Chapter M: G.-H.-BAND, de Arnhiem, a eu la bonté de me confier quelques

antiquités provenant des anciens habitants du Yucatan et de
l'Amérique Centrale, avec autorisation d'en faire prendre des
fac-similes pour le Musée, ce qui me permet de les faire connaître
aux membres du Congrès. Elles ont été trouvées enfouies à une
grande profondeur dans le sol, lors de la construction d'un canal,
vers la rivière Gracioza, près de San Filippo, sur la frontière du
Honduras britannique et de la république de Guatémala par M.
S.-A.-van BRAAM, ingénieur néerlandais au service de la
Guatémala-Company.

From the maps given in STIELER'S Hand-Atlas and in BANCROFT'S Native Races of the Pacific States I find that these relics were found 308 miles from Uxmal, 207 miles from Palenque, 92 miles from Copan, and 655 miles from the city of Mexico, the distances being in a straight line from place to place.

The one of these objects with which we are now concerned is figured in Plate (63) of the work quoted, and is reproduced here as Fig. 52.

Dr. LEEMANS refers to a similarity between this figure and others in Stephens' Travels in Central America, but gives no general comparison.

I wish to direct attention to some of the points of this cut. The _chiffre_ or symbol of the principal figure is, perhaps, represented in his belt, and is a St. Andrew's cross, with a circle at each end of it. Inside the large circle is a smaller one. It may be said, in passing, that the cross probably relates to the _air_ and the circle to the _sun_.

The main figure has two hands folded against his breast. Two other arms are extended, one in front, the other behind, which carry two birds. Each arm has a bracelet. This second pair of hands is not described by Dr. LEEMANS. The two birds are exact duplicates, except that the eye of one is shut, of the other open. Just above the bill of each bird is something which might be taken as a second bill (which probably is not, however), and on this and on the back of each bird are five spines or claws. The corresponding claws are curved and shaped alike in the two sets. The birds are fastened to the neck of the person represented by two ornaments, which are alike, and which seem to be the usual hieroglyph of the _crotalus_ jaw. These jaws are placed similarly with respect to each bird. In KINGSBOROUGH'S Mexican Antiquities, vol. I, Plate X, we find the parrot as the sign of TONATIHU, the sun, and in Plate XXV with NAOLIN, the sun. On a level with the nose of the principal figure are two symbols, one in front and one behind, each inclosing a St. Andrew's cross, and surmounted by what seems to be a flaming fire. It is probably the _chiffre_ of the wind, as the cross is of the rain. Below the rear one of these is a head with protruding tongue (the sign of QUETZALCOATL); below the other a hieroglyph (perhaps a bearded face). Each of these is upborne by a hand. It is to be noticed, also, that these last arms have bracelets different from the pair on the breast.

In passing, it may be noted that the head in rear is under a cross, and has on its cheek the symbol U. These are the symbols of the left-hand figure in the Palenque cross tablet.

The head hanging from the rear of the belt has an _open_ eye (like that of the principal figure), and above it is a crotalus mask, with open eye, and teeth, and forked fangs. The principal figure wears over his head a mask, with open mouth, and with tusks, and above this mask is the eagle's head. This eagle is a sign of TLALOC, at least in Yucatan. In Mexico the eagle was part of the insignia of TETZCATLIPOCA, "the devil," who overthrew the good QUETZALCOATL and reintroduced human sacrifice.

The characteristics of the principal figure, 63, are then briefly as follows:

I. His _chiffre_ is an air-cross with the sun-circle.

II. He has four hands.

III. He bears two birds as a symbol.

IV. The claws or spikes on the backs of these are significant.

V. The mask with tusks over the head.

VI. The head worn at the belt.

VII. The captive trodden under foot.

VIII. The chain from the belt attached to a kind of ornament or symbol.

IX. The twisted flames (?) or winds (?) on each side of the figure.

X. His association with QUETZALCOATL or CUCULKAN,[TN-6] as shown by the mouth with protruding tongue, and with TLALOC or TETZCATLIPOCA, as shown by the eagle's head.

