THE FINE ARTS, AS AUTHORITIES FOR HISTORICAL RECORDS, INVESTIGATED AND ESTABLISHED.
If it were possible to place within an Ephesian Temple, every historic book, manuscript, and engraving in the world, and then the sacrilegious torch of a modern Erostratus should entirely consume them, whereby the only apparent knowledge to be obtained would be from tradition,—yet the marble and stone quarries of the earth have issued those volumes composed and fashioned by the hands of man, that would restore the progressive history of the arts and civilization.
Architecture has erected his lofty temples, palaces, and mansions; and Sculpture has, with her magic wand, charmed and adorned them with historic facts, legends, and romance: the former planned the porticoes, columns, and proportions; but the latter was the powerwhereby they were fashioned and embellished. Architecture by his peculiar characteristic gives intelligence as we wander amid his works, that we are on the land of Egypt, or the plains of Pæstum: on the Acropolis of Athens, or the land of Romulus and the Coliseum: and whether we gaze upon the sky-pointing Pyramid, the stern or the graceful Doric, the Ionic of the Ilissus, or the acanthus-crowned Corinthian,—they one and all have voices of oracular power, proclaiming to the classic scholar the Nation from whence they arose to life and beauty.
Even the horizontal and curved lines of Architecture have their especial records; for they state the time in the history of the Arts, when they were erected, even without a sculptured cipher;—for the level lines of the Cyclopean and Egyptian walls, with their attendant apertures, give certain knowledge that they were erectedbeforethe principle of the Grecianarchwas known or practised.
Sculpture has a more harmonious voice than that of her stern consort;—the graceful bride, whose rock-ribbed cradle amid the Parian hills—whose virgin youth reposed upon the halcyon marble of Pentelicus, has a voice of warm, yet chaste simplicity,—her tones are as sweet, as from lips first nourished on Hymettus' Hill; yet at times they speak with all the solemnity of her consort, around whom she fondly clings, as the ivy around the oak; and like that plant and tree, the sculpture-vine preserves for ages the character of the marble monarch of the Arts, even after his broad-spreadingauthority has been broken and humbled to the earth by Time and Desolation; or these two destroying powers may be viewed as the Regan and the Goneril, while Architecture is the Lear, and Sculpture the Cordelia of the Arts!
Even as a note of music struck from a chord of Nature vibrates to the heart, in like manner does the voice of Sculpture reach and echo around the walls of Life: it is Poetry's diapason—it speaks of God and His works—of Man in his intellect and glory—of Woman in her charity and beauty: it speaks a language which the unlettered may translate, while to her more subdued or secret tones, the disciples of her heavenly power have but to listen, or beholdher action of utterance, as developed in her free or drapered limbs, to give the history of her thoughts; nor have those thoughts or attitudes, chaste as the marble they inhabit, ever been conquered by lust or luxury,—that unworthy conquest was reserved for the false disciples of her faith, yet not over herself, but her fair handmaid—Painting. But Architecture and Sculpture have lived on—severe and chaste, stern and graceful, majestic and beautiful—as when they were first created from the Eden of the mind! No sword of wrath has driven them forth to wander as outcasts; but as Messengers of Peace they have visited every clime; they have raised their temples and cities in every land, subjected to one power only—the insatiate monster of the earth, Time—the twin-born with Creation, and who will be the last mourner of Natureand her name! Yet even when their children have been struck down—like Niobe's, by the shafts of fate—still how beautiful in Ruins! Although prostrate upon the earth, yet even in death, they have voices as speaking from the tomb:—but the Parents still live on, ever young and immortal, and can point to the proud remains of their fallen Children, and with the voice of historic truth proclaim their fadeless epitaph and character.
Egypt!My first-born and consort of the Nile!—while thy Pyramids and Temples shall remain—and they will even to the final tempest of the World—thou shalt be identified from among all the nations of the Earth!
Athens!—My favourite daughter! Until the Rock of the Acropolis shall fall,—thy classic beauties,—around which have gleamed the meridian splendour of the mind, will proclaim that Minerva, Plato, Pericles, and Phidias, were thy own!
Palmyra!—My third joy! Although the wild Arab sleeps within thy roofless dwelling, with the whirling sands for his nightly mantle—yet, while thy Porticoes, Arches, and Colonnades shall be seen, the City of the Desert will live in Memory; for the Spirits of Longinus and Zenobia will be there!
Rome!—My Warrior Son! Thy ancient glory lives in the recorded evidences of thy Parent's Art; for amid the ruined columns of thy Forum glide the spectral forms of Romulus, Junius, Virginius, Brutus,Cato, and of Cicero! Through thy Arches move those of Septimus, Vespasian, Titus, and of Constantine!—And dost thou not speak to all the world from the solemn historic voice of thy giant Coliseum? But beyond all this, from the ashes of thy former magnificence—like the Phœnix upon the spot of Martyrdom, thou hast risen in double splendour to the Glory ofTHE Saviourand the Faith of an Apostle; and to the triple-fame of Bramante, Raphael, and Angelo!
These are the still-living metropolitan records of by-gone days—from the Heathen to the Christian—they cannot be rejected—from them we trace and prove the æras of the world.
Sculpture has also her own prerogative, apart and separate from her Lord, as a dower-right, a jointure power of instruction; and what immortal pupils has she not produced? They stand as the models of art and intellect—each unapproached—solitary and beautiful,—the human eye contemplates them with the chaste wonder of Creation's daughter—Eve, when from the banks of Eden's limpid waters, she first gazed upon the mirrored image of herself! The Jupiter of Elias,—the Minerva and the Triple-Fates of the Parthenon,—the Medicean Venus and her sister of the Bath,—the gentle Antinöus,—the Athenian Phocian,—The Pythonian Victor—Sun-clad Apollo,—the Serpent-strangled Priest and Sons of Troy, all speak the intellectual power of their mistress: and even the poor Roman captive—the death-struck Gladiator—hasbeen raised by her magic wand from the sandy deathbed of the Coliseum, to live on, unconquered to all posterity!
Sculpture is a title not only applicable to statuary, but to every kind of architectural stone-ornament, and in every stage towards its completion—from the rough-quarried block to the polished marbles of the frieze and pediment: this being admitted, how vast and almost unlimited is the field for historic contemplation! The Antiquary when he removes the trodden earth from the mouldering tomb to trace the deeds of heroes: or from an antique Gem or Medal, raises to light from beneath the dark dust of ages, the bold outline of an imperial head: or, when within the lava-coloured city, a hidden statue from beneath the veil of centuries bursts upon his bewildered sight, he still remembers that Sculpture was the creative power. The traveller who pauses in silent wonder as he views the Egyptian Pyramids (blocks of stone raised to perpetuate a nameless king), turns with redoubled pleasure to contemplate the sculptured marble of Tentyra—in the sight of whose shrines the followers of Napoleon felt amply repaid "for the dangers they had passed." Although the Assyrian Kings have for ages been covered with the sands of their desert, and the wandering Arab sleeps unmolested in the shade of Palmyra's columns, unconscious of his mighty mansion, yet her temples and porticoes speak loudly for the living truth of historic marble.
