Animal Figures in the Maya Codices

he identification purely from a zoological point of view, and, secondly, the connection and,

LL

Vaticanus 3773 (Pl. 1, fig. 3) in common with those shown in Pl. 1, figs. 2, 6, 9, has the spire represented by segments of successively smaller size. The species of Fasciolaria occurring on the Yucatan and adjacent coasts is characterized by numerous prominent bosses or projections on its later whorls, and these, too, appear in conventionalized form in most of the representations. In Pl. 1, fig. 2, the second whorl, and in figs. 6, 9, the third

l of birth and death. The first idea is well brought out in Pl. 1, fig. 2, where the human figure is emerging from a shell. The same idea among the Mayas is seen in Pl. 1, fig. 1, where god N is coming from a shell. As god N is usually associated with the end of the year, we may have here the complementary idea o

minences represent the stalked eyes of snails. This seems quite unlikely as such representations are usually short and occur in too widely dissimilar connections. Moreover, there are sometimes three of these instead of but a single pair (D

cies occurring on the Yucatan shores, while O. splendidula is found in other parts of the Gulf of Mexico. Representations of this shell are shown in Pl. 1, figs. 10-12. In figs. 10, 11, the lip and spire are apparent but in fig. 12 the lip only is seen as a white fi

s. Just as a bar has the meaning five, and a dot one, so the shell often has the signification of z

of the closed bivalve shown in figs. 16, 17, or possibly a species of cowry. In like manner, fig. 13 is probably a side view of the mollusc shown in fig. 14, for it is seen that in each case the figure showing the two opened valves has a bipartite extended foot, whereas that of the single valve is simple. This doubling of the single median foot of the bivalve may be an artistic necessity for

SE

pear to be improvised hives are shown in Pl. 2, figs. 7, 10, where the combs are noted depending from the ceiling or walls. These combs are seen to be composed of cells roughly four-sided for the most part, though in fig. 11 several hexagonal cells are present in the mass of comb held by the black god, M. Darwin, in his Origin of Species, has called attention to the form of the comb bui

f the size of the first pair of legs, only the tops of the second pair appear in Pl. 2, figs. 1, 3, 5. In fig. 2, however, two pairs are seen, and in figs. 4, 6, the anthropomorphic tendency is further shown by providing the insect with two pairs of limbs each with four or five digits, and a conventionalized face, ey

ng Cauac with the bees and honey. The Cauac-like forms in Pl. 2, figs. 7, 10, have been described above as hives. The representation of legs in the full drawing of a bee as four large limbs, an anterior and a posterior pair, coup

f Europe, the second differs from the first only in having no sting and is the bee of Yucatan and Chiapas which makes the fine clear honey of aromatic flavor. The third species resembles in its form the winged ants but is smaller than the common bee and without a sting. The fourth is a yellow bee, smaller than the

Cortesianus. The section in this manuscript (80b, 103-112), as has been noted, is taken up almost exclusively with the culture of the bee and in all probability represents a definite religious ceremony or series of rites which are connected intimately with bees and honey. Landa (1864, p. 292)300-? s

The more or less realistic drawings of the bees (Pl. 2, figs. 1-6, 9) represent the god of the bees and to him offerings of food and incens

resden Codex. F?rstemann's identification of the head-dress of th

tation of an insect with a pointed beak-like structure and a spine at the posterior extremity o

oubt, not only on account of their mouth parts which are similar to those of the agave maggot (see later) but also because of their relation to God F whom they are devouring. The latter in fig. 1 is doubtless dead as shown by the closed eye and it is the habit of the blow-fly to deposit its eggs in the nasal cavity of dead animals as well as elsewhere on the body. The fact that in each case a maggot is attacking the god's nose may indicate that this habit was known to the artist who, conseq

e as in 27d. In Tro-Cortesianus 25d the fly seems to be attacking the mouth of god F. From the fact that no other god is ever found in this connection it may be suggested that there may be some relation between

me kollari Felder, "called by the Mexicans guson, and in Nahuatl mescuillin." This grub, he says, is white, about an inch long, and tunnels the fleshy leaves of the agave. It is greatly prized as an article of food for "gusones to this day are collected in April, boiled, wrapped in the epidermis of the aga

ue in the original, while the others are of various colors. Possibly the round markings on the wings in figs. 5, 8, represent the ocelli on the wings of certain species of moths. In this connection, too, it i

IAP

ly to encircle a temple, behind which the major portion of its length is hidden and hence is not here shown. The bipartite structure coming from the animal's head doubtless represents the mouthparts, and at its base on either side arise antennae. T

inated by a circular segment with a conventionalized three-knobbed structure, apparently corresponding to the portion that bears the quetzal plume in Pl. 5, fig. 1. The outline of the head in Pl. 3, fig. 15, is shown in dotted line but by solid line in fig. 18. One of the antennae appears to be omitted from the former figure, also, but both are present in the latter.

nded by dots is shown in connection with the main part of the glyph. In Dresden 44b (Pl. 3, fig. 13) there is a glyph which seems to show the same centipede head although it has no connection with god D in the place where it is found. In Dresden 27 (Pl. 3, fig. 14), moreover, still another

n may be made if we consider the head of the centipede in the head-dress and in the glyphs as representing the day sign Akbal (Pl. 3, fig. 10) as Akbal in Maya means night. It must be admitted, however, that the head m

STA

nnae would have been shown. It is interesting to note that the stalked eyes are clearly pictured. The second example seems to be a crab (Pl. 4, fig. 6). Two large chelae of nearly equal size are simply drawn and four rounded projections at the top of the figure appear to represent the walking legs. Its rotund form and subequal chelae sugges

CHN

acteristics together with the absence of any web, suggest a large predacious species, probably the tarantula (Tarantula sp.) which is common in Mexico. The acute powers of observa

CHN

dy in Pl. 4, fig. 2, probably do not represent the legs. In another drawing (Tro-Cortesianus 44b) these are also present but further reduced so as not to exceed the heavy fringe of spines surrounding the body. In Pl. 4, fig. 1, the fringe alone appears. The formidable nature of the scorpion is of course due to the poisonous sting at the tip of the attenuated abdomen or "tail." In the Maya pictures this portion is usually shown as a grasping organ. Thus in fig. 1 it is similar to the chela and holds a cord by which a deer has been caught. In fi

ointed out by Stempell (1908, p. 739), there are two large scorpions in Yucatan (Centruro

5, p. 75) notes that the Mayas applied the term sinaan ek, "scorpion stars" to a certain constellation and suggests that it was derived from the Spaniards. There is certainly some association between the scorpion and water as, in Tro-Cortesianus 7a, the fore and hind legs o

4, fig. 3) in which the tripartite nature of the head is still preserved though it is so red

SC

rally ferocious aspect and may represent some large predacious variety, perhaps a tunny. The distinct operculum in most of the figures would preclude their representing a shark. Other figures picture similar fish without the prominent teeth (Pl. 5, fig. 4, 5; Pl. 6, figs. 2, 6, 10, 13). In two cases the scales are diagramatically s

behind the head nearly at the dorsal line. While this may represent a flying fish (

igs. 4, 5). Stempell suggests that the vertical lines on the posterior portion of such figures may be

er under god B in Dresden 65b (Pl. 6, fig. 7) and fish are shown just below the claws of a crocodile in text figure 1. In Dresden 44a god B holds a fish in his hands. As will be pointed out later (p. 314) this god is frequently associated with water. In Dresden 44c a fish appears between god B and an unidentifiable deity. In the Maya codices the greater nu

upon a water plant. This is seen in the border at the bottom of the Lower Chamber of the Temple of the Tigers at Chichen Itza (Pl. 5, figs. 2, 4; Pl. 6, fig. 2). In several instances at Copan fish are shown as forming the sides of the Great Cycle glyph at the beginning of an Initial Series (Pl. 6, figs. 14-17). It has often been suggested that as the

