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more mutilated, and from the declivity of the terrace it was difficult to set up the camera lucida in such a position as to draw them. The piers which are fallen were no doubt enriched with the same ornaments. Each one had a specific meaning, and the whole probably presented some allegory or history, and when entire and painted, the effect in ascending the terrace must have been imposing and beautiful."

This "allegory or history" we have endeavoured to decipher in the Analogies. The sculpture of this Temple, like the metopes of the Parthenon, should not be viewed in separate parts, but as a whole; for the parts, like single letters, are useless in themselves, but when placed together in proper and consecutive localities, they instantly express a word, or sentences, and thence convey to the mind the full intelligence of the subject.

They

"The tops of the doorways are all broken. had evidently been square, and over one were large niches in the wall on each side, in which the lintels had been laid. The lintels had been all fallen, and the stones above formed broken natural arches [angles ?]. Underneath were heaps of rubbish, but there were no remains of lintels. If they had been single slabs of stone, some of them must have been visible and prominent, and we made up our minds that the lintels had been of wood, and perhaps we should not have ventured the conclusion, but for the wooden lintel which we had seen over the doorway at Ocosingo, and by what we saw afterwards in Yucatan (Uxmal), we

were confirmed beyond all doubt in our opinion. I do not conceive, however, that this gives any conclusive data in regard to the age of the buildings. The wood (lintels) if such as we saw in the other places (i. e. Ocosingo and Uxmal) would be very lasting, its decay must have been extremely slow, and centuries may have elapsed since it perished altogether."

The decaying of the lintels at Ocosingo and Palenque, and their existence and preservation at Uxmal enables a data to be formed in reference to the order of their erection; for the non-appearance of any wooden lintels at Copan authorizes the placing of that city first in chronological order, followed by the cities of Ocosingo and Palenque, and from the argument, and the preservation of the wood, Uxmal was built after the foregone.

"The building has two parallel corridors running lengthwise on all four of its sides. In front these corridors are about nine feet wide, and extend the whole length of the building, upwards of two hundred feet. In the long wall that divides them there is but one door, which is opposite the principal door of entrance, and has a corresponding one on the other side, leading to a courtyard in the rear.

The floors are of cement, as hard as the best seen in the remains of Roman baths and cisterns. The walls are about ten feet high,-plastered, and on each side of the principal entrance ornamented with medallions, of which the borders only remain,-these

perhaps contained the busts of the Royal family. The separating-wall had apertures of about a foot, probably intended for purposes of ventilation. The builders were evidently ignorant of the principle of the ARCH, and the support (ceiling) was made by stones (blocks) lapping over as they rose, as at Ocosingo, and as among the Cyclopean remains in Greece and Italy." "From the centre door of this corridor a range of stone steps, thirty feet long, leads to a rectangular courtyard, eighty feet long by seventy broad. On each side of the steps are grim and gigantic figures carved on stone in basso relievo, nine or ten feet high, and in a position slightly inclined backward, from the end of the steps to the floor of the corridor. They are adorned with head-dresses and necklaces, but their attitude is that of pain and trouble. The design and anatomical proportion of the figures are faulty, but there is a force of expression about them which shews the skill and conceptive power of the artist. On each side of the courtyard of the Palace (Temple) are divided apartments, probably for sleeping. (?) On the right, the piers have all fallen down. On the left they are still standing and ornamented with stucco figures. In the centre apartment, in one of the holes, are the remains of a wooden pole, about a foot long, which once stretched across, but the rest had decayed. It was the only piece of wood (worked) we found at Palenque, and we did not discover this until some time after we had made up our minds in regard to the wooden lintels over the

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doors. It was much worm-eaten, and probably in a few years not a vestige will be left. At the farther side of the courtyard was another flight of stone steps, corresponding with those in front, on each side of which are carved figures, and on the flat surface between are single cartouches of hieroglyphics." *

across.

"In the further corridor the wall was in some places broken, and had SEVERAL separate coats of plaister and paint. [Proofs of different periods] In one place we counted six layers, each of which had the remains of colours. This corridor opened to a second courtyard, eighty feet long, and but thirty The floor of the corridor was ten feet above that of the courtyard, and on the wall underneath were square stones with hieroglyphics sculptured upon them. On the piers were stuccoed figures, but in a ruined condition. On the other side of the courtyard were two ranges of corridors, which terminated the building in this direction. The first of them is divided into three apartments, with doors opening from the extremities upon the western corridor. All the piers are standing excepting that on the north-west corner. All are covered with stucco ornaments, and one with hieroglyphics. The rest contain figures in bas relief." * "There

are several distinct and independent buildings. [Within the confines of the Temple] The principal of these is the TOWER, on the south side of the second court. This Tower is conspicuous by its height and proportions: the base is thirty feet square, and it has three stories. Entering over a heap of rubbish at the base, we found within another Tower, distinct from the

outer one, and a stone staircase, so narrow that a large man could not ascend it. The staircase terminates against a dead stone ceiling, closing all further passage. The whole Tower was a substantial stone structure, and in its arrangements and purposes about as incomprehensible as the sculptured tablets. East of the Tower is another building, with two corridors, one richly decorated with pictures in stucco, and having in the centre an elliptical tablet. It is four feet long and three wide, of hard stone, set in the wall, and the SCULPTURE is in bas relief. Around it are the re

The principal figure

mains of a rich stucco border. sits cross-legged (i. e. orientally) on a couch, ornamented with two leopards' heads: the attitude is easy, the physiognomy the same as that of the other personages, and the expression calm and benevolent. The figure wears around its neck a necklace of pearls [beads of gold?] to which is suspended a small medallion containing a face, perhaps for an image of the Sun."

From the positive radii around the medallion (as presented by the artist) there can be no hesi tation in distinctly stating that it was intended for an "image of the Sun." This is essential in identifying the analogy of Religious worship: it also gives further authority for the belief that this edifice was a Temple, and not a Palace. The Tower of Palenque also aids this belief, for from its locality it would seem to have been used as a modern oriental minaret, from which the priests summoned the people to prayer.

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