The Northern Cross and Seven Macaw

     One would expect bees sealed into jars to be real in a history of primitive warfare. But could it not also be sky warfare as found on page 55, [top left] of the Nuttall Codex and noted in the previous Post?

Nuttall N-55-LT:  Seven Macaw with the insect like star at its ankle 
with the appearance of an eagled Warpath glyp on a cross.

     The bird is definitely placed on a crossed warpath glyph. Since a star is present at its ankle, [assuming that even birds have ankles], it is a sky event (near Vega ?). This is described in excellent detail, under the title Tlaltecuhtli by Mary Miller and Karl Taube in their 1993 book called, The Gods and Symbols of Ancient Mexico and the Maya, published in London by Thames and Hudson, Ltd.

     The Madrid Codex gives the story on pages 112 through 103, In this instance the Madrid has to be read from the last page to the earlier pages.  Instead of the female goddess, Tlaltecuhtli, this codex also goes into great detail, but about bees who live in straw houses with a sky-band in their abbreviated house/wall glyphs.In the Popol Vuh, it is the final destruction of the Manikins under Tohil's instructs. So instead of looking for bees that are used to attack human warriors, think in terms of sky warriors who attacked the earth and hurt both people and animals like burning turpentine or resin that fell from the sky and burned humans and animals alike with bee-like stings.

     If you want to embellish the story even more, one can say that the sky Sun warriors painted on a wall mural at Chichen Itza, are burning sun stones [meteorites], turpentine, ash, or resin on the roofs of Maya homes. The double comet is above with a bright star entity in the front and a lesser one at the tail. In this instance, then, the sky Sun warriors also burn the houses, just as inferred in the first chapter of the Popol Vuh.  It depends completely upon one's story-telling ability just how many different variations will be told at any given time or location.

     Even though the Popol Vuh had its own variations, that either the burning turpentine or the  hot resin fell from the sky [it is inferred that the "rains" "burned with bee-like stings"].  Since there are many hearth fires every day and milpa burnings during each pre-planting season, burning ashes from such ordinary fires were not even considered for this historic glyph story. The fires created by humans on the earth they walked upon was of no account to the PV story.

     Sure a forest fire might start from cooking fires, or untended milpas burnings. Related glyphs could be used for such glyphs, [as one author insisted, using D-6-8  (Kelley, 1976 pp. 146-47) and T- 341 (Gates 1931-32).  In the Madrid on M-38-B/C T-341 is used as fire-drilling implements. [See next blog] When such happened in the sky animals ran into houses or under the trees, . . . . until the earthquake that followed tumbled all the Maya houses. People were then hurt by falling metatls, and by pottery dishes kept on tables or hung on walls of those houses.

     So it said in the Popol Vuh——the stinging [bee-like] fires from the sky were followed by Maya houses that fell on their occupants——All because Jaguar  Quitze painted the Jaguar on one cloak; Then Jaguar Night painted an eagle on a second, while Not Right Now painted swarms of yellow jackets, and swarms of wasps on the third cloak.(Tedlock, 1996, p. 166). The latter chapter was just a filled-in version of what happened in the first chapter of the Popol Vuh.