Part 4

The pair at the right on the other hand is _seated_, the woman apparently on the curved handle of a vessel. The head-ornament and hieroglyph of the female figure prove that she is the serpent deity H, while the male figure is the rare black deity M, whom we find again with his sign on page 43a for example; he holds a bone in his hand. Hieroglyphs 9 and 13 agree. The lower part of these hieroglyphs is the fist with the thumb unfolded, the sign at the top seeming to be merely an empty outline (Muluc?) and thus, like 1 and 5 of the preceding group, they seem to refer to a sacrifice offered to the death-god. 10 and 14 are again, strange to say, like 2 and 6 of the preceding group, the sign of D. 11 is the hieroglyph of H, who is represented below as feminine, and that 12 is a complement of 11 is proved by the upper part of this uncommon hieroglyph, which corresponds to the object in H's hand, and which is repeated on page 18a with the same figure; compare also page 8b. 15 is surely the hieroglyph of M, who is pictured below, as in the Tro. 2a and 22*a where the same M appears with the same hieroglyph, and to him belongs in 16 the sign _r_, which I am inclined to consider the week of 13 days, and which here, as on 14c, ends a section of 13 days.

Page 15c.

III III 12 II 14 III Lamat Ix Ahau Cimi Eb Ezanab Kan Oc Cib Ik.

This is a Tonalamatl of ten parts, the days are to be read in the following order:--Lamat, Ix, Ahau, Cimi, etc.

There are two figures, A probably conceived as feminine and D with the same head-ornament as on page 10; both hold in their hands a Kin = sun. Hieroglyphs 2 and 6 are also the Kin sign, while 1 and 5 have the closed eye of A, but differ in their secondary parts, the sign suggesting the south being a suffix in 1 and a superfix in 5; 1, however, has an affix, while 5 has as a prefix a sign differing from the affix in 1. 3 and 4 are the signs of A, 7 that of D, next to which in 8 one would expect to see an Ahau, but instead of this there is again the sign of H (borrowed from page 15b?).

This seems to end the subject of coition; now, in natural course, follows the subject of pregnancy, to which I believe the following Tonalamatl is exclusively devoted.

Page 16a.

Kan 21 31 Cib Lamat Ahau Eb.

There are no red numerals, hence the Tonalamatl seems to apply to any one of the initial week days.

Two women are portrayed, both of whom are stretching a hand forward and upward. There are 8 hieroglyphs of which, however, the top row is almost entirely obliterated; 3 and 7 in the lower row are just alike, being the usual sign for woman.

There is a decided contrast between the two figures, which might suggest barrenness and fruitfulness. Observation of their physical differences would give us that idea. Furthermore, the first carries on her back an unfamiliar head, perhaps A's, while the second has the Ahau, Imix and Kan signs, from which plants seem to be sprouting. The first is represented in the fourth hieroglyph by the sign _c_, which is closely allied to the death deities, while the second woman is denoted by hieroglyph 8 which is the sign of the deity E, the grain-god.

Pages 16a--17a.

In the following I will group together all the pages from page 16-23 as follows:--First, I shall discuss the top thirds, then the middle and lastly the lower thirds. The sense, however, often seems to require that the first third should connect with the second, and the second with the third; but I find it impossible to determine exactly the intended order.

On pages 16a-17a, we find for the first time in this manuscript not a Tonalamatl, but in its stead all the twenty days arranged in four columns, each of which ends with one of the regents of the year:--

Men Ahau Chicchan Oc Cib Imix Cimi Chuen Caban Ik Manik Eb Ezanab Akbal Lamat Ben Cauac Kan Muluc Ix.

This seems to establish the fact that the day of its birth was of importance to a new-born child.

Between each column and the next there is a picture and above each picture four hieroglyphs, which, however, are mostly destroyed, so that much of the meaning of this passage is lost to us.

The first is an old man walking, who beyond doubt is N, the Uayeyab god, with a staff in his hand and the signs Imix and Kan on his back. He is looking upward and is also pointing upward with his right hand. Of his hieroglyphs only enough of the fourth is visible to enable us to recognize in it the regular sign of N, 5 Zac. The second picture is again an old man walking with a stick, he is baldheaded and hence is probably also N, as on page 12c. His hieroglyph might be the fourth of those written above him, the other three are entirely unrecognizable. He has a carrying-frame on his back, but it is uncertain whether he is carrying anything upon it.

