HOLDEN. THE MAYA HIEROGLYPHS. 233 
those contained in the cuts or in the descriptions of the Mexican gods. 
Thus— 
I. The symbol of both was the cross. 
IL. Fig. 52 and Fig. 55 each have four hands.* 
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 HurrziLo- 
PpocHTii. In the Ms. Troano, plate xxxi (lower right-hand figure), we 
find this same personage with his two parrots, along with TLALOG, the 
god of rain. 
TV. 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 foyr 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 con- 
sider 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 Vig. 52 is the Yucatec equivalent of HurrzILOPOCcHTLI, 
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 Yucatee 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 corrobora- 
tions of them, and the most prominent of these I proceed to give, as it 
juvolves the explanation of one of the most important tablets of Palen- 
que, parts of which are shown in Plates XXIV, LX, LXI, and LXU, 
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 Hurt- 
ZILOPOCHTLI 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 
*}'rom KINGSBOROUGH, vol. i, plate 48, it appears that TLAacLI TONATIO may have 
had four hands. His name meant (?) Let there be light. 