We may note here for reference the signification of one of the hieroglyphs in the right-hand half of Fig. 52, _i. e._, in that half which contains only writing. The topmost _chiffre_ is undoubtedly the name, or part of the name, of the principal figure represented in the other half. It is in pure picture-writing; that is, it expresses the sum of his attributes. It has the crotalus mask, with nose ornament, which he wears over his face; then the cross, with the "five feathers" of Mexico, and the sun symbol. These are in the middle of the _chiffre_. Below these the oval may be, and probably is, heaven, with the rain descending and producing from the surface of the earth (the long axis of the ellipse), the seed, of which three grains are depicted.

We know by the occurrence of the hieroglyphs on the reverse side of the stone that this is not of Aztec sculpture. These symbols are of the same sort as those at Copan, Palenque, etc., and I shall show later that some of them occur in the Palenque tablets. Hence, we know this engraving to be Yucatec and not Aztec in its origin. If it had been sculptured on one side only, and these hieroglyphs omitted, I am satisfied that the facts which I shall point out in the next paragraphs would have led to the conclusion that this stone was Mexican in its origin. Fortunately the native artist had the time to sculpture the Yucatec hieroglyphs, which are the proof of its true origin. It was not dropped by a traveling Aztec; it was made by a Yucatec.

In passing, it may be said that the upper left-hand, hieroglyph of Plate XIII most probably repeats this name.

I collect from the third volume of BANCROFT'S _Native Races_, chapter viii, such descriptions of HUITZILOPOCHTLI as he was represented among the Mexicans as will be of use to us in our comparisons. No display of learning in giving the references to the original works is necessary here, since Mr. BANCROFT has placed all these in order and culled them for a use like the present. It will suffice once for all to refer the critical reader to this volume, and to express the highest sense of obligation to Mr. BANCROFT'S compilation, which renders a survey of the characteristic features of the American divinities easy.

In Mexico, then, this god had, among other symbols, "five balls of feathers arranged in the form of a cross." This was in reference to the mysterious conception of his mother through the _powers of the air_. The upper hieroglyph in Fig. 52, and one of the lower ones, contain this sign: "In his right hand he had an azured staff cutte in fashion of a waving snake." (See Plate LXI of STEPHENS.) "Joining to the temple of this idol there was a piece of less work, where there was another idol they called TLALOC. These two idolls were alwayes together, for that they held them as companions and of equal power."

To his temple "there were foure gates," in allusion to the form of the cross. The temple was surrounded by rows of skulls (as at Copan) and the temple itself was upon a high pyramid. SOLIS says the war god sat "on a throne supported by a blue globe.[TN-7] From this, supposed to represent the heavens, projected four staves with serpents' heads. (See Plate XXIV, STEPHENS.) "The image bore on its head a bird of wrought plumes," "its right hand rested upon a crooked serpent." "Upon the left arm was a buckler bearing five white plums arranged in form of a cross." SAHAGUN describes his device as a dragon's head, "frightful in the extreme, and casting fire out of his mouth."

HERRARA describes HUITZILOPOCHTLI and TEZCATLIPOCA[TN-8] together, and says they were "beset with pieces of gold wrought like birds, beasts, and _fishes_." "For collars, they had ten hearts of men," "and in their necks Death painted."

TORQUEMADA derives the _name_ of the war god in two ways. According to some it is composed of two words, one signifying "a humming bird" and the other "a sorcerer that spits fire." Others say that the last word means "the left hand," so that the whole name would mean "the shining feathered left hand." "This god it was that led out the Mexicans from their own land and brought them into Anáhuac." Besides his regular statue, set up in Mexico, "there was another renewed every year, made of different kinds of grains and seeds, moistened with the blood of children." This was in allusion to the nature-side of the god, as fully explained by MÜLLER (_Americanische Urreligionen_).

