padr"><a href="#corr2">210</a></td> + <td>the the should read the</td> +</tr> +<tr> + <td class="padr"><a href="#corr3">220</a></td> + <td>Maya day should read Maya day.</td> +</tr> +<tr> + <td class="padr"><a href="#corr4">225</a></td> + <td>coindences should read coincidences</td> +</tr> +<tr> + <td class="padr"><a href="#corr5">227</a></td> + <td>Synonomous should read Synonymous</td> +</tr> +<tr> + <td class="padr"><a href="#corr6">230</a></td> + <td>Cuculkan should read Cukulcan</td> +</tr> +<tr> + <td class="padr"><a href="#corr7">231</a></td> + <td>blue globe. should read blue globe.”</td> +</tr> +<tr> + <td class="padr"><a href="#corr8">232</a></td> + <td>Tezcatlipoca should read Tetzcatlipoca</td> +</tr> +<tr> + <td class="padr"><a href="#corr9">Fig. 55</a></td> + <td>Huitzilopochtli should read <span class="smcap">Huitzilopochtli</span></td> +</tr> +<tr> + <td class="padr"><a href="#corr10">237</a></td> + <td>pertend should read pretend</td> +</tr> +</table> + +<p class="noindent">The following word was inconsistently spelled:</p> + +<p class="noindent">Labphak / Labphax</p> + +<p class="noindent">The following phrase had inconsistent use of italics and capitalization:</p> + +<p class="noindent"><i>MS. Troano</i> / <i>Ms. Troano</i> / MS. <i>Troano</i></p> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Studies in Central American +Picture-Writing, by Edward S. 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/dev/null +++ b/23562-h/images/fig60-full.jpg diff --git a/23562-h/images/fig60.jpg b/23562-h/images/fig60.jpg Binary files differnew file mode 100644 index 0000000..70b49ee --- /dev/null +++ b/23562-h/images/fig60.jpg diff --git a/23562-h/images/illus-226.jpg b/23562-h/images/illus-226.jpg Binary files differnew file mode 100644 index 0000000..776aa81 --- /dev/null +++ b/23562-h/images/illus-226.jpg diff --git a/23562.txt b/23562.txt new file mode 100644 index 0000000..390bda5 --- /dev/null +++ b/23562.txt @@ -0,0 +1,2802 @@ +The Project Gutenberg EBook of Studies in Central American Picture-Writing, by +Edward S. Holden + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Studies in Central American Picture-Writing + First Annual Report of the Bureau of Ethnology to the + Secretary of the Smithsonian Institution, 1879-80, + Government Printing Office, Washington, 1881, pages 205-245 + +Author: Edward S. Holden + +Release Date: November 20, 2007 [EBook #23562] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK CENTRAL AMERICAN PICTURE-WRITING *** + + + + +Produced by PM for Bureau of American Ethnology, Julia +Miller, and the Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by the Bibliotheque nationale +de France (BnF/Gallica) at http://gallica.bnf.fr) + + + + + +Transcriber's Note: + +This book was originally published as a part of: + + Powell, J. W. + 1881 _First Annual Report of the Bureau of Ethnology to the + Secretary of the Smithsonian Institution, 1879-'80._ pp. + 205-245. Government Printing Office, Washington, D.C. + +The table of contents and index included in this version of the book was +extracted from the complete volume. + +A number of typographical errors found in the original text have been +maintained in this version. They are marked in the text with a [TN-#]. +A description of each error is found in the complete list at the end of +the text. Original spelling has been maintained. A list of inconsistently +spelled words is found at the end of the text. + + + + + + SMITHSONIAN INSTITUTION--BUREAU OF ETHNOLOGY. + J. W. POWELL, DIRECTOR. + + + STUDIES + IN + CENTRAL AMERICAN PICTURE-WRITING. + + + BY + + EDWARD S. HOLDEN, + PROFESSOR OF MATHEMATICS, U. S. NAVAL OBSERVATORY. + + + + +TABLE OF CONTENTS + + +List of illustrations 206 +Introductory 207 +Materials for the present investigation 210 +System of nomenclature 211 +In what order are the hieroglyphs read? 221 +The card catalogue of hieroglyphs 223 +Comparison of plates I and IV (Copan) 224 +Are the hieroglyphs of Copan and Palenque identical? 227 +Huitzilopochtli, Mexican god of war, etc. 229 +Tlaloc, or his Maya representative 237 +Cukulean or Quetzalcoatl 239 +Comparison of the signs of the Maya months 243 + + + + +LIST OF ILLUSTRATIONS + + Figure 48.--The Palenquean Group of the Cross 221 + 49.--Statue at Copan 224 + 50.--Statue at Copan 225 + 51.--Synonymous Hieroglyphs from Copan and Palenque 227 + 52.--Yucatec Stone 229 + 53.--Huitzilopochtli (front) 232 + 54.--Huitzilopochtli (side) 232 + 55.--Huitzilopochtli (back) 232 + 56.--Miclantecutli 232 + 57.--Adoratorio 233 + 58.--The Maya War-God 234 + 59.--The Maya Rain-God 234 + 60.--Tablet at Palenque 234 + + + + +STUDIES IN CENTRAL AMERICAN PICTURE-WRITING. + +BY EDWARD S. HOLDEN. + + +I. + +Since 1876 I have been familiar with the works of Mr. JOHN L. STEPHENS +on the antiquities of Yucatan, and from time to time I have read works +on kindred subjects with ever increasing interest and curiosity in +regard to the meaning of the hieroglyphic inscriptions on the stones and +tablets of Copan, Palenque, and other ruins of Central America. In +August, 1880, I determined to see how far the principles which are +successful when applied to ordinary cipher-writing would carry one in +the inscriptions of Yucatan. The difference between an ordinary +cipher-message and these inscriptions is not so marked as might at first +sight appear. The underlying principles of deciphering are quite the +same in the two cases. + +The chief difficulty in the Yucatec inscriptions is our lack of any +definite knowledge of the nature of the records of the aborigines. The +patient researches of our archaeologists have recovered but very little +of their manners and habits, and one has constantly to avoid the +tempting suggestions of an imagination which has been formed by modern +influences, and to endeavor to keep free from every suggestion not +inherent in the stones themselves. I say the stones, for I have only +used the Maya manuscripts incidentally. They do not possess, to me, the +same interest, and I think it may certainly be said that all of them are +younger than the Palenque tablets, and far younger than the inscriptions +at Copan. + +I therefore determined to apply the ordinary principles of deciphering, +without any bias, to the Yucatec inscriptions, and to go as far as I +could _certainly_. Arrived at the point where demonstration ceased, it +would be my duty to stop. For, while even the conjectures of a mind +perfectly trained in archaeologic research are valuable and may +subsequently prove to be quite right, my lack of familiarity with +historical works forced me to keep within narrow and safe limits. + +My programme at beginning was, _first_, to see if the inscriptions at +Copan and Palenque were written in the same tongue. When I say "to see," +I mean to definitely prove the fact, and so in other cases; _second_, to +see how the tablets were to be read. That is, in horizontal lines, are +they to be read from right to left, or the reverse? In vertical columns, +are they to be read up or down? _Third_, to see whether they were +phonetic characters, or merely ideographic, or a mixture of the +two--rebus-like, in fact. + +If the characters turned out to be purely phonetic, I had determined to +stop at this point, since I had not the time to learn the Maya language, +and again because I utterly and totally distrusted the methods which, up +to this time, have been applied by BRASSEUR DE BOURBOURG and others who +start, and must start, from the misleading and unlucky alphabet handed +down by LANDA. I believe that legacy to have been a positive misfortune, +and I believe any process of the kind attempted by BRASSEUR DE BOURBOURG +(for example, in his essay on the _MS. Troano_) to be extremely +dangerous and difficult in application, and to require a degree of +scientific caution almost unique. + +Dr. HARRISON ALLEN, in his paper, "The Life Form in Art," in the +_Transactions of the American Philosophical Society_, is the only +investigator who has applied this method to Central American remains +with success, so it seems to me; and even here errors have occurred. + +The process I allude to is something like the following: A set of +characters, say the alphabet of LANDA, is taken as a starting point. The +_variants_ of these are formed. Then the basis of the investigation is +ready. From this, the interpretation follows by identifications of each +new character with one of the standard set or with one of its +_variants_. Theoretically, there is no objection to this procedure. +Practically, also, there is no objection if the work is done strictly in +the order named. In fact, however, the list of _variants_ is filled out +not before the work is begun, but during its progress, and in such a way +as to satisfy the necessities of the interpreter in carrying out some +preconceived idea. With a sufficient latitude in the choice of +_variants_ any MS. can receive any interpretation. For example, the _MS. +Troano_, which a casual examination leads me to think is a _ritual_, and +an account of the adventures of several Maya gods, is interpreted by +BRASSEUR DE BOURBOURG as a record of mighty geologic changes. It is next +to impossible to avoid errors of this nature at least, and in fact they +have not been avoided, so far as I know, except by Dr. ALLEN in the +paper cited. + +I, personally, have chosen the stones and not the manuscripts for study +largely because _variants_ do not exist in the same liberal degree in +the stone inscriptions as they have been supposed to exist in the +manuscripts. + +At any one ruin the characters for the same idea are alike, and alike to +a marvelous degree. At another ruin the type is just a little different, +but the fidelity to this type is equally great. Synonyms exist; that is, +the same idea may be given by two or more utterly different signs. But a +given sign is made in a fixed and definite way. Finally the MSS. are, I +think, later than the stones. Hence the root of the matter is the +interpretation of the stones, or not so much their full interpretation +as the discovery of a _method of interpretation_, which shall be sure. + +Suppose, for example, that we know the meaning of a dozen characters +only, and the way a half dozen of these are joined together in a +sentence. The _method_ by which these were obtained will serve to add +others to the list, and progress depends in such a case only on our +knowledge of the people who wrote, and of the subjects upon which they +were writing. Such knowledge and erudition belongs to the archaeologists +by profession. A step that might take me a year to accomplish might be +made in an instant by one to whom the Maya and Aztec mythology was +familiar, if he were proceeding according to a sound method. At the +present time we know nothing of the meaning of any of the Maya +hieroglyphs. + +It will, therefore, be my object to go as far in the subject as I can +proceed with certainty, every step being demonstrated so that not only +the archaeologist but any intelligent person can follow. As soon as the +border-land is reached in which proof disappears and opinion is the only +guide, the search must be abandoned except by those whose cultivated and +scientific opinions are based on knowledge far more profound and various +than I can pretend or hope to have. + +If I do not here push my own conclusions to their farthest limit, it +must not be assumed that I do not see, at least in some cases, the +direction in which they lead. Rather, let this reticence be ascribed to +a desire to lay the foundations of a new structure firmly, to prescribe +the method of building which my experience has shown to be adequate and +necessary, and to leave to those abler than myself the erection of the +superstructure. If my methods and conclusions are correct (and I have no +doubts on this point, since each one has been reached in various ways +and tested by a multiplicity of criteria) there is a great future to +these researches. It is not to be forgotten that here we have no Rosetta +stone to act at once as key and criterion, and that instead of the +accurate descriptions of the Egyptian hieroglyphics which were handed +down by the Greek cotemporaries[TN-1] of the sculptors of these +inscriptions, we have only the crude and brutal chronicles of an +ignorant Spanish soldiery, or the bigoted accounts of an unenlightened +priesthood. To CORTEZ and his companions a memorandum that it took one +hundred men all day to throw the idols into the sea was all-sufficient. +To the Spanish priests the burning of all manuscripts was praiseworthy, +since those differing from Holy Writ were noxious and those agreeing +with it superfluous. It is only to the patient labor of