Fig. 2 (a photographic reduction from Waldeck) presents us with a subject which has called forth no little discussion. The “elephant’s trunk” which protrudes from the elaborate head-dress of the priest has been thought to indicate an Asiatic influence.[555] We have already referred to the frequent occurrence of the “elephant trunk” ornament in Yucatan. The hieroglyphic signs at the top and on the faces of these reliefs no doubt hold locked up in their mysterious symbols the history of the scene.
In all of these reliefs the flattened cranial type is present, and no doubt represents the ideal of beauty among those ancient people. The stuccoes appear to have been moulded upon the undercoating of cement after it had become hard. The brush of the painter was then employed in its final embellishment.[556] Adjacent to the eastern stairway leading downward into the main court of the palace are great stone slabs, forming a surface on each side of the steps fifty feet long by eleven feet high. Waldeck, Stephens and Bancroft furnish views of gigantic human figures sculptured in low relief upon these surfaces. Both the attitudes and expressions portrayed indicate that the groups represented are either captives or possibly victims for sacrifice.[557] On the opposite side of the court, and on the stone face of the balustrade of a stairway, two figures, male and female, are sculptured, which, according to Waldeck, are of the Caucasian type. The same artist has shown the beautiful grecques which adorn the panels of the cornice.[558] Waldeck and Bancroft have figured a remarkable stone tablet of elliptical form, in which a princely personage is represented as sitting cross-legged on a chair formed of a double-headed animal, pronounced by Stephens to resemble a leopard. Catherword’s plate, in Morelet’s Travels, shows an ornament suspended from the neck of the chief figure resembling an effigy of the sun, while in Waldeck’s drawing the Egyptian Tau is graven upon the ornament.[559] The accompanying cut shows Waldeck’s drawing (employed by Mr. Bancroft).
Sculptured Tablet in the Palace.
Four hundred yards south of the palace stands the ruins of a pyramid and temple, which, at the time of Dupaix’s and of Waldeck’s visits were in a good state of preservation, but quite dilapidated when seen by Charnay. The temple faces the east, and on the western wall of its inner apartment, itself facing the eastern light, is found (or rather was, for it has now entirely disappeared) the most beautiful specimen of stucco relief in America. M. Waldeck, with the critical insight of an experienced artist, declares it “worthy to be compared to the most beautiful works of the age of Augustus.” He therefore named the temple the Beau Relief. The above cut is a reduction from Waldeck’s drawing used in Mr. Bancroft’s work, and is very accurate. However, the peculiar beauty of Waldeck’s drawing is such that it must be seen in order to be fully appreciated.
Beau Relief in Stucco.
It is scarcely necessary for us to call the reader’s attention to the details of this picture, in which correctness of design and graceful outlines predominate to such an extent that we may safely pronounce the beautiful youth who sits enthroned on his elaborate and artistic throne, the American Apollo. In the original drawing the grace of the arms and wrists is truly matchless, and the chest muscles are displayed in the most perfect manner. The embroidered girdle and folded drapery of the figure, as well as the drapery around the leopards’ necks, are arranged with taste. The head-dress is not unlike a Roman helmet in form, with the addition of numerous plumes. The sandals of the feet are secured by a cord and rosette, while ornaments on the animals’ ankles seem secured by leather straps. The engraving does not do justice to the face-like ornament suspended by the string of pearls upon the youth’s breast. In the original drawing it is quite beautiful, and of a female cast.[560]
The next subject of interest to the student of sculpture is found in the Temple of the Cross, in the inmost sanctuary of all, and is known as the Tablet of the Cross. Three stones cover most of the surface of the rear wall of the sanctum sanctorum, and present an area six feet four inches high by ten feet eight inches wide. The central of the three stones bears the celebrated sculpture of the cross which has excited so much interest and comment, to say nothing of speculation as to its origin. The cut is a photographic reduction from Waldeck’s drawing. A priest and priestess appear to be offering an infant to an ugly bird which stands perched upon the cross. The infant’s face is completely hid by a fantastic mask or cap. The expression of pain on the faces of the officiating personages is very marked. The symmetry of proportion employed in the sculpture is conceded by all observers. The two lateral stones (the left-hand one being shown in our cut) are covered with hieroglyphics, which begin at the left-hand upper corner with a large capital letter. Some one had removed the central stone from its position prior to Waldeck’s visit, and conveyed it to a point in the forest not far distant. Stephens also found it in the same locality. By referring to the hieroglyphic tablet at the left of the cross it will be observed that just below the large initial letter or word is a threefold hieroglyphic, while seven others in the same column are double. This would indicate, we should think, that the characters were read from the top downwards, though it is possible that the lines were read horizontally, each line beginning with a capital as in poetry.[561]
