# A Study of the Manuscript Troano/Chapter 5

Table of Contents
CHAPTER V.
SYMBOLS, PICTOGRAPHS, AND OTHER FIGURES WHICH CANNOT BE PROPERLY CLASSED AS WRITTEN CHARACTERS.
Before attempting' to explain any of the written characters I will notice some other figures which are true pictures, but were not specially alluded to when speaking of the figures in the spaces; others which may be classed as pictographs, and some which appear to be true symbols.
Foot-prints.—These appear to have two or three different significations in the various manuscripts.
First. A journey made, denoting not the road, but the fact that some one has passed on in a given direction, that a journey has been partly or completely accomplished. This use is common in some of the Mexican Codices.
Second. That so many periods of time have elapsed. This appears to be their signification on Plates 34 to 38 of the Borgian Codex and Plates 25 to 28 of the Dresden Codex.
Third. To denote movements to be made during certain religious festivals. This appears to be one object of their use in the Manuscript Troano, as, for example, on Plates III and VI. Another is to indicate journeyings.
The machete or hatchet (bat in Maya) is represented in the Manuscript in two forms (Fig. 1 8, a and b). As it is not likely the artist intended to be strictly accurate in minor details, his only desire being to represent the implement with sufficient exactness to insure its recognition, we may not be warranted in assuming that these two forms indicate a difference in the hatchets. The one marked a may be the conventional figure, and b an ​attempt at true pictorial representation; yet I suggest as possible that the latter, which was used in carving the wooden images, may represent the copper ax and the other the stone ax. Landa (Relacion §XXIX) says: Fig. 18. "They had little hatchets of a particular metal of this form [Fig. 18c]. These they adjusted to a handle of wood; in combat these served them as an arm; they were also instruments used in working wood."
The spear or dart, and one method of throwing it, is shown in Fig. 13 (page 96), heretofore referred to. I judge from this that a kind of hook or hand ballista was used to give it more force. Something similar is shown frequently in the Mexican Codices and, according to Valentini, on the Berlin stone. The instrument in the other hand may be a stick with a notch in it to guide the dart; the only reason for doubting this is the bent form given the one figured on the next plate.
The usual form of the spear as given in the Manuscript is shown in Fig. 19a. This often has the head marked with the trembling cross similar to that in Ezanab, probably denoting Fig. 19. that it was made of flint.
The arrow, if such it be (as no bow is found in the Manuscript), is generally figured with the head in this form (Fig. 19b), indicating, if truly represented, that a flint was thrust into the split end of the shaft in the usual way; the other end of the shaft was surrounded by two feather whirls. Possibly these are darts thrown by hand and not arrows.
I have been somewhat surprised to find nothing in this work indicating warfare, unless it be the figures which I have heretofore interpreted as probably representing a play. Herrera, speaking of the expedition of Cordova (Dec. 2, Bk. 1, chap. 3), says that, while at Cotoche, "there appeared a multitude [of Indians] in armor made of quilted cotton, with targets, wooden swords having edges of flints, large cutlasses, spears, and slings ​* * * * pouring in at the same time such a shower of stones and arrows that they wounded fifteen Spaniards."
Bernal Diaz, from whom Herrera evidently quotes, says: "These warriors were armed with thick coats of cotton, and carried besides their bows and arrows, lances, shields, and slings."
Landa (Relacion §XXIX) says their offensive weapons were bows and arrows, which they bore in a quiver, the latter made of reeds and having the points armed with obsidian or fish-teeth, and very sharp. "They had little hatchets of a particular metal," heretofore referred to, "which, in combat, served them as an arm." "They also had lances a tois [fathom] in length, armed at the end with a silex head, very hard. And they had no other arms."
Figures in red, like that shown in Fig. 20 (the little squares only are alluded to), are found in a number of places in the Manuscript. Fig. 20. Brasseur interprets them as symbols for cab, "honey" or "honeycomb." The connection in which they are found I think proves that he is correct. We find elsewhere, as in the character for Cauac, and on articles made of wood, a similar figure, usually smaller, outlined in black, but never colored. Attention will be called to this hereafter.