Greece!—the wonder of the classic age,—the key-stonein the arch of intellect,—owes her glory to Marathon and Salamis, but her living name breathes from the Sculpture of the Acropolis. The proportion given by Ictinus to the body of the Parthenon is fast falling to decay, while the sculptured mantle of Phidias which adorns it adds regality to splendour, and every stone that falls produces but another graceful fold to the gorgeous drapery! Sculpture still preserves Syracuse amid the wreck of time, as when Marcellus wept tears of joy at beholding his mighty conquest: it still points out Carthage, the fatherland of Hannibal, as when Marius upon a prostrate column mourned her desolation. Mysterious Pæstum has no other monument, for her deeds have perished with her records. From Istria to Dalmatia may be traced the historic progress of the art,—the gate of the Sergii, Theatre of Pola, and the Palace of Dioclesian, whose columned wall is mirrored in the Adriatic, all bear convincing testimony. And for ancient Rome!—it is her living history! The Statorian columns of the Forum, lifting high their leafy brows, proclaim the spot where Romulus checked the bold advance of the Sabine Tatius: the solitary shaft of Corinthian form and grace, gives fame to Phocas: the Ionic columns of Concordia's Temple, proudly point the place where Cicero impeached the blood-stained Catiline; while the triumvirate columns of the Tonans-Jupiter preserve the imperial name that witnessedthe Redeemer'sBirth! The arch of Titus (where the Composite first shone forth) heralds the Conquest of Jerusalem,—itssculpture, a Jewish basilisk, for none of that nation dare pass beneath its gateway. The arch of Constantine, robed in Sculptured history, records the battle with Maxentius, the first victory beneath the Banner of the Cross, and gained by the Christian Prince after his conversion by the vision of the Holy-sign! The column of Antoninus still preserves the deeds of the philosophic Marcus; and while the equestrian statue of the Capitoline Hill presents the figure of Aurelius, the grouped trophies of Marius make known the conquest of the Cimbri! The column of Trajanus blazons forth the wars of the Dacii, thereby transmitting to all ages the costume and weapons of the captives, and of the imperial victors. The circular and columned edifice speaks of Vesta,—her Virgins, and the heathen's perpetual altar-flame: the giant arches near the Forum, of a Temple to the God of Peace, while the earth-buried palace of the Esquiline contained the moving form of that Son of War, who fell beneath the patriot blow of Brutus! The Pantheon,—the Pyramid,—and the Tower,—perpetuate Agrippa, Cestius, and Mætella's fame! The triple-monument of the Appian-Way, tells the historic tale of the first victory that consolidated Rome in early freedom,—it speaks of the Curiatian Brothers who fell for Alba,—of the Horatii that fell for Rome:—the classic eye in viewing those time-honoured tombs looks through a vista of near three thousand years,—it gazes upon the Horatian triumph and his spoils,—it sees a widowed sister's upraised hands in malediction,—itbeholds that sister's death from a brother's patriot sword! A sculptured frieze and cornice upon a lone pilastered house, in the most humble street of Rome, speak to the passer-by that within those shattered walls once dwelt the "Last of the Tribunes," Petrarch's friend—renowned Rienzi! Then the blood-cemented Coliseum! It is an history within itself! Commencing with its founders, Vespasian and Titus, and its builders, the poor captives from Jerusalem,—it encloses all the savage and succeeding emperors whose mantles of coronation were there dyed in human gore! Domitian, Commodus, Valerian, and the long line of insatiate murderers of the early Christians! And even Trajan suffered the sands of that arena to receive the mangled body of an Apostle's Minister,—Ignatius of Antioch,—who died like Polycarp of Smyrna, for that Faith which claimed death in cruel torments rather than Apostacy,—from whose lips may have passed the same sentiment as from his successor in martyrdom: "Eighty and six years have I served Him, and He has done me no injury: how then can I blaspheme my King and mySaviour?" Architecture erected the Coliseum, but Sculpture like a funeral pall, mantles this human slaughterhouse of Rome;—not a stone of which, from the base to the ruined cornice, but has an historic voice that speaks, as from the Arimathean Sepulchre of our Religion, of the final Resurrection of those early martyrs to the Faith ofChrist!
The humble gravestone of the village churchyardis received as legal evidence of death,—it speaks a name, a date, and burial,—the Acropolis, as the tomb of Athens, can do no more, save that it is the record of a nation's downfall, and not a peasant's.
Sculpture can speak even of the Religious mind of the deceased,—bring it to memory, and instruct us as to the means whereby the departed attained his hope of Salvation,—it presents the transparent medium through which he gazed upon futurity, and believed in his approach to God: for the Cross or Crescent upon a tombstone, needs no other language to inform the passer-by, that the departed was a follower of Christ or Mahomet! If then the mind of a solitary corpse can, as it were again be vivified, by merely contemplating the sculptured emblem of the dead, and that from a single gravestone, may not entire nations be historically resuscitated, when the human eye and mind are brought to gaze upon, and investigate whole Cities of Ruins, with their sculptured Temples, Tombs, and Palaces? Yes! though they should be found amid the darkened forests of the Western Continent, where the panther and beasts of prey were thought alone to dwell. Yes! Palenque, Copan, Chiapas, and their muraled sisters, have historic voices for posterity from their "cities of the dead," the Pompeii and the Herculaneii of the Western Hemisphere,—yet more aged and venerable than even those victims of Vesuvius!
Architecture and Sculpture then claim the right tobe received as undeniable evidences of historical record; and, as such, those two branches of the Fine Arts will be admitted by the reader in support, and in illustration of the Epoch now under investigation. Ictinus, Phidias, and Praxiteles,—Bramante, Jones, and Wren,—Canova, Chantrey, and Greenough, may justly be regarded as historians; for from the volumes of their art, events and æras can be traced and established.
Painting,—the most beautiful in the triumvirate of the Arts, proudly follows Sculpture in her classic path,—the precedence only yielded as to one of elder birth, who attired in her snow-white raiment marches forward with majestic step, casting her shadow to the confines of History; while her graceful follower, clad in the rainbow-tinted garments, and having no shadow of herself, receives her coloured brilliancy from the glowing Sun of Genius, and thence in gratitude reflects back her pictorial light to illuminate the mind! This delightful art may be defined to be a species of poetic and historic writing, and subservient to the same ends—the expression of ideas and events—of Nature and her children. It bears resemblance to the diamond in the dark recesses of the earth, which by its own innate quality emits sparkling rays of light, thereby not onlydiscovering its own splendour, but giving a lustre to obscurity.