the Maya +sculptor who daily carved the symbols of his belief and creed upon +enduring stone, and to the luxuriant growths of semi-tropical forests +which concealed even these from the passing Spanish adventurer, that we +owe the preservation of the memorials of past beliefs and vanished +histories. + +Not the least of the pleasures of such researches as these comes from +the recollection that they vindicate the patience and skill of forgotten +men, and make their efforts not quite useless. It was no rude savage +that carved the Palenque cross; and if we can discover what his efforts +meant, his labor and his learning have not been all in vain. It will be +one more proof that human effort, even misdirected, is not lost, but +that it comes, later or earlier, "to forward the general deed of man." + + + + +II. + +MATERIALS FOR THE PRESENT INVESTIGATION. + + +My examination of the works of Mr. J. L. STEPHENS has convinced me that +in every respect his is the most trustworthy work on the _hieroglyphs_ +of Central America. The intrinsic evidence to this effect is very +strong, but when I first became familiar with the works of WALDECK I +found so many points of difference that my faith was for a time shaken, +and I came to the conclusion that while the existing representations +might suffice for the study of the general forms of statues, tablets, +and buildings, yet they were not sufficiently accurate in detail to +serve as a basis for the deciphering I had in mind. I am happy to bear +witness, however, that STEPHENS'S work is undoubtedly amply adequate to +the purpose, and this fact I have laboriously verified by a comparison +of it with various representations, as those of DESAIX and others, and +also with a few photographs. The drawings of WALDECK are very beautiful +and artistic, but either the artist himself or his lithographers have +taken singular liberties in the published designs. STEPHENS'S work is +not only accurate, but it contains sufficient material for my purpose +(over 1,500 separate hieroglyphs), and, therefore, I have based my study +exclusively upon his earliest work, "_Incidents of Travel in Central +America, Chiapas, and Yucatan_," 2 vols., 8vo. New York, 1842 (twelfth +edition). I have incidentally consulted the works on the subject +contained in the Library of Congress, particularly those of BRASSEUR DE +BOURBOURG, KINGSBOROUGH, WALDECK, and others, but, as I have said, the +two volumes above named contain all the the[TN-2] material I have been +able to utilize, and much more which is still under examination. + + * * * * * + +One fact which makes the examination of the Central American antiquities +easier than it otherwise would be, has not, I think, been sufficiently +dwelt upon by former writers. This is the remarkable faithfulness of the +artists and sculptors of these statues and inscriptions to a standard. +Thus, at Copan, wherever the same kind of hieroglyph is to be +represented, it will be found that the human face or other object +employed is almost identically the same in expression and character, +wherever it is found. The same characters at different parts of a tablet +do not differ more than the same letters of the alphabet in two fonts of +type. + +At Palenque the _type_ (font) changes, but the adherence to this is +equally or almost equally rigid. It is to be presumed that in this +latter case, where work was done both in stone and stucco, the nature +of the material affected the portraiture more or less. + +The stone statues at Copan, for example, could not all have been done by +the same artist, nor at the same time. I have elsewhere shown that two +of these statues are absolutely identical. How was this accomplished? +Was one stone taken to the foot of the other and cut by it as a pattern? +This is unlikely, especially as in the case mentioned the _scale_ of the +two statues is quite different. I think it far more likely that each was +cut from a drawing, or series of drawings, which must have been +preserved by priestly authority. The work at any one place must have +required many years, and could not have been done by a single man; nor +is it probable that it was all done in one generation. Separate +hieroglyphs must have been preserved in the same way. It is this rigid +adherence to a type, and the banishment of artistic fancy, which will +allow of progress in the deciphering of the inscriptions or the +comparison of the statues. Line after line, ornament after ornament, is +repeated with utter fidelity. The reason of this is not far to seek. +This, however, is not the place to explain it, but rather to take +advantage of the fact itself. We may fairly say that were it not so, and +with our present data, all advances would be tenfold more difficult. + + + + +III. + +SYSTEM OF NOMENCLATURE. + + +It is impossible without a special and expensive font of type to refer +pictorially to each character, and therefore some system of nomenclature +must be adopted. The one I employ I could now slightly improve, but it +has been used and results have been obtained by it. It is sufficient for +the purpose, and I will, therefore, retain it rather than to run the +risk of errors by changing it to a more perfect system. I have numbered +the plates in STEPHENS'S _Central America_ according to the following +scheme: + +ENGRAVINGS OF VOLUME I. + + Page. + Stone Statue, front view, I have called Plate I _Frontispiece._ + Wall of Copan, Plate II 96 + Plan of Copan, Plate III 133 + Death's Head, Plate III^a 135 + Portrait, Plate III^b 136 + Stone Idol, Plate IV 138 + Portrait, Plate IV^a 139 + Stone Idol, Plate V 140 + Tablet of Hieroglyphics, Plate V^a 141 + No. 1, Sides of Altar, Plate VI 142 + No. 2, Sides of Altar, Plate VII 142 + Gigantic Head, Plate VIII 143 + No. 1, Stone Idol, front view, Plate IX 149 + No. 2, Stone Idol, back view, Plate X 150 + Idol half buried, Plate XI 151 + No. 1, Idol, Plate XII 152 + No. 2, Idol, Plate XIII 152 + No. 1, Idol, Plate XIV 153 + No. 2, Idol, Plate XV 153 + Idol and Altar, Plate XVI 154 + Fallen Idol, Plate XVII 155 + No. 1, Idol, front view, Plate XVIII 156 + No. 2, Idol, back view, Plate XIX 156 + No. 3, Idol, side view, Plate XX 156 + Fallen Idol, Plate XX^a 157 + Circular Altar, Plate XX^b 157 + No. 1, Stone Idol, front view, Plate XXI 158 + No. 2, Stone Idol, back view, Plate XXII 158 + No. 3, Stone Idol, side view, Plate XXIII 158 + Great Square of Antigua Guatimala, Plate XXIII^a 266 + Profile of Nicaragua Canal, Plate XXIII^b 412 + + ENGRAVINGS OF VOLUME II. + Page. + Stone Tablet, Plate XXIV _Frontispiece._ + Idol at Quirigua, Plate XXV 121 + Idol at Quirigua, Plate XXVI 122 + Santa Cruz del Quiche, Plate XXVII 171 + Place of Sacrifice, Plate XXVIII 184 + Figures found at Santa Cruz del Quiche, Plate XXIX 185 + Plaza of Quezaltenango, Plate XXX 204 + Vases found at Gueguetenango, Plate XXXI 231 + Ocosingo, Plate XXXII 259 + Palace at Palenque, Plate XXXIII 309 + Plan of Palace, Plate XXXIV 310 + Stucco Figure on Pier, Plate XXXV 311 + Front Corridor of Palace, Plate XXXVI 313 + No. 1, Court-yard of Palace, Plate XXXVIII 314 + No. 2, Colossal Bas-reliefs in Stone, Plate XXXIX 314 + East side of Court-yard, Plate XXXVII 314 + No. 1, Bas-relief in Stucco, Plate XL 316 + No. 2, Bas-relief in Stucco, Plate XLI 316 + No. 3, Bas-relief in Stucco, Plate XLII 316 + Oval Bas-relief in Stone, Plate XLIII 318 + Bas-relief in Stucco, Plate XLIV 319 + General Plan of Palenque, Plate XLV 337 + Casa No. 1 in Ruins, Plate XLVI 338 + Casa No. 1 restored, Plate XLVII 339 + No. 1, Bas-relief in Stucco, Plate XLVIII 340 + No. 2, Bas-relief in Stucco, Plate XLIX 340 + No. 3, Bas-relief in Stucco, Plate L 340 + No. 4, Bas-relief in Stucco, Plate LI 340 + No. 1, Tablet of Hieroglyphics, Plate LII 342 + No. 2, Tablet of Hieroglyphics, Plate LIII 342 + Tablet on inner Wall, Plate LIV 343 + Casa di Piedras, No. 2, Plate LV 344 + Tablet on back Wall of Altar, Casa No. 2, Plate LVI 345 + Stone Statue, Plate LVII 349 + Casa No. 3, Plate LVIII 350 + Front Corridor, Plate LIX 351 + No. 1, Bas-reliefs in Front of Altar, Plate LX 353 + No. 2, Bas-reliefs in Front of Altar, Plate LXI 353 + Adoratorio or Altar, Plate LXII 354 + Casa No. 4, Plate LXIII 355 + House of the Dwarf, Plate LXIV 420 + Casa del Gobernador, Plate LXV 428 + Sculptured Front of Casa del Gobernador, Plate LXVI 443 + Egyptian Hieroglyphics, Plate LXVIII 441 + Top of Altar at Copan, Plate LXVIII=V^a 454 + Mexican Hieroglyphical Writing, Plate LXIX 454 + +In each plate I have numbered the hieroglyphs, giving each one its own +number. Thus the hieroglyphs of the Copan altar (vol. i, p. 141) which I +have called plate V^a, are numbered from 1 to 36 according to this +scheme-- + + 1 2 3 4 5 6 + 7 8 9 10 11 12 + 13 14 15 16 17 18 + 19 20 21 22 23 24 + 25 26 27 28 29 30 + 31 32 33 34 35 36 + +And the right hand side of the Palenque Cross tablet, as given by RAU in +his memoir published by the Smithsonian Institution (1880), has the +numbers-- + + 2020 2021 2022 2023 2024 2025 + 2030 2031 2032 2033 2034 2035 + 2040 2041 2042 2043 2044 2045 + 2050 2051 2052 2053 2054 2055 + * * * * * * + * * * * * * + 3080 3081 3082 3083 3084 3085 + +These are consecutive with the numbers which I have attached to the +left-hand side, as given by STEPHENS. Whenever I have stated any results +here, I have also given the means by which any one can number a copy of +STEPHENS'S work in the way which I have adopted, and thus the means of +testing my conclusions is in the hands of every one who desires to do +so. + +In cases where only a _part_ of a hieroglyphic is referred to, I have +placed its number in a parenthesis, as 1826 _see_ (122), by which I mean +that the character 1826 is to be compared with a part of the character +122. The advantages of this system are many: for example; a memorandum +can easily be taken that two hieroglyphs are alike, thus 2072=2020 and +2073=2021. Hence the _pair_ 2020--2021, read horizontally, occurs again +at the point 2072--2073, etc. _Horizontal pairs_ will be known by their +numbers being consecutive, as 2020--2021; _vertical pairs_ will usually +be known by their numbers differing by 10. Thus, 2075--2085 are one +above the other. + +This method of naming the _chiffres_, then, is a quick and safe one, and +we shall see that it lends itself to the uses required of it. + +I add here the scheme according to which the principal plates at +Palenque have been numbered. + + +PLATE XXIV (left-hand side). + + v----------v + { 37 37 38 39 94 96 98 100 102 104 106 + {_See_ _See_ _See_ + { 1800 1800 1806 + { + { 40 40 41 42 95 97 99=127 101 103 105 107 + + 43=1810 43^a=46^a 44 45 108 + _See_ + 91 + + 46=1810 46^a=43^a 47 48 + + 49 50 51 + + In the middle of the + 52 52^a=1820? 53 54 plate at the top. + v----------v + 55 56=1840? 57 58 109 115 + _See_ + 1802 + + 59 60 61 62=58? 110 116 + _See_ + 2020 + + 63 64 65[+] 66 111 117 + _See_ + 2025 + + 67 68 69 70 112 118 + _See_ + 1911 + + 71 72=281 73 74 113 119 + _See_ + 2020 + + 75 76=67 77 78 114 120 + + 79 80 81 82 + + 83 84 85 86=56? + + 86[*] 86[*] 87 88 + + 89 90 91 92 + + 93 + + [*] Accidental error in numbering here. + + [+] Possibly Muluc--a Maya day; the meaning is "reunion." + + +PLATE XXIV (right-hand side). + + v-------------------v + 121 122=86?