No description will give a better idea of the general features of this god than the following cuts from BANCROFT'S _Native Races_, which are copied from LEON Y GAMA, _Las Dos Piedras_, etc. Figs. 53 and 54 are the war god himself; Fig. 55 is the back of the former statue on a larger scale; Fig. 56 is the god of hell, and was engraved on the bottom of the block.

These three were a trinity well nigh inseparable. It has been doubted whether they were not different attributes of the same personage. In the natural course of things the primitive idea would become differentiated into its parts, and in process of time the most important of the parts would each receive a separate pictorial representation.

]

By referring back a few pages the reader will find summarized the principal characteristics of the Central American figure represented in Fig. 52. He will also have noticed the remarkable agreement between the attributes of this figure and those contained in the cuts or in the descriptions of the Mexican gods. Thus--

I. The symbol of both was the cross.

II. Fig. 52 and Fig. 55 each have four hands.[233-*]

III. Both have birds as symbols.

It is difficult to regard the bird of Fig. 52 as a humming bird, as it more resembles the parrot, which, as is well known, was a symbol of some of the Central American gods. Its occurrence here in connection with the four arms fixes it, however, as the bird symbol of HUITZILOPOCHTLI. In the _Ms. Troano_, plate xxxi (lower right-hand figure), we find this same personage with his two parrots, along with TLALOC, the god of rain.

IV. The claws of the Mexican statue may be symbolized by the spikes on the back of the birds in Fig. 52, but these latter appear to me to relate rather to the fangs and teeth of the various crotalus heads of the statues.

V. The mask, with tusks, of Fig. 52, is the same as that at the top of Fig. 55, where we see that they represent the teeth of a serpent, and not the tusks of an animal. This is shown by the forked tongue beneath. The three groups of four dots each on HUITZILOPOCHTLI'S statue are references to his relationship with TLALOC.

With these main and striking duplications, and with other minor and corroborative resemblances, which the reader can see for himself, there is no doubt but that the two figures, Mexican and Yucatec, relate to the same personage. The Yucatec figure combines several of the attributes of the various members of the Mexican trinity named above, but we should not be surprised at this, for, as has been said, some writers consider that this trinity was one only of attributes and not of persons.

What has been given above is sufficient to show that the personage represented in Fig. 52 is the Yucatec equivalent of HUITZILOPOCHTLI, and has relations to his trinity named at the head of this section, and also to the family of TLALOC. I am not aware that the relationship of the Yucatec and Aztec gods has been so directly shown, on evidence almost purely pictorial, and therefore free from a certain kind of bias.

If the conclusions above stated are true, there will be many corroborations of them, and the most prominent of these I proceed to give, as it involves the explanation of one of the most important tablets of Palenque, parts of which are shown in Plates XXIV, LX, LXI, and LXII, vol. ii, of STEPHENS.

Plate LXII, Fig. 57, represents the "Adoratorio or Alta Casa, No. 3" of Palenque. This is nothing else than the temple of the god HUITZILOPOCHTLI and of his equal, TLALOC. The god of war is shown on a larger scale in Plate LXI, Fig. 58, while TLALOC is given in Plate LX, Fig. 59, and the tablet inside the temple in Plate XXIV, Fig. 60. The resemblances of Plate XXIV and of the Palenque cross tablet and their meanings will be considered farther on.

Returning to Plate LXII, the symbols of the roof and cornice refer to these two divinities. The faces at the ends of the cornice, with the double lines for eye and mouth, are unmistakable TLALOC signs. The association of the two gods in one temple, as at Mexico, is a strong corroboration.

Let us now take Plate LXI, Fig. 58, which represents HUITZILOPOCHTLI, or rather, the Yucatec equivalent of this Aztec god. I shall refer to him by the Aztec appelation, but I shall in future write it in italics; and in general the Yucatec equivalents of Aztec personages in italics, and the Aztec names in small capitals.

