International studio (80.1925)

inceRnAcionAL

relief to the exact reproduction of the human to wood, but owing to the perishable nature of the

form' At Quirigua and Piedras Negras, where material few examples remain. Nearly all of these

other front view figures occur, the greater part of are from Tikal and consist of lintels upon which

the bodv is shown in low relief, but the face is are sculptured designs in low and beautifully

o-enerally carved in high relief or in the natural modeled relief. The relation which these speci-

roundness. _ mens bear to the work

Tho nose of the I--. . -: ; j . . - I in the northern Maya

Ihe pose or tne lami^mt^Mtdi...^ S* JtlWJtMi I ,„„;......i.„„ m.;

human figure is practi-
cally uniform through-
out the long Copan

series. The chieftain, | ' . ^> . ' ^TikaT ofThe

P_____u~i o+„„^e in I l^B' '.-, *S *tawk Ml durable zapote wood,

represented, stands in
an erect attitude with

' , , r ¥ , .,^^7X w-^J'J^ to the solidity of the

his heels together and 1 • . ^ • f : ^y^^.^r m*m , ., ,. ,J. ,

. ., rT i ' . • ■ -'XWr-^^^M buildings, while those

holds an object called ■ ■ ' •1 !*5P5 of Palen and Yu

the Ceremonial Bar ' gs&!S!*5£l-* ° a en<3ue ai* u

h' breast P" mtff'-'-' y3# V'^fc^** catan, less well pro-

i-?ai? i i . JK"; / - tected, have vanished.

The body shows per
feet bilateral sym-
metry. In the earliest

region, makes it evi-
dent that wood carv-
ing antedated skill in

have survived,

owing

that in that locality
modeling in stucco at-

At Palenque, the
limestone is of a hard

. ... nature and difficult to

lie close to the side W ^ " -»* - *

and the forearms rise
almost vertically. In

, the 'V* ; y - "-^ y*{ tamed high develop

arms are almost hori- ^&JP- £1: \ / /"V • 1"fk~*<± ment. The Maya art-

zontal. On the greater ■HM^-'^ ' - ■ JV; >st there displayed

number of these stete ^WbV^--s*«*#'V_-*rl^ F definite signs of modi
the feet are repre
sented as turned di v v .

rectly outward, form- caning to suit a less

ing a straight angle. r^T^*V^-M -..... f~>^'"~ *^&2<H tractable material.

However, at the end \ . ■ UJ ,J He showed that the

of what we call (he ' " • quality ol his work

Archaic period, the .7—~ jjf.7 w, depended greatly upon

sculptors began to r ^.O. the P^t.city of this

take advantage of the .^>' , -J - Mjtf?^ '"atenal, while he

increased relief offered gained much from his

experience in stone. A

fying the technique
borrowed from wood

peculiar feature of the

by the heavy apron

and turn the feet in-

iiilH&HHHIHS work at Palenque is
wards until in the *>■•-■*■'__--.-.-1

most advanced can- ™—*e comparative re-

] became straint exhibited by

nigs tie pose 5ecam Ouirigua, though the artist. That he still loved complexity of detail

almost natural. 1 ne steia 01 & » => ,

generally later than those of Copan, show a ,s shown by many reliefs, but he no longer feared

reversion to less skillful treatment. The poses are the vacant space and appreciated rts value as a

much the same, though in some cases a mannikin background.

+ ff rpnb^« the Ceremonial Bar. Like the Greeks, the Maya painted their stone

figure on a start lepiaces uic ^ c., . , • „ , • , ,

This substitution breaks up the bilateral sym- sculptures. Many of the stela still show evident

metrv since the staff is held diagonally across the traces of color. In some cases an entrre monument

bodv 'and not horizontally. Many monuments was painted over with a single tint; m others,

J * TitoT anrI Naranio, parallel the details of ornament were picked out in contrasting

here, as well as at likaianu i^didi j - . c t\ i n r 1 ■ r • 1

r „ m.rpr.t 0,,,+ the ace is often tones. 1 he colors were usually applied in a tairly

sculptures of Copan, except tnat tne iacc kt

t d ' file definite way; red lor llesh tones, blue and green

urne in pro 1 . when applied for ornaments and green for feathers. In Piedras

Mava carving rs seen at ho

march 1925

Jour thirty-seven