The Roman system was focusing on the climbing spider, only those months were given names. The pinky spider half of the year got little attention. The creator of Q thought the same, ignoring the time beyond noon in his calendar for the day.

When the system was to be extended beyond its natural limits, onto p.m. or beyond midsummer, problems came. Counting with the left index finger gave muddy results.

Therefore, the old system was instead stretched beyond its limits. The model for the week was applied also for the spring months. After light had been established in the sky, it fell down to earth - and even further down (Mercury). Light on earth was symbolized by Jupiter. And I remember from my quick search in Henrikson:

At the beginning of 44 B.C. - when Ceasar was still alive - the Senate decided to raise statues of him in all the temples and to sacrifice to him on his birthday in the month Quintilis, which in honour of him was renamed July. He was raised to the status of a god (among the other gods of the state) under the name Jupiter Julius.

Marcus Antonius, who this year was consul together with Ceasar, became high priest and responsible for the ceremonies. In the middle of February, at the time of the old feast of Lupercalia, he ran around naked (except for a girdle - like a maro), and whipped the Roman ladies with thongs made from goat-skin, in order to promote ('kick' - Rei), their fertility.

Surely there must be some connection with the she-goat Amalthea (Capella) who suckled Zeus. But we cannot repeat all written about her earlier in this investigation. It is enough to remember:

... The Akkadian Dil-gan I-ku, the Messenger of Light, or Dil-gan Babili, the Patron star of Babylon, is thought to have been Capella, known in Assyria an I-ku, the Leader, i.e. of the year; for, according to Sayce, in Akkadian times the commencement of the year was determined by the position of this star in relation to the moon at the vernal equinox ...

Instead , to the point: The name of the month February must be based on februa, the name of the whiplashes made from goat-skin.

So, if Caesar had remained like a king on earth instead of being forced (he did not like it) into the habits of a god, he would have survived I think.

The structure of the week implies an end in the middle, when Lucifer (Mars) is crash-landing on earth, going down like a meteorite into the earth (with all its symbolic allusions). The earth takes on fire from such events. Fire is brought to man from the sky.

It resembles the myth of the Stranger King in Polynesia, who arrives from afar and brings renewed fertility to the queen of the land. She evidently dies later, after giving birth to next generation. She resembles Venus who behaves like the Moon. Aphrodite reemerges from the water when time is due.

We arrive at Saturn, which - I remember from reading Hamlet's Mill a long time ago - had some connection with Mars. The fiery Mars, a symbol for the male virility, appears to be the opposite (I thought, and still think) of the old feeble Saturn, hardly moving any more. Remarkably Mars is the inky one and Saturn the pinky one - soon only his white dry bones will be left (in the past).

At midsummer sun scorches the earth, fire has come down. Beyond midsummer comes the rain, and the earth becomes fruitful - in atumn the tree is once again full of new fruits. The pattern engraved on the map of the week is fetched from earth.

In the G and K texts sun moves on earth from the east end of the island to the west end, to the spirit-leaping place at Rano Kau. From high Poike in the east fire is brought down to the center of the island, to Te Pei. From there the path of the sun is filled with water:

The pages to which the hyperlink 'parallel K text' leads:

The short sequence Kb3-3--5 probably delivers a message similar to that in Eb5-14--15: Kb3-1 Kb3-2 Kb3-3 Kb3-4 Kb3-5 Kb3-6 Eb5-14 Eb5-15 Eb5-16 Eb5-17 In K it is quickly established that the season is beyond midsummer (at Kb1-7), about halfway to the end of the journey: 60 42 33 33 20 Ka3-15 Kb1-7 Kb3-1 Kb4-19

We can be more precise and concentrate on the midsection of the text, eliminating the two first glyph lines a1-a2 and the last glyph line b5 (all three of which are outside the sun-is-present calendar: 13 42 33 33 Ka3-1 Ka3-15 Kb1-7 Kb3-1 Kb4-19 1 90 35 In Ka3-1 a rising fish marks a beginning and like a mirror image, in the same position on the other side of the tablet, the glyph shows somebody vanishing. 90 = a quarter of 360, and 1 + 35 = 36. An alternative reading is to use the moon measure: 91 = a quarter of 364, and 91 + 35 = 126 = 7 * 18.

In E the period number is 20 (of 24): 20 Eb5-14 Eb5-15 Eb5-16 Eb5-17 In K the period number is its key, viz. 22 (= 7 * π): 22 Kb3-1 Kb3-2 Kb3-3 (140) Kb3-4 Kb3-5 Kb3-6 'A cycle is ending', is the meaning of 22 (which the reader must count to and deduce by himself). 20 is a simpler arithmetic message of the same kind: four hands are finished. 5-14 in Eb5-14 (which numbers the reader also must 'recount' for himself) alludes to fire (sun) by way of 5, and moon by way of 14, and 5 * 14 = 70 = 140 / 2. Kb3-3 has number 140, but scales of maps can be different. 5-14 could be shorthand for a sun (5) cycle (π) ending.

The little sun at right in ua (Kb3-5) is disturbing, drawing attention on purpose, I think. It cannot be forgotten.

And why is there a vanishing tamaiti variant in Kb3-1? It is no honu, but the variant of tamaiti used in K:

Ka4-6	Ka5-8 (91)	Kb1-8	Kb1-12	Kb2-1
Kb2-4	Kb3-1 (138)	Kb3-14	Kb4-15 (168)	Kb4-17

Could the answers be connected - that the little sun is the little son (tamaiti), and that the soon to appear new one is hinted at in Kb3-1? There are 30 glyphs from Kb3-1 to Kb4-15.