PH

water coming from their mouths. They are characterized by their stout tailless bodies, flattened heads and toothless mouths. In 101d (Pl. 7, figs. 2, 3) there are two, the first painted blue with spots of darker blue and the second white and represented as broken in two in the middle. The signs of death above the latter clearly show that a dead animal is indicated. Pl. 7, fig. 6, shows the end

year. The first day of this month, according to Landa, corresponds to August 5 of our year and this is the height of the rainy season in the Maya region. The sign for Uo does not, however, resemble a frog in any

y combine to produce a very toad-like appearance. It is not unlikely that they represent the huge marine toad, Bufo marinus, common fro

line just as in the drawings. It appears to be a common species in the valley of Mexico though but little seems to have been written of its habits. At the beginning of the rainy season it repairs to pools of water to breed and is then very noticeable from its loud voice. No doubt its importance in the Maya economy was from its conspicuousness at the beginning of the rainy period. This fact is brought out more strongly when we consider that these gods representing the tree-toad are associated with agriculture and the sowing of grain at the begi

PT

ly in the art of the Mayas and Mexican peoples. It is represented again and again in many forms and varied combinations. It underlies the whole general trend of Maya art. The serpent is often associated with feathers. The cultur

nomous qualities. No doubt a number of harmless species were also used in the religious ceremonies.311-* Such may be those used as hair ornaments in many of the figures (Pl. 8, figs. 7-13, 15) and in which no indication of a rattle is to be seen. The fierce eye of these reptiles is shown by means of an exaggerated overhanging brow occasionally embellished by recurved crests (Pl. 8, figs. 10, 11, 13, 15). These crests

addition of rattles in the drawings was quite unnecessary. This, however, is quite conjectural. The species of rattlesnake is probably Crotalus basiliscus or C. terrificus of southern Mexico and adjacent regions, not C. horridus or adamanteus as supposed by Stempell since these two species are confined to the United States. Among the figures shown on Pl. 9, it is noteworthy that five of the rat

(Lachesis lanceolatus). Other figures (Pl. 10, figs. 3, 7; Pl. 11, figs. 1, 2) are introduced here as examples of the curious head ornamentation frequently found in the drawings. The two first are merely serpents with the jaws extended to the utmost, and with a c

worked out by Spinden, and the countless representations of the plumed serpent in the whole field of Maya design and decoration. In the single Temple of the Tigers at Chichen Itza, the feathered serpent occurs in the round as a column decoration supporting the portico, as carved on the wooden lintel at the entrance to the Painted Chamber,

aya and in Nahuatl, the "feathered serpent" or the "bird serpent." Other authorities consider god B as Itzamna, another of the main gods of the Mayas. Seler interprets god B as the counterpart of the Nahua rain god, Tlaloc. It is certain that when god B and the serpent are associated together water and rain are usually indicated. God H, "the Chicchan god," also has some relation to the serpent. As

fied as a rain god. In Dresden 33a, 35a, god B is seated on the open jaws of a serpent, while the body of the reptile encloses a blue field evidently signifying water. The number nineteen appears on this blue color. It will be noted that there are nineteen spots on the serpents in Pl. 11, figs. 1, 2. In Tro-Cortesianus 3a-6a, corresponding scenes seem to be shown. The b

a serpent. The reptiles in 13b-18b, are all associated with the idea of rain, the turtle and frog also appearing in this section. In 30a (Pl. 11, fig. 1), god B and a female figure are both pouring water from a jar, as they stand on the body of a serpent. In 32a, the bla

ted on the reptile, in Tro-Cortesianus, 10b, where the head of the same god is the head of the snake,

tion with a line of constellation signs, the kin or sun sign prominent in most of the drawings. In the "battle of the constellations" in Dresden 60, the serp

s in Dresden 61, 62 (Pl. 10, fig. 7), and 69, which are shown in the spaces made by the winding of the serpe

s the women are shown, either in the act of offering something, or of pouring water from a jar. The usual type of serpent head-dress is seen in Dresden 9c (Pl. 8, fig. 11), 15b (Pl. 8, fig. 12), 18a (Pl. 8, fig. 13), 22b (Pl. 8, fig. 10), and 23b (Pl. 8, fig. 8). In the first case, the offering is a jicara or gourd of some sacred drink (balt?e

tion with the water is god I, the water goddess of Schellhas. She is, as he notes (1904, p. 31) usually the figure of an old woman. "Evidently, we have here the personification of water in its quality of destroyer, a goddess of floods and cloud-bursts." We are not at all sure that we have here a distinct god as similar female figures with serpent head-dresses occur frequently in the Dresden Codex with

e former cases, the reptiles may stand for this god with whom they are often associated.316-* The serpent seems closely connected with the idea of offerings as the body of a

oming from its open jaws. This is a very frequent method of representing the serpent in the Maya stone carvings. In Tro-Cortesianus 60c, 100d (Pl. 9, fig. 8), twice, 106a, and 111b, the rattlesnake is shown as a sprinkler for the holy water in the hand (in the first, second and fourth examples) of god D. Landa (1864, p.

eption, no glyph is to be found representing this reptile as is the case with many of the animals. Tro-Cortesianus 106c (Pl. 9, fig. 7) is

meaning of the name Quetzalcoatl or Quetzalcouatl. This day sign occurs throughout the Mexica

ines along the back. As noted by Stempell, there are two or three species of large lizards in Central America commonly called iguana, a

of this lizard. It must be admitted that this interpretation is very doubtful. The triangular points suggest the lizard, but the pointed character of the sign as a whole in no way resembles the back of this reptile. It is found associated with three Kan signs. In Cakchiquel, a dialect of the Maya stock, K'an, according to Guzman and Brinton (1893, p. 24) is the name applied to the female of the iguana or the lizard, and this is believed to be the ori

ese seem to be the heads and forefeet of lizards, but

ore or less realistic representations of human and animal forms. It should be noted that there certainly seems to be some connection between the Uinal period glyph and the lizard. Pl. 13, fig. 9, represents a Uinal glyph from the Temple of

ence in the Relacion de la Ciudad de Merida (1900, p. 51).319-* Finally the lizard is shown i

d along the posterior edges of the limbs. The tail is shortened and bifurcate. The most interesting portion, however, is the head. The snout is distinctly pinched in at the base, though broadened again distally. In the alligator the snout is broad and tapers but little. As in other representations of the crocodile, the lower jaw does not appear, and even in this dorsal view the artist seems to have deemed it necessa

g.