[+] 123=87 124=88 + _See_ 74, _See_ 61, 1822 + 86[*] + + 125 126[++] 127=99 128 + _See_ 1940 _See_ 1940 _See_ (44), 64 + + 129 130 131=147 132 + _See_ 50, 58, 62 + + 133 134 135 136=47? + + 137 138 139 140 + _See_ 39, _See_ 1811 + 91 + + 141 142[Sec.] 143 144 + _See_ 54 _See_ 50, 58, + 62, 132 + + 145 146 147=131 148 + _See_ 71 + + 149 150 151 152 + _See_ 56, + 1882 + + 153 154 155 156 + _See_ 53 _See_ 50, + 58, 132 + + 157[*] 158 159 160 + _See_ 68 _See_ 38 _See_ 46^a, + 49^a, 52^a + + v------------------------------------------v + 161=50 162 [+]163=1936 164 + _See_ 58, _See_ 56, _See_ 57 _See_ 58, 62 + 62, 132 73, 1882 + + 165 166 167 168 + _See_ 81? + + 169 170 171 172 + _See_ 68? + + 173 174 175 176 + _See_ 67, 76, _See_ 57 _See_ 126 + 90, 1910 + + 177 178 179 180 + _See_ 43^a _See_ 50, 58, 62 + + 181 182 183 184 + _See_ 57, + 163, 1936 + + 185 + + [*] Possibly Ymix--a Maya day. + + [+] Possibly Chuen--a Maya day; meaning "a board," "a tree." + + [++] Possibly Ahau--a Maya day; meaning "king." + + [Sec.] Possibly Ezanab--a Maya day. + + +PLATE LII. + + 200 201 202 203 204 205 206 207 208 209 } + } + 210 211 212 214 215 216 217 218 219 } Line 1. + _See_ } + 2020 } + + 220 221 222 223 224=2060 225 226 227 228 229 } + _See_ _See_ _See_ } + 2030 2060 1811-2 } + } Line 2. + 230 231 232 234 235 236 237 238 239 } + _See_ } + 1822 } + + 240 241 242=2020 243=1951 244 245 246 247 248 249 } + } + 250 251 252 254 255 256 257 258 259=1943} Line 3. + _See_ } + 214 } + + v-----------------v + 260 261 262 263 264 265 266 267 268 269 } + _See_ _See_ _See_ } + 2020 2021 2022 } + } Line 4. + 270 271 274=244 275 276 277 278 279 } + _See_ } + 204 } + + 280 281=72 282 283 284 285 286 287 288 } + _See_ _See_ } + 1820 385 } Line 5. + } + 290 294 295 296 297 298 299 } + + 300 301 302 303=360 304 305 306 307 } + _See_ } + 203 } Line 6. + } + 310 311 314 315 316 317 318 319 } + + v-----------v + 320 321 322 323 324=1824 325 326 327 328 329 } + _See_ _See_ _See_ _See_ } + 203 204 285 305 } + } Line 7. + 330 331 332 334 335 336 337 338 339 } + _See_ } + 209 } + + 340 341 342 343 344 345 346 347 348 349 } + _See_ _See_ } + 209 322 } + } Line 8. + 350 351 352 354 355 356=1822 357 358 359 } + _See_ _See_ } + 267, 230 } + 298 } + + 360=303 361 362 363 364 365 366 367 368 369 } + _See_ _See_ } + 351 303, } Line 9. + 360 } + } + 370 371 375 376 377 378 379 } + + 380 381 382 383 384 385 386 387 388 389 } + _See_ } + 286, } Line 10. + 1822 } + } + 390 391 392 394 395 396 397 398 399 } + + 400 401 402 403=360 404 405 406 407 408 409 } + _See_ 367 _See_ } + 326 360 } + } Line 11. + 410 411 412 414 415 416 417 418 419 } + _See_ _See_ } + 326 324 } + + 420 421 422 423 424 425 426 427 } + _See_ } + 324 } Line 12. + } + 430 432 434 435 436 437 438 439 } + + +PLATE LIII. + +[The upper left-hand square is No. 500, the upper right is 519, the +lower left-hand is 720, the lower right is 739. All the squares from 500 +to 508, 520 to 528, 530 to 538, etc., up to 720 to 728, are obliterated +(and their numbers omitted here) except a few.] + + 509 510 511 512 513 514 515 516 517 518 519 + _See_ _See_ _See_ + 1967 509 510 + + 529 530 531 532 533 534 535 536 537 538 539 + _See_ + 3012 + + 549 550 551 552 553 554 555 556 557 558 559 + _See_ + 162 + + 570 571 572 573 574 575 576 577 578 579 + _See_ + 1823 + + 589 590 591 592 593 594 595 596 597 598 599 + + 604 605 609 610 611 612 613 614 615 616 617 618 619 + _See_ + 571 + + 628 629 630 631 632 633 634 635 636 637 638 639 + _See_ + 3054 + + 649 650 651 652 653 654 655 656 657 658 659 + _See_ + 150, + 1882 + + 669 670 671=324 672=322? 673=323? 674 675 676 677 678 679 + _See_ _See_ _See_ + 2042 77 1802 + + 688 689 690 691 692 693 694 695 696 697 698 699 + + 708 709 710 711 712 713=1802 714 715 716 717 718 719 + _See_ + 439 + + 729 730=1845 731 732 733 734 735 736 737 738 739 + _See_ + 2020 + + +PLATE LIV. + + v-----------v + 800 801 802 803 804 805 806 807 808 809 810 811 812 813 + _See_ _See_ _See_ _See_ + 1882 26 1940 1941, + 3011 + + 900 901 902 903 904 905 906 907=1003 908 909 910 911 912 913 + _See_ _See_ + 2020 1310 + + 1000 1001 1002 1003=907 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 + _See_ _See_ _See_ + 2021 3054 1811-2 + + v------------v + 1100 1101 1102=717 1103 1104 1105=2020 1106 1107 1108 1109 1110=1209 1113 1114 1115 + _See_ _See_ _See_ _See_ + 1820 2021 1840 1841? + + 1200 1201 1202=1110 1203 1204=1008 1205 1206 1207 1208 1209=1110 1210 1211 1212 1213 + _See_ 3054 _See_ + 1823 + + 1300 1301 1302 1303=1910 1304 1305 1306 1307 1308 1309 1310 1311 1312 1313 + _See_ + 910 + + 1400=1823 1401 1402 1403 1404 1405 1406 1407 1408 1409 1410 1411 1412 1413 + + 1500 1501 1502=1010 1503 1504=717 1505 1506 1507 1508 1509 1510 1511 1512 1513 + 1102 + + v-----------------v + 1600 1601 1602 1603 1604 1605 1606 1607 1608 1609=1304 1610=1305 1611=1010 1612 1613 + + 1700 1701 1702=1911 1703 1704 1705 1706 1707 1708 1709 1710 1711=1702 1712=1708 1713 + 1911 + + +PLATE LVI (left-hand side--Palenque Cross). + + { 1801 1802 1803 1804 1961 1962 1963 1964 1965 + { _See_ + { 163, + 1800 { 175 + { + { 1805 1806 1807 1808 1966 + {_See_ _See_ + { 155 138 + + v---------------------v + [*]1810 1811 1812 1813 1814 1815 1816 1967 + _See_ _See_ _See_ _See_ _See_ + 150 139, (1852) 131, 126, + 179 146 127, + 176 + + 1820 1821 1822 1823 1824 1825 1826 1968 + _See_ _See_ _See_ + 161 124 122, + 160 + + 1830=1820 1831 1832 1833 1834 1835 1836 1969 + _See_ 161 _See_ _See_ _See_ _See_ _See_ + 123, 121 163 182 123 + 124 + + 1840 1841 1842 1843 1844 1845=1822 1846 1970 + _See_ _See_ _See_ 124 _See_ + 1835 124, 179 + 1836 + + 1850 1851 1852 1853 1854=1806 1855 + _See_ + 122 + + 1860 1861 1862 1863 1864 1865=2021 1866 + _See_ _See_ 144 _See_ + 126, 136?, + 127 184? + + 1870=1820 1871 1872=1842? 1873=1803 1874 1875 1876 + _See_ 160, _See_ 182 + 161 + + 1880 1881 1882 1883 1884=1834 1885 + _See_ _See_ _See_ 163, _See_ + 150, 124 182 132, + 162 144 + + 1890 1891 1892 1893 1894=1822 1895 + _See_ _See_ _See_ _See_ 124 _See_ + 130, 131?, 132? 144 + 158 147? + + 1900 1901 1902 1903 1904 1905=1803 1971 + _See_ _See_ _See_ + 146 157, 1802 + 182 + + 1910 1911 1912 1913=1834 1914 1915 1972 + _See_ _See_ _See_ 1884 + 174 174 141 + + v---------------v + 1920 1921 1922 1923 1924 1925 1973 + _See_ _See_ + 123 124 + + 1930 1931 1932=1811-2? 1933 1934 1935=1884 1975 1974 + _See_ 182 + + v-----------------v + 1940=1862 1941 1942 1943 1944=1922 1945=1923 + _See_ _See_ 123 _See_ 124 + 126, + 127 + + 1950 1951 1952 1953 1954 1955 + _See_ + 164 + + [*] At and after this place, in vertical columns, 1810-1-2, 1820-1-2, +1830-1-2, 1840-1-2, and 1860-1-2 may be taken as 2 or 3 symbols. I have +assumed them to be 3. + + +PLATE LVI (right-hand side--Palenque Cross). + + 1980 1981 1982 2020 2021 2022 2023 2024 2025=123 + _See_ _See_ _See_ + 131, 144 163 + 147, + 150 + + 1983 2030 2031 2032 2033 2034 2035 + _See_ _See_ _See_ _See_ + 132 134, 1811, 124 + 146, 1812 + 149 + + v---------v + 1984 2040 2041 2042 2043=123 2044 2045 + _See_ _See_ _See_ + 131, 131, 132, + 147 147 150 + + 2000 2050 2051 2052 2053 2054 2055 + + 2001 2060 2061 2062 2063 2064 2065 + _See_ + 182 + + 2002=122 2070 2071 2072 2073 2074 2075 + + 2003=2021 2080 2081 2082 2083 2084 2085 + _See_ 130 + + 2004 2090 2091 2092 2093 2094 2095 + + 2005 3000 3001 3002 3003 3004 3005 + + { 1976 1978 2006 3010 3011 3012 3013 3014 3015 + { _See_ + { 1902, + [*] { 1903 + { + { 1977 1979 2007 3020 3021 3022 3023 3024 3025 + { _See_ + { 182? + + 2008 3030 3031 3032 3033 3034 3035 + + 2009 3040 3041 3042 3043 3044 3045 + + 2010 3050 3051 3052 3053 3054 3055 + _See_ + 184 + + 2011 3060 3061 3062 3063 3064 3065 + _See_ + 131, + 2020 + + 2012 3070 3071 3072 3073 3074 3075 + + 2013 3080 3081 3082 3083 3084 3085 + + 2014 + + [*] These four each side of the main stem of the cross. 1976=_Ezanab_--a +Maya day[TN-3] + +[Illustration: FIG. 48.--The Palenquean Group of the Cross.] + + + + +IV. + +IN WHAT ORDER ARE THE HIEROGLYPHS READ? + + +Before any advance can be made in the deciphering of the hieroglyphic +inscriptions, it is necessary to know in what directions, along what +lines or columns, the verbal sense proceeds. + +All the inscriptions that I know of are in rectangular figures. At Copan +they are usually in squares. At Palenque the longest inscriptions are in +rectangles. At Palenque again, there are some cases where there is a +single horizontal line of hieroglyphs over a pictorial tablet. Here +clearly the only question is, do the characters proceed from left to +right, or from right to left? In other cases as in the tablet of the +cross, there are vertical columns. The question here is, shall we read +up or down? + +Now, the hieroglyphs must be phonetic or pictorial, or a mixture of the +two. If they are phonetic, it will take more than one symbol to make a +word, and we shall have groups of like characters when the same word is +written in two places. If the signs are pictorial, the same thing will +follow; that is, we shall have groups recurring when the same idea +recurs. Further, we know that the subjects treated of in these tablets +must be comparatively simple, and that _names_, as of gods, kings, etc., +must necessarily recur. + +The _names_, then, will be the first words deciphered. At present no +single name is known. These considerations, together with our system of +nomenclature, will enable us to take some steps. + +Take, for example, the right-hand side of the Palenque cross tablet as +given by RAU. _See_ our figure 48, which is Plate LVI of STEPHENS (vol. +ii, p. 345), with the addition of the part now in the National Museum at +Washington. + +Our system of numbering is here + + 2020 2021 2022 2023 2024 2025 + 2030 2031 2032 2033 2034 2035 + * * * * * * + * * * * * * + * * * * * * + 3080 3081 3082 3083 3084 3085 + +Now pick out the duplicate hieroglyphs in this; that is, run through the +tablet, and wherever 2020 occurs erase the number which fills the place +and write in 2020. Do the same for 2021, 2022, etc., down to 3084. The +result will be as follows: + +RIGHT-HAND SIDE OF PALENQUE CROSS TABLET (RAU). + + 2020 2021 2022 2023 2024 2025 + ^-----------^ ^-----------^ + + 2030 2031 2032 2033 2034 2035 + ^-----------^ + + 2040 2041 2042 { 2025 2020 2021 + { ^-----------^ + { + 2050 2051 2034 { 2053 2054 2055 + ^-----------^ + + 2053 2061 2062 2063 2064 2065 + + 2070 2071 2020 2021 2022? 2024? } + ^-----------^ } ? + } + 2053 2020 2082 2083 2025 2053 } + + 2021 2091 2092 { 2025 2094 2095 + { + 3000 2023 2034 { 2053 2033 3005 + ^-----------^ + ^-----------^ + + 3010 2083 3012 2024 3014 2091 + + 2053 3021 2023 2020 3024 2024 + + { 2024 2025 2021 3033 { 2025 2034* + ? { ^-----------^ { ^---- + { { + { 2053* 3021 3042 3043 { 2035 3045 + ----^ + + 3050 2083 { 2025 2034 3054 3055 + _See_ 2082 { + ^-----------^ { + { + 2024 2020 { 2035 3063 2024 2025 + ^-----------^ + + 2021 2031 2020 2021 2035 3045 + ^-----------^ + + 3080 3081 2091 2093 2020 2021 + ^-----------^ + + 14 cases of horizontal pairs; 4 cases of vertical pairs; 102 characters + in all, of which 51 appear more than once, so that there are but 51 + independent hieroglyphs. + +Here the first two lines are unchanged. In the third line we find that +2043 is the same as 2025, 2044=2020, 2045=2021, and so on, and we write +the smallest number in each case. + +After this is done, connect like pairs by braces whenever they are +consecutive, either vertical or horizontal. Take the pair 2020 and 2021 +for example; 2020 occurs eight times in the tablet, viz, as 2020, 2044, +2072, 2081, 3023, 3061, 3072, 3084. In five out of the eight cases, it +is followed by 2021, viz, as 2021, 2045, 2073, 3073, 3085. + +It is clear this is not the result of accident. The pair 2020 and 2021 +means something, and when the two characters occur together they must be +read together. There is no point of punctuation between them. We also +learn that they are not inseparable. 2020 will make sense with 2082, +3024 and 3062. Here it looks as if the writing must be read in _lines_ +horizontally. We do not know yet in which direction. + +We must examine other cases. This is to be noticed: If the reading is in +horizontal lines from left to right, then the progress is from top to +bottom in columns, as the case of 3035 and 3040 shows. This occurs at +the end of a line, and the corresponding _chiffre_ required to make the +pair is at the other end of the next line. I have marked this case with +asterisks. If we must read in the lines from right to left we must +necessarily read in columns from bottom to top. Thus the _lines_ are +connected. + +A similar process with all the other tablets in STEPHENS leads to the +conclusion that the reading is in lines horizontally and in columns +vertically. The cases 1835-'45, 1885-'95, 1914-'24, and 1936-'46 should, +however, be examined. We have now to decide at which end of the lines to +begin. The reasons given by Mr. BANCROFT (_Native Races_, vol. ii, p. +782) appeared to me sufficient to decide the question before I was +acquainted with his statement of them. + +Therefore, the sum total of our present data, examined by a rational +method, leads to the conclusion, so far as we can know from these data, +that the verbal sense proceeded in _lines_ from left to right, in +_columns_ from top to bottom; just as the present page is written, in +fact. + +For the present, the introduction of the method here indicated is the +important step. It has, as yet, been applied only to the plates of +STEPHENS' work. The definite conclusion should be made to rest on _all +possible_ data, some of which is not at my disposition at present. +Tablets exist in great numbers at other points besides Palenque, and for +the final conclusion these must also be consulted. If each one is +examined in the way I have indicated, it will yield a certain answer. +The direction of reading for that plate can be thus determined. At +Palenque the progress is in the order I have indicated. + + + + +V. + +THE CARD-CATALOGUE OF HIEROGLYPHS. + + +It has already been explained how a system of nomenclature was gradually +formed. As I have said, this is not perfect, but it is sufficiently +simple and full for the purpose. By it, every plate in