The North Americans of Antiquity / Their origin, migrations, and type of civilization considered

by John T. Short

The Cara Gigantesca.

At Izamel, the burial-place of the culture-hero Zamna, a remarkable example of aboriginal sculpture is found upon the side of a mound now enclosed in a private court-yard. This specimen of art, known as the Cara gigantesca, or gigantic face, measures seven feet in width and seven feet eight inches in height. “The features were first rudely formed by small rough stones, fixed in the side of the mound by means of mortar, and afterwards perfected with a stucco so hard that it has successfully resisted for centuries the action of air and water.” The accompanying cut from Mr. Bancroft’s work will show the type of features.

The subject of Maya sculpture is almost a limitless one, but we trust that the above-cited examples may give the reader a comprehensive acquaintance with the existing types. The sculpture of Copan is no less remarkable than its architecture. In fact, every object bore the skillful marks of the graver’s chisel. The great number of sculptured obelisks, pillars and idols have been the wonder of every reader of Mr. Stephens’ description. Since his work is so generally known, we refrain from presenting more than one example of Copan art. In the accompanying cut employed in Mr. Bancroft’s work the elaborateness of the sculpture will be observed, and may well be pronounced a marvel of aboriginal art.

Copan Statue.

But for the perfectly horizontal position of the eyes, the aspect of some of the faces represented by Stephens would strike us as having a Mongolian cast. The magnificently sculptured hieroglyphics which cover the sides and backs of these huge idols, no doubt could tell the sealed story of Copan’s greatness and the attributes of its many gods, were the key once discovered. Everything is covered with these significant symbols, differing slightly from those at Palenque; but who will read them? In the court of the temple, a solid block of stone six feet square and four feet high, resting on four globular stones was sketched by Catherwood, and pronounced an altar by Stephens. Sixteen figures in profile, with turbaned heads, breast-plates, and each seated cross-legged on hieroglyphic-like cushions, are sculptured in low-relief, four figures being on each side of the block. The top of the altar is covered with thirty-six squares of hieroglyphics, shown in a cut on a future page. Besides numbers of masks, effigies and rows of death’s heads at Copan, there are sculptures of the face which we may believe to have been portraits. The Copan sculpture is generally admitted to be of a high order, and Stephens thinks it unsurpassed in Egypt. The receding forehead of most of the portraits have excited general interest, and are believed to be delineations of the priestly or aristocratic type. No weapons are sculptured at Copan, but on the contrary altars abound in considerable numbers, especially in front of the sculptured obelisks or idols. The presumption is therefore strong that this was a religious centre, unmolested by any enemy, and undisturbed by the alarm of war.[575]

Figure from Monte Alban.

Nahua Sculpture.—The Nahua sculpture is not of as high an order nor of as frequent occurrence as that of the Mayas. At Monte Alban in Oajaca, in a gallery within a mound, Castañeda sketched the sculptured profile shown in the accompanying cut, employed in Mr. Bancroft’s work. It is cut upon the face of a granite block about three feet square, and is interesting because of the Chinese-like queue which hangs from the figure’s head. At Mitla the grecques and arabesques which cover the façades of the several edifices are not sculptured, except in cases where large stones serve as lintels over doorways. On them the running borders are sculptured in low-relief, while the remainder of the profuse ornamentation is of the nature of mosaic work, being built into the wall.