ALTAR.

usly, however, it has no lower jaw and the same is true of the numerous glyphs representing the head of the animal. This is so pronounced a characteristic, that it may be doubted if the open-mouthed head and the single limb shown in Pl. 13, fig. 2, really picture th

the upper jaw three teeth are indicated. A comparison of this figure with the glyphs in the Nuttall Codex seems to leave little doubt that it represents a crocodile. This is the sign which F?rstemann (1906, p. 206) interprets as standing for Saturn. Pl. 13, fig.

e crocodile, which does occur there, is taken as the original of all these figur

hown on Pl. 14, figs. 1-3, 5, is a large species with the dorsal scutes represented by large diamond-shaped pieces. There is little that might be considered distinctive about these turtles, although one (Pl. 14, fig. 5) has the anterior paddles much larger than the posterior, indicating a sea turtle. What is doubtless the same turtle is pictured

l spinous scutes to the central area of the back may indicate the snapping turtle (Chelydra serpentina) or possibly a species of the genus Cinosternum (probably C. leucostomum). It is hardly likely that it is one of the true soft-shelled turtles (Trionyx), as the range of that g

fig. 3), 72b (Pl. 14, fig. 6). It is found associated with the toad appearing in the rain in Tro-Cortesianus 17b (Pl. 14,

as will be pointed out later (p. 343). F?rstemann (1902, p. 27) identifies the turtle with the summer solstice, as has been noted before, explaining that the animal is slow of motion, and is taken to represent the time when the sun seems to stand still. He bases his theory (1904, p. 423) in part on the fact

in the Dresden Codex is on page 49 (Pl. 14, fig. 12) where a god is pictured with a turtle's head. The heavy sharp beak indicates that he represents one of the sea turtles previously mentioned. H

son is clear for the selection of this sign for an a sound. These turtle glyphs often occur alone; one, however, (Pl. 14, fig. 7) is found in connection with the swimming turtle in Tro-Cortesianus 17a (Pl. 14, fig. 3). Figs. 7-9 agree in having the small scrolls at the posterior end of the eye. The

V

lding in its bill a fish. A second figure (Pl. 15, fig. 1) is from the stucco ornament from the Palace, House B, at Palenque. It is less carefully executed, but seems to be a long-necked bird with a crest and outspread wings curiously conventionalized. In the Nuttall Codex there is another unmistakable heron (Pl. 15, fig. 4) with the s

The bas-relief on which this is found is strongly Nahua in feeling and execution. This head covering may indicate, according to the Nahua fashion, the tribe to which the warrior belongs. Again in Dresden 36a (Pl. 15, fig. 7), a man is shown wearing as a head-dress the head and neck of a

r. Possibly the Great Blue heron (Ardea herodias) or the Louisiana heron (Hydranassa tricolor ruficollis) is inten

s object may be. In one figure (fig. 9), the beak is strongly hooked, in the other (fig. 8) it is straight, but as the latter is plainly a much more carelessly made drawing, we may infer that the hooked bill is more nearly correct. This would exclude the Terns (Sterna), to which Stempell has referred the figures. It s

l more infrequent to find anything but the turkey, which is the usual bird of sacrifice. The figure from the Dresden Codex (Pl. 15, fig. 9) rests upon

ntifies these curious figures as pelicans. Stempell follows Brinton in this, but considers that they are the brown pelican (P. fuscus), since the white pelican is rare or casual, as far south as Yucatan. Unfortunately, however, for this supposition, the brown pelican lacks the curious knob that Brinton believed to be represented by the circle of dots. Moreover, this same sign occurs on the drawings of

figures (Pl. 16), and afford a ready means of identification. On the bill of the bird shown in Tro-Cortesianus 10b (Pl. 16, fig. 2) occurs again the curious symbol, a circle surrounded by dots, previously noted under the frigate-bird and pelican. It probably has some special significance. Other figures of ocellated turkeys show but little in addition to the points

eathers may be represented by the drawings. It is probable that this turkey is the bird represented frequently in the Maya codices as a bird of sacrifice. The head alone usually appears in this connection, among other places, in Dresden 34a (Pl. 16, fig. 10), 41c (fig. 14), 29c (fig. 16), 28c (fig. 17), and in Tro-Cortesianus 12b (Pl. 16, fig. 11), 105b (fig. 12), 107b (fig. 15). In several of these places the head is represented as resting on one or more Kan signs, again meaning bread, as well as on the vessel or jar. In Dresden 26c (Pl. 16, fig

, in the rites of the four years, is described in full by Landa. In the codex, a priest is represented as holding in his hand before an altar, a headless bird. Landa (1864, pp. 212, 218, 224,

the codex where birth and infant baptism are shown. In many other places there are curious partial representations of bird heads in the front of head-dresses which may or may not be identified as heads of turkeys. Among these are

, the turkey (Pl. 16, fig. 7) is represented in the "House of Rain," in contrast to the owl shown in the "House of Drought" (Seler, 1902-1903, p. 75). It might be noted also that Fewkes (1892, p. 228) shows that the turkey is emblematic o

at the proper moment. The second method is by the "twich-up" or snare, which consists of a noose tied to a bent sapling and properly baited. In connection with Pl. 16, fig. 1, it may be sugges

e king from the black vulture. In addition, a series of concentric circles about the eye seems to be a rather constant mark of the king vulture, though they are also sometimes found in connection with figures which, from the absence of the rostral knob, must represent black vultures (Pl. 18, figs. 18, 27; Pl. 19, figs. 7, 10, 11). In the case of the bird shown in Pl. 19, fig. 1, the knob is hardly apparent, and the same is true of Pl. 19, fig. 13. Both these may represent king vultures. A remarkable figure is that shown in Pl. 17, fig. 4, in which an ocellated turkey and a king vulture confront each other with necks intertwined. The short hair-like black feathers of the h

gns in Dresden 38b, and is also to be noted in Dresden 8a. F?rstemann (1906, p. 66) shows that the thirteenth day of the Maya month is reached in the tonalamatl reckoning at this place. This day is Cib, which corresponds to the Nahua day Cozcaquauhtli, which has the meaning vulture, and here, as previously noted, the vulture god is

h female figures, Tro-Cortesianus 26c (Pl. 17, fig. 12) with male figure, and 94c (Pl. 17, fig. 11) and 95c with

of the king vulture, whereas the second (glyph 3) is probably the head of the black vulture. The glyph in Dresden 38b (Pl. 17, fig. 7) appears in connection with the vulture god directly below it. In Dresden 11b (Pl. 18, fig. 1), it occurs alone and no figure appears in the usual place below.

its less modified forms (Pl. 18, figs. 2-4), the beak is merely a pair of flattened rami, surmounted proximally by the conspicuous quadrangular knob. The minute hair-like feathers on the otherwise naked head are shown as a fringe at the throat and crown, wh

dicate merely the individuality of the artist. The coloring of the species under discussion is uniformly black in the Dresden and Tro-Cortesianus, except in certain cases where the birds are shown in outline only, as in Pl. 19, fig. 12. It is not certain, however, that these two last are black vultures, though they suggest the species. The two birds shown in Pl. 19, figs. 5, 6, are almost surely black vultures, and, as represented in the manuscript, are descending upon a man. Stempell thinks they may be ravens, but this is very doubtful, for the raven probably was unknown to the Mayas, since its range is to the nor