A figure like that shown in Fig. 21 is also found on several plates
of the Manuscript, but never in the Codex. Sometimes it is in the hands of a priest, but in a few instances it seems to be used as a character or symbol. Brasseur's interpretation is nen or "mirror"; but this I think is a mistake. It is more probable that it is a figure of the calendar wheel mentioned by Landa.
Mortars used for preparing paints are represented in two forms (see Figs. 22 and 23): their paint-pots as in Fig. 24. On Plate XXXIV we observe the priests in the act of painting blue that which is here shown (Fig. 25), which is probably a little adoratorio ​baldachin or place in which their idols were seated in their temples. Something similar is also found elsewhere in the same work.
Houses, cabins, and other buildings, even temples in which their idols were placed, appear usually to be represented Fig. 26. in the Manuscript by such figures as shown in cuts 26, 27, 28, and 29.
These, as will be seen by comparison, are really but slight variations from the Mexican conventional symbol for a house {calli).
The side wall in Fig. 29 appears to be composed of blocks of Fig. 25. some kind placed one upon another, probably of stone, each bearing the Muluc character. Mol, the root from which most of the words commencing with mol and mul are derived, signifies "a group of things united or congregated one upon another," but without reference to the material of which they are composed. It is true that in this house we see the figure of a bee, and might therefore suppose it represents the place where the hives were kept, but the officiating priest in front leads us to believe it denotes a temple of some kind Fig.27 in which the ceremonies of the apiarists' festival were performed. The character at the top of the wall with a cross in it, somewhat resembling that in the symbol for Ezanab, is very common in these figures. This probably marks the end of the beam which was placed on the wall to support the roof. I so conclude because I find that it is wanting in the lighter and temporary dwellings, represented in Fig. 28. The interpretation of the character as here used is doubtful. The curved line running from this to the top portion probably represents the rafter; the slender ​thread-like lines (yellow in the original) the straw or grass with which the roof was thatched.
The checkered part may represent a matting of reeds or brushwood, on which the straw was placed.
The following extract from Landa will give an idea of the form and structure of the ordinary dwellings of the people as seen by him:
"HABITATIONS OF THE MAYAS
"The manner of building the houses in Yucatan was to cover them with straw, which they had in abundance and of good quality, or with leaves of the palm trees, well suited to this purpose. Fig. 29. Thy raised the roof, giving it a considerable pitch, in such a manner that the rain could not penetrate it. A wall was then erected in the center, dividing the house lengthwise, Fig. 28. leaving in this wall some doors for communicating with the part which was called the back of the house, where they had their beds; the other part was carefully whitewashed with lime. In the houses of the nobles these walls were covered with pleasant pictures. It was in this part that they received and lodged their guests.
"This side had no doors, but was open the whole length of the house, the roof descending very low, in order that it might be a shelter from the sun and rain. It is also said that this was to render himself master of the enemy inside in time of necessity.
"The common people built at their expense the houses of the nobles, and as they had no doors it was regarded as a grave fault to make the least error in the houses of others.
"They had formerly at the back a small door for the use of the common people. ​"For sleeping-places they had bedsteads made in a trellis of canes, covered with mats, and on these they stretched themselves covered with their clothes of cotton. During the summer they usually slept on the front extended on their mats, principally the men."
What is shown in Fig. 26 possibly represents a small wooden adoratorio, niche, or canopied seat, in which we see an idol. I judge the side wall to be wooden by its form and by the characters on it. That these characters are used to signify wood, and possibly a particular species, I think is evident from the following facts: Running through the Manuscript we first observe them in this figure on what we may justly assume to be an upright wooden beam. "We see the crosses or ✕✕ on what are evidently the ends of beams in the upper division of Plate IX; and in another figure (Plate XXII*), intended to represent the same thing, we see on the ends of the beams both the squares and crosses. They are also on a tree in the right of the upper division of Plate XV*.
