ances that had been dear to those of their race for countless generations.
In connection with the song to the rain-gods it may be said that although the natives of Yucatan are to-day Catholic in name, they really prefer to render homage to some statue of their forefathers, and cling tenaciously to a few of their old divinities. Among these may be mentioned Balam (tiger), guardian of the crops, likewise appealed to as a rain-god. In a subterranean cavern a few miles from Chicħen, there is an old image of a man with long beard; this serves as a representation of Balam, and to it offerings are made. The antiquity of the carving cannot be doubted, similar ones existing on pillars at the entrance of a very ancient castle at Chicħen. The figure in the cavern is on its knees, its hands are raised to a level with its head, palms upturned. On its back is a bag containing what the natives say is a cake made of corn and beans. The statue is now black, owing to the incense and candles with which its devotees frequently smoke it. Previous to the planting of grain, they place before it a basin of cool beverage made of corn, also lighted wax candles and sweet-smelling copal, imploring the god to grant an abundant harvest. When the crops ripen, the finest ears are carried to the grimy divinity by men, women, and children, who within the cavern dance and pray all day long, some of their quaint instruments serving as accompaniment to the Latin litanies which they chant, without having even the vaguest idea of their meaning.
The sun-dance mentioned in the Preface, is occasionally performed by Indians in Yucatan at the time of the vernal equinox. Twenty men take part corresponding to the number of days in the ancient Maya month—but ten dress as women, whence it