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VULTURE. ULOA V

own plucking out the eye of a man. In Dresden 3a (Pl. 19, fig. 7), it appears at the top of the tree above the human sacrifice and seems to be in the act of consuming the victim. In Tro-Cortesianus 91c, it also appears in a tree. In Tro-Cortesianus 40a (Pl. 17, fig. 9), and 42a (Pl. 19, fig. 1), it is shown as eating the entrails of a deer. In the first case, the bird looks like a king vulture, although this is the only instance where this species is shown as a bird of prey. In Tro-Cortesianus 28b and 36b (Pl. 18, fig. 17), the black vulture appea

as suggested above. The black vulture occurs only once as the usual head-dress, in Dresden 17b (Pl. 18, fig. 13), and here in connection with a female figure and the idea of birth. Two birds, probably vultures, appear

s indicated much as in the case of the king vulture. A few other glyphs are shown (Pl. 18, figs. 16, 19, 22, 27), as well as a variety from the Nuttall Codex in which the minute hair-like feathers of the head are variously represented, usually much exaggerated as a sort of crest or comb. Pl. 18, fig. 22,

ck of the bird depicted on Pl. 28, fig. 2, will probably identify it as a vulture, and, if the square ornament above the beak certainly is part of the figure, it is unquestionably the king vulture. The knob is not, however, clearly on the bird's beak. There are two interesting glyphs which occur on the eastern fa?ade of the Monjas

fig. 10) pictures a harpy eagle eating an egg-shaped object, and another similarly engaged is copied from the Codex Vaticanus 3773 (Pl. 20, fig. 14). The former is considered to be a vulture by Maudslay, but the presence of feathers covering the head excludes this interpretation. In two stone glyphs (Pl. 20, fig. 1, 3), occurs a large bird apparently devouring something held in its talons, as in Pl. 20, fig. 10. From this general resemblance, it seems pr

en in Dresden 74 (Pl. 20, fig. 13), and in Tro-Cortesianus 109c with an eagle as a head-dress. There are other gods, however, who wear a similar head covering. God L appears in Dresden 14b (Pl. 20, fig. 7) and again in 14c (Pl. 20, fig. 5) with an eagle head-dress. God D in Dresden 23c (Pl. 20, fig. 11) has an eagle coming from a Tun sign on top of his head. The eagle is probably represented at

of an eagle associated with the glyph. Attention has already been called to the two stone glyphs in Pl. 20, figs. 1, 3. There are various drawings of the glyph for the eagle in the Nahua and Zapotecan codices (Pl. 20, fig. 8), as the Nahua d

ch seem to represent this horned owl, the first modelled in stucco from Palenque, the second carved in stone from Yaxchilan, and the third carved in wood from Tikal. Figs. 1 and 3 show the bird in flight with extended wings. The two erectile tufts of feathers or "horns" are conspicuously represented in fig. 3, at either side of the bird's head and between them the flat top of the crown is secondarily divided in like manner into three parts, representing the "horns" and the top of the head. The beetling brows, heavy hooked beak, and spread talons combine to give a fierce and spiri

me connection in the figures of Pl. 21. The ears are somewhat shorter in proportion than usual and below each, at the sides of the face, is a large ear-plug, similar to that elsewhere found. The eyes are still further conventionalized with a decorative scro

re shown. An owl's head seems to be shown on the end of a warrior's staff in the bas-relief of the Lower Chamber of the Temple of the Tigers at Chichen Itza (Pl. 22, fig. 4). Pl. 22, figs. 5, 7, show two owls

acial disc is not very prominent the beak rather long, the tail short, and the plumage somewhat mottled. A dark ring usually surrounds the eye. It is, with little doubt, the screech owl, the only other form of eared owl commonly met with in the Central American region, and in Yucatan is represented by the ra

, and 11a (Pl. 23, fig. 3) and in Tro-Cortesianus 66a (Pl. 23, fig. 2). In each of these places, it occupies the space in which one of the regular gods is usually found. In Dresden 10a, the day reached in the

where birth, baptism, and the naming of children are shown. The curious figure, with a head similar to Pl. 23, fig. 21, carried on the back of some of the women, is the Moan sign, referring to the idea of death, possibly to still-birth, as copulation and

tured below, or it may occur in the line of glyphs with no picture corresponding to it below (Dresden 53b). Pl. 23, fig. 15, from Dresden 38c has been placed with these drawings, although the identification is not certain. It may refer, however, to the large Moan head below, on which god B is sitting (Pl. 23, fig. 11). The se

3, 4

AN SHOWING MOAN-BI

codices certainly represent the Moan or screech owl. This is especially so with text figs. 3-6. F?rste

the owl is considered of unlucky augury and is usually found in the "House of Death" and "of Drought"

. In most of the representations, the crest feathers are indicatd by large plumes, the most anterior of which project forward. They may be even further modified into three knobs shown in Dresden 7c (Pl. 24, fig. 1). The two characteristics of the quetzal, namely its erect head feathers and its extraordinarily long tail feathers, are often used separately. Thus the tail, which is commonly drawn with the outer feather of each side strongly curled forward, appears by itself in Pl. 24, fig. 8, or it may be seen as a plume in the head-dress of a priest or warrior and in

g.

LE OF THE CRO

athered serpent, the culture hero of the Nahuas, or Kukulcan, which has the same signification among the Mayas. It is impossible to mention here all the various connections in which the quetzal appears. The feathers play an important part in the composition of the head-dresses of the priests and warriors, especially those in the stone carvings. A quotation has already been given from Landa, showing the use made of feathers in the dress of the people. Text fig. 7 shows perhaps the most elaborate representation of this bird. It is found on the sculptured tablet of the Temple of the Cross at Palenque. The quetzal is shown

. 24, fig. 3) and Tro-Cortesianus 94c (Pl. 24, fig. 6), the quetzal is the head-dress of women. In Dresden 13b (Pl. 24, fig. 2), a partial drawing of the bird is shown as a part of the head-dress of god E, in Dresden 7c (Pl. 24, fig. 1) of god H, and in Tro-Cortesianus 110c of god F. The feathers alone appear as a female head decoration

10, where the entire head appears in a much conventionalized form. Other glyphs are shown in Pl. 24, figs. 14-16, in which there is a single prominent recurved feather shown over the eye, succeeded by a few conventionalized feathers, then one or more directed posteriorly. It is to be noted that whereas in many previous examples of glyphs the full draw

ar marks about the eye. These last undoubtedly represent, as supposed by Stempell, the bare space about the eye found in certain of these large parrots. In addition, the space between the eye and the base of the bill is partially bare with small patches of feathers scattered at somewhat regular intervals in rows. It is probable that this appearance is represented by the additional round marks about the base of the bill in Pl. 25, figs. 1, 2, 5, 8, the last two of which show the head only. There has hitherto been some question as to the identity of certain ston

he constellation signs carrying firebrands; both are regarded as lightning beasts. By comparing the head of the figure shown in Pl. 25, fig. 1, with figs. 2, 4, 5, of the same plate, the re

considered to stand for the turtle. Pl. 25, fig. 7, is another drawing of the same glyph. By comparing the markings on the face of fig. 1, it is seen that a similar ring surrounds the eye shown on the glyph. The second glyph (Pl. 25, fig. 7) is better drawn and shows, in addition to the e

indicate the macaw which also has slightly erectile feathers on the head. Much doubt is attached to the identification of the glyph of the month Kayae from Stela A, Quirigua (Pl. 25, fig. 9). It resembles closely the glyphs of the turtle (Pl. 14, figs. 7-9) and especially that on Pl. 14, fig. 10. The Quirigua glyph has

25, fig. 13). There seems to be an exception to the whole bird appearing as a head-dress exclusively with women in Tro-Cortesianus 26c (Pl. 26, fig. 1), where god F appears with a head-dress composed of the whole bird. The bird is also seen as a head-dress on Altar Q from Copan (Pl. 26, fig. 3). The head of the macaw appears as part of the head-dress of god H in Dresden 11a (Pl. 26, fi

ay be macaws or other smaller parrots of the genera Amazona or Pachyrhyn

es show a long-billed bird with acutely pointed tail feathers, a red crest, and otherwise black and white plumage. The red crest of the woodpecker is of course highly conventionalized in the drawings where it is shown as of a number of erect feathers instead of the pro

hich, from the presence of what appear as prominent bristles over the nostril, may also be a raven. These bristles are rather prominent in ravens and qui

drawings by which they can be differentiated. In the codex, the heads of the parrots are colored red. There is no doubt, however, about the identification, as they occur in the same relative position on every page of the manuscript and are two of the thirteen birds associated with the thirteen gods, t

rue with birds. In Tro-Cortesianus 20c, an unidentifiable bird, painted blue, appears on the top of the staff carried by god F. The head-dress of this sa

