1 5 6 9 13
2 7 8 10 14
3 11 15
4 12 16.
The signs forming the hieroglyphs into groups are, in addition to the cross
in 2, 6, 10 and 14, the heads in 1, 5, 9 and 13 with an Akbal sign
(indistinct in 9) which, by the lock of hair in 5, 9 and 13, refer to a
woman. This lock of hair is replaced by a hand in 1.
Sign 3, with which _m_ in 4 is associated as a determinative, shows that
the first group ought to have a picture of the black god L grouped with a
female figure.
The second group is the only one with a picture. On the right there is a
female figure, which, judging by the headdress, we have already met on page
19a. Opposite her sits the dog which we saw on page 13c. Here (in sign 7),
as on page 13c, the hieroglyph of the dog is combined with a Cimi sign, and
this hieroglyph is repeated in 8 with the sign _c_, which is so closely
allied to Cimi.
For the third group the god A should have been represented with the woman,
as is proved by sign 11 so peculiarly combined with _r_ as a superfix. To
this hieroglyph _a_ is added, doubtless referring to the good days, as if
merely to fill space.
The hieroglyphs of the fourth group do not, I think, convey a clear idea as
to which deity belongs here. His sign is 15, which is compounded of Manik
and Chuen with a superfix, nor does the Cimi added in 16 shed light on the
subject. As for 15 we have already found it on page 13c with the prefixed
4, which I find prefixed in this way in at least 12 different signs.
Pages 21c--22c.
Caban 5 21 16 10
Muluc
Imix
Ben
Chicchan.
This is a Tonalamatl of five parts in which the red numerals are wanting.