The Myths of Mexico & Peru (Illustrated) (Myths and Legends of the Ancient World Book 5)

by Spence,Lewis

  “The God with the Ornamented Nose”

  God K is scientifically known as “the god with the ornamented nose,” and is probably closely related to god B. Concerning him no two authorities are at one, some regarding him as a storm-god, whose proboscis, like that of Kukulcan, is intended to represent the blast of the tempest. But we observe certain stellar signs in connection with K which would go to prove that he is, indeed, one of the Quetzalcoatl group. His features are constantly to be met with on the gateways and corners of the ruined shrines of Central America, and have led many “antiquarians” to believe in the existence of an elephant-headed god, whereas his trunk-like snout is merely a funnel through which he emitted the gales over which he had dominion, as a careful study of the pinturas shows, the wind being depicted issuing from the snout in question. At the same time, the snout may have been modelled on that of the tapir. “If the rain-god Chac is distinguished in the Maya manuscript by a peculiarly long nose curving over the mouth, and if in the other forms of the rain-god, to which, as it seems, the name of Balon Zacab belongs, the nose widens out and sends out shoots, I believe that the tapir which was employed identically with Chac, the Maya rain-god, furnished the model,” says Dr. Seler. Is K, then, the same as Chac? Chac bears every sign of affinity with the Mexican rain-god Tlaloc, whose face was evolved from the coils of two snakes, and also some resemblance to the snouted features of B and K. But, again, the Mexican pictures of Quetzalcoatl are not at all like those of Tlaloc, so that there can be no affinity between Tlaloc and K. Therefore if the Mexican Tlaloc and the Maya Chac be identical, and Tlaloc differs from Quetzalcoatl, who in turn is identical with B and K, it is clear that Chac has nothing to do with K.

  The Old Black God

  God L Dr. Schellhas has designated “the Old Black God,” from the circumstance that he is depicted as an old man with sunken face and toothless gums, the upper, or sometimes the lower, part of his features being covered with black paint. He is represented in the Dresden MS. only. Professor Cyrus Thomas, of New York, thinks that he is the god Ekchuah, who is traditionally described as black, but Schellhas fits this designation to god M. The more probable theory is that of Förstemann, who sees in L the god Votan, who is identical with the Aztec earth-god, Tepeyollotl. Both deities have similar face markings, and their dark hue is perhaps symbolical of the subterranean places where they were supposed to dwell.

  The Travellers’ God

  God M is a veritable black god, with reddish lips. On his head he bears a roped package resembling the loads carried by the Maya porter class, and he is found in violent opposition with F, the enemy of all who wander into the unknown wastes. A god of this description has been handed down by tradition under the name of Ekchuah, and his blackness is probably symbolical of the black or deeply bronzed skin of the porter class among the natives of Central America, who are constantly exposed to the sun. He would appear to be a parallel to the Aztec Yacatecutli, god of travelling merchants or chapmen.

  The God of Unlucky Days

  God N is identified by Schellhas with the demon Uayayab, who presided over the five unlucky days which it will be recollected came at the end of the Mexican and Maya year. He was known to the Maya as “He by whom the year is poisoned.” After modelling his image in clay they carried it out of their villages, so that his baneful influence might not dwell therein.

  Goddess O is represented as an old woman engaged in the avocation of spinning, and is probably a goddess of the domestic virtues, the tutelar of married females.

  The Frog-God

  God P is shown with the body and fins of a frog on a blue background, evidently intended to represent water. Like all other frog-gods he is, of course, a deity of water, probably in its agricultural significance. We find him sowing seed and making furrows, and when we remember the important part played by frog deities in the agriculture of Anahuac we should have no difficulty in classing him with these. Seler asserts his identity with Kukulcan, but no reason except the circumstance of his being a rain-god can be advanced to establish the identity. He wears the year-sign on his head, probably with a seasonal reference.

  Maya Architecture

  It was in the wonderful architectural system which it developed without outside aid that the Maya people most individually expressed itself. As has been said, those buildings which still remain, and which have excited the admiration of generations of archæologists, are principally confined to examples of ecclesiastical and governmental architecture, the dwellings of the common people consisting merely of the flimsiest of wattle-and-daub structures, which would fall to pieces shortly after they were abandoned.

  Buried in dense forests or mouldering on the sun-exposed plains of Yucatan, Honduras, and Guatemala, the cities which boasted these edifices are for the most part situated away from modern trade routes, and are not a little difficult to come at. It is in Yucatan, the old home of the Cocomes and Tutul Xius, that the most perfect specimens of Maya architecture are to be found, especially as regards its later development, and here, too, it may be witnessed in its decadent phase.