MM

dian round markings might be taken to represent a marsupial pouch. Stempell considers the animals found in the upper division of Dresden 25-28 as opossums of one of the above species, and this seems very possible. They are shown with long tails, slight

l America, where it is frequently used as an article of food, and its shell-like covering is utilized in various ways. Several representations of it occ

anus also show the armadillo; in 48a (Pl. 29, fig. 4) and in 91a it is shown in a pit-fall. In the last case the Cauac signs are clearly seen on top of the trap, whereas in the former case the same signs

nus 92a (Pl. 30, fig. 2), where a hoofed animal with a single spike-like horn is shown, seemingly impaled on a stake set in the bottom of a pit-fall. As stated by Stempell, this

ntionalized structure shown in Pl. 32, figs. 8-12. These probably represent the Yucatan deer or its ally Thomas's deer of southern Mexico. Two of the figures, both from the Nuttall Codex, show the lower incisor teeth (Pl. 32, figs. 8, 11), though in other cases these are omitted. The larger part of the figures of deer represent the does which have no antlers. For this reason it is impossible to distinguish females of the brocket from those of the othe

the hunters are shown, the methods of trapping, the return from the chase, and the rites in connection with the animals slain. Tro-Cortesianus 48b (Pl. 30, fig. 1) shows the usual method of trapping where the deer is caught by a cord around one of the fore legs. T

of deer meat and various parts of the body of the deer had a ceremonial importance. Attention is called to similar practices among the Lacandones, the inhabitants of the region of

quadruped used as a head-dress in any way, and yet in several cases we find god M has the head of a deer as a sort of head covering, Tro-Cortesianus 50b (Pl. 31, fig. 6), 51c (Pl.

hus adorned they danced. God M is found in one case in the Dresden in connection with the de

listically seen in a number of representations of religious rites, as in Dresden 28c (Pl. 31, fig. 14) in the last of the rites of the dominical days, 35a (Pl. 31, fig. 12) and in Tro-Cortesi

anus 69b with god B and Tro-Cortesianus 78 (Pl. 31, fig. 10) in the line of glyphs. The

in Tro-Cortesianus 30b (Pl. 30, fig. 6) in connection with the goddess from whose breasts water is flowing. God B appears in Dresden 41c (Pl. 31, fig. 1) seated on a red deer. The same animal is also to be noted in Dresden 60a (Pl. 30, fig. 5) in connection with the combat of the planets.351-? A deer is seen in Tro-

number of glyphs representing this animal among the day signs in

, however, often omitted as well as the erect line of bristles down the back. The presence of hoofs and the possession of a truncated pig-like snout are sufficiently characteristic. In the Dresden Codex occur several figures of undoubted peccaries. Two of these are pictured in Pl. 32, figs. 2, 4. In each the hoofs and curly tail appear, and in the latter figure the bristling back is conventionally drawn by a series of serrations. These marks are sufficient to identify the animals. Their heads are further conventionalized, however, by a great exaggeration of the snou

foreleg and held partially suspended, Tro-Cortesianus 49a (Pl. 33, fig. 9),352-* 49c (Pl. 33, fig. 1), and 93a (Pl. 33, fig. 4). Tro-Cortesianus 41b also shows the peccary associated with hunting scenes. Another realistic drawing of this animal in Dresden 62 (Pl. 33, fig. 6)352-? represents him as seat

equently represented as a fa?ade decoration in northern Yucatan. The presence in the mouths of the faces there represented of a recurved tusk in addition to other teeth is a further resemblance to the drawings of peccaries. Stempell (1908, p. 718) has reproduced a photograph of these extraordinary carvings and considers them the heads of mastodons, apparently solely on account of the shape of the upturned snout, whose tip in many of the carvings turns forward. They certainly do not represent the heads of mastodons, but we are not ready to say th

ring of Oliva shells. The short prehensile trunk of the tapir is well made and the hoofs are likewise shown. A greatly elongated nose is found in many of the drawings of the deities, but it does not seem clear that these represent trunks of tapirs, or, as suggested by Stempell, mastodons! Two such heads are shown in Pl. 39, figs. 7, 9. These offer a considerable superficial resemblance to that of a tapir, but as no other drawings that might be considered to represent this

otis flavigularis, L. asellus). It is, of course, quite impossible to determine to which of these species belong the few representations found. Several drawings, shown in Pl. 30, figs. 3, 4, 7, 8, are at once identifiable as rabbits from their long ears, round heads, and the presence of the prominent gnawing teeth.354-* In two of the figures (Pl. 30, figs. 7, 8), the entire animal is shown, sitting erect on its haunches, the first with one ear in advance of the oth

t in the same way as the peccary on the following page. These two animals, together with two representations o

ly the animal occurs throughout the Mexican manusc

ong tail. It may represent a pack rat (Neotoma) of which many species are described from Mexico. In its rounded ears and long tail, fig. 5 somewhat resembles fig. 7, but it lacks the

al America. The distinguishing mark of the jaguar, in addition to the general form with the long tail, short ears and claws, is the presence of the rosette-like spots. These are variously conventionalized as solid black markings, as small circles, or as a central spot ringed by a circle of dots (Pl. 35, fig. 12). Frequently the solid black spots are used, either in a line down the back and tail or scattered over the body. The tip of the tail is characteristically black, and the teeth are ofte

he same structure, the figure of a jaguar (Maudslay, III, Pl. 43) serves as an altar. The front legs and the head of a jaguar often are seen as the support of a seat or altar on which a god is represented as at Palenque in the Palace, House E (Maudslay, IV, Pl. 44) and in the Temple of the Beau Relief (Holmes, 1895-1897, Pl. 20). Altar F at Copan (Pl. 35, fig. 7) shows the same idea. The

aguar is carried on the back of the priest, evidently representing one of the year bearers (Ti cuch haab). Balam, the name of the jaguar, is the title given to the four Bacabs or Chacs, the gods of the four cardinal points. In Tro-Cortesianus 64a, two jaguar heads are noted as the end of curious bands of Caban signs over a flaming pot. The second one is shown as

hand of the goddess from whose breasts water is flowing. The figure in Tro-Cortesianus 12b between the various offerings may be a jaguar or a dog, more probably from its connection with an offering, the dog. A curious modification of the jaguar may b

aracter only (Pl. 35, fig. 6). This latter may, of course, represent the puma quite as well. A realistic jaguar head appears as a glyph in Tro-Cortesianus 2a (Pl. 35, fig. 13). The more usual glyph for the jaguar is more hig

79) associates the jaguar in the Vaticanus and the Bologna with Tezcatlipoca. He notes that the second age of the world, in which the giants

of the tail, as in the pictures of the jaguar, is black. The animal is represented as being transfixed with a spear.358-* Another animal colored red in Dresden 41c seems to represent a puma. God B is shown seated upon him. A crude figure from the Painted Chamber of the Temple of the Tigers (Pl.

haracterized by their prominent ears and bristling hair, and seem to be engaged in active combat. Coyotes of several species occur in Mexico an

indicated in the following figures:-Pl. 36, figs. 1-7, 12; Pl. 37, figs. 4, 5. The figures of dogs usually agree in having a black mark about the eyes that frequently is produced as a downward curved tongue from the posterior canthus. Sometimes, as in Pl. 37, figs. 1-3, 10, this tongue is not blackened. Commonly also black patches are elsewhere distributed on the body, generally on the back. These m