The third figure is a woman who is pointing upward with one hand and with the other holding the bundle on her back, which I am unable to explain (does it refer to the 14th Uinal--the end of pregnancy?) and from which rises an object resembling a flame. Her sign is in the fourth place and _q_ is in the third. 1 and 2 are not legible and perhaps may be supplemented by the third picture on page 19c. Finally, the fourth figure is F, who is sitting and has a Cimi sign on his back. His monogram is the second of the hieroglyphs above him, the third is very appropriately _b_ and the other two are not very clear to me.

The first two pictures might designate a male birth, the first indicating wealth and the second poverty, the third might denote a female birth and the fourth a still birth. But who can positively assert this!

Pages 18a--19a.

VIII 12 VII 12 VI 9 II 10 XII 9 VIII Ik Ix Cimi Ezanab Oc.

This is a Tonalamatl of five parts with 20 hieroglyphs, which unfortunately are so much injured that no signs comprehending the whole can be distinguished.

There are five women in a sitting attitude.

The first woman corresponds exactly to the third figure on page 15b. She is sitting on a bench, the same implement is in her hand and there is also a serpent on her head, for which reason she likewise reminds us of H. The third hieroglyph is hers, and the 4th sign is an Ahau.

The second woman holds in her hand the Kin sign; above it is the Yax sign and above this a little cross between two dots (the numeral 18?). Compare pages 18c, 19c and 27b, and in the second part, 46b and 50c. I shall venture no opinion regarding the hieroglyphs.

The third woman with the copal pouch hanging from her neck has nothing in her hand. She is pointing upward with her right hand. Her hair seems to be wound in the shape of an 8 in horizontal position and above her is a sign denoting the union of two parts. The hieroglyphs are entirely destroyed. Does this represent the birth of twins?

The eyes of the fourth woman are closed, she is pointing forward with her hand and there is a bird on her head. Nothing is left of the hieroglyphs.

Finally, the fifth is distinguished by a large nose-peg, which, as on 12b, resembles a flower. Her hand is extended forward. The fourth of the hieroglyphs above her is her sign. There is nothing to be said regarding the three others. Are these five women engaged here in presenting their thankofferings and prayers of thanksgiving for the birth which has taken place?

Pages 19a--21a.

XI 13 XI 13 XI 13 XI 13 XI 13 XI Ahau Chicchan Oc Men Ahau.

Instead of Men the Manuscript has incorrectly Eb. Ahau in the fifth place is superfluous, since we have here a Tonalamatl divided into four equal parts.

The hieroglyphs are so nearly obliterated that we can no longer distinguish a common sign. There were in all six signs for the first picture, of which the first two are above the day-signs, while the figures from the second to the fifth have only four signs each, as follows:--

1 2 5 7 8 11 12 15 16 19 20 3 4 6 9 10 13 14 17 18 21 22.

All that can be distinguished here is that the 4th and 13th have the same cross _b_ and that 6 and 10 probably contain the same head.

Each of the five pictures contains a woman sitting. In the first representation she sits opposite a male figure, who bends down to her with his bird-head, which we have already seen on page 13c. In the other four pictures the woman is holding the figure of a god on her lap. I do not recognize the god in the first picture on page 20. In the second and third pictures he is related to A or the Moan and the first figure on page 21 may represent the god D. These can only be new-born children represented by the gods under whose signs they were born. It should also be noted that the second woman on page 20 has a serpent on her head and the third a bird. The bird's head resembles that on page 16c.

Pages 21a--22a.

The Cimi and Eb of the second column have changed places in the Manuscript. Instead of the X there is an erroneous 2 and there is no initial VII.

VII VII 3 X 2 XII 7 VI 9 II 3 V 2 VII Oc Ahau Cib Cimi Ik Eb Lamat Ezanab Ix Kan.

We have here a Tonalamatl consisting of 10 × 26 days, and the 26 days are subdivided into six parts. I have just assumed that the 2 is wrong and the initial VII is wanting over the first column, yet the 2 followed by the laterally elongated head _q_ might here, perhaps, be explained in some manner as the sign of the day VII Oc.

Apart from this sign which occupies an entirely exceptional position, we have here 24 hieroglyphs, _i.e._, 4 for each of the six groups.

