The glyphs in LXVII, 50 and 51 (Cort. 21), probably signify "night" and "evening"; the first (50), _akab_, "night," and the second (51), _kankin_, one signification of which, according to Henderson, is "evening." The wing-like appendage is probably a time determinative. These last interpretations are of course given with some doubt. However, this may be said in their favor, that wing-like appendages are usually attached to time symbols, and that the figures below the text represent persons, each of whom carries what appears to be a wheel, possibly like those used in keeping time, and the main character of the preceding symbol in both cases is the _Manik_ glyph, having _ch_ as its chief phonetic element and _chackinil_, signifying "hours, wheel." Precisely the same symbol as LXVII, 51, preceded by the _Manik_ glyph, and a wheel in the hand of the person figured below the text, is seen in Troano 35d. The character shown in LXVII, 52, from Tro. 35c, may possibly be correctly rendered by _bakah_ (_baakal_), "to roll round about, to go round about," alluding to the flight of the vulture figured below the text. This supposition appears to be strengthened by the probable interpretation of the symbol immediately below it (LXVII, 53), _malaalahah_, "without repeated buffetings." The character given in LXVIII, 3, from Tro. 31a, may be interpreted _pak_, "to sow seed, to plant," and that shown in LXVIII, 4, from the second division of the same plate, indicates the same word, as the transposition of the parts of a symbol does not always indicate a change of signification. Possibly, however, its equivalent may be _capak_, "to reseed or sow seed the second time," or _kapak_, "to place in a trench or hole." As the persons figured below the text appear to be planting seed by dibbling them in with a stick, this would seem to be an appropriate rendering. Dr Seler appears to have entirely misunderstood these figures, as he thinks they represent the deities pouring out water. I have in a previous part of this paper given some reasons for believing that these plates refer to the planting and cultivation of corn. These examples will suffice at this point. It is difficult to decide as to the origin of the glyph. However, I am inclined to believe it has grown out of a conventional symbol for wood, possibly drawn from the little knots and marks seen on the inside surface of split wood. This may be wide of the true explanation, but all the indications I can find point in this direction. As "wood" (_leña_) in Zotzil (I do not know what it is in Tzental) is _ci_--equal to _ki_ or _qi_--we obtain the guttural sound which appears to be the chief element of the symbol. In its use it appears to shade off from the hard to the soft sound.