Dresden 25a-28a is likewise a dog, though Stempell believes it to represent the opossum

e shambles, and also in Yucatan and on the coast land for sacrifice. The importance that the dog had acquired in the funeral rites may perhaps have originated in the fact that, as the departed of both sexes were accompanied by their effects, the prince by the women and slaves in his service, so the dog was assigned to the grave as his master's associate, friend, and guard, and that the persistence of this custom in course of time created the belief that the dog stood in some special relation to the kingdom of the dead. It may also be that, simply because it was the practice to burn the dead, the dog was looked on as the Fire God's animal and the emblem of fire, the natives got accustomed to speak of him as the messenger to prepare the way in the kingdom of the dead, and

a bowl containing Kan signs. In all of these places, the dogs seem to be represented among the various birds and animals which are to be sacrificed for the new years. Landa (1864, p. 216)361-* states that in the Kan year a dog was sacrificed. In the Muluc year, Landa (1864, p. 222)361-? records that they offered dogs made of clay with bread upon their backs and a perrito which had black shoulders and was a virgin. It has already been noted that two of the dogs represented in Tro-Cortesianus 35b and 36b have a Kan an

y be suggested that in the r?le of the conductor to the other world the dog is represented as carrying on his back in each case the year which has just been com

ig. 2) and probably in Tro-Cortesianus 13a. His tail alone has the firebrand in Tro-Cortesianus 36b. Firebrands are carried by figures which have been identified by us as dogs in Tro-Cortesianus 24c (Pl. 37, fig. 6), 25c, and 90a. Here the animal is represented as in the air holding his firebrands over a blazing altar beside which god F is seated. In two out of the four cases, F is shown as dead. The dog in these lat

hown as a single tonalamatl figure in Tro-Cortesianus 25d and 27d (Pl. 36, fig. 14) and an unspotted variety in Dresden 7a (Pl. 37, fig. 10). The dog is frequently shown as copulating with anoth

n is noted above the figure; in Tro-Cortesianus 66b (Pl. 36, fig. 3) a dog and another animal (Pl. 32, fig. 3) are seated back to back under a shelter; in Tro-Cortesianus 30b a dog is seated on the right foot of

of Tlaxcallan states that when rain failed, a procession was held in which a number of hairless dogs were carried on dec

ral others far more difficult of interpretation. Pl. 37, fig. 11, seems to stand for the dog as it is found in several places where the dog appears below, Dresden 21b, 40b. It is thought by

8, 9

A MONTH KANKIN

many to stand for the dog as the animal of death and signifies the end. The sore, cropped ears of the domesticated dog are su

l, as shown by the prominent canine tooth. This appears as a tonalamatl figure. The resemblance to a bear is not very clear. Less doubt attaches to the figure shown in Pl. 35, fig. 4, which seems almost certainly to depict a bear. The stout body, absence of a tail, the plantigrade hind feet, and stout claws, all seem to proclaim it a bear of one of the two species above mentioned. This picture is found in connection with one of the warriors shown in the bas-relief of the Lower Chamber of the

lly written zotz) occur among the Maya remains. These all show the prominent nose leaf distinguishing the family Phyllostomatidae and, as the Mayas probably used the

1, 12,

MAYA MONTH

ible in the latter. The day sign Akbal (night) occurs as the eye in the figures from the manuscripts. A carving showing the whole body of the bat is used as a glyph in Stela D from Copan (Pl. 38, fig. 3). This may also represent the Bat god who is associated with the underworld, "the god of the caverns." This god is pictured on the "Vase of Chama" (Pl. 38, fig. 7) figured by

bats haunted the temples by day as they do now, and th

g.

APE. FROM ULOA

he representations of the capuchin. Stempell regards this as a monkey, though recognizing that the short bushy tail is unlike that of any Central American species. The figure seems quite as likely a peccary or possibly a combination of a deer with some other animal. A glyph (Pl. 39, fig. 5) found directly above the figure just referred to, suggests a monkey, though it cannot be surely identified. A pottery whis

e common bonneted or capuchin monkey of Central America. This species does not occur in Yucatan. What is undoubtedly the same animal is shown as a head glyph in Pl. 39, fig. 8, f

6, 17,

OR MAYA

corresponding to the day O?omatli of the Nahuas. There is little resembling an ape in the Maya s

ya calendar, and this corresponds to the day O?omatli, the ape, in the Nahua calendar. This would suggest a connection between god C and the ape and this may be seen in the glyphs for god C (text figs. 20-24). F?rs

, 21, 22

S OF

there is little difficulty in determining the species intended by the artist. At other times, it is hazardous to state the exact species to which the animal belongs. It is only in a comparatively small number of cases, however, that there is any great doubt attach

urally there is to be noted an anthropomorphic tendency) or animals were chosen which were employed as offerings to the many different gods of the Maya pantheon. The religious chara

n Thomas, 1882

avan los se?ores de las colmenares

hazer otra fiesta como la que hizieron en Tzec, par

several realistic reproductions of

presenting frogs in the Memoirs of the Peabody Mu

ala tal persona chile y hoja de piciete molido junto y desleido en agua, y con esto guarecen e sanan-ay biboras muy grandes y ponzo?osas de una vara e mas de largo, y tan gruesa como un brazo, que tienen cascabeles en la punta de la cola, y si muerden matan sino se rremedio con brebedad, y tienen los naturales por rremedio beber chile e piciete como para la mordedura del taxinchan-ay otras suertes de culebras que se llaman cocob, de tres y cuatro varas de largo y tan gruesas como una lanza gineta, que tanbien son muy ponzo?osas, y al que pican haze salir sangre por todo el cuerpo y por los ojos, como el taxinchan, ... procuraban guarecerse desta ponzo?a con juros y encantame

w drawings of the rattlesnak

f the Lower Chamber of the Temple of the Tigers at Ch

ay be a rebus for the name Quetzalcoatl or Kukulcan. As the bird

y labrado, y por barbas o pelos del isopo ciertas

Miztitlan is xilotl which means ear of corn. This seems to show the correctne

bol que llaman kik, para quemar y ciertas iguanas y pan y una m

el Diluvio-y la tierra e sobre este largarto h

this connecti

abe?as de pavos y pa

n o offrecian ... y assi le hazian muchas offrendas de comidas y bevidas de carn

es degollavanle la ga

de Kac-u-Uayeyab ofrescian una cabe?a de un pavo,

hombre muerto y en cima un paxaro cenicero llamad kuch, en

dentifies this bir

or ruyn, por que dezian les avian los muchos soles de matar los maizales, y comer las muchas hormigas lo que sembras

or muyan." He adds, "Some writers have thought the moan bird was a mythical animal but Dr. C. H. Berendt found the name still applied to the f

recreacion y para las plumas

muy peque?os y apartaban el corazon, cabeza y pies, y mandaban cocer el venado por si, la sangre for sí, y mientras esto se cocia, hacian su baile. Tomaban el Papa y sábio la cabeza del venado por las orejas, y los cuatro sacerdotes los cuatro pies, y el mayordomo llevaba un brasero, do se quemaba el corazon con ulí y copa, é incensaban al ídolo que tenian

io un benado benia luego a su dios y con el cora?on le untaba la cara de sangre y sino mataba algo

van, muy á su placer, y de esta suerte mataron muchos de ellos, con que comieron algunos dias despues ... Que en que consistia aquella novedad, de aver tanta maquina de venados

. sacava cada uno una flecha y una calabera de venado, las quales los chaces

and also in the same month, "Ofrecian a la imagen pan hecho como yemas de ue

, p. 20) identifies th

identifies this

fied by Stempell as an agouti not

, p. 228) suggests tha

h may suggest the figures in Dresden 44a, 45a and which are here identified as peccaries. Both are