Painting has her direct claims to be received as authority for past events and records, and in illustration may be cited the Life and History of theSaviour. The pictorial art alone was for centuries the only record whereby the mass of the people could read that Sacred Life. The cross upon the banners, shields, and pennons of the Crusaders, spoke to the Christian heart, even above the din of arms or the yell of battle. When the Latin was the general tongue of prayer and preaching, the pictorial art sprung into life with redoubled power; and from the painting above the altar, representing the Crucifixion, the people learned that Christ suffered,—it alone reached the heart and understanding, while the Latin language reached only the ears of the unlettered. Has not the Life of the Redeemer been traced through every event by the painter's magic art? The Annunciation, Nativity, Disputation in the Temple, Healing the Sick and the Blind, Last Supper and Sacrament, Rejection by Pilate, Crucifixion, and the Resurrection and Transfiguration, are the pictorial Volumes of our religion. Angelo, De Vinci, Raphael, Murillo, Rubens, and West, were as essentially historians of sacred events,—as Plutarch, Livy, Tacitus, Gibbon, Hume, and Robertson, were those of a national and political character.
Painting has traced upon the galleries of Versailles the chief events of the French kingdom—of the Empireand its glory. And in the present day, the new walls of England's Parliament are to be decorated with her deeds of chivalry—sacred to her historic and undying fame!
The walls of the American capital contain the imperishable history of Washington, and the Freedom of the Western Hemisphere! Paintings then will not be rejected as evidences of events, or of religious and national records.
These are admitted species of historic evidence, and as lasting ones, perhaps, beyond all others. A series of them is the most certain method of arranging a chronological tablet, and thereby preserving the data of history, mythology, portraits, customs, and art.
The reader will excuse the relation of an anecdote, to which may be traced the production of the present work. At the early age of nine years, a small ancient coin came into the accidental possession of the writer; its stamp and character were enveloped in mystery, and recourse was had to an antiquary to decipher them. The obverse of the coin contained a profile head, and around it the lettersAVGVSTVS: on the reverse, a Temple with the doors closed, surmounted by the wordPROVIDENTIA. The explanation was as follows: viz.—A coin of Augustus Cæsar—theTemple was that of Janus, the doors of which had beenopenfor nearly two centuries, as emblematical of the continuance of Roman warfare with foreign countries; but on the coin the doors wereclosed, and with the word of thanksgiving, were symbolical of universal peace, thus proving that the coin was struck the very year in which the Saviour was born! Thus upon one coin were illustrated the features of the second Roman Emperor,—Mythology, Cessation of War,—the downfall of Brutus and Cassius,—the defeat of Anthony,—and the Birth of Christianity! This simple incident made so powerful an impression upon the boyhood of the relator, that to it he has always traced the foundation of his Scriptural, Historical, and Poetical studies, together with an enthusiastic devotion to the Fine Arts.
The description of the above coin will illustrate the historical intelligence to be derived from their perusal. A medal is an especial mode of recording tributary honour to individuals—literary, civil, or military;—they become heirlooms in family possessions, and are transmitted from sire to son, as absolute records of their ancestors' fame. They are also struck in celebration of national events, and thence become records of a people. So assured was Napoleon of this, that a series of his medals are a complete history of his victories, from his Consulate to his loss of the Empire; and that event at Waterloo was recorded by Great Britain upon her medals, for even the soldiers as well as officers. Denon of France, and Wyon of England, are names as artistsworthy to record the victories of Napoleon and Wellington.
Architecture, Sculpture, Paintings, Coins, and Medals, from the investigation contained in the previous pages (we submit to the judgment of the reader), are established as authorities for historical records.
This is a branch of the Fine Arts, the most ancient in practice—or that is mentioned in history, sacred or profane; and although gems are not received like coins or medals, as conclusive proofs of events, yet they cannot be rejected on the score of doubtful antiquity. Seals and signet-rings are of course included in the term "engraved gems," and they bear the heraldic arms of family honours, their names and actions are traceable, and thus they illustrate the chivalric dignities of the original owners. The style of ancient art (even without a date to the gem) will carry the inquiring mind to the æra of the artist, and thence establish at least the century in which they were engraved.
Of the antiquity of gem engraving, the Bible bears conclusive evidence. In the graphic description of the priestly garments of Aaron, [Exodus xxviii.] it states that the shoulder ornaments of the Ephod are to be engraved stones, each containing six of thenames of the Tribes of Israel. "And thou shalt take two onyx stones andgraveon them the names of the Children of Israel: six of their names on one stone, and the other six names of the rest on the other stone, according to their birth. With the work ofan engraverin stone,like the engravings of a signet, shalt thouengravethe two stones with the names of the Children of Israel," &c. (verses 9, 10, and 11.)
Aaron's "breastplate of judgment" was to contain twelve precious stones or gems, each stone to have engraved upon it the name of a Tribe of Israel. "And thou shalt set in it settings of stones, even four rows of stones: the first row shall be a sardius (i. e.ruby), a topaz, and a carbuncle: this shall be the first row. And the second row shall be an emerald, a sapphire, and a diamond. And the third row a ligure, an agate, and an amethyst. And the fourth row a beryl, and an onyx, and a jaspar: they shall be set in gold in their enclosings. And the stones shall be with the names of the Children of Israel, twelve, according to their names,like the engravings of a signet: every one with his name shall they be according to the twelve tribes." (v. 17—21.)
The gold mitre for the High Priest is thus described: "And thou shalt make a plate of pure gold, and grave upon it, likethe engravings of a signet—Holiness To the Lord"—(v. 36). From the triplicated sentence in the above quotations—viz., "like the engravings of a signet," it is proved that gem engraving was practisedanteriorto the time of Aaron, who officiated 1491years before Christ. The great antiquity, therefore, of sculptured gems, will not be questioned; and their mottoes, ciphers, or style of art, may speak of a people, their epochs, or their progress in civilization.
In the development of the present work, every branch of the Fine Arts will be brought forward to uphold and substantiate this Tyrian Æra—they having all obtained in the Western hemisphere previous to the time of Columbus,—which period (anterior to the Genoese, 1492,A. D.) is contemplated by the new historic term—Ancient America.
THE DISCOVERIES OF THE RUINED CITIES IN MEXICAN AMERICA—THEIR GENERAL CHARACTER AND GEOGRAPHICAL LOCALITIES—THE DESCRIPTIONS OF THE RUINS ANALYZED, &c.