  Methods of Building

  The Maya buildings were almost always erected upon a mound or ku, either natural or artificial, generally the latter. In this we discover affinities with the Mexican teocalli type. Often these kus stood alone, without any superincumbent building save a small altar to prove their relation to the temple type of Anahuac. The typical Maya temple was built on a series of earth terraces arranged in exact parallel order, the buildings themselves forming the sides of a square. The mounds are generally concealed by plaster or faced with stone, the variety employed being usually a hard sandstone, of which the Maya had a good supply in the quarries of Chiapas and Honduras. Moderate in weight, the difficulty of transport was easily overcome, whilst large blocks could be readily quarried. It will thus be seen that the Maya had no substantial difficulties to surmount in connection with building the large edifices and temples they raised, except, perhaps, the lack of metal tools to shape and carve and quarry the stone which they used. And although they exhibit considerable ingenuity in such architectural methods as they employed, they were still surprisingly ignorant of some of the first essentials and principles of the art.

  No Knowledge of the Arch

  For example, they were totally ignorant of the principles upon which the arch is constructed. This difficulty they overcame by making each course of masonry overhang the one beneath it, after the method employed by a boy with a box of bricks, who finds that he can only make “doorways” by this means, or by the simple expedient—also employed by the Maya—of placing a slab horizontally upon two upright pillars. In consequence it will readily be seen that the superimposition of a second story upon such an insecure foundation was scarcely to be thought of, and that such support for the roof as towered above the doorway would necessarily require to be of the most substantial description. Indeed, this portion of the building often appears to be more than half the size of the rest of the edifice. This space gave the Maya builders a splendid chance for mural decoration, and it must be said they readily seized it and made the most of it, ornamental façades being perhaps the most typical features in the relics of Maya architecture.

  Pyramidal Structures

  But the Maya possessed another type of building which permitted of their raising more than one story. This was the pyramidal type, of which many examples remain. The first story was built in the usual manner, and the second was raised by increasing the height of the mound at the back of the building until it was upon a level with the roof—another device well known to the boy with the box of bricks. In the centre of the space thus made another story could be erected, which was entered by a staircase outside the building. Hampered by their inability to build to any appreciable height, the Maya architects made up for the deficiency by constructing edifices of considerable length and breadth, the squat appearance of which is counterbalanced by the beautiful mural decoration of the sides and façade.

  Defini
teness of Design

  He would be a merely superficial observer who would form the conclusion that these specimens of an architecture spontaneously evolved were put together without survey, design, or previous calculation. That as much thought entered into their construction as is lavished upon his work by a modern architect is proved by the manner in which the carved stones fit into one another. It would be absurd to suppose that these tremendous façades bristling with scores of intricate designs could have been first placed in position and subsequently laden with the bas-reliefs they exhibit. It is plain that they were previously worked apart and separately from one entire design. Thus we see that the highest capabilities of the architect were essential in a measure to the erection of these imposing structures.

  Architectural Districts

  Although the mason-craft of the Maya peoples was essentially similar in all the regions populated by its various tribes and offshoots, there existed in the several localities occupied by them certain differences in construction and ornamentation which would almost justify us in dividing them into separate architectural spheres. In Chiapas, for example, we find the bas-relief predominant, whether in stone or stucco. In Honduras we find a stiffness of design which implies an older type of architecture, along with caryatides and memorial pillars of human shape. In Guatemala, again, we find traces of the employment of wood. As the civilisation of the Maya cannot be well comprehended without some knowledge of their architecture, and as that art was unquestionably their national forte and the thing which most sharply distinguished them from the semi-savage peoples that surrounded them, it will be well to consider it for a space as regards its better-known individual examples.

  Fascination of the Subject

  He would indeed be dull of imagination and of spirit who could enter into the consideration of such a subject as this without experiencing some thrill from the mystery which surrounds it. Although familiarised with the study of the Maya antiquities by reason of many years of close acquaintance with it, the author cannot approach the theme without a feeling of the most intense awe. We are considering the memorials of a race isolated for countless thousands of years from the rest of humanity—a race which by itself evolved a civilisation in every respect capable of comparison with those of ancient Egypt or Assyria. In these impenetrable forests and sun-baked plains mighty works were raised which tell of a culture of a lofty type. We are aware that the people who reared them entered into religious and perhaps philosophical considerations their interpretations of which place them upon a level with the most enlightened races of antiquity; but we have only stepped upon the margin of Maya history. What dread secrets, what scenes of orgic splendour have those carven walls witnessed? What solemn priestly conclave, what magnificence of rite, what marvels of initiation, have these forest temples known? These things we shall never learn. They are hidden from us in a gloom as palpable as that of the tree-encircled depths in which we find these shattered works of a once powerful hierarchy.

  Part of the Palace and Tower, Palenque

  Photo C. B. Waite, Mexico

  Mysterious Palenque

  One of the most famous of these ancient centres of priestly domination is Palenque, situated in the modern state of Chiapas. This city was first brought into notice by Don José Calderon in 1774, when he discovered no less than eighteen palaces, twenty great buildings, and a hundred and sixty houses, which proves that in his day the primeval forest had not made such inroads upon the remaining buildings as it has during the past few generations. There is good evidence besides this that Palenque was standing at the time of Cortés’ conquest of Yucatan. And here it will be well at once to dispel any conception the reader may have formed concerning the vast antiquity of these cities and the structures they contain. The very oldest of them cannot be of a date anterior to the thirteenth century, and few Americanists of repute would admit such an antiquity for them. There may be remains of a fragmentary nature here and there in Central America which are relatively more ancient. But no temple or edifice which remains standing can claim a greater antiquity.