STEPHENS' work +receives a number and every hieroglyph in each plate is likewise +numbered. + +This was first done in my private copy of the work. I then procured +another copy and duplicated these numbers both for plates and single +_chiffres_. The plates of this copy were then cut up into single +hieroglyphs and each single hieroglyph was mounted on a library card, +as follows: + + ____________________________________________ + | | | | + | No. 2020. | Hieroglyph. | Plate LVI. | + | |_______________| | + |__________________________________________| + | Same as Numbers. | Similar to Numbers. | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + | ---------------- | ------------------- | + |__________________________________________| + +The cards were 6.5 by 4.5 inches. The _chiffre_ was pasted on, in the +center of the top space. Its number and the plate from which it came +were placed as in the cut. The numbers of hieroglyphs which resembled +the one in question could be written on the right half of the card, and +the numbers corresponding to different recurrences of this hieroglyph +occupied the left half. + +All this part of the work was most faithfully and intelligently +performed for me by Miss MARY LOCKWOOD, to whom I desire to express the +full amount of my obligations. A mistake in any part would have been +fatal. But no mistakes occurred. + +These cards could now be arranged in any way I saw fit. The simple +_chiffres_, for example, could be placed so as to bring like ones +together. A compound hieroglyph could be placed among simple ones +agreeing with any one of its components, and so on. + +The expense of forming this card catalogue of about 1,500 single +hieroglyphs was borne by the Ethnological Bureau of the Smithsonian +Institution, and the catalogue is the property of that bureau, forming +only one of its many rich collections of American picture-writings. + + + + +VI. + +COMPARISON OF PLATES I AND IV (COPAN). + + +In examining the various statues at Copan, as given by STEPHENS, one +naturally looks for points of striking resemblance or striking +difference. Where all is unknown, even the smallest sign is examined, in +the hope that it may prove a clue. The Plate I, Fig. 49, has a twisted +knot (the "square knot" of sailors) of cords over its head, and above +this is a _chiffre_ composed of ellipses, and above this again a sign +like a sea-shell. A natural suggestion was that these might be the signs +for the name of the personage depicted in Plate I. If this is so and we +should find the same sign elsewhere in connection with a figure, we +should expect to find this second figure like the first in every +particular. This would be a rigid test of the theory. After looking +through the Palenque series, and finding no similar figure and sign, I +examined the Copan series, and in Plate IV, our Fig. 50, I found the +same signs exactly; _i. e._, the knot and the two _chiffres_. + +[Illustration: FIG. 49.--Statue at Copan.] + +[Illustration: FIG. 50.--Statue at Copan.] + +At first sight there is only the most general resemblance between the +personages represented in the two plates; as STEPHENS says in his +original account of them, they are "in many respects similar." If he had +known them to be the same, he would not have wasted his time in drawing +them. The scale of the two drawings and of the two statues is different; +but the two personages are the same identically. Figure for figure, +ornament for ornament, they correspond. It is unnecessary to give the +minute comparison here in words. It can be made by any one from the two +plates herewith. Take any part of Plate I, find the corresponding part +of Plate IV, and whether it is human feature or sculptured ornament the +two will be found to be the same. + +Take the middle face depending from the belt in each plate. The earrings +are the same; the ornament below the chin, the knot above the head, the +complicated beadwork on each side of this face, all are the same. The +bracelets of the right arms of the main figures have each the forked +serpent tongue, and the left-arm bracelets are ornamented alike. The +crosses with beads almost inclosed in the right hands are alike; the +elliptic ornaments above each wrist, the knots and _chiffres_ over the +serpent masks which surmount the faces, all are the same. In the steel +plates given by STEPHENS there are even more coindences[TN-4] to be seen +than in the excellent wood-cuts here given, which have been copied from +them. + +Here, then, is an important fact. The theory that the _chiffre_ over the +forehead is characteristic, though it is not definitively proved, +receives strong confirmation. The parts which have been lost by the +effects of time on one statue can be supplied from the other. Better +than all, we gain a test of the minuteness with which the sculptors +worked, and an idea of how close the adherence to a type was required to +be. Granting once that the two personages are the same (a fact about +which I conceive there can be no possible doubt, since the chances in +favor are literally thousands to one), we learn what license was +allowed, and what synonyms in stone might be employed. Thus, the +ornament suspended from the neck in Plate IV is clearly a tiger's skull. +That from the neck of Plate I has been shown to be the derived form of a +skull by Dr. HARRISON ALLEN,[225-*] and we now know that this common +form relates not to the human skull, as Dr. ALLEN has supposed, but to +that of the tiger. We shall find this figure often repeated, and the +identification is of importance. This is a case in regard to synonyms. +The kind of symbolism so ably treated by Dr. ALLEN is well exemplified +in the conventional sign for the _crotalus_ jaw at the mouth of the mask +over the head of each figure. This is again found on the body of the +snake in Plate LX, and in other places. Other important questions can +be settled by comparison of the two plates. For example, at Palenque we +often find a sign composed of a half ellipse, inside of which bars are +drawn. [Illustration] I shall elsewhere show that there is reason to +believe the ellipse is to represent the concave of the sky, its diameter +to be the level earth, and in some cases at least the bars to be the +descending and fertilizing rain. The bars are sometimes two, three, and +sometimes four in number. Are these variants of a single sign, or are +they synonyms? Before the discovery of the identity of the personages in +these two plates, this question could not be answered. Now we can say +that they are not synonyms, or at least that they must be considered +separately. To show this, examine the bands just above the wristlets of +the two figures. Over the left hands of the figures the bars are two in +number; over the right hands there are four. This exact similarity is +not accidental; there is a meaning in it, and we must search for its +explanation elsewhere, but we now have a valuable test of what needs to +be regarded, and of what, on the other hand, may be passed over as +accidental or unimportant. + +One other case needs mentioning here, as it will be of future use. From +the waist of each figure depend nine oval solids, six being hatched over +like pine cones and the three central ones having two ovals, one within +the other, engraved on them. In Plate IV the inner ovals are all on the +right-hand side of the outer ovals. Would they mean the same if they +were on the left-hand side? Plate I enables us to say that they would, +since one of these inner ovals has been put by the artist on that side +by accident or by an allowed caprice. It is by furnishing us with tests +and criteria like these that the proof of the identity of these two +plates is immediately important. In other ways, too, the proof is +valuable and interesting, but we need not discuss them at this time. + +These statues, then, are to us a dictionary of synonyms in stone--a test +of the degree of adherence to a prototype which was exacted, and a +criterion of the kind of minor differences which must be noticed in any +rigid study. + +I have not insisted more on the resemblances, since the accompanying +figures present a demonstration. Let those who wish to verify these +resemblances compare minutely the ornaments above the knees of the two +figures, those about the waists, above the heads, and the square knots, +etc., etc. + + + + +VII. + +ARE THE HIEROGLYPHS OF COPAN AND PALENQUE IDENTICAL? + + +One of the first questions to be settled is whether the same system of +writing was employed at Palenque and at Copan. Before any study of the +meanings of the separate _chiffres_ can be made, we must have our +material properly assorted, and must not include in the figures we are +examining for the detection of a clue, any which may belong to a system +possibly very different. + +The opinion of STEPHENS and of later writers is confirmed by my +comparison of the Palenque and the Copan series; that is, it becomes +evident that the latter series is far the older. + +In Nicaragua and Copan the statues of gods were placed at the foot of +the pyramid; farther north, as at Palenque, they were placed in temples +at the summit. Such differences show a marked change in customs, and +must have required much time for their accomplishment. In this time did +the picture-writing change, or, indeed, was it ever identical? + +To settle the question whether they were written on the same system, I +give here the results of a rapid survey of the card-catalogue of +hieroglyphs. A more minute examination is not necessary, as the present +one is quite sufficient to show that the system employed at the two +places was the same in its general character and almost identical even +in details. The practical result of this conclusion is that similar +characters of the Copan and Palenque series may be used interchangeably. + +A detailed study of the undoubted synonyms of the two places will afford +much light on the manner in which these characters were gradually +evolved. This is not the place for such a study, but it is interesting +to remark how, even in unmistakable synonyms, the Palenque character is +always the most conventional, the least pictorial; that is, the latest. +Examples of this are No. 7, Plate V^a, and No. 1969, Plate LVI. The +_mask_ in profile which forms the left-hand edge of No. 7 seems to have +been conventionalized into the two hooks and the ball, which have the +same place in No. 1969. + +[Illustration: FIG. 51.--Synonomous[TN-5] hieroglyphs from Copan and +Palenque.] + +The larger of these two was cut on stone, the smaller in stucco. + +The mask has been changed into the ball and hooks; the angular nose +ornament into a single ball, easier to make and quite as significant to +the Maya priest. But to us the older (Copan) figure is infinitely more +significant. The curious rows of little balls which are often placed at +the left-hand edge of the various _chiffres_ are also conventions for +older forms. It is to be noted that these balls always occur on the left +hand of the hieroglyphs, except in one case, the _chiffre_ 1975 in the +Palenque cross tablet, on which the left-hand acolyte stands. + +The conclusion that the two series are both written on the same system, +and that like _chiffres_ occurring at the two places are synonyms, will, +I think, be sufficiently evident to any one who will himself examine the +following cases. It is the _nature_ of the agreements which proves the +thesis, and not the number of cases here cited. The reader will remember +that the Copan series comprises Plates I to XXIII, inclusive; the +Palenque series, Plate XXIV and higher numbers. + +The sign of the group of Mexican gods who relate to hell, _i. e._, a +circle with a central dot, and with four small segments cut out at four +equally distant points of its circumference, is found in No. 4291, Plate +XXII, and in many of the Palenque plates, as Plate LVI, Nos. 2090, 2073, +2045, 2021, etc. In both places this sign is worn by human figures just +below the ear. + +The same sign occurs as an important part of No. 4271, Plate XXII, and +No. 4118, Plate XIII (Copan), and No. 2064, Plate LVI (Palenque), etc. + +No. 7, Plate V^a, and No. 1969, Plate LVI, I regard as absolutely +identical. These are both human figures. No. 12, Plate V^a, and No. +637, Plate LIII, are probably the same. These probably represent or +relate to the long-nosed divinity, YACATEUCTLI, the Mexican god of +commerce, etc., or rather to his Maya representative. + +The sign of TLALOC, or rather the family of TLALOCS, the gods of rain, +floods, and waters, is an eye (or sometimes a mouth), around which there +is a double line drawn. I take No. 26, Plate V^a, of the Copan series, +and Nos. 154 and 165, Plate XXIV, to be corresponding references to +members of this family. No. 4, Plate V^a, and No. 155 also correspond. + +No. 4242, Plate XXII, is probably related to No. 53, Plate XXIV and its +congeners. + +Nos. 14 and 34, Plate V^a, are clearly related to No. 900, Plate LIV, +Nos. 127 and 176, Plate XXIV, No. 3010, Plate LVI, and many others. + +Plate III^a of Copan is evidently identically the same as the No. 75 +of the Palenque Plate No. XXIV. + +The right half of No. 27, Plate V^a, is the same as the right half of +Nos. 3020, 3040, and many others of Plate LVI. + +No. 17, Plate V^a, is related to No. 2051, Plate LVI, and many others +like it. + +The major part of No. 4105, Plate XIII, is the same as No. 124, Plate +XXIV, etc. + +[Illustration: FIG. 52.