THE DISCOVERIES OF THE RUINED CITIES IN MEXICAN AMERICA—THEIR GENERAL CHARACTER AND GEOGRAPHICAL LOCALITIES—THE DESCRIPTIONS OF THE RUINS ANALYZED, &c.
In the preceding chapter, it is stated that the Fine Arts will be used as strong evidences towards the development of this epoch, and that they will be received as records. They represent what will be wanted in illustrating the Aborigines of the North—viz.,the lex scripta—for Sculpture and Paintings must be regarded only as a more concise and impressive manner of writing. Since, therefore, Sculpture is one of the powers conjoined with Architecture to enable us to raise our historical edifice, it is necessary to prove the existence of our strength in the country illustrated—to prove that Ancient Cities have been discovered—that temples and palaces have been recovered from the depths of the forest, and that, too, in that part ofAmerica now under consideration, having reference to the Aboriginesnotof the North. These investigations are required for the reader who may not have read "The Incidents of Travel in Central America," and even those that have, will expect an analysis or review of the discovered Ruins; it is also demanded by the character of this work, for it is essential to establish their existence before they can be produced as witnesses to support an historic argument; and like a legal document, parole evidence will not be received if the document itself can be produced.
Paintings also are a portion of the evidence to sustain our novel history. The paintings of Mexican America, though rude, contain proofs of progressive ages, whereby facts may be gathered, supported by traditions, to authorize the formation of a chronological arrangement of events. These pictorial efforts of art are on cloth of unusual thickness, in order to secure stability—for the Mexicans had no other written records—but, to which may now be added from the late discoveries—Sculpture. The paintings, it has been stated, were rude, and not unlike those of ancient Egypt; and like those of the Nile, a symbol stood for whole sentences, or parts of history,—and does not the same method exist with European art? A cross represents the Crucifixion! It is in this manner that the paintings of ancient Mexico must be translated. The colouring was far beyond the Egyptian in regard to brilliancy and variety—an important point in proving a Tyrian analogy.
The Spaniards, at their conquest of Mexico, burnt in the public market-place, pyramids of paintings, the designs of which are even lost to history; yet many others were subsequently preserved, and now adorn the royal libraries of Bologna, Madrid, and the Vatican. The National Library of England contains a vellum folio copy of the splendid work by Lord Kingsborough upon these paintings, forming, in the seven volumes, a collection of all the pictorial relics of ancient Mexico.
The skill of the Mexican painters was extended to another branch of writing, in which nautical science claimed a share—viz., Maps and Charts. This important fact will be enlarged upon in the analogies. These few remarks are only inserted in order to sustain a consecutive arrangement of evidence, for the reader must already have known of the existence of these paintings, though not of their novel application.
The several discoveries of the ruined cities will now be reviewed and established. In the ancient capital of the Mexican Empire, it has been stated, that the Spaniards acted the character of incendiaries. In 1520, every available specimen of Mexican art was consumed by Cortez and the priests. Paintings, the only manuscripts of the Mexican nation, were destroyed, and became a bonfire for the soldiery—every palace and temple of the capital was levelled to the earth, and the foundation of the first cathedral of the invaders was laid with thousands of statues—the idols of the Aborigines. Every vestige of the Mexican recordswas supposed to have been consumed, broken, or buried.
After a lapse of 270 years, two statues were dug up in the grandplazaof the modern city of Mexico; but from the interest felt for these religious relics by the poor descendants of the Aborigines, the Spaniards secretly buried them, it was said, in the garden-court of a Convent. At the same time (1790) was exhumed a circular piece of sculpture, having reference to the astronomical calendar of the ancient inhabitants. This is still preserved in Mexico, and is quoted, and a drawing given by the illustrious Humboldt in his work upon that country: it will be referred to in the analogies.
A brief review of the discovery of the Ruins and their locality will now be required. From a record by Huarros of Guatimala, and that on the authority of Fuentes, the ruins of Copan were known in 1700. Palenque was visited by Del Rio; and by Dupaix about 1805. In the beginning of the nineteenth century, the scientific Humboldt visited Mexico; he obtained drawings of the ruins of Mitla, in the Province of Oaxaca, and others of a similar character, but especially the terraced-pyramid of Cholula, which he visited. The investigations were published by the same scholastic traveller. At a later period, Uxmal (Yucatan) was explored under a commission of the Spanish Government by Waldeck; his work (folio) is most beautifully illustrated. In compliment to the nobleman who published the great work on the Ancient Mexican Paintings, he called one of the ruins,The Pyramid ofKingsborough—an anachronism, perhaps, allowable when the motive is considered. Copan was visited by Galindo in 1836; but he lacked the perseverance necessary for a perfect exploration. This latter desideratum was fully evinced by Stephens and Catherwood who, in 1839-40, visited and explored all of the above (excepting those seen by Baron Humboldt), and several cities before unknown in general history. As a geographical position, the localities of these dead cities are between the capital of Mexico and the Isthmus of Darien, but chiefly in Guatimala; on the borders of Yucatan, and on that Peninsula; they therefore occupy the narrow part of the Continent between the two great oceans. A reference to the map of Central America, will aid the following remarks:
The river Montagua empties itself into the Bay of Honduras, at or near, Omoa; approaching the source of this river, it branches off to the South, which branch is called Copan River; above the rapids of this branch-river, is situated on the banks the now celebrated ruined City of Copan, overtwo milesin extant, parallel with the stream. Palenque is nearer Mexico. The ruins of Uxmal are in Yucatan. From the Architectural characteristics of the edifices, we find no difficulty in arranging the order of their being built, which, with all due respect for the opinion of others, we submit to be as follows: viz.—first, the city of Copan, then Cholula, followed by Quirigua, Tecpan-Guatimala, Quiché, Gueguetinango, Ocosingo, Mitla, Palenque, and lastly, Uxmal: and about the same period of building, the cities of Chi-Chen, Zayi, Kabah, Espita, and Ticol,—theselast being in the Peninsula of Yucatan. Compared with these relics of past centuries, we consider the City of Mexico to be of comparatively modern date,at the time of the Spanish conquest(A. D.1520).
The Ruins necessary to be described for the illustration of our present subject, will be those of Copan, Palenque, and Uxmal; and for this purpose extracts will be quoted from the lately-published work on Central America, by Mr. Stephens. These extracts will be given as unquestionable authority, and the engravings in the work will be received as accurate representation of the Ruins, and upon which many of our results have been founded. On the subject of their accuracy, the fascinating traveller writes as follows:
"I will only remark, that from the beginning our great object and effort was to procuretrue copies of the originals, adding nothing for effect as pictures. Mr. Catherwood made the outline of all the drawings with thecamera lucidaand divided his paper into sections, so as to preserve the utmost accuracy of proportion. The engravings were made with the same regard to truth, from drawings reduced by Mr. C. himself—the originals being also in the hands of the engraver. Proofs of every plate were given to Mr. C., who made such corrections as were necessary: and in my opinion they are as true copies as can be presented; and except the stones themselves the reader cannot have better materials forspeculation and study."