Compare Fig. 52 and the Plate LXI (Fig. 58). As the two plates are before the reader, I need only point out the main resemblances, and, what is more important, the differences.

The sandals, the belt, its front pendant, the bracelets, the neck ornament, the helmet, should be examined. The four hands of Fig. 52 are not in LXI, nor the parrots; but if we refer to KINGSBOROUGH, Vol. II, Plates 6 and 7 of the LAUD manuscript, we shall find figures of HUITZILOPOCHTLI with a parrot, and of TLALOC with the stork with a fish in its mouth, as in the head-dress here. The prostrate figure of Fig. 52 is here led by a chain. At Labphak (BANCROFT, Vol. iv., p. 251), he is held aloft in the air, and he is on what _may be_ a sacrificial yoke. The _Tlaloc_ eagle is in the head of the staff carried in the hand. This eagle is found in the second line from the bottom of Fig. 52, we may remark in passing. Notice also the crescent moon in the ornament back of the shoulders of the personage of Fig. 58. The twisted cords which form the bottom of this ornament are in the hieroglyph No. 37, Plate XXIV (Fig. 60).

Turning now to Plate LX (Fig. 59).

This I take to be the sorcerer _Tlaloc_. He is blowing the wind from his mouth; he has the eagle in his head-dress, the jaw with grinders, the peculiar eye, the four TLALOC dots over his ear and on it, the snake between his legs, curved in the form of a yoke (this is known to be a serpent by the conventional crotalus signs of jaw and rattles on it in nine places), the four TLALOC dots again in his head-dress, etc. He has a leopard skin on his back (the tiger was the earth in Mexico) and his naked feet have peculiar anklets which should be noticed.

Although I am deferring the examination of the hieroglyphs to a later section, the _chiffre_ 3201 should be noticed. It is the TLALOC eye again, and 3203 is the _chiffre_ of the Mexican gods of hell.

In passing I may just refer the reader to p. 164, Vol. ii, of STEPHENS' book on Yucatan, where a figure occurring at Labphax is given. This I take to be the same as _Huitzilopochtli_ of Plate LXI. Also in the MS. _Troano_, published by BRASSEUR DE BOURBOURG, a figure in Plate XXV and in other plates sits on a hieroglyph like 3201, and is _Tlaloc_. This is known by the head-dress, the teeth, the air-trumpet, the serpent symbol, etc. In Plates XXVIII, XXXI, and XXXIII of the same work HUITZILOPOCHTLI and TLALOC are represented together, in various adventures.

In Plate LX (Fig. 59) notice also the _chiffre_ on the tassels before and behind the main personage.

Now turn to the Plate XXIV (Fig. 60), which is the main object in the "Adoratorio" (Fig. 57), where the human figures serve as flankers.

First examine the caryatides who support the central structure. These are _Tlalocs_. Each has an eagle over his face, is clothed in leopard skin, has the characteristic eye and teeth, and the wristlets of Plate LX (Fig. 59).

A vertical line through the center of Plate XXIV (Fig. 60) would separate the figures and ornaments into two groups. These groups are very similar, but never identical, and this holds good down to the minutest particulars and is not the result of accident. One side (the right-hand) belongs to _Tlaloc_, the other to _Huitzilopochtli_.

The right-hand priest (let us call him, simply for a name and not to commit ourselves to a theory) has the sandals of Plate LXI; the left-hand priest the anklets of Plate LX.

The beast on which the first stands and the man who supports the other are both marked with the tassel symbol of Plate LX. There is a certain rude resemblance between the supplementary head of this beast and the pendant in front of the belt of Fig. 52. Four of these beasts supply rain to the earth with _Tlaloc_ in Plate XXVI of the MS. _Troano_. The infant offered by the right-hand priest has the _two_ curls on his forehead which was a necessary mark of the victims for TLALOC'S sacrifices. The center of the whole plate is a horrid mask with an open mouth. Behind this are two staves with _different_ ornaments crossed in the form of the air-cross. On either hand of this the ornaments are different though similar.

