the first, as stated, seems to refer to the casting of lots, 2 is the sign for H, 3 denotes the female figure pictured beneath it, and 4 is the sign _q_ with the Ben-Ik on top of it. In the second group 5 is the same as 1, 6 is the cross _b_, and 7 and 8 are the hieroglyphs for A.
III 20 X 17 I 15 III Oc Ik Ix Cimi Ezanab.
There are illustrations for only the first two of the three subdivisions; the two figures composing them are engaged in the occupation mentioned under 2b. At the left sits a deity, who is probably E, whose head develops into a second, which is that of an animal; on the right sits the god D.
The three groups of four hieroglyphs each are arranged as follows:--
Of these hieroglyphs 1, 5 and 9 are the head already numbered 1 and 5 on 2b; 2, 6 and 10 are the cross _b_; 3, 7 and 11 are three different heads, all, as it seems, having the Akbal sign, and 11 having also the numeral 6. 4 is again (see 5 on 2a above) the Kan-Imix sign, 8 a Kin with suffix (the east?) and the numeral 16 as prefix; finally 12 is Cimi (A). Do the numbers 16 and 6 refer to the 16th and 6th of the 17 and 15 days standing below them? The beginning of this Tonalamatl III Oc seems to me to fall on an especially auspicious day (hieroglyph _a_).
XIII 28 II 24 XIII Lamat Ahau Eb Kan Cib.
This refers probably to the section devoted to women, pages 13-23. For the picture on the left is a woman sitting and holding an unknown object in one hand; on her right stands the death-god A holding in his hands what may be an apron or breech-clout; there is a similar representation in Cod. Tro. 29*b.
Of these 1, 6 and 8 are one of the signs of A, 7 another, and 4 may be a third, recalling the Moan, which, as on page 14c, rests on a hand held beneath it. 2 and 5 seem to signify a carpet or other fabric (or a lying-in bed?), on the one hand suggesting the occupation of the figures in 2b and 2c, and on the other the checkered hieroglyph, which is so common in the Palenque inscriptions. Finally 3 is the woman pictured beneath.
We come now to the sacrificial scene proper, which practically fills the upper half of the page. The victim, a woman, lies bound hand and foot, on the sacrificial stone, just as in the Cortes. 41-42; the incision above the stomach is already made and the eyes are closed. Behind her rises the tree of life with a bird (vulture?) sitting in its branches, which holds in its bill one end of an object, resembling a ribbon (entrails) issuing from the eyes of the victim, just as in Tro. 26*a and 27*a.