eeper meaning than has been
realized, for it represents life-giving breath carrying with it the seeds
of the four vital elements, emanating from the central lord of life,
spreading to the four quarters and dividing itself so as to disseminate
vitality throughout the universe. The title Kukulcan=the Divine Four, also
serpent, proves to be even more expressive of this conception of a central
divinity than the Mexican Divine Twin, or serpent. I am therefore inclined
to consider that it originated with a Maya-speaking people, to whom, more
graphically than to any one else, this bas-relief would have served, as a
joint image of the star-god, the heart of heaven, named Hura-kan; of the
terrestrial lord Ah-cuch-cab, the heart or life of the State; of the
State, with its hun-kaal or one count of twenty subdivisions of people and
its quadruple head and body and, finally, of the native cosmology.

The Copan swastika enables us to come to another interesting conclusion.
It is a refined representation of the set of thoughts suggested by
Polaris, the idea of a stable centre being graphically rendered. Movement
in four directions is also symbolized. As, in the latitude of Copan, Ursa
Minor is the only circumpolar constellation which could have been observed
in four opposite positions, it is obvious that Ursa Minor with Polaris
must have constituted the Maya Celestial Heart or Life=cuxabal. The
following points remain to be discussed in connection with the Copan
swastika.

1. To be complete and in keeping with native modes of representation it
must have originally been painted with the symbolical colors of the Four
Quarters.

2. It is on a wooden club from Brazil or Guiana that, strange to say, I
find a cross symbol with bifurcated branches, which most closely resembles
the Copan type. Directing the readers to the illustration of this club as
fig. 8, pl. XV, in Dr. Stolpe's work already cited, I would ask them to
examine also his fig. 7, with a design expressing dual and quadruple
divisions; fig. 9_b_, with circles containing cross lines; 9_a_, with what
resembles somewhat a Maltese cross but also conveys duality; fig. 11_b_
with a cross in a scalloped circle and a curious disc between four signs,
with a band of alternate black and white squares and its reverse 11_a_,
with triangles, to which I shall revert; and figs. 10_c_ and _d_, each
with a mound from which a tree is growing. Though tempted to refer to many
other symbols I shall