Though this candid traveller acknowledges not toknow the principles of Architecture, or the rules of Art, and when in Egypt amused himself by mutilating a statue of Isis,[1]yet when he came in sight of buried cities in his own country, before unknown to the history of the world, the Sculpture of which is "as fine as that of Egypt,"—feelings he must have had of which no man would rob him,—reputation by being the explorer, of which an enemy would not attempt to deprive him,—and although we are not selfish enough to covet his reputation, yet we are candid enough to admit that we have, from the heart, envied him his feelings!
He has given indeed by his pen, and the artist by his pencil, a reflection of the Ruins, but it is from a mirror of polished ebony, simply afac-simileresemblance,—light and shade only,—a specimen of Daguerreotype! No one can mistake the rapid manner in which the true copy is impressed upon the mind, and that by the most easy and agreeable means—viz., the fascination of his style; but thecolouring of lifeis not there,—the Soul of History is wanting! The Promethean spark by which the flame of historic truth should illuminate his work, and be viewed as a gleaming beacon from afar, to direct wanderers through the dark night of wonders, has found no spot to rest upon and to vivify! But this he has done,—he has brought the timbers of the historic bark to view:—research must build, and science place the rudder; the pilot, constant as the northern star; enthusiasmmust drive her before the wind, every sail set, fore and aft, aloft, abroad and full, and it will be strange indeed if that spark will not be found upon Truth's phosphoric sea!
If these Ruins can be identified with a nation of the ancient world,—ancientworld?—the first word is superfluous now, for these discoveries have destroyed the opposite phrase,—newworld;—that expression will belong hereafter to England and parts of Europe, not America; for the former date from the first Cæsar,—the latter, if we err not, from an older and a greater conqueror! If, we say, these Ruins can be identified with a country of Asia, and of "the olden time," we shall have no regret for having turned shipwright to aid the discovery of that nation; and if our classic galley should founder ere we reach "the point proposed," we shall at least struggle in the buoyant waves of hope and pleasure, our light heart floating above the waters of disappointment; and with joyous pride will we hail those who in passing by have found and steered a truer track!
First will be given a description of such parts of the great Ruins as may be necessary in the author's own words, with such commentaries as may be required by the narration: then will follow Mr. Stephens's reflections upon all the Ruins; his arguments will be met, his errors detected, his contradictions investigated, and thereupon we shall endeavour (at least) to completely refute his deductions and conclusions.
"They are in the district of country now known as the state of Honduras, one of the most fertile valleys of Central America." Their precise locality was stated in the last section, with the exception that their distance from the sea is about "three hundred miles."
"The Copan river is not navigable, even for canoes, except for a short distance in the rainy season."
This is a description of the River now (1843), and not as it may have appeared at the time of erecting the edifices.
"Falls intercept its course before it empties into the Montagua."
As a principle of military defence the site was well chosen, for the barrier of the falls would prevent the approach of an enemy to the city by the river from the Atlantic.
"The extent of the Ruins along the river, as ascertained by monuments still found, ismore than two miles. There is one monument (or ruin) on the opposite side of the river, at the distance of a mile, on the top of a mountain two thousand feet high. Whether the city ever crossed the river, and extended to that monument it is impossible to say; I believe not."
So do we,—and that belief instructs us in the seeming fact of another means of military defence; for from the locality and height of the mountain it is almost evident that the "monument" was used as a watch-tower,and consequently from that elevated point a complete view was obtained of all the approaches to the city. These facts illustrate (seemingly at least) that the Aborigines had a knowledge of military security as well as that of architecture; and as we believe that Copan was the first city built in the Western Hemisphere, these considerations will be of importance in identifying. The reader will understand ("once for all") that no hint, even the most remote, is derived from Mr. Stephens's work (or any other) towards the formation of our Theory, or the establishing of this Epoch,—on the contrary, he distinctly asserts (vol. ii., p. 442),
"I shall not attempt to inquire into the origin of this people, from what country they came, or when, or how; I shall confine myself to their works and their ruins."
Our artistical or historical comments, good, bad, or indifferent, are our own, and accompany the quotations for the purpose of supporting the Analogies in a subsequent chapter. The italicised and bracketed words the reader will give especial attention to;—as we have so expressed them for facility in illustrating.
"There are no remains in Copan of palaces or private dwellings, and the principal part (of the ruins) is that which stands on the bank of the river, and may perhaps with propriety be called the Temple. The Temple is an oblong enclosure. The front or river wall ('stone and nearlyone hundred feet high,' vol. i., p. 95) extends on a right line, North and South,six hundred and twenty-four feet, and it is fromsixtytoninety feet in height." The difference in height arising from several parts having fallen. "It (the river-wall) is made ofcut stone, from three to six feet in length, and a foot and a half in breadth. In many places the stones have been thrown down by bushes growing out of the crevices. The other three sides consist of ranges of steps andpyramidalstructures, rising fromthirty, to one hundred and forty feeton a slope. The whole line of survey (of this Temple) istwo thousand eight hundred and sixty-six feet, which though gigantic and extraordinary for a ruined structure of the Aborigines,that the reader's imagination may not mislead him, I consider it necessary to say,is not so largeas the great (Egyptian) Pyramid of Ghizeh."
We certainly do not desire to be misled, orourreaders either,—therefore, at once, will be compared the measurements of the pyro-temple of Copan, and the Pyramid of Egypt. Lee Bruyn gives the base side of the great edifice of the Nile at 750 feet. Greaves states it to be 693 feet; the difference between these computations is fifty-seven feet, which divided for an average, and added to the lesser sum, will shew one side to be 721 feet (and a fraction), which multiplied by four, the sum total of the entire square base will be 2884 feet,—that of Copan—viz., 2866 feet, will leave only a difference between the great Pyramidal Edifices in Egypt and Copan ofeighteen feet! but from diversity in measurement they may be viewed as the fac-similes of each otherin regard to the base. This cannot be accidental. Taking Greaves's numbers, each side 693 × 4 = 2772 feet. Stephens's sum total of Copan is 2866, leaving an increase in size over that of the Egyptian of ninety-four feet! Mr. Stephens may, perhaps, have forgotten the measurements in Egypt, although he has travelled there; but we shall have occasion to refer to the ingenious manner in which he endeavours to stay the "imagination" of his readers upon the subject of all the Ruins.
The comparative measurements have been brought forward, that the reader may not be misled in reading this work.
