The glyph [Hieroglyph] occurs 37 times on this side and, with a prefix and a changed postfix, once on page 24. With the exceptions noted, none of the above glyphs occur at all on the reverse side of the MS. There are finally 19 different Yax ([Hieroglyph]) compounds, occurring in all 25 times, 16 of them on this side of the MS. With three exceptions the above glyphs are the only ones that are repeated in the Codex with any marked frequency. The three exceptions are the face with tau-eye, already [Hieroglyph] mentioned, and the two glyphs occurring as an initial [Hieroglyphs] pair twelve times on pages 15 to 18, sections _a_, _b_, _c_. Of month signs used as such I am only [Hieroglyphs] satisfied of 12 Cumhu, at 18-b-4 and of 16 Zac, at 4-c-7. The glyph [Hieroglyph] at 7-c-2 may also be 1 Yaxkin. The only cardinal point sign is that of the West, [Hieroglyph] occurring at 4-b-14 and again at 16-a-6. There are besides these numeral Cauacs, 15 other Cauac [Hieroglyph] compounds, occurring in all 17 times on this side, and twice on pages 23, 24. * * * * * Upon turning over the Codex, we find that whereas on the side we have been considering the scribe limited himself to the conventional red numerals and backgrounds, with here and there a touch of brown, upon this other side we have a wealth of color united with a harmony of composition and structure that marks a very high degree of artistic skill. It is not alone the accuracy of the drawing and the writing, such as we have noted in connexion with the study of the glyphs, but the whole manuscript as it lies open before us shows that sense of proportion, that ability to unify without seeming effort a multitude of details into a perfectly balanced whole, which is the positive mark of developed and genuine culture. When we remember the exceeding difficulty of combining primary colors into a brilliancy that is not garish, and the equal difficulty of achieving artistic mastery in a conventional treatment of forms, we are simply forced to recognize that we have here the evidence of an advanced school of art with full rights of independent citizenship. If the figures look strange and sometimes distorted, we must remember that our whole training has been in the realistic school, by which we are prone to judge all others, but by which they must not be judged. We have no more right to weigh these compositions in the scales of our art motifs than we have to weigh Greek rhythm of quantity or Saxon of alliteration against our weights by which we measure rhythm of rhyme and stress. In fact it is impossible for us even to judge concerning the true harmonic effect of these other measures, and it may well be doubted whether the very soul itself of our meter is not empty and tinny as compared with these others--quality for quality.