Fig. 40. Normal forms of numerals 1 to 19, inclusive, in the inscriptions.
Fig. 41. Examples of bar and dot numeral 5, showing the ornamentation which the bar underwent without affecting its numerical value.
An important exception to this statement should be noted here in connection with the normal forms for the numbers 1, 2, 6, 7, 11, 12, 16, and 17, that is, all which involve the use of one or two dots in their composition.[[59]] In the inscriptions, as we have seen in Chapter II, every glyph was a balanced picture, exactly fitting its allotted space, even at the cost of occasionally losing some of its elements. To have expressed the numbers 1, 2, 6, 7, 11, 12, 16, and 17 as in the codices, with just the proper number of bars and dots in each case, would have left unsightly gaps in the outlines of the glyph blocks (see fig. [42], a-h, where these numbers are shown as the coefficients of the katun sign). In a, c, e, and g of the same figure (the numbers 1, 6, 11, and 16, respectively) the single dot does not fill the space on the left-hand[[60]] side of the bar, or bars, as the case may be, and consequently
the left-hand edge of the glyph block in each case is ragged. Similarly in b, d, f, and h, the numbers 2, 7, 12, and 17, respectively, the two dots at the left of the bar or bars are too far apart to fill in the left-hand edge of the glyph blocks neatly, and consequently in these cases also the left edge is ragged. The Maya were quick to note this discordant note in glyph design, and in the great majority of the places where these numbers (1, 2, 6, 7, 11, 12, 16, and 17) had to be recorded, other elements of a purely ornamental character were introduced to fill the empty spaces. In figure [43], a, c, e, g, the spaces on each side of the single dot have been filled with ornamental
crescents about the size of the dot, and these give the glyph in each case a final touch of balance and harmony, which is lacking without them. In b, d, f, and h of the same figure a single crescent stands between the two numerical dots, and this again harmoniously fills in the glyph block. While the crescent (*
) is the usual form taken by this purely decorative element, crossed lines (**) are found in places, as in (†