The "Fire Drill" Lady in the Madrid Codex

Madrid-M-38-B
The three star "face" is located din M-38B2 and M-38-C1,2
This view maybe metroites falling from that Laddy-Star

Madrid Codex: M-38-A, M-38-B and M-38-C 

     This page from the Madrid Codex has four variations of a glyph that appears to be a lady with a net headdress that indicates darkness, or night time. The very end of her “veil” contains a blazing star. 

     The eyes of this entity are not eyes, but three dots placed as a triangle in the center of the net drapery.[B-2, C-1-2 ]Could these three dots indicate the location of that extra-blazing star at the end of the net?

     

     The figures underneath both M-38-B and 38-C indicate that two gods are creating fire with a fire-drill. One of the night and one of the day, or if one prefers, one of the dark underworld, and one of daylight.

     If they are fire gods, there is no need to say that the lady (inferred) is a Fire Drill. Nor would she be an "oven."

     Yet, somewhere, a student or new PhD decided that the veiled lady represented more than one sky fire as blazing stars;  a Cimi (Kimi death glyph); a couple Ahaws [Lords]; one with a rainbow glyph, and a Dragon Eye, are clearly referred to in the two lower panels. All indicate a star war event.

     A cooking pot is not implied, but may be inferred. The black and white figures at the bottom of each panel are from the world above the Equator [daytime] and one from below [night time]. In Richard Allen' book (1963:194-5),  Star Names: Their Lore and Meaning , wrote:

While Cygnus is interesting in many respects,it is especially so in  possessing an unusual number of deeply colored stars, Birmingham writing of this said: “A space of the heavens including the Milky Way, between Aquila, Lyra, and Cygnus, seems so peculiarly favored by red and orange stars that it might not inaptly be called the Red Region, or the Red Region of Cygnus.” (Biblio: John Birminham (1816-1882) Irish astronomer.)

     The red region from long ago, may indicate the "oven of the gods," from the Popol Vuh where Hunahpú and Xbalenqué, holding hands [they were not cowards in  Maya] died in that fire or "oven."  (Tedlock, D. (1996, 131) 

     One other thing that is necessary to note with the Veiled Lady, is that she does not have a human face. Instead she has only three dots, placed in such a way that it may infer the hearthstones of a Maya house (from which the above person doing the research got his "aha" revelation. What s/he should have remembered is the story told in the Birth of the Fifth Sun, when Nanahuatzin or Tecuiçiztecatl is to be sacrificed to create a warmer sun. Before the event of the god sacrificing himself in the "oven," the sun was considered to be a half-sun and not very hot.

    The intent of the gods discussing the problem was very simple, raise the sky so that the sun could shine more fully. But since that was a major upheaval; in the heavens, there had to be a major sacrifice. The tale then switches to the other version [Aztec is presumed] "raising of the sky" in the Phillips Jr., Henry (1883) History of the Mexicans as Told by Their Paintings [Translated and edited by Henry Phillips Jr. Proceedings of the American Philosophical Society XXI:616-651, 1883. (edited for FAMSI by Alec Christensen)]. Tecuiçiztecatl was changed to Tezcatlipoca who had recognized that the sun was too dim [cold]. Because of this, he became the "warrior tree" and held up the sky [as Orion finally]. This is pretty obvious as the Milky Way [tree]. Nanahuatzin was probably changed into the Beautiful Rose tree and was to hold up the other end as the Milky Way.

     To make sure that the real Sun was included in this tale and that of the Codices, Nanahuatzin was said to have become the sun, since Tecuiçiztecatl was much too afraid to jump into "the oven of the gods." His original description was that he was scabby and unhealthy. He had a bad habit of peeling off the scabs of his illness and tossing them out. This is a very good example of our well-known "Sun Flares." [Read, Kaye Almere (1998). Time and Sacrifice in the Aztec Cosmos. Bloomington & Indianapolis, Indiana: Indiana University Press.]

    The Maya used every bit of information that our astronomers have today via huge Palomar-type telescopes, including that of a spinning bi-polar jet that can be found below on http://www.nasa.goddardspace.gov/100_0567.mov]; yet, they had no telescopes, so it has been said.

     A glyphic picture with proper iconography can be found in the Nuttall Codex at the bottom of page 34.
The Lady in this iconic figuration is Blood Moon, the mother-to-be of the Twins, Hunahpú and Xbalenqué. 
(Tedlock, D 1996, 73-74) Her name glyphs read Two Atl-atl,[Spear] and A star shape with many little stars surrounding it, with what appears to be a hand with a strange extension. Enlarged and turned 90°. it is a macaw with the star form at its neck. The star has the same components as the Bi-polar Jet seen in the film clip above. It also contains the blue area found in the film clip of the north and south poles of the star from where the long streams of gasses are coming. 
     
     As noted, the Bi-polar Jet was called a Toddler Star. The female here is already a grown woman, but she holds a spindle in her hand, a blue apron and two star forms in her headdress. The "spindle" is the key to her star status and form, that of the Bi-Polar Jet. However, since the star began to blaze a bright blue as a brilliant nova, with only the nebula area as red, poor Blood Moon had to lose her female status to become a MALE bird that was thereafter called Seven Macaw in the Popol Vuh. Why? 

     If the story teller of the Maya was in the process of telling the story, the listeners would complain because everyone knew that the female birds were more or less camouflaged since their job was to take care of their eggs. The male bird with his flashy colors could lead hunters away from the nest quickly; so the nest, the hen and the chicks would be safe. 

      Justin Kerr [of www.famsi.org] photographed a vase called K-7912 that actually shows a 2-year old female child—a toddler—being judged by Hunahpú and Xbalenqué for the Sky God on the throne. She is being held by the Guardian of the Stars and it is he who will place her among the stars if she is approved by the future twins as a comet.

     Her Mixtec/Aztec name was Tlaltecuhtli and her description is carved on the Moon Disk discovered by those digging the new Metro station in Mexico City. INAH gave her another name, that of the star called  Coyolxauhqui, sister of Huitzilopochtl, who wanted to kill their mother, Coatlique because she believed her to be a "loose" woman. 

     In their book, a dictionary of the Maya Gods, Mary Miller and Karl Taube gave a perfect description of her death and her final journey with the Twins to her resting place on earth. In between time, the twins had removed the turquoise teeth of Seven Macaw and made the nova [Taltecuhtli] a benign star for all eternity until its final destruction in a black hole, or as part of another nova in the far distant future.

     

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.