Several minor objects of sculpture found in the States of Oajaca and Vera Cruz might be cited, but their interest for the reader would be too insignificant to justify a description.[576] One of the principal objects of this class and much superior to any of the others is a grotesque fountain cut in the living rock at Tusapan. The statue is that of a woman in a kneeling posture, and measures nineteen feet in height. The waters of a neighboring spring formerly ran into a basin formed among the plumes of the female’s head-dress, from which it found its way through the entire length of the figure, and flowed forth from beneath her skirts.[577] At Panuco the traditional point of the arrival of the Nahuas, several rude limestone statues were found, some of which have been figured in the Journal of the London Geographical Society, by Mr. Vetch, one of which is copied by Mr. Bancroft.[578] The marked features of these statues is the elaborateness of the style of head-dress worn. We cannot see that they are far removed in their style from similar statues dug from mounds in the Mississippi Valley. In the State of Puebla, at various points, especially at Tepexe el Viejo, at Tepeaca, and at Quanhquelchula, minor sculptures of animals, birds, reptiles, monsters, etc., were observed by Dupaix.[579] Rattlesnakes were found plentiful both in sculptures and in a state of nature. At Cuernavaca, in the State of Mexico, numerous boulder-sculptures, finely executed in low-relief, exist. Dupaix has figured and Bancroft copied one in particular, showing a beautiful coat-of-arms, sculptured on the smooth face of a huge boulder. A circle of arrows and Maltese cross which compose them, are all symbolical of power.[580] Similar coats-of-arms were observed in the State of Puebla. Probably the most remarkable sculpture found in the country occupied by the Nahuas, is that upon the walls of the pyramid of Xochicalco, illustrated on a preceding page.[581] Most of the sculptures are of colossal dragons’ heads, which occur at each of the corners. Human figures, seated cross-legged and holding something like the Assyrian sun symbol in the left are found on the frieze, though some observers have considered this figure to be that of a curved cross-hilted sword, a weapon never employed by the Nahuas. The elaborate head-dresses and strings of enormous pearls worn by the seated figures bear a striking resemblance to the stuccoes of Palenque. At Xochimilco on the western shore of Lake Chalco, Dupaix found several interesting specimens of ancient sculpture.[582] The most celebrated article of Aztec sculpture, unquestionably, is the calendar-stone, which, together with the so-called sacrificial stone and the idol Teoyaomiqui, was in December, 1790, dug up in the Plaza Mayor, in the city of Mexico, on the supposed site of the great teocalli, destroyed by the conquerors. The calendar-stone, now built into the wall of the cathedral, where it can be seen by all passers-by, is a rectangular block of porphyry, thirteen feet one inch square and three feet three inches thick, and of the enormous estimated weight of twenty-four tons. The sculptured portion of the block, on the exposed face, is contained in a circle, eleven feet one inch and four-fifths of an inch in diameter. The regularity and geometrical precision with which the figures are executed called forth enthusiastic admiration from Humboldt, and has been the source of equal wonderment to many later observers. Our cut is a reproduction of Charnay’s photograph, by means of the photo-engraving process, and may be relied upon as absolutely correct. Prescott considers that the original weight of the block before it was mutilated must have been nearly fifty tons; and as no similar stone is found within a radius of twenty-five miles of Mexico, that it must have been brought from the mountains beyond Lake Chalco.[583] Some remarks upon the Aztec calendar will be found in the following chapter. The sacrificial stone is a cylindrical block of porphyry, nine feet ten inches in diameter and three feet seven inches thick, and is now lying in the courtyard of the University of Mexico. If the reader will imagine the border of the calendar-stone outside of the eight triangular points removed entirely, will substitute a concave basin in the place of the central face or sun, also instead of all the calendar signs intervening between the face and the circle, upon which the base of the four principal triangular figures rest, will imagine the existence of several concentric circles not unlike strings of beads, he will have a general idea of the top of the stone. We should not omit to state that a groove or channel leads from the central basin to the outer circumference. The use of the stone is a matter of controversy, Humboldt considering it the gladiatorial stone, Gama a calendar-stone, and Tylor that it was an altar on which animals were sacrificed. Fifteen groups of two human figures, each dressed in the insignia of royalty, are sculptured around its circumference. Bancroft, as well as several others, give cuts of the stone and sculptures. The horrid monster Teoyaomiqui—goddess of death—is sculptured in high-relief on a block of porphyry ten feet high and six feet wide and thick. Probably no mythology nor all the mythologies of the world besides could produce so hideous and unsightly a combination of reptile, human and infernal forms, as make up the three sides of this idol.[584] Mr. Bancroft first figured the beautiful earthen burial vase dug up in the Plaza Tlatelulco and sketched by Col. Mayer. It is twenty-two inches high and fifteen and a half inches in diameter; a closely fitting lid most chastely sculptured covered it, as will be seen in the accompanying cut.