--Yucatec Stone.] + +It is not necessary to add a greater number of examples here. The +card-catalogue which I have mentioned enables me to at once pick out all +the cases of which the above are specimens, taken just as they fell +under my eye in rapidly turning over the cards. They therefore represent +the _average_ agreement, neither more nor less. Taken together they +show that the same signs were used at Copan and at Palenque. As the same +symbols used at both places occur in like positions in regard to the +human face, etc., I conclude that not only were the same signs used at +both places, but that these signs had the same meaning; _i. e._, were +truly synonyms. In future I shall regard this as demonstrated. + + + + +VIII. + +HUITZILOPOCHTLI (MEXICAN GOD OF WAR), TEOYAOMIQUI (MEXICAN GODDESS OF +DEATH), MICLANTECUTLI (MEXICAN GOD OF HELL), AND TLALOC (MEXICAN +RAIN-GOD), CONSIDERED IN RELATION TO CENTRAL AMERICAN DIVINITIES. + + +In the _Congres des Americanistes, session de Luxembourg_, vol. ii, p. +283, is a report of a memoir of Dr. LEEMANS, entitled "Description de +quelques antiquites americaines conservees dans le Musee royal +neerlandais d'antiquites a Leide." On page 299 we find-- + + M. G.-H.-BAND, de Arnhiem, a eu la bonte de me confier quelques + antiquites provenant des anciens habitants du Yucatan et de + l'Amerique Centrale, avec autorisation d'en faire prendre des + fac-similes pour le Musee, ce qui me permet de les faire connaitre + aux membres du Congres. Elles ont ete trouvees enfouies a une + grande profondeur dans le sol, lors de la construction d'un canal, + vers la riviere Gracioza, pres de San Filippo, sur la frontiere du + Honduras britannique et de la republique de Guatemala par M. + S.-A.-van BRAAM, ingenieur neerlandais au service de la + Guatemala-Company. + +From the maps given in STIELER'S Hand-Atlas and in BANCROFT'S Native +Races of the Pacific States I find that these relics were found 308 +miles from Uxmal, 207 miles from Palenque, 92 miles from Copan, and 655 +miles from the city of Mexico, the distances being in a straight line +from place to place. + +The one of these objects with which we are now concerned is figured in +Plate (63) of the work quoted, and is reproduced here as Fig. 52. + +Dr. LEEMANS refers to a similarity between this figure and others in +Stephens' Travels in Central America, but gives no general comparison. + +I wish to direct attention to some of the points of this cut. The +_chiffre_ or symbol of the principal figure is, perhaps, represented in +his belt, and is a St. Andrew's cross, with a circle at each end of it. +Inside the large circle is a smaller one. It may be said, in passing, +that the cross probably relates to the _air_ and the circle to the +_sun_. + +The main figure has two hands folded against his breast. Two other arms +are extended, one in front, the other behind, which carry two birds. +Each arm has a bracelet. This second pair of hands is not described by +Dr. LEEMANS. The two birds are exact duplicates, except that the eye of +one is shut, of the other open. Just above the bill of each bird is +something which might be taken as a second bill (which probably is not, +however), and on this and on the back of each bird are five spines or +claws. The corresponding claws are curved and shaped alike in the two +sets. The birds are fastened to the neck of the person represented by +two ornaments, which are alike, and which seem to be the usual +hieroglyph of the _crotalus_ jaw. These jaws are placed similarly with +respect to each bird. In KINGSBOROUGH'S Mexican Antiquities, vol. I, +Plate X, we find the parrot as the sign of TONATIHU, the sun, and in +Plate XXV with NAOLIN, the sun. On a level with the nose of the +principal figure are two symbols, one in front and one behind, each +inclosing a St. Andrew's cross, and surmounted by what seems to be a +flaming fire. It is probably the _chiffre_ of the wind, as the cross is +of the rain. Below the rear one of these is a head with protruding +tongue (the sign of QUETZALCOATL); below the other a hieroglyph (perhaps +a bearded face). Each of these is upborne by a hand. It is to be +noticed, also, that these last arms have bracelets different from the +pair on the breast. + +In passing, it may be noted that the head in rear is under a cross, and +has on its cheek the symbol U. These are the symbols of the left-hand +figure in the Palenque cross tablet. + +The head hanging from the rear of the belt has an _open_ eye (like that +of the principal figure), and above it is a crotalus mask, with open +eye, and teeth, and forked fangs. The principal figure wears over his +head a mask, with open mouth, and with tusks, and above this mask is the +eagle's head. This eagle is a sign of TLALOC, at least in Yucatan. In +Mexico the eagle was part of the insignia of TETZCATLIPOCA, "the devil," +who overthrew the good QUETZALCOATL and reintroduced human sacrifice. + +The characteristics of the principal figure, 63, are then briefly as +follows: + +I. His _chiffre_ is an air-cross with the sun-circle. + +II. He has four hands. + +III. He bears two birds as a symbol. + +IV. The claws or spikes on the backs of these are significant. + +V. The mask with tusks over the head. + +VI. The head worn at the belt. + +VII. The captive trodden under foot. + +VIII. The chain from the belt attached to a kind of ornament or symbol. + +IX. The twisted flames (?) or winds (?) on each side of the figure. + +X. His association with QUETZALCOATL or CUCULKAN,[TN-6] as shown by the +mouth with protruding tongue, and with TLALOC or TETZCATLIPOCA, as shown +by the eagle's head. + +We may note here for reference the signification of one of the +hieroglyphs in the right-hand half of Fig. 52, _i. e._, in that half +which contains only writing. The topmost _chiffre_ is undoubtedly the +name, or part of the name, of the principal figure represented in the +other half. It is in pure picture-writing; that is, it expresses the sum +of his attributes. It has the crotalus mask, with nose ornament, which +he wears over his face; then the cross, with the "five feathers" of +Mexico, and the sun symbol. These are in the middle of the _chiffre_. +Below these the oval may be, and probably is, heaven, with the rain +descending and producing from the surface of the earth (the long axis of +the ellipse), the seed, of which three grains are depicted. + +We know by the occurrence of the hieroglyphs on the reverse side of the +stone that this is not of Aztec sculpture. These symbols are of the same +sort as those at Copan, Palenque, etc., and I shall show later that some +of them occur in the Palenque tablets. Hence, we know this engraving to +be Yucatec and not Aztec in its origin. If it had been sculptured on one +side only, and these hieroglyphs omitted, I am satisfied that the facts +which I shall point out in the next paragraphs would have led to the +conclusion that this stone was Mexican in its origin. Fortunately the +native artist had the time to sculpture the Yucatec hieroglyphs, which +are the proof of its true origin. It was not dropped by a traveling +Aztec; it was made by a Yucatec. + +In passing, it may be said that the upper left-hand, hieroglyph of Plate +XIII most probably repeats this name. + +I collect from the third volume of BANCROFT'S _Native Races_, chapter +viii, such descriptions of HUITZILOPOCHTLI as he was represented among +the Mexicans as will be of use to us in our comparisons. No display of +learning in giving the references to the original works is necessary +here, since Mr. BANCROFT has placed all these in order and culled them +for a use like the present. It will suffice once for all to refer the +critical reader to this volume, and to express the highest sense of +obligation to Mr. BANCROFT'S compilation, which renders a survey of the +characteristic features of the American divinities easy. + +In Mexico, then, this god had, among other symbols, "five balls of +feathers arranged in the form of a cross." This was in reference to the +mysterious conception of his mother through the _powers of the air_. The +upper hieroglyph in Fig. 52, and one of the lower ones, contain this +sign: "In his right hand he had an azured staff cutte in fashion of a +waving snake." (See Plate LXI of STEPHENS.) "Joining to the temple of +this idol there was a piece of less work, where there was another idol +they called TLALOC. These two idolls were alwayes together, for that +they held them as companions and of equal power." + +To his temple "there were foure gates," in allusion to the form of the +cross. The temple was surrounded by rows of skulls (as at Copan) and the +temple itself was upon a high pyramid. SOLIS says the war god sat "on a +throne supported by a blue globe.[TN-7] From this, supposed to represent +the heavens, projected four staves with serpents' heads. (See Plate +XXIV, STEPHENS.) "The image bore on its head a bird of wrought plumes," +"its right hand rested upon a crooked serpent." "Upon the left arm was a +buckler bearing five white plums arranged in form of a cross." SAHAGUN +describes his device as a dragon's head, "frightful in the extreme, and +casting fire out of his mouth." + +HERRARA describes HUITZILOPOCHTLI and TEZCATLIPOCA[TN-8] together, and +says they were "beset with pieces of gold wrought like birds, beasts, +and _fishes_." "For collars, they had ten hearts of men," "and in their +necks Death painted." + +TORQUEMADA derives the _name_ of the war god in two ways. According to +some it is composed of two words, one signifying "a humming bird" and +the other "a sorcerer that spits fire." Others say that the last word +means "the left hand," so that the whole name would mean "the shining +feathered left hand." "This god it was that led out the Mexicans from +their own land and brought them into Anahuac." Besides his regular +statue, set up in Mexico, "there was another renewed every year, made of +different kinds of grains and seeds, moistened with the blood of +children." This was in allusion to the nature-side of the god, as fully +explained by MUeLLER (_Americanische Urreligionen_). + +No description will give a better idea of the general features of this +god than the following cuts from BANCROFT'S _Native Races_, which are +copied from LEON Y GAMA, _Las Dos Piedras_, etc. Figs. 53 and 54 are the +war god himself; Fig. 55 is the back of the former statue on a larger +scale; Fig. 56 is the god of hell, and was engraved on the bottom of the +block. + +[Illustration: FIG. 53.--HUITZILOPOCHTLI (front).] + +[Illustration: FIG. 54.--HUITZILOPOCHTLI (side).] + +These three were a trinity well nigh inseparable. It has been doubted +whether they were not different attributes of the same personage. In the +natural course of things the primitive idea would become differentiated +into its parts, and in process of time the most important of the parts +would each receive a separate pictorial representation. + +[Illustration: FIG. 55.--Huitzilopochtli (back).[TN-9]] + +[Illustration: FIG. 56.--MICLANTECUTLI.] + +[Illustration: FIG. 57.--Adoratorio.] + +By referring back a few pages the reader will find summarized the +principal characteristics of the Central American figure represented in +Fig. 52. He will also have noticed the remarkable agreement between the +attributes of this figure and those contained in the cuts or in the +descriptions of the Mexican gods. Thus-- + +I. The symbol of both was the cross. + +II. Fig. 52 and Fig. 55 each have four hands.