Figure 57.
The centre (fig. [51]) exhibits on a square the five-dot figure, and the square, in turn, is enclosed in a circle; the whole symbolism relating to the now well-worn theme of the centre and four quarters and the union of the earth=the square and the heaven=the circle. It clearly exhibits a skull attached to each limb, typifying the four quarters or the clans and their chiefs, whilst the hands hold the larger heads, emblematic of supreme dual rulership. It is interesting to [pg 261] find that the above carving, under the feet of the sculptured figure, embodies the entire meaning of the statue, which is but a variation of the native philosophical theme of “Divine Twain” or Quetzalcoatl. Two serpents' heads surmount a semi-human body and meeting form the semblance of two single faces turned to the front and back of the statue. By this ingenious device the unity, yet duality of the divine twin is graphically rendered and one-half of each countenance is represented as belonging to each serpent. These are thus shown to be indissolubly linked together, yet distinct. Their single, yet dual head has four eyes, eight fangs and two forked tongues. The figure and skirt composed of intertwined rattlesnakes, constitute feminine attributes given to the symbolical figure of the “twin-lord and twin-lady,” the “father and mother of all.” Instead of hands the arms terminate in serpents' heads and the huge feet in great claws.
Between these, in the front and at the back, a rattlesnake's body and head appear. The belt consists of a large snake whose head and tail hang down in front, as the ends of a bow. A skull is attached to the front and another to the back of the belt. In the latter case it surmounts a fan-shaped, curiously plaited ornamental appendage partly decorated with feathers. Forming a sort of necklace in front are four hands, i. e. 4×5=20 and two conventionalized hearts. At the back there are two hands and two hearts and an intricate knot which fastens the necklace, the real meaning of which is far from what it may appear to be. It probably signified the same as the painted hearts and hands on ceremonial garments of which Sahagun tells us that “they meant that the people who wore them lifted their hearts and hands to the Creator to implore for rain and food.” At the same time, the arrangement in front clearly reveals the sculptor's allusion to the head, two hearts, four hands and twenty fingers, which symbolize these familiar numerical divisions. An indication that this symbolical statue was probably designed and executed by the same master who made the circular stone of the Great Plan, is furnished by the calendar sign 13 Acatl, which is carved under the skull at the back of the figure.
Deferring an investigation of the significance of this date, I shall now draw attention to what is to me the most interesting and important feature of the whole image. The view of the top of the two heads, as may be seen by the accompanying reproduction [pg 262] from a photograph (fig. [58]) exhibits, at their line of union, a small square with diagonal cross-lines. The position of this symbol which resembles the top view of a pyramid and forms, as it were, the apex of the statue, every detail of which is deeply symbolical, clearly reveals the sanctity and importance attached to this graphic image of the Centre, the union of four in one or vice versa, the theme on which the native mind played numberless and endless variations.
A reflection, again forced upon one in studying the monumental composite image of the dual and quadruple forces of nature, is that it must have been as intelligible to a Maya as to a Mexican, and conveyed the conception of Kukulcan to the one and Quetzalcoatl to the other. Several facts point, however, to the greater probability that the original conception of the monument must have arisen amongst Maya-speaking people.
Figure 58.