or two places where the only seemingly applicable signification is "low," or "at the surface of," or "near the ground." Now it happens that the word cab has all these significations, and hence if the symbol is phonetic it may also have as many different meanings. This variety in the signification of a glyph, shown by its use, would seem to be another evidence of phoneticism, as it is difficult to explain it on the theory of being simply symbolic. We therefore translate our two characters (I, 7, and I, 8) yib u-cab, "melt the honey."

The compound character shown in I, 13, is found in the lower division of Dres. 18 and 19. Although it contains the same characters as those of the compound symbol I, 7, which we have interpreted by yib, "to melt," etc., it is apparent from the connection in which it is found that it has some other signification here, for it appears to indicate something which can be borne on the back, as in each case the figure below the text shows a female bearing the same combination on her back (Pl. I, 14). It can be carried in the hand (Dres. 18a) and placed on a dish or platter (I, 15). As yib (or yb) also signifies "a bean, or pulse," we may assume that this is the signification intended here. The two dots and little cross accompanying this symbol (Pl. I, 13, and I, 15, and the example in Dres. 18a) show that this character has a different signification from I, 7; they probably form a determinative indicating something which may be counted, as we find the same marks in one or two instances in the Dresden codex joined to month symbols to denote date. Although these are not found with the symbols on the back of the females in Dres. 18c and 19c, this was probably deemed unnecessary by the aboriginal scribe, as they are given with the same symbols in the text. In Dres. 18a, where the symbol in the woman's hand is accompanied with the dots and cross, it is probable there was no symbol in the text; none appears in the unobliterated portion.

In the hand of the personage shown in Pl. I, 16, from the lower division of Cort. 32, we observe a compound symbol composed of the same characters as seen in I, 7, and I, 13, but here without the dots and cross. The consonant elements of the word indicated, supposing the glyph to be phonetic, must, according to what has been advanced, be y'b. What is the word? Neither of the definitions given above appears to be appropriate here. There is not sufficient difference in form to suppose that the vowel sounds are in

dicated thereby. The figure and connection furnish the only aids in supplying them. The serpent, as we know, and as is made very apparent in the codices, is a symbol of moisture; the cross seen in the eye of the human head is also a symbol of moisture and of the winds. The serpent appears to be rising out of something denoted by the cab symbol, doubtless "earth" or "ground" here. These indications suggest that the figure relates to moisture. As the Maya word yeeb (or yeb) signifies "mist, small rain, dew, humidity, moisture," and furnishes the phonetic elements required by the symbol, this is probably what is indicated by it.

Pl. I, 17, 18, are copies of two compound characters from Tro. 12b*. The figure below the text represents an individual apparently marking or painting stripes on the head of an idol.

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It is also noticeable that the idol head in the right half of Tro. 12*b has three stripes on it, while that in the left half has but two, indicating that it was the intention of the artist to show by these figures the workers in the act of forming these stripes. The prefix in I, 17, is Landa's ca, "two, twice," etc. As bon (bonah) signifies to paint, dye, tinge, stain," and contains b as its chief phonetic element, "paint twice" or "paint two may be assumed as a reasonable interpretation of the whole character. As I, 18, follows it to the right, its interpretation must agree with that giving the preceding one. As the cross-hatching is found in the symbol for the day Chicchan (Pl. III, 11), and also in that for the month Pax, we may assume that it denotes the sound x (sh) or ch (soft). The right half, as will hereafter appear, is used for more than one sound, among them che, "wood." As xelche signifies "a groove or crack," we may interpret the two, "paint the two grooves in the wood."

Pl. I, 19, (Tro. 31d) may be translated bulni (bulahni), “to choke, smother, drown." In this the character above the face with a minute parallelogram and two circular dots in it is the symbol. From a careful study of Landa's 's as given in his list, and his example of spelling le, and of the similar characters in the codices, it is apparent that both his characters are derived from the same original form, the little parallelogram and two interior dots being the essential features. This original form is probably seen in the symbol for the day Ahau, which is the same character

* Compare Tro. 31c, where the priests are painting their oratorios or idol seats.

as the upper part of the symbol for Likin, " East" (Pl. I, 21). The face character of I, 19, is shown more fully in I, 20, which, according to the interpretation given the former, has n as its chief phonetic element. This is obtained by referring to our Pl. I, 22, which must be the symbol for Nohol, "South," or Xaman, "North." Following these indications we may render I, 20, which is found in immediate connection with I, 19, by ban (banah), "to demolish, throw down, level with the ground." As the long-nosed god (the Maya Tlaloc?) is seen below, overturning a jar of water on the sprouting corn, bending it down to the ground, the appropriateness of this interpretation is manifest.

So far the y symbol has been found retaining its phonetic value in some five or six different places, two of the instances being in month symbols. It may therefore be used with this value with reasonable confidence.