  Palenque is built in the form of an amphitheatre, and nestles on the lowest slopes of the Cordilleras. Standing on the central pyramid, the eye is met by a ring of ruined palaces and temples raised upon artificial terraces. Of these the principal and most imposing is the Palace, a pile reared upon a single platform, forming an irregular quadrilateral, with a double gallery on the east, north, and west sides, surrounding an inner structure with a similar gallery and two courtyards. It is evident that there was little system or plan observed in the construction of this edifice, an unusual circumstance in Maya architecture. The dwelling apartments were situated on the southern side of the structure, and here there is absolute confusion, for buildings of all sorts and sizes jostle each other, and are reared on different levels.

  Our interest is perhaps at first excited by three subterraneous apartments down a flight of gloomy steps. Here are to be found three great stone tables, the edges of which are fretted with sculptured symbols. That these were altars admits of little doubt, although some visitors have not hesitated to call them dining-tables! These constitute only one of the many puzzles in this building of 228 feet frontage, with a depth of 180 feet, which at the same time is only about 25 feet high!

  On the north side of the Palace pyramid the façade of the Palace has crumbled into complete ruin, but some evidences of an entrance are still noticeable. There were probably fourteen doorways in all in the frontage, with a width of about 9 feet each, the piers of which were covered with figures in bas-relief. The inside of the galleries is also covered at intervals with similar designs, or medallions, many of which are probably representations of priests or priestesses who once dwelt within the classic shades and practised strange rites in the worship of gods long since forgotten. One of these is of a woman with delicate features and high-bred countenance, and the frame or rim surrounding it is decorated in a manner recalling the Louis XV style.

  The east gallery is 114 feet long, the north 185 feet, and the west 102 feet, so that, as remarked above, a lack of symmetry is apparent. The great court is reached by a Mayan arch which leads on to a staircase, on each side of which grotesque human figures of the Maya type are sculptured. Whom they are intended to portray or what rite they are engaged in it would indeed be difficult to say. That they are priests may be hazarded, for they appear to be dressed in the ecclesiastical maxtli (girdle), and one seems to be decorated with the beads seen in the pictures of the death-god. Moreover, they are mitred.

  The courtyard is exceedingly irregular in shape. To the south side is a small building which has assisted our knowledge of Maya mural decoration; especially valuable is the handsome frieze with which it is adorned, on which we observe the rather familiar feathered serpent (Kukulcan or Quetzalcoatl). Everywhere we notice the flat Maya head—a racial type, perhaps brought about by deformation of the cranium in youth. One of the most important parts of the Palace from an architectural point of view is the east front of the inner wing, which is perhaps the best preserved, and exhibits the most luxurious ornamentation. Two roofed galleries supported by six pillars covered with bas-reliefs are reached by a staircase on which hieroglyphic signs still remain. The reliefs in cement are still faintly to be discerned on the pillars, and must have been of great beauty. They represent mythological characters in various attitudes. Above, seven enormous heads frown on the explorer in grim menace. The effect of the entire façade is rich in the extreme, even in ruin, and from it we can obtain a faint idea of the splendours of this wonderful civilisation.

  An Architectural Curiosity

  One of the few towers to be seen among the ruins of Maya architecture stands at Palenque. It is square in shape and three stories in height, with sloping roof, and is not unlike the belfry of some little English village church.

  The building we have been describing, although traditionally known as a “palace,” was undoubtedly a great monastery or ecclesiastical habitation. Indeed, th
e entire city of Palenque was solely a priestly centre, a place of pilgrimage. The bas-reliefs with their representations of priests and acolytes prove this, as does the absence of warlike or monarchical subjects.

  The Temple of Inscriptions

  The Temple of Inscriptions, perched on an eminence some 40 feet high, is the largest edifice in Palenque. It has a façade 74 feet long by 25 feet deep, composed of a great gallery which runs along the entire front of the fane. The building has been named from the inscriptions with which certain flagstones in the central apartment are covered. Three other temples occupy a piece of rising ground close by. These are the Temple of the Sun, closely akin in type to many Japanese temple buildings; the Temple of the Cross, in which a wonderful altar-piece was discovered; and the Temple of the Cross No. II. In the Temple of the Cross the inscribed altar gave its name to the building. In the central slab is a cross of the American pattern, its roots springing from the hideous head of the goddess Chicomecohuatl, the Earth-mother, or her Maya equivalent. Its branches stretch to where on the right and left stand two figures, evidently those of a priest and acolyte, performing some mysterious rite. On the apex of the tree is placed the sacred turkey, or “Emerald Fowl,” to which offerings of maize paste are made. The whole is surrounded by inscriptions. (See illustration facing p. 160.)