Another singular coincidence (we may remark) occurs in the measurement of the terraced-pyramid at Mexican Cholula; the base of that is 5760 feet!—now the base of the Egyptian, as shewn above, is 2884 feet only; this sum multiplied by two, produces a sum total of 5768; a difference only ofeight feet, would make the Pyramid of Cholulaexactly twiceas large as that of Egypt. An error may have occurred in reference to the eight feet—for in so large a measurement, and by different authors, it is but natural that an error might arise, and consequently these bases, as to size, cannot be viewed as accidental.
"Near the South-west corner of the river-wall, and the South-wall, is a recess, which was probably once occupied bya colossal monumentfronting the water—no part of which is now visible. Beyond are the remains oftwo small pyramidal structures, to thelargest of which is attached a wall running along the west bank of the river. This appears to have been one of the principal walls of the city, and between thetwo pyramidsthere seems to have been a gateway or principal entrance from the water. The South wall runs at right angles to the river, beginning with a range of steps about thirty feet high, and each step about eighteen inches square. At the South-east corner isa massive pyramidal structureone hundred and twenty feet high on the slope. On the right are other remains of terraces andpyramidal buildings, and here, also, was probably a gateway, by a passage about twenty feet wide, into a quadrangular area two hundred and fifty feet square,two sides of which are massive pyramidsone hundred and twenty feet on the slope. At the foot of these structures, and at different parts of the quadrangular area, are numerous remains ofsculpture, especially acolossal monument, richly sculptured, fallen and ruined. Behind itfragments of sculpture, thrown down from their places by trees, are strewed and lying looseon the side of the pyramid, from the base to the top. 'Idols' give a peculiar character to the ruins of Copan. One stands with its faceto the East[i. e.to the Rising Sun] about six feet from the base of the pyramidal wall. It isthirteen feet high, four feet in front and back, andthree feet on the sides[i. e.four-sided column]sculptured on all four of its sides, from the base to the top, and one of the richest and most elaborate specimens in the whole extent of ruins. Originally, it waspainted, the marksofred colourbeing distinctly visible. Before it at the distance of about eight feet, is a large block of sculptured stone, which the Indians call an altar. The subject of the front [i. e.of the Idol-obelisk] is a full-length figure, the face wanting beard, and of a feminine cast, though the dress seems that of a man. On the two sides are rows ofhieroglyphics[i. e.the sacred or religious language] which probably recite the history of this mysterious personage. Following the wall, is another monument or idol of the same size, and in many respects similar. The character of this image as it stands at the foot of the pyramidal structure, with masses of fallen stone [ruins] resting against its base, is grand, and it would be difficult to exceed therichness of the ornament and sharpness of the sculpture. This, too, waspainted, and theredis still distinctly visible. The whole quadrangle is overgrown with trees, and interspersed withfragmentsoffine sculpture, particularly on theEast side[i. e.to the Rising Sun.] At the North-east corner is a narrow passage, which was probably a third gateway. On the right is a confused range of terraces running off into the forest. Turning Northward, the range to the left-hand continuesa high massive pyramidal structure, with trees growing out of it to the very top. At a short distance isa detached pyramid about fifty feetSQUARE, and thirty feet high. The range of structures turns at right angles to the left, and runs to the river, joining the other extremity of the wall, at which we began our survey. The bank was elevated about thirtyfeet above the river,and had been protected by a wall of stone, most of which had fallen down."
The city-wall on the river-side, with its raised bank, and making allowances for what had fallen from the top of the great wall, must then have ranged fromone hundred and thirty, to one hundred and fifty feet in height!
"There was no entire pyramid, but at most two or three pyramidal sides, andthen joinedon to terraces or other structures of the same kind."
The first line of this last quotation is distinctly contradicted a few lines before it—for he says, "At a short distance is adetachedpyramid about fifty feetsquare." Therefore this is an "entire pyramid." That of Cholula stands "solitary and alone" in a large plain, and there, at least, is an "entire pyramid," so far as its base and sides are considered.
"Beyond the wall of enclosure were walls, terraces, and pyramidal elevations running off into the forest, which sometimes confused us. Probably the whole was not erected at the same time, but additions were made, and statues erected by different kings, or perhaps in commemoration of important events in the history of the city. Along the whole line were ranges ofstepswithpyramidalelevations, probably crowned on the top with buildings or altars, now in ruins.All these steps and the pyramidal sides were painted[red], and the reader may imagine the effect when the whole country was clear of forest, and priests and peoplewere ascending from the outside of the terraces, and thence to the holy places within to pay their adoration in the Temple.
"Within this enclosure are two rectangular courtyards, having ranges of steps ascending to terraces. The area of each is about forty feet from the river. On one side at the foot of the pyramidal wall is another monument or idol, [i. e.sculptured obelisk]. It is about the same height as the others (in all fourteen), but differs in shape, being larger at top than below. Its appearance and character are tasteful and pleasing."
We desire to call the particular attention of the reader to the following piece of sculpture, as it will hold a conspicuous position as we advance in this volume.
"Near this [idol last mentioned] is aremarkable altar, which perhaps presents as curious a subject for speculation as any monument at Copan. The altars, like the idols, are all of a single block of stone. In general, they are not so richly ornamented, and are more faded and worn, or covered with moss. All differed in fashion, and doubtless had some distinct and peculiar reference to the idols before which they stood."
Each of the idols, therefore, had an altar before it, and each of the altars had its relative idol,exceptthe one about to be described.
"This altar stands on four globes (?) cut out of thesame stone: the sculpture is inbas-relief, and it is theonly specimen of that kind of sculpture found at Copan, all the rest being in boldalto-relievo."
By a reference to the map for its locality, we find that it is situated nearly in the very centre of the vast Temple. This, together with its being alone, unassociated with an Idol—the sculpture being entirely different, and "the only specimen" found there, all the others being inalto, but this inbasso—(a proof of its greater antiquity)—the very stone seems to find a voice to proclaim that it was the Chief Altar of Copan. It may be "a curious subject," but certainly does not require much "speculation" to form a conclusion. The description of the detail of the sculpture seems to furnish another reason for believing it to be the principal Altar.
"It is six feet square, and four feet high; and the top is divided into thirty-six tablets [or squares] ofhieroglyphics, which beyond doubtrecord someEVENTin the historyof the mysterious people who once inhabited the city."
This we distinctly believe; and that thesculptureabout to be described,TRANSLATES THE HIEROGLYPHICS, and those being translated, the "event in the history" is then arrived at. Whether we have accomplished this or not, the reader will judge as he proceeds,—for we have looked upon this Chief Altar as the "Rosetta-stone" of the ruins—the Key-stone in the arch of mystery.
