In two cases only do we find the fish used as a part of the head-dress and in each case the fish is graphically shown as held in the mouth of a heron. One of these is in the Dresden Codex 36b ([Pl. 5], fig. 3) and one in the stone carving of the Temple of the Cross at Palenque ([Pl. 15], fig. 5). Fish are often represented on the stone carvings as feeding upon a water plant. This is seen in the border at the bottom of the Lower Chamber of the Temple of the Tigers at Chichen Itza ([Pl. 5], figs. 2, 4; [Pl. 6], fig. 2). In several instances at Copan fish are shown as forming the sides of the Great Cycle glyph at the beginning of an Initial Series ([Pl. 6], figs. 14-17). It has often been suggested that as the word fish in Maya is kai (usually written cay), there may be some phonetic significance here, combining the fish, kai, with the usually drum-like sign for stone, tun, making kai tun or katun. This is the term usually given not to the Great Cycle but to the period composed of twenty tuns and is probably derived from kal meaning twenty and tun, a stone.
AMPHIBIA
Frogs. Figures undoubtedly representing frogs (Maya mutš or uo) or toads are found in several places in the codices and in the stone carvings, but it is quite impossible to refer them definitely to any of the numerous species occurring in Central America, if, indeed, the artists had any one species in mind. In the Tro-Cortesianus frogs are not uncommon. In 31a there are four ([Pl. 7], fig. 1) with water coming from their mouths. They are characterized by their stout tailless bodies, flattened heads and toothless mouths. In 101d ([Pl. 7], figs. 2, 3) there are two, the first painted blue with spots of darker blue and the second white and represented as broken in two in the middle. The signs of death above the latter clearly show that a dead animal is indicated. [Pl. 7], fig. 6, shows the end of Altar O from Copan on which a frog and a fish are pictured, the former in dorsal view, the latter in lateral aspect. The peculiar pointed snout of this frog is similar to that of the frog shown in [Pl. 7], fig. 7, also in dorsal view. A somewhat similar creature ([Pl. 29], fig. 6) we have included and though it may represent an opossum it has little to distinguish it from the figures of frogs.[309-*]
God B in Tro-Cortesianus 12b should be associated with the frog. His legs are those of a frog and he appears as if swimming in the water. Frog in Maya is Uo which is also the name of the second month of the Maya year. The first day of this month, according to Landa, corresponds to August 5 of our year and this is the height of the rainy season in the Maya region. The sign for Uo does not, however, resemble a frog in any way. The frog above one of the figures in the Lower Chamber of the Temple of the Tigers at Chichen Itza ([Pl. 7], fig. 7) has clearly some relation to the name or totem of the warrior. The Nahua custom is seen here.
Toads are probably intended in [Pl. 7], figs. 4, 5. In these the great breadth of the head and mouth together with the short inflated body combine to produce a very toad-like appearance. It is not unlikely that they represent the huge marine toad, Bufo marinus, common from southern Mexico to Brazil and in the West Indies. There seems to be no distinction in the treatment of frogs and toads in the codices.
Tree-toad (Hyla eximia). Of great interest are the figures in Tro-Cortesianus 26a and b ([Pl. 8], figs. 1, 3), showing a god with expanded finger tips and characterized further by the presence of two parallel black stripes from the hinder and lower margins of the eye respectively. The knob-like finger tips at once suggest one of the tree-toads, and the presence of the two lines seems to indicate Hyla eximia as the species represented. In this tree-toad there is a long black lateral line running posteriorly from the tympanum and above it a shorter line just as in the drawings. It appears to be a common species in the valley of Mexico though but little seems to have been written of its habits. At the beginning of the rainy season it repairs to pools of water to breed and is then very noticeable from its loud voice. No doubt its importance in the Maya economy was from its conspicuousness at the beginning of the rainy period. This fact is brought out more strongly when we consider that these gods representing the tree-toad are associated with agriculture and the sowing of grain at the beginning of the rainy season. Förstemann (1902, p. 35) identifies these figures as god F. They are quite unlike the usual representation of this god and are clearly god P as Schellhas (1904, p. 39) indicates. It is interesting to note that the two black lines behind the eye are also seen in the other gods shown in Tro-Cortesianus 26a and b although the knob-like finger tips are lacking. The glyph for this tree-toad god is recognized in the fifth place at the top of the same page ([Pl. 8], fig. 2) by the same two black lines under and behind the eye.
REPTILIA
Serpent. It would be impossible in the present paper to enter into any lengthy discussion of the use of the serpent (Maya kan) in Mexico and Central America. It seems to be one of the main elements in the religion and consequently in the art of the Mayas and Mexican peoples. It is represented again and again in many forms and varied combinations. It underlies the whole general trend of Maya art. The serpent is often associated with feathers. The culture hero of the Nahuas, Quetzalcoatl (feathered serpent) corresponds to a similar god among the Mayas, Kukulcan (also meaning feathered serpent). The feathers of the quetzal are the ones commonly used in connection with the serpent.
Any attempt at identification of the species represented is beset by grave difficulties for so conventionalized have the figures often become that, except in the case of the rattlesnake with its rattles, there are no characteristic marks by which the species may be known. It is natural to suppose that the species used for artistic purposes would be those that are most noteworthy because of their size, coloring, or venomous qualities. No doubt a number of harmless species were also used in the religious ceremonies.[311-*] Such may be those used as hair ornaments in many of the figures ([Pl. 8], figs. 7-13, 15) and in which no indication of a rattle is to be seen. The fierce eye of these reptiles is shown by means of an exaggerated overhanging brow occasionally embellished by recurved crests ([Pl. 8], figs. 10, 11, 13, 15). These crests are sometimes shown as two or three stalked knobs ([Pl. 10], fig. 7) that Stempell was misled into identifying as the eyes of snails. Various heads of snakes usually with fangs exposed and tongue protruding are pictured in [Pl. 8], figs. 4, 6; [Pl. 9], figs. 2, 4-6: one snake with a spiny back is shown in [Pl. 8], fig. 5, but obviously it represents merely the artist’s endeavor to present as terrifying a creature as possible.
Various types of rattlesnakes are shown in [Pl. 9]. The presence of the rattle is of course the characteristic, and this portion alone is likewise used, in one case, at least, as a glyph ([Pl. 9], fig. 7). It cannot be denied, however, that some or most of the snakes in which no rattles appear, are nevertheless intended for rattlers. It may have been that the figures were so well understood that the addition of rattles in the drawings was quite unnecessary. This, however, is quite conjectural. The species of rattlesnake is probably Crotalus basiliscus or C. terrificus of southern Mexico and adjacent regions, not C. horridus or adamanteus as supposed by Stempell since these two species are confined to the United States. Among the figures shown on [Pl. 9], it is noteworthy that five of the rattlesnakes show no fangs. Some are spotted, but in a wholly arbitrary manner. Three are unmarked. One is shown coiled about the base of a tree ([Pl. 9], fig. 5), another coiled ready to strike though the rattle is pictured trailing on the ground instead of being held erect in the center of the coil as usually is done ([Pl. 9], fig. 9). A rattlesnake is shown held in the hand of a man in [Pl. 9], fig. 8.