decorated. Within the building were many rooms. From the north side of one of the smaller courts rises a high tower, or pagoda-like structure, thirty feet square at the base, which goes up far above the highest elevation of the building, and seems to have been still higher when the whole structure was in perfect condition. The great rectangular mound used for the foundation was cased with hewn stone, the workmanship here, and every where else throughout the structure, being very superior. The piers around the courts are "covered with figures in stucco, or plaster, which, where broken, reveals six or more coats or layers, each revealing traces of painting." This indicates that the building had been used so long before it was deserted that the plastering needed to be many times renewed. There is some evidence that painting was used as a means of decoration; but that which most engages attention is the artistic management of the stone-work, and, above all, the beautifully executed sculptures for ornamentation.

Two other buildings at Palenque, marked by Mr. Stephens, in his plan of the ruins, as "Casa No. 1" and "Casa No. 2," views of which are shown in Figures 27 and 28, are smaller, but in some respects still more remarkable. The first of these, 75 feet long by 25 wide, stands on the summit of a high truncated pyramid, and has solid walls on all sides save the north, where there are five doorways. Within are a corridor and three rooms. Between the doorways leading from the corridor to these rooms are great tablets, each 13 feet long and 8 feet high, and all covered with elegantly-carved

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Fig. 27.-Casa No. 1, Palenque-Front View and Ground Plan.

inscriptions. A similar but smaller tablet, covered with an inscription, appears on the wall of the central room.

"Casa No. 2" consists of a steep and lofty truncated pyramid, which stands on a terraced foundation, and has its level summit crowned with a building 50 feet long by 31 wide, which has three doorways at the south, and within a corridor and three rooms. This edifice, sometimes called "La Cruz," has, above the height required for the rooms, what is described as "two stories of interlaced stucco-work, resembling a high, fanciful lattice." Here, too, inscribed tablets appear on the walls; but the inscriptions, which are abundant at Palenque, are by no

Fig. 28.-Casa No. 2, Palenque (La Cruz)-Front View and Ground Plan.

means confined to tablets. As to the ornamentation, the walls, piers, and cornices are covered with it. Every where the masterly workmanship and artistic skill of the old constructors compel admiration; Mr. Stephens go

ing so far as to say of sculptured human figures found in fragments, "In justness of proportion and symmetry they must have approached the Greek models."

"Casa No. 2" of Mr. Stephens is usually called “La Cruz" because the most prominent object within the building is a great bas-relief on which are sculptured a cross and several human figures. This building stands on the high pyramid, and is approached by a flight of steps. Dupaix says, "It is impossible to describe adequately the interior decorations of this sumptuous temple." The cross is supposed to have been the central object of interest. It was wonderfully sculptured and decorated; human figures stand near it, and some grave ceremony seems to be represented. The infant held toward the cross by one of the figures suggests a christening ceremony. The cross is one of the most common emblems present in all the ruins. This led the Catholic missionaries to assume that knowledge of Christianity had been brought to that part of America long before their arrival; and they adopted the belief that the Gospel was preached there by St. Thomas. This furnished excellent material for the hagiologists of that age; but, like every thing else peculiar to these monkish romancers, it betrayed great lack of knowledge.

The cross, even the so-called Latin cross, is not exclusively a Christian emblem. It was used in the Oriental world many centuries (perhaps millenniums) before the Christian era. It was a religious emblem of the Phœnicians, associated with Astarte, who is usually figured bearing what is called a Latin cross. She is seen so

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figured on Phoenician coin. The cross is found in the ruins of Nineveh. Mr. Layard, describing one of the finest specimens of Assyrian sculpture (the figure of “ early Nimrod king" he calls it), says: "Round his neck are hung the four sacred signs; the crescent, the star or sun, the trident, and the cross." These "signs," the cross included, appear suspended from the necks or collars of Oriental prisoners figured on Egyptian monuments known to be fifteen hundred years older than the Christian era. The cross was a common emblem in ancient Egypt, and the Latin form of it was used in the religious mysteries of that country, in connection with a monogram of the moon. It was to degrade this religious emblem of the Phoenicians that Alexander ordered the execution of two thousand principal citizens of Tyre by crucifixion.

The cross, as an emblem, is very common among the antiquities of Western Europe, where archæological investigation has sometimes been embarrassed and confused by the assumption that any old monument bearing the figure of a cross can not be as old as Christianity.

What more will be found at Palenque, when the whole field of its ruins has been explored, can not new be reported. The chief difficulty by which explorers are embarrassed is manifest in this statement of Mr. Stephens: "Without a guide, we might have gone within a hundred feet of the buildings without discovering one of them." More has been discovered there than I have mentioned, my purpose being to give an accurate view of the style, finish, decoration, and general character of the architecture and artistic work found in the