[216-1] Historia de los Mexicanos, as quoted by Brinton.
[216-2] American Anthropologist, July, 1893.
[217-1] Cong. Inter. des Americanistes, Actes de la Cuarta Reunion, Madrid, 1881, tom. 2, pp. 173-174.
[219-1] Primer of Mayan Hieroglyphics, p. 115.
[220-1] American Hero Myths, p. 222.
[220-2] Names of the Gods in Kiche Myths, p. 22.
[223-1] Fourth Ann. Rep. Bur. Eth. (1882-83), p. 238.
[223-2] Schoolcraft, “Indian Tribes,” etc, vol. I, pl. 51, No. 10, p. 360.
[224-1] American Anthropologist, July, 1893, pp. 258-259.
[224-2] Dr Brinton (Primer, etc, p. 93) explains it as the symbol of a drum. He remarks that “in a more highly conventionalized form we find them in the Cod. Troano thus [giving plate [LXIV], 51], which has been explained by Pousse, Thomas, and others as making fire or as grinding paint. It is obviously the dzacatan, what I have called the ‘pottery decoration’ around the figures, showing that the body of the drum was earthenware.” Yet (p. 130 and fig. 75) Dr. Brinton explains this identical group or paragraph as a representation of the process of making fire from the friction of two pieces of wood. It seems to mo clear that this glyph represents something in the picture, and not the personage, as there is a special glyph for this. A comparison of the groups in the two divisions of this plate (Tro. 19) and plates 5 and 6 b of the Dresden Codex shows that the glyph refers to the work or action indicated by the pictures. That it refers to something in or indicated by the pictures, and that no drum is figured, will, I think, be admitted by most students of these codices.