difficulty of interpreting the remains of the earlier civilizations. The degeneration of Gukumatz is seen in the later portion of the Popol Vuh, where he is definitely associated with the Toltec in the additional name “Ah Toltekat,” while reminiscences of his former exalted status are apparent in later Mexican beliefs concerning him. His association with the planet Venus, which is not apparent on the monuments, belongs to the later stage, and, together with his portraiture in carvings (e.g. Fig. 87; p. 367), apart from his symbolic representation as a serpent-bird, has an important bearing on the origin of the later buildings at Chichen Itza. The god Itzamna, also called Yaxkokahmut, is again not very easy to fix; he is said to be the son of the creator Hunabku and to have come from the east, but since he is regarded as the inventor of writing, which must have been practised long before the Maya entered Yucatan, this does not necessarily mean that he came by sea, but only from some district lying to the east of the territory occupied by his votaries at the time when they acquired the art of writing. A comparison of the manuscripts with the account of the ceremonies which ushered in the new year given by Landa seems definitely to identify him with Schellhas’ “God D,” the “God with the Roman nose” (Fig. 47, _d_). As such he is a sky-god, similar in many respects to Tonacatecutli, and like him is often represented as an old man with a beard. His head appears constantly upon the monuments, either as a glyph, or issuing from the mouths of the double-headed serpent, of which the body is ornamented with planet-symbols, and which I believe to represent the sky. In later times in Yucatan he bore a very close relation to the sun-god, Kinich-Ahau, and was to a certain extent identified with him, in so far as we hear of an image of Kinich-Ahau-Itzamna being prepared for certain ceremonies. A figure exactly similar to that of Itzamna (identified as God D) is sometimes shown, in manuscripts and reliefs and on pottery, with a shell (Fig. 68; p. 312), and it may be argued from Mexican analogies that this deity was also associated with the moon. How far Itzamna may be identified with Itzamatul, the especial god of Itzamal, is perhaps doubtful, but at any rate it is a coincidence that both were important gods of healing. As regards Itzamatul it is said that his emblem was a hand, and that he was also known as Kabul, the “Strong Hand”; in this connection it is extremely interesting to note that two of the stelæ at Piedras Negras (Pl. XX), one at Copan, a relief at Palenque, and a fresco at Santa Rita in British Honduras, show a figure with a head-dress in which a hand appears as the central feature. It is stated further that his name implies association with the dew and clouds, and that pilgrimages were made to his oracular shrine from Tabasco, Chiapas and Guatemala. [Illustration: _PLATE XX_ _By permission of the Peabody Museum_ MAYA