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Gb3-14 (maybe alluding to π) has a curious variant of haati at left:
Gb3-12 Gb3-13 Gb3-14 Gb3-15 Gb3-16

Its ordinal number (counted from Gb8-30) is 305 = 5 * 61. It can be 'proven' - see excursion at the end of haati - that the intention is to read the ordinal number as 10 * 30½ (not as 5 * 61). It resembles Hua Reva (at 10 * 29.5 = 295) in being the final glyph before the 'night' ('black cloth') covers the earth - only 10 months are allotted to the sun. There is a hole in the head of the bird, a vacant place where its eye should be.

Therefore, we can insert Gb3-15 in its proper place, among other measures defined by 30½:

242 60 181
Gb8-30 Gb1-14 Gb3-14 Gb3-15 Ga1-16
244 = 8 * 30½ 61 = 2 * 30½ 244 = 6 * 30½
16 * 30½ = 488

I have not listed the left part of Gb3-14 as viri in my glyph catalogue, but will do so now. The bird looks as if released from the 'knee' of a special kind of viri:

Ga1-18 Ga1-26 Ga5-8 Ga5-11 Ga6-19 Ga7-1
 
Gb1-6 Gb2-16 Gb2-21 Gb3-14 Gb7-18

Gb2-21 looks like the top of Gb1-6. But it has 6 + 5 = 11 'feathers' (instead of 9 + 9) and it is shallow like Gb3-14.

27
Gb2-21 (277) Gb3-14 (305)
29

Gb2-23 has at left and right twin 'flames' somewhat like the curious haati in Gb3-14:

Gb2-19 Gb2-20 Gb2-21 Gb2-22 Gb2-23 Gb2-24 Gb2-25

The little sun disc is the 'wave crest' ('knee cap') released, and from there a tao canoe comes. I have Gb2-21listed also as an example of tapa mea (a reversed double such), and it may signify the darkness coming after the double inversed haati:

29
Gb1-16 Gb1-17 (247) Gb2-21 (277)

From the 'center of gravity' of Gb1-16--17 to Gb2-21 there are 30½ days. Adding another period of 30½ days we reach to 306½:

Gb3-12 Gb3-13 Gb3-14 Gb3-15 (306)
Gb3-16 (307) Gb3-17 Gb3-18 Gb3-19
Gb3-20 Gb3-21 Gb3-22 Gb3-23

The 'insect' in Gb3-16 could be a description of the dry spirit rising towards the sky. These 12 glyphs may depict how moe (Gb3-12) evolves into hua (Gb3-23).

Counting beyond 59 (at Gb3-14) we will reach 10 * 31 = 310 at Gb3-19 (64 = 8 * 8):

29 27
Gb1-16 (246) Gb1-17 Gb2-21 Gb3-14 (305)
59
Gb3-15 Gb3-16 Gb3-17 Gb3-18 Gb3-19
60 61 62 63 64

Gb3-15 (honu) is number 60 beyond Gb1-16, a sun number, and honu 'owns the fire'. Like the Jaguar in South America he can loose his 'eyes', however - there is a great hole in him. The turtle is like his counterpart in South America at home both on land and in the water, an amphibious creature. They seem to be at home also in the sky:

1 Pop

"... there is no dispute about the jaguar as patron of Pop ..."

According to Gates the quincunx symbol (upper right symbol) means 'yellow', which makes sense because in the center of the 4 cardinal stones there ought to be a fire. Although in the inscription variant the central fire is missing. I connect this sign with the symbol immediately below, which looks like a shell with concave side down (the fire is inside and not visible). The corresponding symbol in the codices example confirms the impression of there being a shell at bottom right.
The other main element in the Pop glyphs apparently is two intertwined ropes. At the beginning of the year the old and new years ought to be securely connected, I think, the 'binding of the years'. Pop is Yucatec for 'mat' - an artifact characterized by intertwined threads (or similar). "Pop (po reduplicated) is widely spread in Mayan languages as the word for 'mat'."

These pictures show how mats are woven on hand looms by women (the moon I guess, because at new year sun and moon should meet). The two pictures at right have a 'tree' attached to the loom, and the 'tree' has two 'stems' which are bound together, which I believe alludes to the binding together of the old and new years. The idea of binding together years is close to the old 'threadreel' symbol in the old Chinese glyph for 5. A 'mat' is manufactured in order to let the king 'sit on' it. The idea of a net or mat at the end of the journey seems to be universal in old human cultures, as for instance in this ancient Egyptian picture (from Wilkinson):

At right the 'prow' of the Pharaoh 'ship' is entering the 'mat'.
The jaguar, finally, once 'owned the fire' (I remember), but then his fire was stolen (at least in South America). And then he lost his fiery eyes in a juggling contest - they became hanging high up in a tree. Instead he received small ones made from water, by which he could see in the night. The jaguar is 'strongly associated with the presence of water and is notable, along with the tiger, as a feline that enjoys swimming'. The big cat Leo is high in summer ('fire') - north of the equater.  South of the equator he is located down in the 'water' (the dark half of the year). We can understand why there are sea-shells at bottom right in the Pop glyphs.

The eye of the jaguar, as depicted in the picture from the monuments, has a horizontal line across it, which presumably indicates the water surface (or water by pars pro toto). Higher up we can see another 'eye', which may illustrate an 'eye' up in the 'tree'. Sun sometimes is low ('in the water') and sometimes is high ('in the top of the tree'). The Pop jaguar is at the low sun stage.

At Hua Reva the sun juggles with his eye and looses it. The dark cloth has come in the form of a 'mat' which the moon goddess is weaving in order to let the sun king 'sit on':

Aa1-9 Aa1-10 Aa1-11 Aa1-12

The shuttle she is using probably corresponds to tao. It carries the 'fire':

Ga1-22 Ga1-25 Ga5-10 Ga6-9 Ga7-14 Ga7-19
Ga8-19 Gb1-24 Gb2-12 Gb2-22 Gb2-23 Gb4-28
Gb2-32 Gb2-35 Gb3-2 Gb7-17 Gb7-23 Gb8-4