glyph shown in plate LXVIII, 22 (apparently the same as that on Tro. 11a) is repeated four times in one line, each connected with a cardinal point symbol, and each standing immediately over and evidently referring to a large vessel.209-1 It is stated that it was a custom among the Maya during certain religious ceremonies to place a vessel in their temples at each of the four cardinal points.209-2 As cum and xamach are Maya words signifying vessel, we still find in these the m sound. It is therefore possible that the similar glyphs on Dres. 29b and Tro. 14 and 15 also refer to vessels. The supposition seems to be strengthened by the fact that connected with the former are figures of the four classes of food animals—quadrupeds, birds, reptiles (iguana), and fishes. The latter refer to the hunter’s occupation, being accompanied by figures of the deer. Landa, in his descriptions of the various festivals, repeatedly alludes to the four Chacs or Bacabs which represent the four cardinal points, and to the different classes of food animals presented where vessels were used. It is therefore more likely that the symbol is used in the places mentioned because of its phonetic value rather than as a substitute for the heads of lightning animals, for which supposed substitution Dr Seler admits he can not account.

Dr Seler refers also to the glyph on which the long nose deity is seated, Dres. 44a, shown in our plate LXVIII, 23. The prefix he interprets by “man, human being,” and supposes the whole glyph refers to the attributes of the Rain god. As the deity holds a fish in his hand, and is seen in the lowest division of the same plate in the act of seining fish, is it not more likely that this symbol should be rendered by cayom, “a fisherman”? This is appropriate and retains the phonetic value of the imix symbol.

In the compound glyph 24, plate LXVIII, from Dres. 67b, to which Seler also refers in the same connection, we see in the figure below the same deity wading in water in which a fish is swimming. The right portion of the symbol is the same as the last (plate LXVIII, 23) and presumably has the same signification—cayom, “a fisherman,” or cayomal, “to fish.” I am unable to interpret the first or left-hand character; possibly it may be found in one of the terms chucay, or ɔaucay, which Henderson gives as equivalents of cayomal. The latter—ɔaucay—would give to this prefix precisely the phonetic value I have hitherto assigned it.

The next character Dr Seler refers to in this connection is that shown in plate LXVIII, 25, from Dres. 40c, where the long-nose god is seen below rowing a boat on the water. The adjoining symbol in the text is a fish. It is probable therefore that substantially the same interpretation is to be given here.

The group shown in plate LXIV, 9, consisting of an Imix and Kan symbol, is of frequent occurrence in all the codices. The relation of the characters in this combination varies, the order being frequently the reverse of that given in the figure, and again one being placed on top of the other. They frequently follow deity symbols, especially the symbol of the so called “Corn god,” and in these instances seem to refer to some attribute of the divinity indicated. However, they are by no means confined to these relations, being found quite frequently in other connections. The combination is occasionally borne upon the back of an individual, as Dres. 16a, and on Tro. 21b it is on the back of a dog. Dr Seler concludes “that it denotes the copal or the offering of incense.” However, he subsequently210-1 expresses the view that it may signify “beans and maize.” In a previous work210-2 some reasons were presented by me for believing this combination was intended to denote bread or maize bread. This belief is based on the statement by Landa in his account of the sacrifices at the beginning of the year Muluc, that they made “images of dogs, in baked earth, carrying bread on the back,” and the fact that in plate 21 of the Codex Tro., representing the sacrifices of this year, we see the figure of a dog with this Kan-Imix group on its back. This figure (plate LXIV, 10) probably represents the images of which Landa speaks, and the symbols on the back, bread or food in the general sense. Further notice of this combination will be given under the fourth day, Kan.

The character shown in plate LXVIII, 26, from Tro. 20*d, is erroneously given by Seler as an example of the kan-imix symbol. The two glyphs on the mat figure are unquestionably imix symbols, though of the two different types shown in plate LXIV, 1 and 5. He suggests that here it replaces the deity symbol, but this is contradicted by the fact that in both groups where it appears the deity symbol is present. The mat-like figure, which is probably a determinative, shows that it refers to the sack, bag, or kind of hamper which the women figured below bear on the back, filled with corn, bones, etc. As mucuc signifies “portmanteau, bag, sack, etc,” mucub “a bag or sack made of sackcloth,” and mucubcuch “to carry anything in a sack or folded in a shawl,” it is more than probable we have in these words the signification of the symbol. The duplication of the imix symbol may be to denote the plural; or, as the words come from a root signifying “secret, hidden, covered,” it may be to intensify. It is noticeable