The fourth sign in the first five groups is in each case a Chuen combined with the cross _b_ and the suffix, which seems to be a knife, and also with a numeral, which, however, is not recognizable in the first group; in the second it is a 3, in the third a 7, in the fourth a 5 and in the fifth a 3. What can these numbers mean? 3 + 7 + 5 + 3 = 18, and Chuen with the meaning of 20 (especially in the inscriptions) would be 18 × 20 = 360.

In the fourth place of the sixth group there is a compound character, the main part of which (top, right) seems to be the sign for the thirteenth month, Mac, and which may also, as we shall see on page 24, denote the entire Tonalamatl. It is again compounded with a Chuen, an uplifted arm and a kind of suffix, and hence might denote the end of a Tonalamatl.

The remaining 18 signs are in the main destroyed. In the second of the fourth group we recognize the lock of hair denoting a woman, in the third of the second group the superfix suggesting the south, which we find above the Cimi sign, for example on page 13b. Lastly, the other third signs are in the third group Imix-Kan, in the fourth group the head _q_, in the fifth the bird c and in the sixth a Manik sign with prefix and superfix resembling the sign _i_; in a few places (24, 39a, 53a, 56b, 58b, 61a, 61c, 68c) the prefix might have the meaning of 20.

Since the intention was to close this section on the next page, the space had to be used as economically as possible, and instead of the six pictures to be expected, there is only one and that is the first. It is a woman in whom I observe nothing characteristic except that she has a kind of cloak, which has fallen down over the lower part of her body, and who therefore remains unexplained.

Pages 22a--23a.

II II II II 2 IV 8 XII 7 VI 10 III 12 II Men Cib Caban Ezanab Chuen Eb Ben Ix Manik Lamat Muluc Oc Akbal Kan Chicchan Cimi

The Tonalamatl is no doubt to be read in this way after the correction of a few inaccuracies in the Manuscript.

The 20 days, all of which occur again here as on pages 16a-17a, should be read from the right top to the left bottom, since they form but one series.

As a matter of fact Ezanab is distant 19 days from the future Caban, but 39 days distant from the desired weekday of the same name (see my "Erläuterungen," p. 24). Thus we have here a period of 20 × 39 days = 780, _i.e._, a three-fold Tonalamatl. The three Tonalamatls represented on the pages between the preceding passage (pages 16a-17a), where all the 20 days appear, and this, are of three _different_ kinds (5 × 52, 4 × 65, and 10 × 26). This in itself is very remarkable. Furthermore a fourth kind of Tonalamatl seems to be introduced here, which embraces, as it were, these three Tonalamatls.

The hieroglyphs, which are mostly destroyed, were arranged in groups of four for each subdivision, in the following order:--

II II II II 1 2 5 9 13 17 3 4 6 10 14 18 7 11 15 19 8 12 16 20.

Of the above the third hieroglyph of each group, _i.e._, 7, 11, 15, 19 (probably also 3) is always the same and is the sign of D, the moon and night-god. In detail we should expect to find five pictures here, but owing to lack of space only the first of these is given. It represents a deity with a Kan sign in its hand and a serpent on its head, who is probably E, and he is falling down here in exactly the same manner as the four deities on page 15 at the beginning of this section.

Now, which were the other four deities? Signs 8, 12, 20 refer to A, H and C. 16 is the laterally elongated head _q_, to which Seler is inclined to refer the day Men, and Schellhas an undetermined deity I. On account of its frequency this sign must have besides a more general significance. In addition, however, we have in 14 and 18 the signs of F and B. 6 is uncertain, 10 is probably C, and the top row is entirely illegible. If to these deities is added the D repeated five times in the third row, it will be seen that all the important gods are grouped together here on the last page of this section.

Pages 16b--17b.

I will now attempt (for it cannot be more than an attempt) to separate into three parts, according to their contents, the middle and lowest thirds of pages 16 to 23. The first part, 16b to 18b and 16c to 20c, contains six Tonalamatls with pictures of women, each of whom carries on her back the figure or symbol of a deity. This deity can hardly be any other than the one to which the horoscope of the child especially refers.

The first of these Tonalamatls, on pages 16b-17b, runs as follows:--

Muluc 13 4 35 (or 20 15) Imix Ben Chicchan Caban.

The red numerals are wanting and were probably forgotten.

The hieroglyphs stand thus:--

1 2 5 6 9 13 3 4 7 8 10 14 11 15 12 16.

