·     Literally, just “Head Throne”. The interpolated words “person of the” between “Head” and “Throne” is suggested by Houston-CC2: The first glyph is surely baah tz’am, “head [person of the] throne”, a title elucidated in other contexts by Marc Zender.

·     The Ethnologisches Museum Berlin is a member of the group Staatliche Museen Berlin:

o Given the code SMB in EB.p235.pdfp40 (Staatliche Museen Berlin).

o Given the code ESB (Ethnologisches Museum, Staatliche Museen zu Berlin) in MHD.

·     AT-YT2021-lecture24.t0:26:21-27:00 – glyphs shown, but no further discussion of the function in this part of the lecture.

·     AT-YT2021-lecture24.t0:10:16: mentioned as one of the titles of Lamaw Ek’, a ruler of the Ik’ polity (Motul de San Jose), on his rise to power from his noble but not royal beginnings, to becoming the K’uhul Ik’a’ Ajaw, and then, ultimately, to Kaloomte’ (slide begins at 0:09:45).

·     Martin-AMP.p94 devotes a whole section to the title, including a summary of Lamaw Ek’’s rise to power.

o Sim: Houston-TLW.p28.fig17B has transliterated the “cushion-glyph” as TZ’AM – this might be what Hamann-WSD.p22.c1.r5 lists as baah pom.

o Sim: the ma could act as part of a pure syllabogram spelling of po + ma, or as an end phonetic complement of TZ’AM + ma. I agree that TZ’AM:ma is a better reading.

·     See also Houston-ACMB.p2.para2: Incidentally, some of us have suspected that the supposed po syllable in these spellings is a logogram. Dave has considered TZ’AM as a good bet, following a reading once proposed by Marc Zender, in part because of a substitution on a molded text in the Dieseldorff collection in the National Museum in Guatemala City.

·     Tremain-ASoDaI.p228.l-4: This title has been suggested to have a closeness to royalty (Miller and Brittenham 2013: 79), perhaps translating as “head throne” (Houston 2008). Although this title is not present on any of the ceramics in the author’s database, it is present in the murals in Structure 10-K 2 at Xultun in Northern Guatemala (Saturno, et al. 2015) and in the Bonampak murals (Miller and Brittenham 2013: 79). Unfortunately, it is difficult to ascertain which figures the title is associated with in the latter murals. Five scenes in the database show six un-named individuals in similar positions to the baah tz’am in the Xultun murals, located behind throne cushions with only their head and perhaps chest visible (Table 5.16). Reents-Budet (2001: note 18) records that Justin Kerr has suggested these figures are the protector of the ruler, ensuring his safety in the face of any threats or unforeseen circumstances. Clearly, such individuals on painted ceramics do not wear the same dress as the individuals labelled with the baah tz’am title in the Xultun mural. While earspools and necklaces are common among all individuals, they are of different styles and even use different colours of body paint (both red and black).