We have already called this edifice the Temple, believing it not to have been originally a palace. This distinction is nearly defined from the fact that hieroglyphics are found upon the edifice: for hieroglyphics (i. e., sacred and symbolical writing) constitute the Religious language of nearly all the ancient nations,—but of Egypt especially. The language of Religion and the Hieratic (that of the priests) were placed upon the sacred edifices, and being so placed, proved them to be Temples. Those languages were, also, painted upon mummy-cloths and coffins, or sculptured upon the outward granite Sarcophagii,—the Egyptians holding the rights of Sepulture in the most sacred estimation; for those rights were only granted upon a public investigation of the character of the deceased, and a general verdict in his favour. This post-mortem examination of character even the king was not exempt from, and the poorest subject of Egypt could bring his accusation against the deceased monarch; with the privilege of sustaining his charges by facts and argument,—for by the laws of Egypt every Egyptian was considered equal and noble with his countrymen,—Character and Talent being the only distinctions to entitle the deceased to sepulture, and the hieroglyphical inscriptions to perpetuate a name. The King of Egypt might (and it was a custom) build his own monument and Sarcophagus, inscribe them with his victories and virtues; but his body (after death) would not be placed within, unless at the public ordeal upon his life and character the People should grant permission.
If such a custom obtained at the present day, how many lying tomb-stones and monumental effigies would escape the charge of falsehood; and how many unrecorded possessors of talent and character, would breathe in marble for the imitation of their posterity!
The Enchorial language (i. e. the common or spoken) was not placed (alone) on sacred edifices: therefore its absence on a building almost demonstrates that building to have been erected and adorned for sacred purposes. Upon this consideration we shall view the great edifice of Palenque,—as the Temple, and not the Palace. And, it might naturally be asked if this is a Palace, where is the Temple?—for in all ancient nations the Temple of worship was always the grandest edifice of a metropolis: the same custom is still continued in more modern times,—Rome has its St. Peter's, and London its St. Paul's.
The hieroglyphics on the Altar and Idols of Copan (vide last Section) in a similar manner demonstrate those sculptures to be of a Religious character, but that fact does not preclude the association of Historical events,—they were so introduced and incorporated by the Egyptians and the ancients, in order to deify those events;—and by thus rendering a sacristy of character to the hero, or the glory, to give them both (in their belief) an earthly, or rather a celestial immortality!
Herodotus states (ii. § 36) that the hieratic (priests) and the demotic (common) were the two written languages of Egypt,—these two were apart from the hieroglyphical or symbolical language. Diodorus Siculus (iii., § 3) supports his predecessor, and says that the former (hieratic) was used only by the priests,—while the latter (i. e. the Enchorial or demotic) was used in common by all the Egyptians,—i. e., that it was the spoken language of the country, and, as already shewn, not used upon sacred edifices. From these facts, derived from ancient custom, may be gathered why the ciphers of the common language of the Mexican Aborigines are not found upon their Temples; and as a consequence, the absence of the spoken language upon those Temples proves them (from the ancient custom) to have been erected at a period when that peculiar custom was practised; and therefore, (apart from other considerations) the time of their erection must be viewed at a remote antiquity.
"It (the stucco) was painted, and in different places about we discovered the remains of red, blue, yellow, black, and white."
In the language of the Fine Arts "black and white" are not received as colours—they are merely accessories. Red, Blue, and Yellow, are the three; and the only primitive earth-colours, and by their amalgamation in certain proportions (aided by the subordinates, black and white) all secondary colours—or tints strictly speaking—are produced. The Rainbow possesses but three primitive colours; but by their juxtaposition and refractions, the purple, orange, green, and violet are produced.
Titian painted a picture in which he used only the three primitives; but taking the Rainbow for his mistress in colouring, he so arranged the juxtapositions of the original and "divine three," that the cloud-created Iris might well be jealous of the triple tints of Titian!
No greater proof could be given of antiquity, than the discovery that the Mexican Aborigines were ignorant of the art of mixing colours—for the three primitives only, and not the secondary colours—are found upon the Temples. The "Tyrian dye" or purple, was not extracted from the earth, but from the Sea, from a shell-fish, since called the purple murex.
For ages it was believed that the Rainbow possessed seven colours. Science has proved that it contains but three. Nature has no more: and without even alluding to other religious opinions—the Trinity is even figured in the Rainbow: and the Divine Arch viewed in this figurative manner, has indeed the Eye of the Almighty upon it—the Three in One—it is not only the "Covenant," but the Type of Salvation from the Father to his children!