[233-*] + +III. Both have birds as symbols. + +It is difficult to regard the bird of Fig. 52 as a humming bird, as it +more resembles the parrot, which, as is well known, was a symbol of some +of the Central American gods. Its occurrence here in connection with the +four arms fixes it, however, as the bird symbol of HUITZILOPOCHTLI. In +the _Ms. Troano_, plate xxxi (lower right-hand figure), we find this +same personage with his two parrots, along with TLALOC, the god of rain. + +IV. The claws of the Mexican statue may be symbolized by the spikes on +the back of the birds in Fig. 52, but these latter appear to me to +relate rather to the fangs and teeth of the various crotalus heads of +the statues. + +V. The mask, with tusks, of Fig. 52, is the same as that at the top of +Fig. 55, where we see that they represent the teeth of a serpent, and +not the tusks of an animal. This is shown by the forked tongue beneath. +The three groups of four dots each on HUITZILOPOCHTLI'S statue are +references to his relationship with TLALOC. + +With these main and striking duplications, and with other minor and +corroborative resemblances, which the reader can see for himself, there +is no doubt but that the two figures, Mexican and Yucatec, relate to the +same personage. The Yucatec figure combines several of the attributes of +the various members of the Mexican trinity named above, but we should +not be surprised at this, for, as has been said, some writers consider +that this trinity was one only of attributes and not of persons. + +What has been given above is sufficient to show that the personage +represented in Fig. 52 is the Yucatec equivalent of HUITZILOPOCHTLI, and +has relations to his trinity named at the head of this section, and also +to the family of TLALOC. I am not aware that the relationship of the +Yucatec and Aztec gods has been so directly shown, on evidence almost +purely pictorial, and therefore free from a certain kind of bias. + +If the conclusions above stated are true, there will be many +corroborations of them, and the most prominent of these I proceed to +give, as it involves the explanation of one of the most important +tablets of Palenque, parts of which are shown in Plates XXIV, LX, LXI, +and LXII, vol. ii, of STEPHENS. + +Plate LXII, Fig. 57, represents the "Adoratorio or Alta Casa, No. 3" of +Palenque. This is nothing else than the temple of the god +HUITZILOPOCHTLI and of his equal, TLALOC. The god of war is shown on a +larger scale in Plate LXI, Fig. 58, while TLALOC is given in Plate LX, +Fig. 59, and the tablet inside the temple in Plate XXIV, Fig. 60. The +resemblances of Plate XXIV and of the Palenque cross tablet and their +meanings will be considered farther on. + +Returning to Plate LXII, the symbols of the roof and cornice refer to +these two divinities. The faces at the ends of the cornice, with the +double lines for eye and mouth, are unmistakable TLALOC signs. The +association of the two gods in one temple, as at Mexico, is a strong +corroboration. + +Let us now take Plate LXI, Fig. 58, which represents HUITZILOPOCHTLI, or +rather, the Yucatec equivalent of this Aztec god. I shall refer to him +by the Aztec appelation, but I shall in future write it in italics; and +in general the Yucatec equivalents of Aztec personages in italics, and +the Aztec names in small capitals. + +Compare Fig. 52 and the Plate LXI (Fig. 58). As the two plates are +before the reader, I need only point out the main resemblances, and, +what is more important, the differences. + +The sandals, the belt, its front pendant, the bracelets, the neck +ornament, the helmet, should be examined. The four hands of Fig. 52 are +not in LXI, nor the parrots; but if we refer to KINGSBOROUGH, Vol. II, +Plates 6 and 7 of the LAUD manuscript, we shall find figures of +HUITZILOPOCHTLI with a parrot, and of TLALOC with the stork with a fish +in its mouth, as in the head-dress here. The prostrate figure of Fig. 52 +is here led by a chain. At Labphak (BANCROFT, Vol. iv., p. 251), he is +held aloft in the air, and he is on what _may be_ a sacrificial yoke. +The _Tlaloc_ eagle is in the head of the staff carried in the hand. This +eagle is found in the second line from the bottom of Fig. 52, we may +remark in passing. Notice also the crescent moon in the ornament back of +the shoulders of the personage of Fig. 58. The twisted cords which form +the bottom of this ornament are in the hieroglyph No. 37, Plate XXIV +(Fig. 60). + +Turning now to Plate LX (Fig. 59). + +This I take to be the sorcerer _Tlaloc_. He is blowing the wind from his +mouth; he has the eagle in his head-dress, the jaw with grinders, the +peculiar eye, the four TLALOC dots over his ear and on it, the snake +between his legs, curved in the form of a yoke (this is known to be a +serpent by the conventional crotalus signs of jaw and rattles on it in +nine places), the four TLALOC dots again in his head-dress, etc. He has +a leopard skin on his back (the tiger was the earth in Mexico) and his +naked feet have peculiar anklets which should be noticed. + +Although I am deferring the examination of the hieroglyphs to a later +section, the _chiffre_ 3201 should be noticed. It is the TLALOC eye +again, and 3203 is the _chiffre_ of the Mexican gods of hell. + +[Illustration: FIG. 58.--Maya War God.] + +[Illustration: FIG. 59.--Maya Rain God.] + +In passing I may just refer the reader to p. 164, Vol. ii, of STEPHENS' +book on Yucatan, where a figure occurring at Labphax is given. This I +take to be the same as _Huitzilopochtli_ of Plate LXI. Also in the MS. +_Troano_, published by BRASSEUR DE BOURBOURG, a figure in Plate XXV and +in other plates sits on a hieroglyph like 3201, and is _Tlaloc_. +This is known by the head-dress, the teeth, the air-trumpet, the serpent +symbol, etc. In Plates XXVIII, XXXI, and XXXIII of the same work +HUITZILOPOCHTLI and TLALOC are represented together, in various +adventures. + +[Illustration: FIG. 60.--Tablet at Palenque.] + +In Plate LX (Fig. 59) notice also the _chiffre_ on the tassels before +and behind the main personage. + +Now turn to the Plate XXIV (Fig. 60), which is the main object in the +"Adoratorio" (Fig. 57), where the human figures serve as flankers. + +First examine the caryatides who support the central structure. These +are _Tlalocs_. Each has an eagle over his face, is clothed in leopard +skin, has the characteristic eye and teeth, and the wristlets of Plate +LX (Fig. 59). + +A vertical line through the center of Plate XXIV (Fig. 60) would +separate the figures and ornaments into two groups. These groups are +very similar, but never identical, and this holds good down to the +minutest particulars and is not the result of accident. One side (the +right-hand) belongs to _Tlaloc_, the other to _Huitzilopochtli_. + +The right-hand priest (let us call him, simply for a name and not to +commit ourselves to a theory) has the sandals of Plate LXI; the +left-hand priest the anklets of Plate LX. + +The beast on which the first stands and the man who supports the other +are both marked with the tassel symbol of Plate LX. There is a certain +rude resemblance between the supplementary head of this beast and the +pendant in front of the belt of Fig. 52. Four of these beasts supply +rain to the earth with _Tlaloc_ in Plate XXVI of the MS. _Troano_. The +infant offered by the right-hand priest has the _two_ curls on his +forehead which was a necessary mark of the victims for TLALOC'S +sacrifices. The center of the whole plate is a horrid mask with an open +mouth. Behind this are two staves with _different_ ornaments crossed in +the form of the air-cross. On either hand of this the ornaments are +different though similar. + +A curious resemblance may be traced between the positions, etc., of +these two staves and those of the figure on p. 563, vol. iv, of +BANCROFT'S _Native Races_, which is a Mexican stone. Again, this latter +figure has at its upper right-hand corner a crouching animal (?) very +similar to the gateway ornament given in the same volume, p. 321. This +last is at Palenque. I quote these two examples in passing simply to +reinforce the idea of similarity between the sacred sculptures of +Yucatan and Mexico. + +I take it that the examination of which I have sketched the details will +have left no doubt but that the personage of Fig. 52 is truly +_Huitzilopochtli_, the Yucatec representative of HUITZILOPOCHTLI; that +Plate LXI (Fig. 58) is the same personage; that Plate LX (Fig. 59) +represents TLALOC; and that Plate XXIV (Fig. 60) is a tablet relating to +the service of these two gods. + +I have previously shown that the Palenque hieroglyphs are read in order +from left to right. We should naturally expect, then, that the sign for +_Tlaloc_ or for _Huitzilopochtli_ would occupy the upper left-hand +corner of Plate XXIV. In fact it does, and I was led to this discovery +in the way I have indicated. + +No. 37 is the Palenque manner of writing the top sign of Fig. 52. I +shall call the signs of Fig. 52 _a_, _b_, _c_, etc., in order downwards. + +The crouching face in _a_ occupies the lower central part of No. 37. +Notice also that this face occurs below the small cross in the detached +ornament to the left of the central mask of Fig. 60. The crescent moon +of Plate LXI (Fig. 58) is on its cheek; back of this is the sun-sign; +the cross of _a_ is just above its eye; the three signs for the +celestial concave are at the top of 37, crossed with rain bands; the +three seeds (?) are below these. The feathers are in the lower +right-hand two-thirds. This is the sign or part of the sign for +_Huitzilopochtli_. If a Maya Indian had seen either of these signs a few +centuries ago, he would have had the successive ideas--a war-god, with a +feather-symbol, related to sun and moon, to fertilizing rain and +influences, to clouds and seed; that is _Huitzilopochtli_, the companion +of _Tlaloc_. Or if he had seen the upper left-hand symbol of the +Palenque cross tablet (1800), he would have had _related_ ideas, and so +on. + +What I have previously said about the faithfulness with which the +Yucatec artist adhered to his prototypes in signs is perfectly true, +although apparently partly contradicted by the identification I have +just made. When a given attribute of a god (or other personage) was to +be depicted, the _chiffres_ expressing this were marvellously alike. +Witness the _chiffres_ Nos. 2090, 2073, 2021, 2045, 3085, 3073, 3070, +3032 of the Palenque cross tablet. But directly afterwards some other +attribute is to be brought out, and the _chiffre_ changes; thus the +hieroglyph 1009 of Plate LIV, or 265, Plate LII, has the same protruding +tongue as 2021, etc., and is the same personage, but the style is quite +changed. In Fig. 52, _Huitzilopochtli_ is the war-god, in Plate XXIV he +is the rain-god's companion; and while every attribute is accounted for, +prominence is given to the special ones worshipped or celebrated. Scores +of instances of this have arisen in the course of my examination. + +Again, we must remember that this was no source of ambiguity to the +Yucatecs, however much it may be to us. Each one of them, and specially +each officiating priest, was entirely familiar with every attribute of +every god of the Yucatec pantheon. The sign of the attribute brought the +idea of the power of the god in that special direction; the full idea of +his divinity was the integral of all these special ideas. The limits +were heaven and earth. + +This, then, is the first step. I consider that it is securely based, and +that we may safely say that in proper names, at least, a kind of picture +writing was used which was _not_ phonetic. + +From this point we may go on. I must again remark that great familiarity +with the literature of the Aztecs and Yucatecs is needed--a familiarity +to which I personally cannot pertend[TN-10]--and that it is clear that +the method to reach its full success must be applied by a true scholar +in this special field. + + + + +IX. + +TLALOC, OR HIS MAYA REPRESENTATIVE. + + +Although there is no personage of all the Maya pantheon more easy to +recognize in the form of a _statue_ than _Tlaloc_, there is great +difficulty in being certain of _all_ the hieroglyphs which relate to +him. There is every reason to believe that in Yucatan, as in Mexico, +there was a family of rain-gods, _Tlalocs_, and the distinguishing signs +of the several members are almost impossible of separation, so long as +we know so little of the special functions of each member of this +family. + +In Yucatan, as in Mexico, _Tlaloc's_ main sign was a double line about +the eye or mouth, or about both; and further, some of the _Tlalocs_, at +least, were bearded.