I next call attention to the ruins of Palenque, situated about two hundred and sixty miles northwest from Copan in the modern state of Chiapas in the valley of the Usumacinta river. Our space will not admit of the elaborate and detailed description given of this ancient city by the writers who have visited it, and whose descriptions are usually attended with references to numerous cuts of pyramids, temples, ruined walls, statuary, tablets, etc. I have therefore decided to abridge the description of this city and its chief monuments from the admirable work of Nadaillac:
The monuments of Palenque are justly reckoned amongst the most remarkable in Chiapas.[[16]] The town stands in the region watered by the Usumacinta, where settled the first immigrants of whom it has been possible to distinguish traces. The position of Palenque, at the foot of the first buttresses of the mountain chain, on the banks of the little river Otolum, one of the tributaries of the Tulija, was admirably chosen. The streets extended for a length of from six to eight leagues, (from eighteen to twenty-four miles) irregularly following the course of the streams which descend from the mountains and furnish the inhabitants with an abundant supply of water necessary to them. At the present day the ruins rise in solitude, which adds to the effect produced by them. They were long altogether unknown; Cortez, in one of his expeditions, passed within a few miles of Palenque without suspecting its existence; and it was not till 1746, that chance led to its discovery by a cure of the neighborhood. * * * * * *
Among the best preserved ruins may be mentioned the palace, the temple of the three tablets, the temple of the bas-reliefs, the temple of the cross, and the temple of the sun. We keep the names given by various explorers in the absence of better ones. There are others, but of less importance. Dupaix speaks of eleven buildings still standing, and a few years before A. Del Rio mentioned twenty; Waldeck says eighteen, and Maler, who visited the ruins of Palenque in 1877, fixes the number of the temples or palaces at twelve. These contradictions are more apparent than real, and are explained by the different impressions of each traveler, and the divisions he thought it necessary to adopt.
The palace, the most important building of Palenque, rests on a truncated pyramid about forty feet high, the base of which measures from three hundred and ten feet by two hundred and sixty. The inside of this pyramid is of earth; the external faces are covered with large slabs; steps lead up to the principal building, which forms a quadrilateral of two hundred and twenty-eight feet by one hundred and eighty; the walls, which are two or three feet thick, are of rubble, crowned by a frieze framed between two double cornices. Inside as well as outside they are covered with a very fine and durable stucco, painted red or blue, black or white. The principal front faces the east; it includes fourteen entrances about nine feet wide, separated by pilasters ornamented with figures. These figures measure more than six feet high, and are full of movement; while above the head of each are hieroglyphics inlaid in the stucco. * * * * * *
The inside of the palace corresponds with the magnificence of the outside; there are galleries forming a peristyle all around the court; and the rooms are decorated with granite bas-reliefs, grotesque figures, some thirteen feet high. * * * * The expression of the figures speaks well for the skill of the artist; but the execution is weak, suggesting an art in decadence rather than the ruggedness of one in its infancy. These rooms were united by corridors. * * * The architects of Palenque were ignorant of the arch, and their vaults were formed of oversailing courses, one above the other, as in the cyclopean monuments of Greece and Italy. The building is finished off with a tower of three stories, measuring thirty feet square at the base. Here, too, we find symbolical decorations, which are very rich and in a very good state of preservation.
Our author, after excusing himself from mentioning many of the monuments of Palenque, for want of space, says:
We must, however, mention one of them, situated on the other bank of the Otolum, and known under the name of the Temple of the Cross. It rises from a truncated pyramid and forms a quadrilateral with three openings in each face, separated by massive pilasters, some ornamented with hieroglyphics and some ornamented with human figures. The frieze is also covered with human figures, and amongst those still visible Stephens mentions a head and two torsos, which, in their perfection of form, recall Greek art. The openings, all at right angles, lead into an inside gallery communicating with three little rooms. The central one of these rooms contains an altar, which fairly represents an open chest, ornamented with a little frieze with a margin. From the two upper extremities of this frieze springs two wings, recalling the mode of ornamentation so often employed in the pediments of Egyptian monuments.
Above the altar was originally placed the tablet of the cross, which was afterward torn from its position by the hand of a fanatic, who chose to see in it the sacred sign of the Christian faith, miraculously preserved by the ancient inhabitants of the palace. The tablet was taken down and then abandoned, we know not why, in the midst of the forest covering part of the ruins. Here it was that the Americans discovered part of it, took possession of it, and carried it to Washington, where it forms part of the collection of the National Museum. The center represents a cross, resting upon a hideous figure, and surmounted by a grotesque bird. On the right, a figure on foot is offering presents; on the left, another figure, in a stiff attitude seems to be praying to the divinity. The costume of these two persons is unlike any that is now in use; and above their heads we can make out several hieroglyphical characters. A slab on the right is also covered with them. In the present state of knowledge it is impossible to make out whether these inscriptions are prayers to the gods, the history of the country or that of the temple, the name or the dedication of the founders.
