Very many questions are now on the table. For instance: Is there really any room for 100π? I had intended to include a few pages in the glyph dictionary about π in G, but it became too complicated. Here they should be saved, though.

This page is not in the glyph dictionary:

If the wooden boards were scarce, then the number of glyphs possible to use on a specific board must be limited, while at the same time the whole surface should be covered.

If 314 was to be used to indicate half a cycle, and if the surface of the board should be used for two cycles (because of e.g. two half-years), then we ought to have 4 * 314 = 1256 glyphs on the board. On Keiti there are exactly half that number (628), but it is easy to double the 'value' of each glyph - and the text of E can anyhow cover two cycles.

G has 150 % * 314, and in order for it to cover two cycles it is necessary to imagine each glyph to have a 'value' of 4 / 1.5 = ca 2.67 - which result is unacceptable.

The numbers tell us that half of the text on G is in the dark (29) and the other half is in the light (18). With three 4-month seasons it implies darkness and light is spread out in all three seasons.

There is no ua glyph in G, which fact may tell us that another time structure is used in G than in K. How could it be the same scale with G having 471 glyphs and K only 192?

Probably the K text covers a whole year. How come the texts are parallel? Must not the text in G cover a whole year also on side b?

But was it not clear that Ga1-26 is planted at midwinter and Gb1-6 at midsummer?

	208 = 8 * 26		261 = 9 * 29
Ga1-26		Gb1-6
26		235
210 = 5 * 42 = 6 * 35 = 7 * 30

Only further studies of G and K separately can answer the key question (about whether they are parallel in meaning or only parallel on the surface).

Before continuing with a further 'not in the glyph dictionary' page I must here take the opportunity to integrate another example (than G contra K). By chance it happened that I yesterday evening was classifying glyphs which made me associate to the problem, viz. the sometimes - like here - strange differences between the parallel texts of H, P and Q.

Pb10-1 presumably stands at midwinter, while the parallel Hb8-119 is standing high.

Pb10-1 makes it evident that Kb4-7 has a sign added: viz. looking towards right - possibly towards Kb5-301. In other words: Kb4-7 may be referring to a gnomon, but its shadow may tell us to wait another 24 glyphs before midwinter occurs:

Ga1-26	Pb10-1	Kb4-7	Kb5-301

Pb9-50 is a mauga indicating the dark time in midwinter, while the parallel Hb8-118 has the hand upwards, meaning high summer (not a.m.). The 'arm' of mauga in Pb9-50 on the contrary has a 'barren' hand. Also manu rere in Pb9-48 has this sign.

Yet in Pb10-3 we have an arm which is not much different from that in Hb8-119 (etc). Pb10-3 definitely reminds us about the opposite of vae (in Mamari):

The fingers are oriented towards right, as if half ua, which very well may have been the intention of its creator. Soon sun will leave it ought to mean. But, then the order is wrong: Pb10-3 ought to have come earlier than Pb10-1 (and the preceding glyphs).

Maybe the new glyph line (Pb10) documents another season then the one in Pb9?

We cannot continue on this trail - it meanders on very long I think. Later on we certainly will return to it.