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.