T4. 



similar cartouche of two areas of water, one light and 

 the other dark from the four corners mammiform water 

 lily buds protrude as directional flowers. A celestial 

 band is above. The text seems to have confounded 

 Thompson and others. I would not presume to explain 

 the context of these, but 1 believe that my explanation 

 of the water lilies as directional flowers and the water 

 cartouche may assist others in expanding upon this. 



Gl. 4. The lands of maize (woe to). 



T5. A vegetal form supports two areas, one dark the other 



white. These are crossed with diagonally placed flower- 

 tipped rods. The internal structure of the dark area sug- 

 gests rivers. The same image is metamorphosed in five 

 different tols. The suggestion of eclipse is evident as is 

 misfortune. Thompson concludes that it is a puzzling 

 text. 



T6. The goddess Ixtab manifested as the moon goddess is 



seen hanging from a halter. Thompson suggests that 

 this goddess has her eyes closed in death. Another pos- 

 sibility is the representation of a trance state in which 

 Ixtab (moon goddess alter ego) leads victims to a para- 

 dise that is the Maya equivalent of Tlalocan. This is 



reinforced by Gl. 1 . 

 Gl. 1. Balche 



T7. From a celestial band hang two "sacs," on black the 



other white (cf. 55a, 56a, 57a, 56b, 57b, and 52b). These 

 *'sacs" are seen in various stages of metamorphosis. 1 

 have already suggested a connection with water, mov- 

 ing and still. In the center is the kin sign and two bones 

 cross the black half. Both areas terminate in root-like 

 or rivulet-like bases. The frequency of animal heads 

 among the glyphs, all with protrusions of sorts, and the 

 central kin sign associated with ritual divination sug- 

 gest a magical context. A prophecy of evil is implicit. 

 The frontal protrusions on the animal glyphs are remin- 

 iscent of the Chac-water lily association. 



T8. See commentary T7. 



119 