"Each side of the altar represents four individuals.On the West-side are the two principal personages, chiefs, or warriors, with their faces opposite to each other, and apparently engaged in argument ornegotiation. The other fourteen (figures) are divided into two equal parties, and seem to be following their leaders. Each of the two principal figures is seatedcross-legged, in theOrientalfashion, on anhieroglyphic, which probably designated his name and office, or character; and ontwoof which theSerpentforms part."
The description reads "three," the engraving shews onlytwoSerpents; the later will be received as correct, from the accuracy ascribed to the drawings by Mr. Stephens, and already quoted.
"Between the two principal personages, is a remarkable cartouche, containing twohieroglyphics, well preserved, which reminded usstrongly of the Egyptian methodof giving the names of thekings and heroes in whose honour monuments were erected. The head-dresses are remarkable for their curious and complicated form. The figures have all breastplates, and one of the two principal characters holds in his hand an instrument, which perhaps may be considered a sceptre,—each of the others holds anobject, which can be only (?) a subject for speculation and conjecture."
We believe them to be (judging from the engravings)spiral shells; the application will be found in the important chapter devoted to the Analogies.
"It [the "object"] may be a weapon of war, and if so, it is the only thing of the kind found at Copan. Inother countries, battle scenes, warriors, and weapons of war are among the most prominent subjects of sculpture; and from the entire absence of them here, there is reason to believe,that the people were not warlike, but peaceable and easily subdued."
Are not the Sculptures, the Idols, and Altars, the ornaments of aTemple?—and as a consequence, should be devoid of the weapons of war. A false conclusion is arrived at by Mr. Stephens, when, from the absence of battle-axes, shields, and helms, in a Religious Temple, it must follow as a necessity, that those worshipping there, must be devoid of courage. Our own Altars might be so regarded if his reasoning was admitted, yet few persons would have the temerity to say, because the Christian Altars are devoid of warlike weapons, that the Anglo-Saxon race are "easily subdued."
The hands that built those Temples on the Western Continent, could also defend them. The military position and strength of Copan, prove the builders to be of a race far from cowards, and not easily to be conquered. In these remarks we would not confound the previous distinction drawn between the courage of these Aborigines and those of the North. The Mexicans were courageous in quick assault, but had not the indomitable endurance and persevering fortitude of the Northerns.
Enough has been quoted concerning the ruins of Copan; yet it should be stated, that among thoseruins was found a sculpturedTortoise,—this will be referred to in the Analogies.
As a summary of the ruins of Copan, they are of sculpturedstone, with theabsenceofstucco; but pyramidal structures and bases; no circular columns, but square or four-sided obelisks, or Idols; Sculptured Altars; flights of steps forming pyramidal slopes, but only on three sides, exceptingin one instance, and all these bearing distinct testimony of having been painted or dyed with "a red colour;" a perpendicular wall nearly one hundred feet in height; and the sculpture is not only rich in detail, but finely executed. At Copan there is no vestige of wooden beams or lintels in or about the ruins, and no appearance of a roof of any description. Thearchis no where found, or any thing indicating that its principle was known to the Copanians.
The absence of allmetalis another singular feature. The quarry from whence the stone was taken, is about two miles distant from the Temple; and the supposition of Mr. Stephens seems probable—viz., that from the discovery offlint-stone, and of the hardest description, the softer stone composing the Altars and Idols, was cut with this flint in lieu of metal. Every thing seems to denote the great antiquity of these ruins over those of any of the other Cities; for it will be shewn that they had a knowledge of the use of metal, and that they had found it. At Ocosingo there is a wooden beam, and at Palenque; and at Uxmal, all the lintelsof the doors are of wood, and so hard is its character, that a sharp knife will turn its edge upon it, as if drawn vertically upon a bar of rough steel or iron. Therefore from the facts contained in this summary, together with the "event in the history" of the Chief Altar, and yet to be given,—we have placed Copan as the most ancient, and, as far as discovered, the first architectural City built on the Western Continent.
There is one description at Copan which will be reserved for the purpose of refuting (in the subsequent pages) one of Mr. Stephens's conclusions, as expressed in his Reflections upon the collective Ruins of these Cities, "whose antiquity," in the language of the Prophet, "is of ancient days."
Palenque is situated in the Province of Tzendales, Mexican America. At the distance of about eight miles from the modern village of Palenque, the now celebrated Ruins are located. They are called the Ruins ofPalenquefrom the name of the nearest village, and not from any history of their own:—like the field of Waterloo—it has given renown to an humble village adjacent. The name, therefore, of "Palenque," can be of no assistance in unfolding the history of these Ruins,—for the original name of the now desolate Temples and Palaces, has been for centuries lost and buried with its fate. Mr. Stephens writes—
"At half-past seven we left the village. For a short distance the road was open, but very soon we entered a forest, which continued unbroken to the Ruins, and probably many miles beyond. All the wreck of Empires,—nothing ever spoke so forcibly the world's mutations, as this immense forest shrouding what was once a great city. Once it had been a great highway, thronging with people who were stimulated by the same passions that give impulse to human action now; and they are all gone, their habitation buried, and no traces of them left. Fording this (river Otula) very soon we saw masses of stones, and then around sculpturedstone. We spurred up a sharp ascent offragments, so steep that the mules could barely climb it, to a terrace, so covered, like the whole road, with trees, that it was impossible to make out the form. Continuing on this terrace, we stopped at the foot of the second, and through openings in the trees we saw the front ofa large building, richly ornamented withstuccoedfigures on thepilasters,curiousandelegant; trees growing close against them, and their branches entering the doors; in style and effect unique, extraordinary and mournfully beautiful. We tied our mules to the trees, and ascendeda flight of stone steps, forced apart, and thrown down by trees, and entered the Palace, ranged for a few moments along thecorridor, and into thecourtyard; and after the first gaze of eager curiosity was over, went back to the entrance, and standing in the doorway, fired afeu de joieof four rounds each, being the last charge of our fire-arms.But for this way of giving vent to our satisfaction, we should have made the roof of the old Palace ring with a hurrah! We had reached the end of our long and toilsome journey, and the first glance indemnified us for our toil. For the time, we were in a building erected by theAboriginalinhabitants;standing beforethe Europeans knew of the existence of this Continent; and we prepared to take up our abode under its roof—the sole tenants of the Palace of unknown Kings."
The reader will excuse the preceding introduction—its graphic style will find its own apology; and though notdescriptiveof the Ruins,yet the approach to themseems to form a part of this historical Romance of the Wilderness.