[237-*] + +CUKULCAN was also bearded, but we have separated out in the next section +the _chiffres_, or certainly most of them, that relate to him. Those +that are left remain to be distributed among the family of rain-gods; +and this, as I have said, can only be done imperfectly, on account of +our slight knowledge of the character of these gods. + +If we examine the plates given by STEPHENS, we shall find many pictorial +allusions to _Tlaloc_. These are often used as mere ornaments or +embellishments, as in borders, etc., and probably served only to notify, +in a general way, the fact of the relationship of the personage +represented, to this family, and probably not to convey any specific +meaning. + +Thus, in Plate XXXV of STEPHENS' work the upper left-hand ornament of +the border is a head of _Tlaloc_ with double lines about eye and mouth, +and this ornament is repeated in a different form at the lower +right-hand corner of the border just back of the right hand of the +sitting figure, and also in the base of the border below the feet of the +principal figure. + +Plate XLVIII (of STEPHENS') is probably CHALCHIHUITLICUE (that is, the +Yucatec equivalent of that goddess), who was the sister of _Tlaloc_. His +sign occurs in the upper left-hand corner of the border, and in Plate +XLIX the same sign occurs in a corresponding position. + +Plate XXIV (our Fig. 60) is full of _Tlaloc_ signs. The bottom of the +tablet has a hieroglyph, 93 (_Huitzilopochtli_), at one end and 185 +(_Tlaloc_) at the other. The leopard skin, eagle, and the crouching +tiger (?) under the feet of the priest of _Tlaloc_ (the right-hand +figure) are all given. The infant (?) offered by this priest has two +locks of curled hair at its forehead, as was prescribed for children +offered to this god. + +In Plate LVI (our Fig. 48) the mask at the foot of the cross is a human +mask, and not a serpent mask, as has been ingeniously proved by Dr. +HARRISON ALLEN in his paper so often quoted. It is the mask of _Tlaloc_, +as shown by the teeth and corroborated (not proved) by the way in which +the eye is expressed. The curved hook within the eyeball here, as in +185, stands for the air--the wind--of which _Tlaloc_ was also god. The +Mexicans had a similar sign for breath, message. + +The _chiffre_ 1975, on which _Huitzilopochtli's_ priest is standing, I +believe to be the synonym of 185 in Plate XXIV. Just in front of +_Tlaloc's_ priest is a sacrificial yoke (?), at the top of which is a +face, with the eye of the _Tlalocs_, and various decorations. This face +is to be found also at the lower left-hand corner of Plate XLI (of +STEPHENS'), and also (?) in the same position in Plate XLII (of +STEPHENS'). These will serve as subjects for further study. + +Notice in Plate LVI (our Fig. 48) how the ornaments in corresponding +positions on either side of the central line are similar, yet never the +same. A careful study of these pairs will show how the two gods +celebrated, differed. A large part, at least, of the attributes of each +god is recorded in this way by antithesis. I have not made enough +progress in this direction to make the very few conclusions of which I +am certain worth recording. The general fact of such an antithesis is +obvious when once it is pointed out, and it is in just such paths as +this that advances must be looked for. + +I have just mentioned, in this rapid survey of the plates of vol. ii of +STEPHENS' work, the principal pictorial signs relating to _Tlaloc_. +There are a number almost equally well marked in vol. i, in Plates VII, +IX, X, XIII, and XV, but they need not be described. Those who are +especially interested can find them for themselves. + +The following brief account and plate of a _Tlaloc_ inscription at Kabah +will be useful for future use, and is the more interesting as it is +comparatively unknown. + + +_INSCRIPTION AT KABAH (Yucatan)._ + +This hitherto unpublished inscription on a rock at Kabah is given in +_Archives paleographiques_, vol. i, part ii, Plate 20. It deserves +attention on account of its resemblances, but still more on account of +its differences, with certain other Yucatec glyphs. + +We may first compare it with the Plate LX of STEPHENS (our Fig. 59). + +The head-dress in Plate 20 is quite simple, and presents no resemblance +to the elaborate gear of Plate LX, in which the ornament of a leaf (?), +or more probably feather, cross-hatched at the end and divided +symmetrically by a stem (?) or quill about which four dots are placed, +seems characteristic. + +_Possibly_, and only possibly, the square in the rear of the head of +Plate 20, which has two cross-hatchings, may refer to the elaborate +cross-hatchings in Plate LX. The four dots are found twice, once in +front and once in rear of the figure. The heads of the two figures have +only one resemblance, but this is a very important one. The tusks belong +to HUITZILOPOCHTLI and to his trinity, and specially to TLALOC, his +companion. + +Both Plate 20 and LX have the serpent wand or yoke clearly expressed. In +LX the serpent is decorated with crotalus heads; in 20 by images of the +sun (?), as in the FERJAVARY MS. (KINGSBOROUGH). The front apron or +ornament of Plate 20 is of snake skin, ornamented with sun-symbols. +Comparing Plate 20 with Fig. 52 (_ante_), we find quite other +resemblances. The head-dress of 20 is the same as the projecting arm of +the head-dress of Fig. 52; and the tusks are found in the helmet or mask +of Fig. 52. + +These and other resemblances show the Kabah inscription to be a TLALOC. +It is interesting specially on account of its hieroglyphs, which I hope +to examine subsequently. The style of this writing appears to be late, +and may serve as a connecting link between the stones and the +manuscripts, and it is noteworthy that even the style of the drawing +itself seems to be in the manner of the Mexican MS. of LAUD, rather than +in that of the Palenque stone tablets. + +From the card catalogue I select the following _chiffres_ as +appertaining to the family of the _Tlalocs_. As I have said, these must +for the present remain in a group, unseparated. Future studies will be +necessary to discriminate between the special signs which relate to +special members of the family. The _chiffres_ are Nos. 3200; 1864; 1403; +811; 1107?; 1943?; 4114??; _b_?; 1893 (bearded faces, or faces with +teeth very prominent); 166?; 4??; 807?; 62?; 155?; 26; 154?; 165?; 164?; +805; 4109; 1915?; 675??; 635?? (distinguished by the characteristic eye +of the TLALOCS). + +Here, again, the writing is ideographic, and not phonetic. + + + + +X. + +CUKULCAN OR QUETZALCOATL. + + +The character 2021 occurs many times in Plate LVI (Fig. 48), and +occasionally elsewhere. The personage represented is distinguished by +having a protruding tongue, and was therefore at once suspected to be +QUETZALCOATL. (See BANCROFT'S _Native Races_, vol. iii, p. 280.) The +protruding tongue is probably a reference to his introduction of the +sacrificial acts performed by wounding that member. + +The rest of the sign I suppose to be the rebus of his name, +"Snake-plumage"; the part cross-hatched being "snake," the feather-like +ornament at the upper left-hand corner being "plumage." It is necessary, +however, to prove this before accepting the theory. To do this I had +recourse to Plates I and IV (Figs. 49, 50), my dictionary of synonyms. + +This _cross-hatching_ occurs in Plate I. In the six tassels below the +waist, where the cross-hatching _might_ indicate the serpent skin, +notice the ends of the tassels; these are in a scroll-like form, and as +if rolled or coiled tip. In Plate IV they are the same, naturally. So +far there is but little light. + +In Plate IV, just above each wrist, is a sign composed of ellipse and +bars; a little above each of these signs, among coils which may be +serpent coils, and on the horizontal line through the top of the +necklace pendant, are two surfaces cross-hatched all over. What do these +mean? Referring to Plate I, we find, in exactly the same relative +situation, the forked tongue and the rattles of the crotalus. These are, +then, synonyms, and the _guess_ is confirmed. The cross-hatching means +serpent-skin. Is this _always_ so? We must examine other plates to +decide. + +The same ornament is found in Plates IX, XIV, XVI, XVIII, XIX, XX, XXI, +XXXV (of STEPHENS'), but its situation does not allow us to gain any +additional light. + +In Plate XII (STEPHENS') none of the ornaments below the belt will help +us. At the level of the mouth are four patches of it. Take the upper +right-hand one of these. Immediately to its right is a serpent's head; +below the curve and above the frog's (?) head are the rattles. Here is +another confirmation. In Plate XVIII I refer the cross-hatching to the +jaw of the crocodile. In Plate XXII I have numbered the _chiffres_ as +follows: + + 4201 4202 4203 4204. + 4211 4212 4213 4214. + * * * * + * * * * + * * * * + 4311 4312 4313 4314. + +4204 has the cross-hatching at its top, and to its left in 4203 is the +serpent's head. The same is true in 4233-4. In 4264 we have the same +symbol that we are trying to interpret; it is in its perfect form here +and in No. 1865 of the Palenque series. In the caryatides of Plate XXIV +(Fig. 60) the cross-hatching is included in the spots of the leopard's +skin; in the ornaments at the base, in and near the masks which, they +are supporting, it is again serpent skin. Take the lower mask; its jaws, +forked-tongue, and teeth prove it to be a serpent-mask, as well as the +ornament just above it. In Plate LX (Fig. 59) it is to be noticed that +the leopard spots are not cross-hatched, but that this ornament is given +at the lower end of the leopard robe, which ends moreover in a crotalus +tongue marked with the sign of the jaw (near the top of this ornament) +and of the rattles (near the bottom). This again confirms the theory of +the rebus meaning of the cross-hatching. In Plate XXIV (Fig. 60) the +cross-hatching on the leopard spots probably is meant to _add_ the +serpent attribute to the leopard symbol, and not simply to denote the +latter. + +Thus an examination of the _whole_ of the material available, shows that +the preceding half of the hieroglyph 2021 and its congeners is nothing +but the _rebus_ for QUETZALCOATL, or rather for CUKULCAN, the Maya name +for this god. BRASSEUR DE BOURBOURG, as quoted in BANCROFT'S _Native +Races_, vol. ii, p. 699, foot note, says CUKULCAN, comes from _kuk_ or +_kukul_, a bird, which appears to be the same as the _quetzal_, and from +_can_, serpent; so that CUKULCAN in Maya is the same as QUETZALCOATL in +Aztec. It is to be noticed how checks on the accuracy of any deciphering +of hieroglyphs occur at every point, if we will only use them. + +The Maya equivalents of HUITZILOPOCHTLI and TLALOC are undoubtedly +buried in the _chiffres_ already deciphered, but we have no means of +getting their names in Maya from the rebus of the _chiffres_. + +In the cases of these two gods we got the _chiffre_, and the rebus is +still to seek. In the case of _Quetzalcoatl_ or CUKULCAN, the rebus was +the means of getting the name; and if the names of this divinity had not +been equivalent in the two tongues, our results would have led us to the +(almost absurd) conclusion that a god of certain attributes was called +by his Aztec name in the Maya nations. + +Thus every correct conclusion confirms every former one and is a basis +for subsequent progress. The results of this analysis are that the Maya +god CUKULCAN is named in each one of the following _chiffres_, viz: Nos. +1009, 265, 2090, 2073, 2021, 3085, 2045, 3073, 3070, 3032, 1865, 265, +268?, 4291? 