In the last-mentioned figure we notice that the tree is severed by a machete or hatchet in the hands of a priest representing the god of death. In the upper divisions of Plates XIII and XIV the same character is on the benches upon which the personages are seated. The blocks, boxes, hives, or whatever they may be, in the first division of Plate IX*, and the blocks in the hands of the individuals figured in the middle division of Plate XXII* are marked with the same character.
The widely different forms and the diversity of uses to which the things bearing this character are applied make it evident that if the character refers at all to the thing on which it is placed, it must be to the substance. As it is found, in some cases, on figures that we know must represent trees, the necessary conclusion is that it denotes wood. Whether it is meant as a general term, or applies to a particular species, is a question I am unable to answer with certainty.
I will call attention to the character itself and its probable interpretation a little further on.
The houses shown in Plate XVI* (see Fig. 28) are probably the temporary cabins mentioned by Landa in which the artists manufactured their ​wooden idols. We observe that the character with the cross is wanting, and hence presume that the walls were too slender to bear the weight of a beam. They were probably built of slender poles or of canes, as was common in Guatemala, and covered perhaps with palm-leaves.
Instead of the figures at the top always being marked in the peculiar manner which I have supposed to indicate matting, it is sometimes marked with bent lines, similar to those on the figures representing cords or ropes. On some of the plates, as, for example, XIII* and XIV*, the figure of a bent tree appears to be used to denote a dwelling of some kind, possibly only a temporary booth. It is true figures of this kind are given in a number of other places for a very different purpose, as on Plates VIII to XIII, where they are used to represent the method of capturing deer; but a little examination will show a marked difference between the two kinds.
If I am correct in reference to the houses, then it is probable the Manuscript relates to a section of country where the dwellings and the temples were of a primitive character.
But few houses or dwellings are represented in the Dresden Codex. In the lower division of Plate 8 there are figures of two, one of which is copied in our Fig. 30. These may represent temples Fig. 30. placed on pyramids or elevated platforms ascending by steps, as indicated in the figure.
The different forms of their vases are given in our Plates I-IV (Ms. XX-XXIII).
The leg of a deer, to which allusion Fig. 31. has already been made, is shown by the yellow figure with a double, white band and black tips in the upper left-hand corner of the lower division of Plate I (Ms. XX).
The machine or apparatus used for, and the method of making, ropes or cords, is represented on Plate XI* and in our Figs. 31 and 32. The first (Fig. 31) shows the method of preparing the material. Strips of the substance used, probably the inner bark of some tree, or aloe fiber, is placed on a bench of the form shown, which has pieces extending upward from ​the sides, so as to retain the strips in position. A kind of hand hackle is then used, as shown in Fig. 31, to slit them to the proper fineness. After some process not given, we next find the material rolled into a ball. next process, that of twisting Fig. 32. into the rope or cord, is Fig. 33. represented in Fig. 32. A few feet having been twisted by hand, the end is fastened to a little tree or stump, the ball of material is placed in a vessel or on a stool, while by means of a spatula-shaped instrument, doubtless of wood, the twisting is carried on. It is probable the implement is used simply to turn the ball, while the person at work gradually moves backward.
The idols, while in the process of manufacture, are usually represented by the heads only; those not yet painted or ornamented, without any other lines than those necessary to show the parts or organs, as in Fig. 33, which shows also the method of carving (see Plate XV*); those which are painted or ornamented (Fig. 34). Fig. 34. One of the implements used by them in carving their wooden images, I judge from its form, as shown in Fig. 35, was metallic.
Cloth is usually indicated by cross-hatching, as shown in the dresses of the females on Plates XVIII*, XIX*, and XX*; rain and falling water by slender, usually waved blue hues, as on Plates XXIV-XXVII. In the third division of Plate XX* the lines are blue, but not waved. Blood is shown by slender, waved red lines, as in the upper division of Plates XXII and XVIII*. A utensil or implement is represented on Plates XXI* and XXII* by a figure similar to our Fig. 36, the lower end always black, as shown in the figure. It was held by the middle or circular portion, the fingers of the ​hand being thrust through the hole, i am unable even to surmise its use. In four instances it stands behind a priest, who is in a squatting posture and appears to be holding bread or maize in his hand and performing some religious ceremony. Fig. 35. In two instances it is in the hand of a priest clothed in black, and in a similar posture, Fig. 36. who holds it in front of him. In all cases it extends as high as the top of the head, and the curved ends turn from the person.
