The “Popul Vuh” tells us that after the migration from Aztlan three sons of the King of the Quiches, upon the death of their father, “determined to go as their fathers had ordered to the East, on the shores of the sea whence their fathers had come, to receive the royalty, ’bidding adieu to their brothers and friends, and promising to return.’  Doubtless they passed over the sea when they went to the East to receive the royalty.  Now this is the name of the lord, of the monarch of the people of the East where they went.  And when they arrived before the lord Nacxit, the name of the great lord, the only judge, whose power was without limit, behold he granted them the sign of royalty and all that represents it . . . and the insignia of royalty . . . all the things, in fact, which they brought on their return, and which they went to receive from the other side of the sea—­the art of painting from Tulan, a system of writing, they said, for the things recorded in their histories.”  (Bancroft’s “Native Races,” vol. v., p. 553 “Popul Vuh,” p. 294.)

This legend not only points to the East as the place of origin of these races, but also proves that this land of the East, this Aztlan, this Atlantis, exercised dominion over the colonies in Central America, and furnished them with the essentials of civilization.  How completely does this agree with the statement of Plato that the kings of Atlantis held dominion over parts of “the great opposite continent!”

Professor Valentini ("Maya Archaeol.,” p. 23) describes an Aztec picture in the work of Gemelli ("Il giro del mondo,” vol. vi.) of the migration of the Aztecs from Aztlan: 

“Out of a sheet of water there projects the peak of a mountain; on it stands a tree, and on the tree a bird spreads its .wings.  At the foot of the mountain-peak there comes out of the water the heads of a man and a woman.  The one wears on his head the symbol of his name, Coxcox, a pheasant.  The other head bears that of a hand with a bouquet (xochitl, a flower, and quetzal, shining in green gold).  In the foreground is a boat, out of which a naked man stretches out his hand imploringly to heaven.  Now turn to the sculpture in the Flood tablet (on the great Calendar stone).  There you will find represented the Flood, and with great emphasis, by the accumulation of all those symbols with which the ancient Mexicans conveyed the idea of water:  a tub of standing water, drops springing out—­not two, as heretofore in the symbol for Atl, water—­but four drops; the picture for moisture, a snail; above, a crocodile, the king of the rivers.  In the midst of these symbols you notice the profile of a man with a fillet, and a smaller one of a woman.  There can be doubt these are the Mexican Noah, Coxcox, and his wife, Xochiquetzal; and at the same time it is evident (the Calendar stone, we know, was made in A.D., 1478) that the story of them, and the pictures representing the story, have not been invented by the Catholic clergy, but really existed among these nations long before the Conquest.”