73?? I give the numbers in the order in which they are +arranged in the card-catalogue. There is, of course, a reason for this +order. + +BANCROFT, vol. iii, p. 268, says of QUETZALCOATL that "his symbols were +the bird, the serpent, the cross, and the flint, representing the +clouds, the lightning, the four winds, and the thunderbolt." + +We shall find all of his titles except one, the bird, in what follows. +We must notice here that in the _chiffre_ 2021 and its congeners the +bird appears directly over the head of CUKULCAN. It is plainly shown in +the heliotype which accompanies Professor RAU'S work on the Palenque +cross, though not so well in our Fig. 48. + +In what has gone before, we have seen that the characters 2021, 2045, +2073, 3073, 3085, 265, etc., present the portrait and the rebus of +CUKULCAN. It will not be forgotten that in the examination of the +question as to the order in which the stone inscriptions were read we +found a number of _pairs_ in Plate LVI, Fig. 48; the characters 2021, +etc., being one member of each. The other members of the pairs in the +Plate LVI were 2020, 2044, 2072, 3072, 3084, etc. 264-265 is another +example of the same pair elsewhere. + +I hoped to find that the name CUKULCAN, or 2021, was associated in these +pairs with some adjective or verb, and therefore examined the other +members of the pair. + +In a case like this the card-catalogue is of great assistance; for +example, I wish to examine here the _chiffres_ Nos. 2020, 2044, 2072, +3072, 3084, etc. In the catalogue their cards occur in the same +compartment, arranged so that two cards that are exactly alike are +contiguous. We can often know that two _chiffres_ are alike when one is +in a far better state of preservation than the other. Hence we may +select for study that one in which the lines and figures are best +preserved; or from several characters known to be alike, and of which no +one is entirely perfect, we may construct with accuracy the type upon +which they were founded. In this case the hieroglyph 2020 is well +preserved (see the right-hand side of Plate LVI, Fig. 48, the upper +left-hand glyph). It consists of a _human hand_, with the symbol of the +_sun_ in it; above this is a sign similar to that of the Maya day +_Ymix_; above this again, in miniature, is the rebus "snake plumage" or +_Cukulcan_; and to the left of the hieroglyph are some curved lines not +yet understood. No. 2003 of the same plate is also well preserved. It +has the hand as in 2020, the rebus also, and the sign for _Ymix_ is +slightly different, being modified with a sign like the top of a cross, +the symbol of the _four winds_. The symbol _Ymix_ may be seen, by a +reference to Plate XXVII (lower half) of the MS. _Troano_, to relate to +the _rain_. The figure of that plate is pouring rain upon the earth from +the orifices represented by _Ymix_. The cross of the _four winds_ is +still more plain in Nos. 2072, 3084, and 3072. + +The part of this symbol 2020 and its synonyms which consists of curved +lines occupying the left hand one-third of the whole _chiffre_ occurs +only in this set of characters, and thus I cannot say _certainly_ what +this particular part of the hieroglyph means; but if the reader will +glance back over the last one hundred lines he will find that these +_chiffres_ contain the _rebus_ CUKULCAN, the sign of a _human hand_, of +the _sun_, of the _rain_, and of the _four winds_. + +In BANCROFT'S _Native Races_, vol. iii, chapter vii, we find that the +titles of QUETZALCOATL (CUKULCAN) were the _air_, the _rattlesnake_, the +_rumbler_ (in allusion to thunder), the _strong hand_, the lord of the +_four winds_. The bird symbol exists in 2021, etc. Now in 2020 and its +congeners we have found every one of these titles, save only that +relating to the _thunder_. And we have found a meaning for every part of +the hieroglyph 2020 save only one, viz, the left-hand one-third, +consisting of concentric half ellipses or circles. It may be said to be +quite _probable_ that the unexplained part of the sign (2020) +corresponds to the unused title, "the rumbler." But it is not rigorously +proved, although very probable. The thunder would be well represented by +repeating the sign for sky or heaven. This much seems to me certain. The +sign is but another summing up of the attributes and titles of CUKULCAN. +2021 gave his portrait, his bird symbol, made allusion to his +institution of the sacrifice of wounding the tongue, and spelled out his +name in rebus characters. 2020 repeats his name as a rebus and adds the +titles of lord of the four winds, of the sun, of rain, of the strong +hand, etc. It is his biography, as it were. + +In this connection, a passing reference to the characters 1810, etc., +1820, etc., 1830, etc., 1840, etc., 1850, etc., of the left-hand side of +Plate LVI should be made. Among these, all the titles named above are to +be found. These are suitable subjects for future study. + +We now see _why_ the pair 2020, 2021 occurs so many times in Plate LVI, +and again as 264, 265, etc. The right-hand half of this tablet has much +to say of CUKULCAN, and whenever his name is mentioned a brief list of +his titles accompanies it. Although it is disappointing to find _both_ +members of this well-marked pair to be proper names, yet it is +gratifying to see that the theory of pairs, on which the proof of the +order in which the tablets are to be read must rest, has received such +unexpected confirmation. + +To conclude the search for the hieroglyphs of CUKULCAN'S name, it will +be necessary to collect all those faces with "_round_ beards" (see +BANCROFT'S _Native Races_, vol. iii, p. 250). TLALOC was also bearded, +but all the historians refer to QUETZALCOATL as above cited. I refer +hieroglyphs Nos. 658, 651?, 650?, and 249? to this category. + +Perhaps also the sign No. 153 is the sign of QUETZALCOATL, as something +very similar to it is given as his sign in the _Codex Telleriano +Remensis_, KINGSBOROUGH, vol. i, Plates I, II, and V (Plate I the best), +where he wears it at his waist. + +In Plate LXIII of STEPHENS (vol. ii) is a small figure of CUKULCAN +which, he calls "Bas Relief on Tablet." WALDECK gives a much larger +drawing (incorrect, however, in many details), in which the figure, the +"Beau Relief," is seen to wear bracelets high up on the arm. This was a +distinguishing sign of QUETZALCOATL (see BANCROFT'S _Native Races_, vol. +iii, pp. 249 and 250), and this figure probably is a representation of +the Maya divinity. He is on a stool with tigers for supports. The tiger +belongs to the attributes which he had in common with TLALOC, and we see +again the intimate connection of these divinities--a connection often +pointed out by BRASSEUR DE BOURBOURG. + +This is the third proper name which has been deciphered. All of them +have been pure picture-writing, except in so far as their rebus +character may make them in a sense phonetic. + + + + +XI. + +COMPARISON OF THE SIGNS OF THE MAYA MONTHS (LANDA) WITH THE TABLETS. + + +We have a set of signs for Maya months and days handed down to us by +LANDA along with his phonetic alphabet. _A priori_ these are more likely +to represent the primitive forms as carved in stone than are the +alphabetic hieroglyphs, which may well have been invented by the +Spaniards to assist the natives to memorize religious formulae.[243-*] + +BRASSEUR DE BOURBOURG has analyzed the signs for the day and month in +his publication on the MS. _Troano_, and the strongest arguments which +can be given for their phonetic origin are given by him. + +I have made a set of MS. copies of these signs and included them in my +card-catalogue, and have carefully compared them with the tablets XXIV +and LVI. My results are as follows: + +PLATE XXIV (our Fig. 60). + + No. 42 is the Maya month _Pop_, beginning July 16. + No. 54 is _Zip_??, beginning August 25. + No. 47 is _Tzoz_??, beginning September 14. + No. 57 is _Tzec_? beginning October 4. + No. 44-45 is _Mol_?, beginning December 3. + No. 39 is _Yax_, _Zac_, or _Ceh_, beginning January 12, February 1, + February 21, respectively. + +PLATE LVI (our Fig. 48). + + No. 1804 is _Uo_???? + No. 1901 is _Zip_???? + No. 1816 is _Tzoz_?? + No. 1814 is _Tzec_? + No. 1807 is _Mol_? + No. 1855 is _Yax_, _Zac_, or _Ceh_. + No. 1844 is _Mac_? + +The only sign about which there is little or no doubt is No. 42, which +seems pretty certainly to be the sign of the Maya month _Pop_, which +began July 16. + +No. 39, just above it, seems also to be _one_ of the months _Yax_, +_Zac_, or _Ceh_, which began on January 12, February 1, and February 21, +respectively. Which one of these it corresponds to must be settled by +other means than a direct comparison. The signs given by LANDA for these +three months all contain the same radical as No. 39, but it is +impossible to decide with entire certainty to which it corresponds. It, +however, most nearly resembles the sign for _Zac_ (February 1); and it +is noteworthy that it was precisely in this month that the greatest +feast of TLALOC took place,[244-*] and its presence in this tablet, +which relates to _Tlaloc_, is especially interesting. + +In connection with the counting of time, a reference to the bottom part +of the _chiffre_ 3000 of the Palenque cross tablet should be made. This +is a _knot_ tied up in a string or scarf; and we know this to have been +the method of expressing the expiration and completion of a cycle of +years. It occurs just above the symbol 3010, the _chiffre_ for a metal. + +An examination of the original stone in the National Museum, Washington, +which is now in progress, has already convinced me that the methods +which I have described in the preceding pages promise other interesting +confirmations of the results I have reached. For the time, I must leave +the matter in its present state. I think I am justified in my confidence +that suitable methods of procedure have been laid down, and that certain +important results have already been reached. + +I do not believe that the conclusions stated will be changed, but I am +confident that a rich reward will be found by any competent person who +will continue the study of these stones. The proper names now known will +serve as points of departure, and it is probable that some research will +give us the signs for verbs or adjectives connected with them. + +It is an immense step to have rid ourselves of the phonetic or +alphabetic idea, and to have found the manner in which the Maya mind +represented attributes and ideas. Their method was that of all nations +at the origin of written language; that is, pure picture-writing. At +Copan this is found in its earliest state; at Palenque it was already +highly conventionalized. The step from the Palenque character to that +used in the Kabah inscription is apparently not greater than the step +from the latter to the various manuscripts. An important research would +be the application of the methods so ably applied by Dr. ALLEN to +tracing the evolution of the latter characters from their earlier forms. +In this way it will be possible to extend our present knowledge +materially. + + +FOOTNOTES: + +[225-*] The Life Form in Art, Trans. Amer. Phil. Soc., vol. xv, 1873, p. +325. + +[233-*] From KINGSBOROUGH, vol. i, plate 48, it appears that TLACLI +TONATIO may have had four hands. His name meant (?) Let there be light. + +[237-*] See KINGSBOROUGH, vol. ii, Plate I, of the LAUD MS. + +[243-*] Since this was written I have seen a paper by Dr. VALENTINI, +"The LANDA alphabet a Spanish fabrication" (read before the American +Antiquarian Society, April 28, 1880), and the conclusions of that paper +seem to me to be undoubtedly correct. They are the same as those just +given, but while my own were reached by a study of the stones and in the +course of a general examination, Dr. VALENTINI has addressed himself +successfully to the solution of a special problem. + +[244-*] See BRASSEUR DE BOURBOURG, _Histoire du Mexique_, vol. i, p. +328. + + + + +Index + + +Allen, Dr Harrison 208, 225, 238, 245 + + +Bancroft, H. H., Huitzilopochtli, description of 231 + , Maya hieroglyphics, mode of reading 223 + +Band, G. H. 229 + +Braam, S. A. van 229 + +Brasseur de Bourbourg, C. E. 208, 210, 243, 244 + + +Card catalogue of hieroglyphs 223 + +Chalchihuitlicue 237 + +Codex Telleriano Remensis 243 + +Copan, Statues of 207, 224, 227, 228, 229, 245 + +Cortez, H. 209 + +Cuculkan. (_See_ Quetzalcoatl.) + + +Deciphering, Principles of 207 + +Desaix, le Capitaine 210 + + +Herrera 232 + +Hieratic art 210 + +Hieroglyphs 210 + are read in a certain order 223 + +Huitzilopochtli 229, 230, 231, 232, 233, 234, 235, 236, 238, 239, 241 + + +Kingsborough, Lord 210 + + +Landa, Bishop 208, 243 + +Landa's hieroglyphic alphabet 208 + +Leemans, Dr 229 + +Leon y Gama 232 + +Lockwood, Miss Mary 224 + + +Manuscript Troano 234 + +Miclantecutli 229, 232 + +Months, their hieroglyphs 243 + +MS. Troano 234 + +Mueller, J. G., Mexican gods 232 + + +Naolin 230 + +Nomenclature 211, 220 + + +Palenque, Statues of 207, 224, 237-239, 245 + + +Quetzalcoatl 230, 237, 239, 240, 241, 242, 243 + + +Rau, Dr 221 + + +Stephens, John L. 207-210 + + +Teoyaomiqui 229 + +Tetzcatlipoca 230 + +Tlaloc 229, 230, 231, 233-239, 241, 244 + +Torquemada 232 + +Touatihu 230 + +Troano, Manuscript 234 + + +Valentini 243 + +Variank 208 + + +Waldeck 210, 243 + + + + +Transcriber's Note + + TN-1 209 cotemporaries should read contemporaries + TN-2 210 the the should read the + TN-3 220 Maya day should read Maya day. + TN-4 225 coindences should read coincidences + TN-5 227 Synonomous should read Synonymous + TN-6 230 Cuculkan should read Cukulcan + TN-7 231 blue globe. should read blue globe." + TN-8 232 Tezcatlipoca should read Tetzcatlipoca + TN-9 Fig. 55 Huitzilopochtli should read HUITZILOPOCHTLI + TN-10 237 pertend should read pretend + +The following word was inconsistently spelled: + +Labphak / Labphax + +The following phrase had inconsistent use of italics and +capitalization: + +_MS. Troano_ / _Ms. Troano_ / MS. _Troano_ + + + + + +End of the Project Gutenberg EBook of Studies in Central American +Picture-Writing, by Edward S. 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