As might be expected from the foregoing, there are abundant evidences in the manuscripts of the presence of the dog in the various religious rites and especially those which have to do with the other world, the Kingdom of the Dead. In Tro-Cortesianus 35b, 36b, 37a, 37b, the pages showing the rites of the four years, the dog appears in various attitudes. In 35b and 36b, it bears on his back the _Imix_ and _Kan_ signs, in 37a (Pl. 37, fig. 8) it is shown as beating a drum and singing, in 37b (Pl. 36, fig. 2) it is beside a bowl containing _Kan_ signs. In all of these places, the dogs seem to be represented among the various birds and animals which are to be sacrificed for the new years. Landa (1864, p. 216)[361-*] states that in the _Kan_ year a dog was sacrificed. In the _Muluc_ year, Landa (1864, p. 222)[361-[+]] records that they offered dogs made of clay with bread upon their backs and a _perrito_ which had black shoulders and was a virgin. It has already been noted that two of the dogs represented in Tro-Cortesianus 35b and 36b have a _Kan_ and _Imix_ sign fastened to the back. Moreover, we have also pointed out that the _Kan_ sign frequently seems to have the meaning of maize or bread. It will be noted that in Tro-Cortesianus 36b two human feet are shown on each of which is a dog-like animal.[361-[++]] These may indicate the dance in which dogs were carried as noted by Landa. Cogolludo (1688, p. 184)[361-§] also mentions a similar dance. Still another reference in Landa (1864, p. 260)[362-*] mentions that in the months _Muan_ and _Pax_ dogs were sacrificed to the deities.
Reference has already been made to the identification of the four priests at the top of Dresden 25-28 as having the heads of dogs rather than of opossums. It may be suggested that in the rôle of the conductor to the other world the dog is represented as carrying on his back in each case the year which has just been completed and therefore is dead. This, of course, would necessitate the identification of god B, the jaguar, god E, and god A as representing in turn the four years.
The dog, according to Sahagun's account (p. 360) was looked upon as the "Fire God's animal," and as an emblem of fire. This idea is seen frequently in the Maya manuscripts where the dog with firebrands in his paws or attached to his tail is coming head downward from a line of constellation signs, as in Dresden 36a (Pl. 37, fig. 3), 40b (Pl. 37, fig. 1) or is standing beneath similar signs as in Dresden 39a (Pl. 37, fig. 2) and probably in Tro-Cortesianus 13a. His tail alone has the firebrand in Tro-Cortesianus 36b. Firebrands are carried by figures which have been identified by us as dogs in Tro-Cortesianus 24c (Pl. 37, fig. 6), 25c, and 90a. Here the animal is represented as in the air holding his firebrands over a blazing altar beside which god F is seated. In two out of the four cases, F is shown as dead. The dog in these latter examples has his eye composed of the _Akbal_ sign. This same glyph can also be made out with difficulty on the forehead of the dog shown in Dresden 36a (Pl. 37, fig. 3). As has been noted, _Akbal_ means night and possibly death as well. It is certain that destruction is indicated in the preceding examples as well as in Tro-Cortesianus 87a and 88a (Pl. 37, fig. 4) where the dog is holding four human figures by the hair.