6, p. 229) suggests t

tion of the reason why the puma and the other c

tiesas y levantadas-a estos engordan los yndios para comer y los tienen por gran rregalo-estos se juntan con los perros de espa?a y enjendran y los mestizos que dellos proceden ladran y

72) regards these spot

n en el patio del templo un gran monton de piedras y ponian al homb

paldas, y avian de vailar con ellos en las manos las viejas y sacri

quite as well be

po eran grandes Idolatras, y usaban un bayle de su genti

or la color del cacao ... y ofrecianles yguana

IOGR

ript, See Se

r, H

ancient Mexico; in American Anthropologis

ex, See Cos

Codex, See

x, See Sele

ourbourg, Cha

s sur le système graphique et la l

Daniel

Mexico; in Proceedings of the American Philosophi

the University of Pennsylvania, Series in Philosophy, Lite

, Domin

nales des Voyages et des Sciences Géographique; IV Série, Tome

do, Die

de Yucatan; 4o,

dex, See Rada

dex (former

facsimile, Paris.

orff, E

of Ethnology, Bulletin 28, pp. 665-666, Washington. (Translation of Ge

See F?rstemann,

er Codex, See

, J. W

an ceremony; in American Anthr

in a Maya codex; in American Anth

mann,

?ffentlichen Bibliothek zu Dresden; 4o, P

edition of

ayahandschrift (Codex Tro-Cort

Mayahandschrift (Codex Per

au of Ethnology, Bulletin 28, pp. 423-430, Washingto

Bulletin 28, pp. 523-524, Washington. (Translation of German

ulletin 28, pp. 557-572, Washington. (Translation of German

esden; in Papers of the Peabody Museum, Vol. IV, No. 2, pp. 48-266. Cambr

, Th

; in Bureau of Ethnology, 19th annual

George

onduras; in Memoirs of the Peabody Mus

Erne

exicain de la Bibliothèque der Pala

Willia

s of Mexico; Field Museum of Natural History, Publication

h, W

ngs of the United States National Museu

, Die

his edition). Spanish edition published by Juan de Dios de la Rada y Delgado, Madrid, 1884, as an appendix to his translation of Leon de Rosny's article, Essai sur le dé

nder 1864. (This contains much tha

, Teo

tsintla Valley; in Memoirs of the

la and adjacent region; in Memoirs of the

ay, Al

to the knowledge of the flora and fauna of Mexico and Cen

all

acsimile by the Peabo

la

las costumbres de los Indios y otras casas notables; in Colección de Documentos inéditos relativos al descubrimien

Codex, See

, Jua

de la lengua Maya; sm

ado, Juan d

s que se conserva en el Museo Arqueolog

e la Ciuda

miento, conquista y organizacion de las antiguas posesiones Esp

de Cotuta

s inéditos etc., (Segunda serie

, Leo

ent de l'écriture hiératique

es anciens Indiens de l'Améirque Centrale cons

lhas,

Papers of the Peabody Museum, Vol. IV, No. 1, pp. 1-47, Cambr

r, E

lection, (English edition), pp. 147, plate

récolombien du Free Public Museum de Liverpool (M

nus 3773, Text and plat

Codex group; in Bureau of Ethnology, Bulletin 28, pp. 355

of Ethnology, Bulletin 28, pp. 231-242, Washing

n 28, pp. 75-121, Washington. (Translation of the German edition o

rschrift der Bibliothek der Congregatio de Propagan

ya-Handschriften: in Zeitschrift für Ethnolog

pell

riften; in Zeitschrift für Ethnologi

el, H

-Mexico; in Ver?ffentlichen aus dem Konig. Mus. f

as,

; in Contributions to North American E

a codices; in Bureau of Ethnology, 6th

r, Al

ort of the Fellow in American Archaeology, 1902-1905; Archaeol

Brasseur de Bour

rre Soto M

ista de la Provincia de el

3773, See

AT

LL

laria

ng from shell

e, Bor

olog

esden

canus 3

utta

or zero,

h, Dres

utta

l

n for zero,

e, Dres

r Mo

or zero, D

Bivalve, D

lve, Nut

uttal

uttal

uttal

uttal

uttal

ed, seen in prof

e, Nutt

y bivalve,

e. Nutt

AT

SE

bee (M

drone, Tro-Cor

-Cortesia

nventionalized, T

ey comb, Tro-C

arently in a hive,

ssibly representing a honey

ortesian

in a hive, Tro-C

ey comb, Tro-Co

AT

and MY

f Blowfly (Sarcophaga)