Of these 3, 7, 11 and 15 are the sign for women, 2, 6, 10 and 14 are likewise all the same sign, which is repeated in the same places on pages 17c to 18c. I do not understand its meaning; it may have reference merely to the carrying-frame. Instead of the four women, whom we should expect to find here, only the first two are portrayed. The first carries B, whose sign is the first hieroglyph, while the fourth hieroglyph is the sign _q_.

The second woman carries A to whom hieroglyphs 5 and 8 refer. The third woman would have carried D, which is plainly proved by hieroglyphs 9 and 12, and the fourth, F, as follows from sign 13 and probably also from 16 (_q_).

Pages 17b--18b.

Eb 11 7 6 16 8 4. Kan Cib Lamat Ahau.

Here again there are no red numerals.

The 24 hieroglyphs of the six divisions stand thus:--

1 2 5 9 13 14 17 18 21 22 3 4 6 10 15 16 19 20 23 24. 7 11 8 12

Again, six women should be portrayed here, but there are only four; the second and third are wanting. The signs for the women are given in 3, 7, 11, 15, 19 and 23, but in 15 and 19 the prefix is different from that of the rest. As from here on the women repeatedly carry a bird, the signs for this are 2, 6, 10, 14, 18 and 22, which are the symbol of a rising bird, as in the sign of the 15th Uinal (Moan), which in my opinion generally coincides with the 13th month of 28 days.

The women pictured here have nothing in their hands, which they hold stretched forward, as is usually the case in this section. The first woman carries a vulture on her head. Compare 8a. In regard to it see also Schellhas, "Göttergestalten," p. 31. The hieroglyph of the vulture, which we find repeated on page 17c, 24, 37b, 46, 50, 65, is here hieroglyph 1, usually regarded as the sign of the bat deity, and near it in 4 is _q_.

The second woman would have carried the black deity L (hieroglyph 5), to which _q_ is added in 8.

The third would have had the dog, _i.e._, the lightning dog, which we find in hieroglyph 9 and in the month sign Kankin; an _a_ is added to them in 12.

The fourth woman carries A, as is proved by his signs in 13 and 16.

The fifth carries nothing; according to the hieroglyphs 17 and 20 she ought to carry D.

Lastly the sixth carries the Moan as is proved by signs 21 and 24.

Pages 16c--17c.

Muluc 8 13 13 13 8 10 Ix Cauac Kan Muluc.

This is a Tonalamatl of 4 × 65 days. The Muluc at the bottom is, therefore, superfluous. I have been obliged to correct the 12 in the last column of the Manuscript by changing it into a 10. The red numerals are again wanting.

This passage admirably continues the one in the preceding Tonalamatl containing the women carrying birds, and is also divided into six parts.

The hieroglyphs stand thus:--

1 2 5 6 9 10 13 17 21 3 4 7 8 11 12 14 18 22 15 19 23 16 20 24.

Signs 3, 7, 11, 14, 19 and 23 (14 and 15 have changed places) denote women. Of the six women only the first three are here portrayed.

The first carries the Moan with which signs 1, 2 and 4 agree perfectly. The second and third carry two birds, which may be parrots of a different species. They are very seldom represented elsewhere and hence their hieroglyphs, 5 and 9, with the added determinative 10 are unfamiliar. In 8 and 12 the well-known determinatives _a_ and _c_ are added.

Judging by sign 13 the fourth woman would have carried the same vulture, which we see in the middle section of this page; 15 and 16 are again signs _c_ and _q_.

The fifth woman would have carried an unknown bird of prey, the signs of which are 17 and 18, and 18=10; 20 is again _q_, but with a superfix different from that in 16.

Finally the sixth woman, like the third in 17b, seems to have carried the dog, as is proved by sign 21, but in 22 the symbol of a bird is again added. This passage ends in 24 with the well-known Imix-Kan.

Pages 17c--18c.

IV 15 VI 33 XIII 4 IV Ahau Eb Kan Cib Lamat.

Here we again find the regular red numerals (Roman in my transcription of the text), which were wanting in the last three Tonalamatls. That they were not added until after the black script and drawings were completed, is evident in several passages of our Manuscript and also in this one, where they have been faintly indicated in black by the scribe (or corrector). The absence of red numbers in the passages 17b-18b and 16c-17c is an evidence that I was right in proceeding directly from the former to the latter.

