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the person whose totem said knots are. These reedings are composed of straight lines carved in the stone, and are surrounded by a border.
To cut or carve straight lines in a hard substance with a sharp-pointed tool is expressed by the simple word ppaay,
in Maya. Chi is the word for border. The whole ornament, then, gives the word ppaaychi. But payalchi is a “prayer," an “invocation;” and ppaachi is "to make an offering," “to make a vow.” The duplication of the ornament indicates the earnestness of the vow, or the fervor with which the offering is made.
The leopards are the totem, hence the name of the hero to whose memory the hall was erected. By these we learn that he was called Coh. As to the shields covered with leopard skin, they are the badges of his profession, which, from the ropes with circles within their open strands, we have already learned was that of a warrior.
Translating this dedication into English, it reads: “Cay, the high priest, desires to bear witness that Móo has made this offering, earnestly invoking Coh, the warrior of warriors.”'
Does not this recall to mind the invocations of the two sisters, Isis and Niké, in the book of Lamentations;1 and in that of “Glorifying Osiris in Aquerti”? ??
As we are about to enter the funeral chamber, hallowed by the love of the sister-wife, Queen Móo, the beauty of the carvings on the zapote beam that forms the lintel of the doorway calls our attention. (Plates XXXVII.-XXXVIII.) Here is represented the antagonism of the brothers Aac and Coh, that led to the murder of the latter by the former.