Tro-Corte

ocneme kollari, Tr

insect, possibly a

ed insect, uniden

e, Nut

e, Nut

y or moth,

terfly

, possibly representing

, apparently composed of sig

or god D, D

ph, Dre

e, Dres

ction with head-dress

ph, Dre

e, Dres

ection with head-dres

AT

, ARACHNIDA

d deer, Tro-Co

conventionalized as a h

ly conventionali

ibly a tarantul

ish, Nut

b, Nut

AT

PODA,

ized centipede with quetza

a, Temple of the Tigers, Lower

eron, Dresden 36b. (C

f the Tigers, Lower Chamb

F

Chajcar (Maudsl

S

fering, Tro-C

, Dresd

AT

SC

ying-fish (Exoce

e of the Cross (Ma

utta

ossibly of a sh

offering, D

fins, possibly an eel

offering, D

om Santa Rita (Gann,

resde

uttal

Palace (Maudsl

ish as part of the Great Cycle glyph, Co

tela C, south (Mau

, Stela D (Maud

tela C, south (Mau

AT

PH

a), Tro-Cort

Tro-Cortes

o), Copan, Oblong altar

oad, Tro-Cor

Copan, Altar O (Ma

f the Tigers, Lower Chamb

AT

IA, RE

tree-toad (Hyla eximia

elonging to fig. 3,

g. 1, Tro-Cor

ke, Nu

e, Nut

e, Nut

head-dress of a w

, Dresd

, Dresd

e, Dres

e, Dres

e, Dres

e, Dres

resde

figs. 7-13,

AT

PT

nake (C

Cortesi

sign, Couat

Cortesi

Cortesi

the Tigers, Painted Chamb

utta

ting rattles, Tro

ortesian

the Tigers, Painted Chamb

uttal

AT

PT

rp

possibly Laches

utta

esden

utta

utta

Nut

tion with long numbe

esden

esden

AT

PT

rp

onventionalized spots

Cortesi

AT

PT

a, Li

ffering, Tro-C

Tro-Corte

ffering with Ka

ro-Cortesi

Tro-Corte

, Dresd

ly representing a l

, Dresd

glyph, Copan, Stela D, gl

gn, Cuetzpalin (

ard, Dr

uttal

rrated margin possibly representi

ard, Nu

AT

PT

le (Cro

ahua day sign, Ci

sented by head and

s fig. 1,

s fig. 1,

s fig. 1,

fig. 1, N

s fig. 1,

utta

as a Uinal glyph, Palenque, Temple of the F

crocodile,

Palenque, Temple of the Foliated Cr

ed head of a croco

AT

PT

rt

Tro-Corte

Tro-Corte

urtle, Tro-Co

resenting a tur

Tro-Corte

lydra) with leeches attac

ph for

Gly

Gly

Gl

tle, Nu

god, Aac,

AT

V

Friga

, Palenque, Palace, House

za, Temple of the Tigers, Lower

eck of a hero

n, Nutt

Temple of the Cross, West side

H

fish as a head-d

ly a Frigate bird (Fregata

ged for offeri

AT

V

key (Agriocha

trap, Tro-Cor

Tro-Corte

ared, Tro-Co

Cortesi

Cortesi

Cortesi

canus 3

Cortesi

ey as offerin

rkey as offeri

Tro-Cortes

Tro-Cortes

resde

rkey as offeri

Tro-Cortes

e, Dres

e, Dres

AT

V

e (Sarcorha

Cortesi

Cortesi

d of King Vultu

Ocellated Turkey,

owing head,

ro-Cortesi

, Dresd

S

ng out entrails of dee

glyph (Maudsl

Cortesia

Cortesia

tza, Monjas, east (M

AT

V

mphus papa), Black Vul

d of King Vultu

day sign, Cozcaqu

fig. 2, N

s fig. 2,

s fig. 2,

ing considerable conven

s fig. 2,

2, further redu

s fig. 2,

s fig. 2,

lack Vulture, Tr

ture, Tro-Cor

e, Dres

e, Chichen Itza, Monjas, ea

Black Vultur

head of same,

ture, Tro-Cor

same, Tro-Co

e, Dres

e, Nutt

e, Nutt

e, Dres

e, Nutt

me, Nu

e, Nutt

me, Nu

Tro-Cortes

AT

V

lt

lture) tearing at entrails of

utta

utta

ack Vulture, Tro

Cortesi

Cortesi

resd

pan (Maudsla

, Altar K (Maud

, House 9 (Mauds

ture and snak

ultures, Tro-C

vulture, Tro-

rs, Lower Chamber, Chichen I

AT

V

e (Thrasae

(Maudslay, I,

utta

(Maudslay, I,

Cortesi

head-dress,

resia

esden

t feathers tipped

Tro-Cortes

Chichen Itza (Mau

resde

n eagle's head

y an eagle,

Bolo

AT

V

Owl (Bubo virgi

ament, Palenque, Palace, Hou

xchilan, Stela 4 (Peabody M

wood, Tikal, House C, lint

AT

V

Owl (Bubo virgi

olog

dress, Tro-Co

orgi

, Chichen Itza, Temple of the Tigers,

ubin

zed, Palenque, Temple of the

owl (chiquà

AT

V

or Moan-bird (Otus

resd

Cortesi

esden

dress, Tro-Co

ad-dress,

ated with Moan-

e, Dre

esden

resia

eresi

resenting hea

e, Dres

e, Dres

e, Dres

representing Moan

of head, D

sociated wit

Cortesia

ad-dress, D

-dress, Tro-C

ated with Moan-b

AT

V

gon or Quetzal (Ph

rest feathers shown

ress, Dre

, Dresd

ortesian

Cortesi

ss, Tro-Cor

utta

tail as a head orn

canus 3

ple of the Sun (Maudslay

nding on a sacri

Cortesia

(Maudslay, I, P

representing a trogon

e, Dres

e, Dres

d, Nutt

Cortesia

nament resembling a tro

AT

V

aw (Ara

head and holding fi

ress, Dre

Cortesi

ela 11 (Maudslay, I

Stela B (Mauds

in connectio

Gly

andible and head, Copan, St

onth sign Kayab, Quirigua, Stela

a macaw, Copan, Altar

Cortesia

acaw, Copan, Stela A (Mau

Cortesia

AT

V

ts, T

ead-dress, Tro-

llated Turkey (Agriocharis) Dresden 25

a macaw, Copan, Altar

parrot (Amazon

ad of a macaw, Tr

ibly representing a

parrot (Amazon

caw's head, Tikal, Temple

e head-dress,

macaw, Tro-Co

ke head-dress

bably an Ocellated Turkey

ke head-dress

ted Turkey or a Ch

AT

V

ella

n Ocellated Turkey or a

e, Nut

e, Nut

e, Nut

bly Campephilus imp

e, Nut

n (Corvus corax si

(cocho),

e, Aub

ock (uexolot

me, Au

AT

us An

pir (Tapirella) with a necklace of Oliv

ng Vulture (Sarcorhamphus papa), C

ly a lizard, Copan, Stel

ar (Felis onca hernandezi), Copan

ture (Catharista urubu), Copan,

ds (?) perhaps vultures, Quirigua

AT

MM

and Misc

lo (Tatu novemcinctum)

Tro-Corte

ro-Cortesi

red in a pitfall,

ned animal,

ossibly a frog or a marsu

nt, Nut

d animal, Tro-

AT

MM

r,

aught in a snare,

a pandora) caught in a pi

hare or rabbi

e, Nut

n deer, D

Tro-Corte

rabbit, N

e, Dre

AT

MM

(Odocoileus

, Dres

Fégerváry

Tro-Corte

e, Nut

d in snare, Tro

of god M, Tro-

Tro-Corte

ro-Cortes

f same, N

as sacrifice, Tr

, Peresi

nison as a sacri

Tro-Cortes

e, Dres

Tro-Cortes

AT

MM

(Tayassu angul

(Odocoileus

ary, Nu

, Dresd

forefoot, with long tail and hindfo

ry, Dres

ad, Copan, Sela D, cas

and dorsal crest of a peccary an

ary, Nu

onalized antler, glyph for Nah

, Peres

ahua day sign M

me, Nu

Stela N, East (Ma

AT

MM

(Tayassu angul

t in a snare, Tr

za, Monjas, East (Ma

en Itza, Temple of the Tigers,

t in a snare, Tr

Cortesi

resd

ting a peccary's

, Dresd

t in a snare, Tr

AT

MM

ar,

lis hernandez

uth of an animal, possibly a

sign, Oceol

jaguar or puma (Gann

ensis), Chichen Itza, Temple of the Tiger

f the Tigers, Lower Chamb

y a puma,

AT

MM

, Bear

coyote (Cani

e, Nut

bear (Ursus)

, Temple of the Tiger

lis hernandez

aguar head, Copan, Stela

ar F (Maudsla

Tro-Corte

head, Palenque, Palace, Hou

, Tro-Cort

probably

fresco, Santa Rita (Ga

Tro-Cort

e, Nutt

AT

MM

(C

rab, Tro-Cor

Cortesi

Cortesi

d, Nut

utta

d, Nut

ly a dog,

Aub

for day

Sa

Sa

Cortesia

hua day sign Itz

Cortesia

AT

MM

(C

g firebrands,

, Dresd

, Dresd

Cortesi

esden

Cortesi

esden

Cortesi

esden

resde

to represent a dog'

resde

Tro-Cortes

AT

MM

s spectrum or Phyllosto

tza, Akat 'Cib (Mau

pan (Maudsla

glyph, Copan, Stela D

pan (Maudsla

of the Inscriptions (Maud

(Maudslay III,

oration on pottery, Ch

AT

MM

nd Misce

ey (Cebus capuci

e, Nut

f same, N

ly a combination of monkey an

senting a monkey, found

head of monk

-nosed god, Tro

yph for Nahua day sig

god, Tro-Cor

head-dress,

riber'

and inconsistencies

ds and typogra

e E

d Ow" should read

y" should re

" should rea

on" should rea

ce" should rea

ng" should re

d" should re

" should r

, (Pl. 32, fig. 4)" Ha

us Auct.)" shoul

"coasa" shoul

-* "for" sho

s" should rea

ue" should re

ue" should read

shed" should read

chriften:" colon sh

" should have

2, gl. 0, 4" sh

RIGATE" should rea

ron" should hav

ame as fig" sh

s, Nuttall" sho

26c 27c," should

olot" should

n 61" was missin

sianus 66a" was mis

ela" should

19.)" should r

rds had inconsis

ly / B

ched / cr

ll / p

ords had incons

ment / dé

Fejérváry-Mayer

on / R

e /