There remains only to explain the outer row or band. At the bottom is a rude representation of two heads with helmets. The meaning of these figures is unknown. From each of these figures extend in a semicircle a row of figures of this shape, ending with pointers at the top, between which is a year-date. Near the points on each side is what might be described as four bundles tied together. Each of the small figures just described is the representation of a cycle of fifty-two years.
The date on the top is the year date, Thirteen Acatl. This is an easily determinable date. From Mexican paintings, we know the conquest of Mexico occurred in the year Three Calli. From this tracing their years back by the table given earlier (Arrangement of Years in a Mexican Cycle), we would find that the first Thirteen Acatl we meet was in the year 1479. This is exactly the date when, according to tradition, the great temple was finished, and this stone dedicated by bloody sacrifices. If we count the number of signs for cycles, we find that there are just twelve on each side, twenty-four in all. As the artist could easily have made this number more or less, the probabilities are that it means something. The most plausible explanation is, that in the year 1479, they had traditions of twenty-four cycles. But this number of cycles is equivalent to twelve hundred and forty-eight years, which would carry us back to about the year 231, A.D., which date we must bear in mind; not that we think there is any scientific value to it, but for its bearing on other matter at the close of the chapter.81
We come now to consider the subject of their picture writings. The germ of writing is found in the rude attempts to assist the memory to recall past events. Some of the northern Indian tribes resorted for this purpose to belts of wampum. When a new sachem was to be invested with office among the Iroquois, the historical wampum belts were produced; an old man taking them in hand, and walking back and forth, proceeded to “read” from them the principles of the confederacy. In this case, particular events were connected with particular strings of wampum.82 Pictorial representation would be the next stage. At first the aim of the artist would be to make his drawings as perfect as possible. A desire to save labor would soon lead them to use only the lines necessary to show what was meant. This seems to be about the stage of picture writing, reached by some Indian tribes, who have left here and there specimens carved on rocks.
This cut is a specimen of such writing from the cañon of the San Juan in Arizona. Although quite impossible to read it, there is no doubt but what it expressed a meaning at the time it was engraved.
From this stage of development would naturally arise symbolical paintings. Thus “footsteps” might signify the idea of going. A comma-shaped figure, issuing from a person’s mouth, would stand for speech. The next step is what we might call rebus-writing, where not the thing itself was meant but the sound. Thus this cut represents Chapultepec—meaning grasshopper-hill, or locust mount. It is evident, here, the pictures of the objects represent the name. They, probably, did not use this principle farther than to represent the proper names of persons and things before the coming of the Spaniards.