A very singular implement (Fig. 37) is figured in the third division of Plate XXIII*. Fig. 35. It appears from the figures in the plate to have been held, while in use, in the right hand, which grasped the hoop at a. Its use can only be guessed by the connection in which it is found. In each case it is held up beside a tree, which appears to have been severed at the point immediately opposite, the top not yet fallen down. On the severed end of one we see the supposed death symbol. From these facts I infer that it was used as a kind of saw, though it is possible it was employed in peeling the bark from the trees used in the manufacture Fig. 37. of their wooden idols. If used as a saw, which I think most likely, the teeth were probably flint chips, fastened to the hoop by strings or thongs. A fact worthy of notice is that the figure immediately following (or preceding) these in the third division of Plate XXIV* shows the use of the machete in felling trees, but here the evident intention is to represent a much larger tree, as shown by the diameter and three branches, a tree also of a different species.
An implement of the form shown in Fig. 38 is represented in the middle division of Plate XXXI*. As this Fig. 38. Fig. 39. appears from the figure in the plate to be used by the individual in whose hands it is held to sever the cord which he also grasps, I presume it is a cutting instrument, probably of flint.
The personage represented by the right-hand figure in this division is the god of death, and the death symbol is in the same compartment; therefore it is presumable that the ​whole is intended as a symbolic representation of death cutting the thread of human life.
On Plate XIX*, and elsewhere, the figures on which the individuals are seated are marked as shown in our Fig. 39$^a$. According to Brasseur's interpretation these signify "mats." In this I think he is undoubtedly correct. He asserts that Fig. 39* also denotes a mat, Fig. 40. Fig. 41. but this I think doubtful, as I find it on cords, or ropes, and on the roofs of houses; possibly in the latter case it may represent a kind of matting.
Prisoners are usually represented here, as in the Mexican Codices, with their long hair in the grasp of their captors or executioners.
Fig. 40, found on Plate XXV*, probably shows the form either of the bat used in playing ball or of a fan. Fig. 41, copied from Plate XX*, Fig. 42. Fig. 43. undoubtedly represents one of their bird-cages, as in it, in the no. 43. original, there is a captive bird. The opening appears to have been at the bottom. To the top were attached cords, by which to carry it.
Fig. 42, found on Plate XXXII*, and elsewhere, I think Fig. 45. represents a block of wood to be used in the manufacture of an idol or some temple implement. Fig. 45.
Fig. 43, found frequently in the Manuscript, is doubtless the leaf of the mimosa or some similar plant. Fig. 44. Fig. 46. Fig. 44—see Plate XXIX*—may possibly represent a kind of tapestry or curtain hung over the doors or openings of the interior rooms of the temples. The interlacing and the square notches at the bottom show that it is some kind of cloth.
Fig. 45, found so frequently on the heads of individuals, I think, as heretofore intimated, is a time symbol ​signifying the "tying of the years," and hence a period, as a luster, or Katun, or possibly the joining of two years.
The conic figure (Fig. 46), always found in the mouth of an individual, I take to be a cigar (chamal). On Plate XXVI* it is represented with the larger end black at the tip, and red behind this for a short distance, which, together with the dotted lines representing smoke, show that it is on fire.
* ↑ Hist.—Keating's Transl. p. 4.
* ↑ The passage is very difficult and the rendering doubtful.
* ↑ Landa's Relacion, pp. 110 and 111; see Appendix No. 4, where the original is given.
* ↑ The figure is not exactly correct, as it shows a narrow ring at the end of the cigar, white, with a broader black ring behind it. The white ring should be black and the black ring simply shaded to represent the red portion.