At the end of the sanctuary recently discovered near Palenque by Maler, are three slabs of sculptured stone in low relief. On the right and left are hieroglyphics; in the center a cross, surmounted by a head of strange appearance, wearing around the neck a collar with a medallion; above this head is a bird, and on either side are figures exactly like those of the temple of the cross. Evidently this was a hieratic type, from which the artist was not allowed to depart. * * *
We cannot leave the ruins of Palenque without mentioning a statue, remarkable for more than one reason. The calm and smiling expression of the face resembles that of some of the Egyptian statues; the head-dress is a little like that of the Assyrians; there is a necklace around the neck; the figure presses upon its bosom an instrument and rests its left hand upon an ornament, the meaning of both of which it is difficult to imagine. The plinth of the statue has a cartouch with a hieroglyphical inscription, probably giving the name of the god or hero to whom it was dedicated. There is a very distinct resemblance in some of these hieroglyphics to those of Egypt.[[17]]
In concluding an extended description of the ruins of Palenque, Bancroft says:
I close my account of Maya antiquities with the following brief quotations respecting Palenque, and the degree of art exhibited in her ruined monuments: "These sculptured figures are not caricatures, but display an ability on the part of the artists to represent the human form in every posture, and with anatomical fidelity. Nor are the people in human life here delineated. The figures are royal or priestly; some are engaged in offering up sacrifices, or are in an attitude of devotion; many hold a sceptre, or token baton of authority, their apparel is gorgeous; their head-dresses are elaborately arrayed, and decorated with long feathers."[[18]] "Many of the reliefs exhibit the finest and most beautiful outlines, and the neatest combinations which remind one of the best Indian works of art." "The ruins of Palenque have been perhaps overrated; these remains are fine, doubtless, in their antique rudeness; they breathe out in the midst of their solitude a certain imposing grandeur; but it must be affirmed, without disputing their architectural importance, that they do not justify in their details the enthusiasm of archaeologists. The lines which make up the ornamentation are faulty in rectitude; the designs in symmetry; the sculpture in finish; I except, however, the symbolic tablets, the sculpture of which seemed to me very correct." "I admire the bas-reliefs of Palenque on the facades of her old palaces; they interest me, move me, and fill my imagination; but let them be taken to the Louvre, and I see nothing but rude sketches which leave me cold and indifferent." "The most remarkable remains of an advanced ancient civilization hitherto discovered on our continent." "Their general characteristics are simplicity, gravity, and solidity."[[19]] "While superior in the execution of the details, the Palenque artist was far inferior to the Egyptian in the number and variety of the objects displayed by him."[[20]]
Mr. John L. Stephens, whose comments upon the cities he visited in Central America, are always interesting, remarks of the ruins of Palenque:
What we had before our eyes was grand, curious, and remarkable enough. Here were the remains of a cultivated, polished, and peculiar people, who had passed through all the stages incident to the rise and fall of nations; reached their golden age, and perished, entirely unknown. The links which connected them with the human family were severed and lost, and these were the only memorials of their footsteps upon earth. We lived in the ruined palaces of their kings; we went up to their desolate temples and fallen altars; and wherever we moved we saw the evidences of their taste, their skill in arts, their wealth and power. In the midst of desolation and ruin we looked back to the past, cleared away the gloomy forest, and fancied every building perfect, with its terraces and pyramids, its sculptured, and painted ornaments, grand, lofty, and imposing, and overlooking an immense inhabited plain; we called back into life the strange people who gazed at us in sadness from the walls; pictured them, in fanciful costumes and adorned with plumes of feathers, ascending the terraces of the palace and the steps leading to the temples; and often we imagined a scene of unique and gorgeous beauty and magnificence, realizing the creations of Oriental poets, the very spot which fancy would have selected for the "Happy Valley" of Rasselas. In the romance of the world's history nothing ever impressed me more forcibly than the spectacle of this once great and lovely city, overturned, desolate, and lost; discovered by accident, overgrown with trees for miles around, and without even a name to distinguish it. Apart from everything else, it was a mourning witness to the world's mutations:—
* * * * * *
"'Nations melt
From power's high pinnacle, when they have felt
The sunshine for a while, and downward go.'"[[21]]
Footnotes
[1]. History of United States, Marcus Wilson, Book I, American Antiquities, p. 94.