In the right-hand section of Dres. 41b is the glyph shown in Pl. I, 23, which we translate yulpolic, from yulpol, "to smooth or plane wood," or (as given by Henderson) "to smooth, plane, or square timber, to beat off the log." The character shown in I, 6, retains here its phonetic value. By reference to the figure below the text we see an individual in the act of chipping off the side of a tree, which agrees exactly with the interpretation given the symbol. This he appears to be doing by holding in his left hand an instrument resembling a frow, which he strikes with a hatchet. The character immediately below the one given (Pl. I, 24), which we interpret mamachah, "to make flat by repeated strokes," appears to give further confirmation of the explanation of the picture. The phonetic value given the parts of this compound character is obtained in this way. The upper character with two wings is Landa's ma, except that the circular wings contain the lines or strokes which the bishop has omitted and which appear to indicate the m sound. The left of the two lower characters is substantially the same as the symbol for the day Ymix, in which m is the chief phonetic element, and is the same as the symbol for the month Mac (Dres. 49c), omitting the ca glyph (Pl. II, 2). The lower right-hand character is the symbol for the day Chuen. We thus obtain legitimately the sounds ma-ma-ch'.

The characters shown in I, 25, and I, 26, which follow each other in the order given (Dres. 56b), may, with strong probability of being correct, be rendered zuy, "the whirlwind," and yaɔ,

"to twist" (Henderson). The cross in the chief character of I, 25, appears, as a general rule, to be that which is used for 2, but there is a slight variation in the form, which changes it to z. One form is seen in the lower part of Landa's symbol for the month Zip; another in that for the day Ezanab. The z of this author's letter list is a different character, which will be shown hereafter. The suffix of I, 25 appears to be a determinative to indicate the vowel sound u, as it varies slightly from the form of this letter when used as a prefix. The lower character in I, 26 is presumed to be a fanciful form of the cross or (2) symbol. As the preceding characters in the same group appear to relate to wind and storm, the interpretation given would seem to be appropriate.

The compound symbol shown in Pl. I, 27 (Dres. 6ob) is connected with an important series, which, judging by the figures above and below, relates to the close of one time cycle and the commenccment of another. If this opinion, the reasons for which cannot be given here, be correct, the text must relate to time. As the two chief characters in this compound glyph form the symbol for the month Yaxkin (Pl. I, 12) and the lower right-hand character is the same as the upper part of the symbol for the month Zac, Dres. 46b and c (I, 28), the whole may be translated u-yax-kintzil, "the first or new hour." In the column to the right, same division, is the figure shown in I, 29, but probably does not follow immediately after I, 27, as the text here appears to be read by columns. This we venture with considerable doubt to translate 9-Xul-thib, “nine, close or end, appears," that is, "the end of the ninth (cycle?) is at hand." The face symbol is the same as that for the month Xul as given in this codex (plate 46b and 61, at bottom). The righthand character appears to have th or t as its phonetic equivalent. If this interpretation be correct it will conflict with the attempts which have so far been made to fit the Maya Katunes with the Gregorian calendar, or throw the date of this codex back fully two centuries preceding the Spanish conquest, which is not probable. Nevertheless I have ventured to give what appears to be the phonetic value of the symbols.

The compound characters shown in Pl. I, 30, and I, 31 are from divisions a and b of Tro. 31, which undoubtedly relate to the planting of seed, most probably maize, as appears to be indicated by the number dropping from the hand of the planter. The first of these, I, 30, from division a, we must, if we retain the values

given the parts (Pl. I, 6, and I, 23, for the first, and I, 10, and I, 28, for the second part), translate p'k or p'c. As pak signifies "to sow seed, to plant," we obtain a phonetic value which agrees exactly with what is shown in the figure below the text. As I, 31, contains the same characters in reverse order, it is presumable that the phonetic equivalents are also reversed; this, however, does not necessarily follow, as will hereafter appear. This will give k'p or c'p, which may be cap, "to place in holes or fissures; to introduce," or capak, "to resow or seed the second time," or kap, the same signification as cap. Either is appropriate, if we are to judge by the figures below the text.

Pl. I 32, is the head-covering of the individuals in the abovementioned divisions of Tro. 31. In this is seen our glyph apparently introduced as a phonetic character; if so, it may probably be correctly translated ppoc, "the sombrero or hat." It will be noticed that here we have the double (pp), while in the preceding examples the single was used. So far I have found no fixed rule by which to distinguish these phonetic elements from one another, though Landa gives different characters for the p sound, and I find different ones in the codices. It is possible, and, so far as yet ascertained, seems probable, that the phonetic equivalents indicated by the scribes do not always accord with those given in the lexicons.

In Pl. I, 33 (from Tro. 22*a) is seen (omitting the prefix) substantially the symbol that Landa interprets le," the lasso," and also "to lasso." As the upper character is the same as the left portion of the upper character in Pl. I, 19, and the lower portion is the same as Landa's e, we translate the whole glyph by u-le, " the lasso," or "snare" or "to snare." As this is followed by the symbol shown in I, 34, signifying kutz (or cutz), "the turkey," and the figure below the text shows a snared turkey, the interpretation appears to be appropriate. In this, the first or left-hand character is the same as that seen in Pl. I, 28, 30, and 31, and is given the same phonetic value. Turning to Dres. Ic we notice in the figure below the text the compound glyph shown in I, 35, except that in the figure it is turned on its side. Immediately below it is seen the figure of a fish which the two individuals represented are trying to catch with a seine. As this contains the same elements as I, 34, reversed, the phonetic value should be tz'c. Referring to Perez's lexicon we find that tzac is a little fish "so named;" Brasseur says