Of the 12 hieroglyphs, 2, 6 and 10 have again the form which we found on pages 16b-17b, and which seems to refer to a carrying-frame; compare, however, the explanation of pages 25-28 below. The women themselves are designated by hieroglyphs 3, 8 and 12. The first woman carries the god A and hieroglyphs 1 and 4 are his regular signs. The second woman has on her back a Kin sign, above that a Yax, and this combination overtopped by a cross between two dots also forms hieroglyph 5; compare the upper section of the same page. That this hieroglyph is nothing else than a designation of god D follows from hieroglyph 7. Finally the fourth woman carries a figure, which has a Moan sign for a head and to which hieroglyphs 9 and 11 certainly refer.

Pages 18c--19c.

XIII 32 VI 20 XIII Ahau Eb Kan Cib Lamat.

The first woman carries the god A, who is denoted by hieroglyphs 4 and 1, though somewhat irregularly by the latter. 2 is the carrying-frame and 3 the woman herself.

The second woman has again the Yax-Kin sign on her back as in the preceding Tonalamatl, and hieroglyph 5 is also a combination of these signs, but here in 7 we find, not the sign of D, but that of E, to which also the Imix-Kan in 8 corresponds. 6 is again the carrying-frame, though, as is also the case in 2, more indistinctly drawn than in the earlier Tonalamatls.

Pages 19c--20c.

XIII 11 XI 11 IX 11 VII 10 IV 9 XIII Ahau Eb Kan Cib Lamat.

This is a Tonalamatl divided into five parts, to which 20 hieroglyphs belong. The hieroglyphs are in the following order:--

1 2 5 6 9 10 13 14 17 18 3 4 7 8 11 12 15 16 19 20.

At places 2, 7 (6 and 7 have changed places), 10, 14 and 18 we find again the sign which we think means a carrying-frame, while signs 3, 6, 11, 15 and 19 are those of the five women.

The first carries a figure with a Moan head and agreeing with this is the second death-god F in hieroglyph 1 and his determinative in 4.

The second woman, who is seated, carries the same object regarding which I am still uncertain, which is carried by the standing woman on page 17a. This object is denoted by hieroglyph 5 (_w_). Its determinative is probably 8. It may perhaps be a step in the right direction to point out that this sign suggests the god K.

The third, like the first, has a figure with a Moan head, with which a female form of A in 12 and hieroglyph 9 accord.

The fourth woman carries the maize deity E. 13 is his sign and the food hieroglyphs, Imix-Kan in 16, agree with it.

The fifth woman seems to carry the somewhat indistinct form of D, if this may be inferred from the Ahau of the 17th sign. 20 is the universal sign a.

This ends the six Tonalamatls, which are represented in what I have called the section of the burden-bearing women. Five other Tonalamatls follow, which again suggest the idea of conception, which we met once before on pages 13c-14c.

Page 19b.

X 29 XIII 23 X Ik Ix Cimi Ezanab Oc

The most frequent sign in the five Tonalamatls, which I have grouped together, is the cross _b_, which plays the most important part in all the Tonalamatls, excepting the third, which differs from the rest also in other respects. It is essentially the sign for union, referring in the case of the stars to their conjunction and here to sexual union.

In this Tonalamatl we see the cross in hieroglyphs 1 and 5, the sign for woman in 2 and 6, and their determinatives in 3 and 7.

The first woman has a deity facing her who is devoid of all characteristic marks, and sign 4 is also nothing but the universal a.

The second woman whose eyes are closed, sits facing A, whose hieroglyph is in 8.

Pages 19b--20b.

VI 28 VIII 24 VI Cib Lamat Ahau Eb Kan.

The arrangement of this Tonalamatl is very similar to that of the preceding.

Hieroglyphs 1 and 5 are again the cross, and 2 and 6 the signs for woman.

The first picture is wanting; hieroglyph 3 with the number 7 as a prefix denotes a deity with whom I am not familiar. The same sign is found on page 50, left, middle; in 4 the usual head _q_ is added.

Beside the woman in the second group--not facing her--is the serpent deity H, again, as on pages 11c and 12b, with the nose-peg resembling a flower. His sign is 7 to which in 8 the familiar Ahau is again added.

Page 20b.

II 20 IX 19 II 13 II Cauac Chuen Akbal Men Manik.

The hieroglyphs stand thus:--

1 2 5 9 3 4 6 10 7 11 8 12.