A curious resemblance may be traced between the positions, etc., of these two staves and those of the figure on p. 563, vol. iv, of BANCROFT'S _Native Races_, which is a Mexican stone. Again, this latter figure has at its upper right-hand corner a crouching animal (?) very similar to the gateway ornament given in the same volume, p. 321. This last is at Palenque. I quote these two examples in passing simply to reinforce the idea of similarity between the sacred sculptures of Yucatan and Mexico.

I take it that the examination of which I have sketched the details will have left no doubt but that the personage of Fig. 52 is truly _Huitzilopochtli_, the Yucatec representative of HUITZILOPOCHTLI; that Plate LXI (Fig. 58) is the same personage; that Plate LX (Fig. 59) represents TLALOC; and that Plate XXIV (Fig. 60) is a tablet relating to the service of these two gods.

I have previously shown that the Palenque hieroglyphs are read in order from left to right. We should naturally expect, then, that the sign for _Tlaloc_ or for _Huitzilopochtli_ would occupy the upper left-hand corner of Plate XXIV. In fact it does, and I was led to this discovery in the way I have indicated.

No. 37 is the Palenque manner of writing the top sign of Fig. 52. I shall call the signs of Fig. 52 _a_, _b_, _c_, etc., in order downwards.

The crouching face in _a_ occupies the lower central part of No. 37. Notice also that this face occurs below the small cross in the detached ornament to the left of the central mask of Fig. 60. The crescent moon of Plate LXI (Fig. 58) is on its cheek; back of this is the sun-sign; the cross of _a_ is just above its eye; the three signs for the celestial concave are at the top of 37, crossed with rain bands; the three seeds (?) are below these. The feathers are in the lower right-hand two-thirds. This is the sign or part of the sign for _Huitzilopochtli_. If a Maya Indian had seen either of these signs a few centuries ago, he would have had the successive ideas--a war-god, with a feather-symbol, related to sun and moon, to fertilizing rain and influences, to clouds and seed; that is _Huitzilopochtli_, the companion of _Tlaloc_. Or if he had seen the upper left-hand symbol of the Palenque cross tablet (1800), he would have had _related_ ideas, and so on.

What I have previously said about the faithfulness with which the Yucatec artist adhered to his prototypes in signs is perfectly true, although apparently partly contradicted by the identification I have just made. When a given attribute of a god (or other personage) was to be depicted, the _chiffres_ expressing this were marvellously alike. Witness the _chiffres_ Nos. 2090, 2073, 2021, 2045, 3085, 3073, 3070, 3032 of the Palenque cross tablet. But directly afterwards some other attribute is to be brought out, and the _chiffre_ changes; thus the hieroglyph 1009 of Plate LIV, or 265, Plate LII, has the same protruding tongue as 2021, etc., and is the same personage, but the style is quite changed. In Fig. 52, _Huitzilopochtli_ is the war-god, in Plate XXIV he is the rain-god's companion; and while every attribute is accounted for, prominence is given to the special ones worshipped or celebrated. Scores of instances of this have arisen in the course of my examination.

Again, we must remember that this was no source of ambiguity to the Yucatecs, however much it may be to us. Each one of them, and specially each officiating priest, was entirely familiar with every attribute of every god of the Yucatec pantheon. The sign of the attribute brought the idea of the power of the god in that special direction; the full idea of his divinity was the integral of all these special ideas. The limits were heaven and earth.

This, then, is the first step. I consider that it is securely based, and that we may safely say that in proper names, at least, a kind of picture writing was used which was _not_ phonetic.

From this point we may go on. I must again remark that great familiarity with the literature of the Aztecs and Yucatecs is needed--a familiarity to which I personally cannot pertend[TN-10]--and that it is clear that the method to reach its full success must be applied by a true scholar in this special field.