Sequences in Art.
The study of Mayan ceramics reveals developments as regard shapes, fabrics, and designs. Specimens recovered from sealed cysts under stelæ at Copan establish true associations with the higher forms of art and can be used far and wide in comparison with pottery finds in Salvador, Guatemala, etc. Vaillant has found stratigraphic sequences in a collection of funerary vessels obtained at Holmul, where graves occurred under the floors and within the filled-in chambers of a buried temple.
As regards sculpture we find at Copan a remarkably homogeneous series of stelæ on which a royal or priestly personage stands erect and in front view. A Ceremonial Bar is held symmetrically in the two arms and the body is partly covered with rich and elaborate ornament. The amount of relief, the proportions of the body, the forms of the Ceremonial Bar, etc., all pass through a harmonious development. The earliest monuments show a crude block-like carving of the face, with protruding eyes, while the latest monuments have fully rounded contours. At Tikal the stelæ show, for the most part, human figures in profile, but unmistakable development can be seen in general quality of carving as well as in specific details.
[Plate XXI. Development in Style of Carving at Copan.]
Stela 9 (9.10.10.0.0, 383 A. D.).
Stela 5 (9.13.15.0.0, 447 A. D.).
Stela N (9.16.10.0.0, 502 A. D.).
Stela H (9.17.12.0.0, 523 A. D.).
Details of architecture showing analogous development.
Fig. 37. Grotesque Face on the Back of Stela B, Copan.
In making comparisons in art it is always necessary to consider similar things. At many other Mayan cities than the two named above it is possible to obtain satisfactory evidence of sequence in art forms by cutting out similar details from different masses. Thus at Naranjo, when we examine all the Ceremonial Bars, we find a remarkable development of flamboyant detail on the later monuments. At Quirigua the faces on the tops of the altars may be compared with the same result. At Piedras Negras the heads of the Two-headed Dragon that occur in exactly similar positions on four monuments likewise show a steady modification towards flamboyancy as may be seen from [Fig. 36], where the front heads are put side by side.
Fig. 38. Jaguar in Dresden Codex with a Water Lily attached to Forehead.
Still other lines of evidence on historical sequence are to be gained from a study of architecture. Not only is it possible to determine the general developments that hold true of the entire Mayan Area but also in a given city it is sometimes possible to arrange the buildings in their order of erection according to dependable criteria, both decorative and structural.
Fig. 39. Late Sculpture from Chichen Itza. The headdress resembles that worn by the rulers on the highlands of Mexico.
The earliest temples have narrow vaulted rooms, heavy walls, and a single doorway. The rooms increase in width, the walls decrease in thickness, the doorways multiply till the spaces between them become piers and finally columns. The support for the heavy roof comb taxed the structural ingenuity of the Mayan architects. The solving of this problem is marked by successive advances and since mechanical science goes forward rather than backward the relative order of structures is fairly certain. Moreover, many buildings are closely associated with dated monuments, tablets, lintels, or stelæ. Still another evidence of architectural sequence is seen in structures that have been enlarged by the addition of wings or by the enclosing of the old parts under new masonry.