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MATERIAL OF THE STATUES. 153

At a distance of one hundred and forty-two feet in a southeasterly direction is the idol marked P. It stands at the foot of a wall rising in steps to the height of thirty or forty feet; originally much higher, but the rest fallen and in ruins. Its face is to the north; its height eleven feet nine inches, the breadth of its sides three feet, and the pedestal is seven feet square. Before it, at a distance of twelve feet, is a colossal altar. It is of good workmanship, and has been painted red, though scarcely any vestige of the paint remains, and the surface is time-worn. The two engravings given opposite represent the front and back view. The former appears to represent the portrait of a king or hero, perhaps erected into a deity. It is judged to be a portrait, from certain marks of individuality in the features, also observable in most of the others, and its sex is ascertained by the beard, as in the Egyptian monuments, though this has a mustache, which is not found in Egyptian portraits.

The back of this idol, again, presents an entirely different subject, consisting of tablets, each containing two figures oddly grouped together, ill-formed, in some cases with hideous heads, while in others the natural countenance is preserved. The ornaments, diadems, and dresses are interesting, but what these personages are doing or suffering it is impossible to make out. This statue had suffered so much from the action of time and weather, that it was not always easy to make out the characters, the light being in all cases very bad, and coming through irregular openings among the branches of trees.

The stone of which all these altars and statues are made is a soft grit-stone from the quarries before referred to. At the quarries we observed many blocks with hard flint-stones distributed through them, which Vol. I.—U

had been rejected by the workmen after they were quarried out. The back of this monument had contained two. Between the second and third tablets the flint has been picked out, and the sculpture is blurred; the other, in the last row but one from the bottom, remains untouched. An inference from this is, that the sculptor had no instruments with which he could cut so hard a stone, and, consequently, that iron was unknown. We had, of course, directed our searches and inquiries particularly to this point, but did not find any pieces of iron or other metal, nor could we hear of any having ever been found there. Don Miguel had a collection of chay or flint stones, cut in the shape of arrow-heads, which he thought, and Don Miguel was no fool, were the instruments employed. They were sufficiently hard to scratch into the stone. Perhaps by men accustomed to the use of them, the whole of these deep relief ornaments might have been scratched, but the chay stones themselves looked as if they had been cut by metal.

The engraving opposite represents the altar as it stands before the last monument. It is seven feet square and four feet high, richly sculptured on all its sides. The front represents a death's head. The top is sculptured, and contains grooves, perhaps for the passage of the blood of victims, animal or human, offered in sacrifice. The trees in the engraving give an idea of the forest in which these monuments are buried.

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