la, _Hist. del Orinoco_, p. 159

[96-1] On the worship of the cross in Mexico and Yucatan and its
invariable meaning as representing the gods of rain, consult
Ixtlilxochitl, _Hist. des Chichimeques_, p. 5; Sahagun, _Hist. de la
Nueva Espana_, lib. i. cap. ii.; Garcia, _Or. de los Indios_, lib. iii.
cap. vi. p. 109; Palacios, _Des. de la Prov. de Guatemala_, p. 29;
Cogolludo, _Hist. de Yucathan_, lib. iv. cap. ix.; Villagutierre
Sotomayor, _Hist. de el Itza y de el Lacandon_, lib. iii. cap. 8; and
many others might be mentioned.

[96-2] Rivero and Tschudi, _Peruvian Antiquities_, p. 162, after J.
Acosta.

[96-3] Loskiel, _Ges. der Miss. der evang. Brueder_, p. 60.

[97-1] Hawkins, _Sketch of the Creek Country_, p. 75. Lapham and Pidgeon
mention that in the State of Wisconsin many low mounds are found in the
form of a cross with the arms directed to the cardinal points. They
contain no remains. Were they not altars built to the Four Winds? In the
mythology of the Dakotas, who inhabited that region, the winds were
always conceived as birds, and for the cross they have a native name
literally signifying "the musquito hawk spread out" (Riggs, _Dict. of the
Dakota_, s. v.). Its Maya name is _vahom che_, the tree erected or set
up, the adjective being drawn from the military language and implying as
a defence or protection, as the warrior lifts his lance or shield (Landa,
_Rel. de las Cosas de Yucatan_, p. 65).

[97-2] Squier, _The Serpent Symbol in America_, p. 98.

CHAPTER IV.

THE SYMBOLS OF THE BIRD AND THE SERPENT.

Relations of man to the lower animals.--Two of these, the BIRD and
the SERPENT, chosen as symbols beyond all others.--The Bird
throughout America the symbol of the Clouds and Winds.--Meaning of
certain species.--The symbolic meaning of the Serpent derived from
its mode of locomotion, its poisonous bite, and its power of
charming.--Usually the symbol of the Lightning and the Waters.--The
Rattlesnake the symbolic species in America.--The war charm.--The
Cross of Palenque.--The god of riches.--Both symbols devoid of
moral significance.

Those stories which the Germans call _Thierfabeln_, wherein the actors
are different kinds of brutes, seem to have a particular relish for
children and uncultivated nations. Who cannot recall with what delight
he nourished his childish fancy on the pranks of Reynard the Fox, or the
tragic adventures of Little Red Ridi