"As at Copan, it was my business to prepare the different objects for Mr. Catherwood to draw. Many of the stones had to be scrubbed and cleansed; and as it was our object to have theutmost possible accuracy in the drawings, in many places scaffolds were to be erected, on which to set up thecamera-lucida. That the reader may know the character of the objects we had to interest us, I proceed to give a description of the building in which we lived, called thePalace. It stands on anartificialelevation of an oblong formforty feet high, three hundred and ten in front and rear, and two hundred and sixty feet on each side."
Here, then, is distinctly stated—a pyramidal elevation havingfour sides, and detached from any other structure. Its measurement around the base is 1140 feet!
"This elevation was formerly faced with stone, which has been thrown down by the growth of trees, and its form is hardly distinguishable. The building [we sayTemple—not Palace,] stands (on this pyramidal elevation) with its face to theEast, and measurestwo hundred feet front, by one hundred and eighty feet deep. Its height is not more than twenty-five feet, and all around it hada broad projecting cornice of stone. The front containedfourteen doorways, aboutnine feet wideeach, and the intervening piers [i. e.square columns] are betweensix and seven feet wide. On the left (in approaching the palace) eight piers have fallen down, and as also the corner on the right, and the terrace underneath is cumbered with ruins. But six piers remain entire, and the rest of the front is open. The building wasconstructed of stone, with a mortar of lime and sand, andthe whole front was covered with stucco and painted."
We believe this last manner (stuccoing) to have been agesafterthe original structure was erected, and for the purpose of promulgating a new Religion. This important point will be investigated in a subsequent volume. It is only remarked here, that the reader may not be perplexed atstonebeing covered withstucco, since in building, ancient or modern, it was only usual to coverbrickswith plaister or stucco.
"The piers were ornamented withspirited figures[in stucco] in bas-relief. On the top of one arethreehieroglyphicssunk in the stucco. It is enclosed by a richly ornamented border, about ten feet high and sixwide, of which only a part remains. The stucco is of admirable consistency,and hard as stone. It waspainted, [stained?] and in different places about, we discovered the remains ofred,blue,yellow,black,and white."
We have already called this edifice theTemple, believing it not to have been originally a palace. This distinction is nearly defined from the fact thathieroglyphicsare 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 thesacrededifices, 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. Thispost-mortemexamination 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, andthe 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 thePeopleshould 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 (videlast 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 bythe Egyptians and the ancients, in order todeifythose 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 orsymbolicallanguage. Diodorus Siculus (iii., § 3) supports his predecessor, and says that the former (hieratic) was usedonly 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 thespokenlanguage of the country, and, as already shewn, not used uponsacrededifices. From these facts, derived from ancient custom, may be gathered why the ciphers of the common language of the Mexican Aborigines are not found upontheirTemples; 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 ofred,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—ortintsstrictly speaking—are produced. The Rainbow possesses butthreeprimitive 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 thepurple murex.
For ages it was believed that the Rainbow possessedsevencolours. Science has proved that it contains butthree. 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!
The reader will pardon this slight digression, and the writer makes the following assertion for the investigation of the curious, without any fear of a negative being produced. The conclusion is from many years of observation; viz.,That every thing in Nature of the Animal or the Vegetable kingdom; the Rainbow and the Elements; that all the works of Art embraced in the comprehensive term, Architecture (Edificial or Naval):in the Arch itself, and even in Mechanics; that in all these productions of Nature or Art there areONLY THREE GRAND PARTS! And many of those parts contain within themselvesthreesubdivisions. Those subdivisions are only accessories, holding the same relation to the whole, that the secondary colours do to the primitives of the Rainbow. We will give a few illustrations from Nature and Art. For instance,—the Fruit-tree,—the three primitive parts are the roots, trunk, and branches, these are composed of fibrum, sap, and bark; the accessories are the leaves and fruit; the leaf consists of the stalk, fibres, and the web; the fruit, of the rind, the apple, and the core. The Human form will bear the same test; viz., head, trunk, and limbs—nay, the very principles of life, brain—lungs, and heart; and also the great combinations in Chemistry! The sublime science of Astronomy also supports the conclusion. For the illustration from Art—a Temple. The three grand divisions are the foundation, body, and roof; the front of the edifice is in three parts—viz., columns, entablature, and pediment;these being subdivided, and three parts again appear: 1st, a Column,—the shaft, capital, and abacus; 2d, the Entablature,—the architrave, frieze, and cornice; 3d, the Pediment,—the apex, and the two corners, forming a triangle. The triangle is, also, the facial characteristic of a square Pyramid, and its square base contains two triangles; but the true Pyramid contains only three sides, each, with the base, present triangles. If man's efforts in Art have produced by accident the
TRIA JUNCTA IN UNO,—
we must feel that nothing inNaturecan be accidental, and investigation will prove that the Divine "three" pervade all! We are not aware that the above assertion has ever been made by any author, but we are convinced from years of observation, that although original and startling, it is no less the truth—for being founded in Nature it could not be otherwise. In the third volume this subject will be enlarged upon; for the present we claim the discovery of this great philosophical principle—the true active one of Nature and of Art, with the possession of which a man has the key to thearcanaof both.
The Mexican Aborigines then had, apparently, no knowledge of the art of mixing colours, from which fact a strong proof is gained of their great antiquity.
"The piers (i. e.the square columns of the Temple) which are still standing, contained other figures of the same general character, but which unfortunately aremore mutilated, and from the declivity of the terrace it was difficult to set up thecamera lucidain such a position as to draw them. The piers which are fallen were no doubt enriched with the same ornaments.Each onehad a specific meaning,and the whole probably presented some allegory or history, and when entire and painted, the effect in ascending the terrace must have been imposing and beautiful."
This "allegory or history" we have endeavoured to decipher in the Analogies. The sculpture of this Temple, like the metopes of the Parthenon, should not be viewed in separate parts, but as a whole; for the parts, like single letters, are useless in themselves, but when placed together in proper and consecutive localities, they instantly express a word, or sentences, and thence convey to the mind the full intelligence of the subject.
"The tops of the doorways are all broken. They had evidently been square, and over one were large niches in the wall on each side, in which the lintels had been laid. The lintels had been all fallen, and the stones above formed broken natural arches [angles?]. Underneath were heaps of rubbish, but there were no remains of lintels. If they had been single slabs of stone, some of them must have been visible and prominent, and we made up our mindsthat the lintels had been of wood, and perhaps we should not have ventured the conclusion, but for thewooden lintelwhich we had seen over the doorway at Ocosingo, and by what we saw afterwards in Yucatan (Uxmal), wewere confirmed beyondall doubtin our opinion. I do not conceive, however, thatthis gives any conclusive datain regard to the age of the buildings. The wood (lintels) if such as we saw in the other places (i. e.Ocosingo and Uxmal) would be very lasting, its decay must have been extremely slow, andcenturiesmay have elapsed since it perished altogether."