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AMCS Bulletin 12 — Chapter 4 69Top: Figure 4.5.16. Pak Ch’en Panel F(drawing by D. Rissolo).Middle: Figure 4.5.17.Pak Ch’en Panel G-1(drawing by D. Rissolo).Bottom: Figure 4.5.18. a. Codex Dresdenp. 13b (after Taube 1992:fig. 10d). b. CodexMadrid p. 50c (after Taube 1992:fig. 10c).c. Codex Madrid p 63b (after Villacorta andVillacorta 1976:350).unlike the one worn by God C on page 13bof the Dresden Codex (see figure 4.5.18a;refer to b and c for additional codical examplesof God C). Taube’s description ofGod C (1992:30) suggests that the presenceof his image in the Pak Ch’en mayhave been intended to designate the caveas a scared place. This codex-style personification ofGod C also supports a Late Postclassic time frame forat least a portion of the rock art in the cave.The image adjacent to God C on panel G-1 is difficultto interpret but might represent a small crestedbird, which faces to the left. Above this image are twodeeply pecked dots. Below the left-most dot is a smallsquare.Panel G-2 (figure 4.5.19)Located in the lower left-hand portion of the boulderis G-2. This panel consists of a frontal figure withan anvil-like head, high nose, deeply pecked orbits,and a peculiar lower jaw or chin. It is possible thatthis figure is a frontal depiction of God C. A similarface (figure 4.5.20) was found in Aktunkoot, QuintanaRoo (Martos López 1994b). The image from Aktunkootpossesses an ear ornament, whichresembles that of God C from panel G-1and from page 13b of the Dresden Codex(see figures 4.5.17 and 4.5.18a, respectively).It is unclear what, exactly, is extendingfrom the figure’s mouth in G-2. However,somewhat similar figures with flaringor splayed lower jaws have been recordedin Yucatán (Strecker 1985: fig. 20),Belize (Helmke and Awe 1998: fig. 12),and Honduras (Brady et al. 2000: figs. 5and 9). This feature might also be relatedto the tri-lobe element on the face in thelower left-hand corner of panel D.Above the figure on G-2, are a seriesof seemingly random shallow scratches. At