Puebla Part 15: Cacaxtla's Venus Temple and the Battle Murals

The Bird Priest in Cacaxtla's North Platform. This is a detail of one of Cacaxtla's most striking murals. Standing on either side of a doorway are two figures who may be priests or rulers. One is dressed as a bird, the other as a jaguar. The juxtaposition of birds and jaguars is also found in the great battle murals which line the central plaza of the city. In the mural above, a tall figure wears a head dress in the shape of a bird's beak and flowing wings attached to his shoulders and upper arms. He is richly dressed, and carries in his arms a large shaft whose lower end is a gaping snake's mouth. These are the oldest mural paintings in Mesoamerica featuring human figures who share features from a variety of cultures, including Maya, Totonac, and that of Teotihuacan. They were created by the Olmeca-Xicalancas who inhabited Cacaxtla between 600 AD and 900 AD. This was during the period of Cacaxtla's greatest power. The Bird Priest seen above represents Quetzacoatl, the creator god who taught humans about the arts and agriculture. For the historical background of Cacaxtla and its even older sister city of Xochitécatl, please scroll down to the previous two postings.


The Venus Temple

The Venus Temple contains two dancers, a male and a female. The Venus Temple is found on the west side of the Gran Basamente, the great platform on which Cacaxtla rests. A male and a female dancer can be seen on two parallel supporting structures.

The male dancer is the least damaged of the two. He is naked from the waist up, but wears short pants of jaguar skin, and a kind of flaring skirt over those. The belt holding up his skirt has buckle that is a symbol for Venus, hence the name of the temple. On his ankles he wears dancing rattles. Notice also that he has a scorpion tail which extends behind him between his legs and off to the right side of the column. There is a wicked-looking stinger at the end.

Urn found at Cacaxtla with the figure of a dancer on the side. Notice the similarities between the figure on the urn and the painted dancer.  He wears a similar skirt and rattle anklets and his head dress bears some similarity to the painting. I thought this was a particularly fine piece of pottery

The female dancer also wears a jaguar skin underskirt. Unfortunately, this painting is more damaged than that of the male. Similar to the male figure, she also has an overskirt held up by the Venus symbol. The reference to Venus indicates an astronomical phenomenon or a calendrical date associated with Venus. To the people of this culture, Venus represented warfare and sacrifice.


The Battle Mural

The Battle Mural runs along the north side of the central plaza. It can be seen just under the row of broken pillars in the background. The two halves are separated by a broad staircase in the middle leading up to the North Platform and the temples and ritual rooms it contains. The Battle Mural stretches about 22 meters (72 ft.) along the central plaza's north side. It contains extraordinary scenes of bloody combat and human sacrifice.

Skull found at Cacaxtla. There was no sign indicating whether this was from a sacrifice or a simple burial. There appears to have been plenty of both at Cacaxtla. The city grew up in the wake of the fall of Teotihucan. That great empire had stabilized Mesoamerica for 500 years, and its sudden collapse around 600 AD left a great vacuum of power and authority. Into that vacuum rushed a host of small cities, vying for control of the resources of their areas. Cacaxtla had the good fortune to occupy a key strategic position on the trade crossroads between the Gulf Coast and the inland civilizations, as well as the route leading from the Zapotec civilization around Oaxaca up to the northern high plains. Such a position naturally created conflict with its envious neighbors. Warfare during this period was fierce.

The Battle Mural panels located to the right of the central staircase. The mural dates from the period prior to 700 AD, in the century immediately following Teotihuacan's fall when regional conflicts were at their height. These and other murals were discovered in the 1990s by local looters looking for pots and other objects to sell. Word quickly got out about a major discovery. Because they were buried, the vivid colors of the murals survived for 1100 years after Cacaxtla was abandoned. The Mexican archaeological authorities have left them in place, but otherwise have taken great care that they should not be damaged by weather or vandalism.

Jaguar Warrior spears an Eagle Warrior. The Jaguar Warrior is in the center of the photo above. He carries a round Maya-blue shield and is thrusting his spear point into the chest of an Eagle warrior who is lying down, leaning on his elbows. Military cults associated with Jaguars and Eagles appear in several Mesoamerican civilizations, including the Toltec Empire based in Tollan (Tula), and the Itzá rulers of Chichen Itzá.  These cults reached their peak in the Aztec Empire where they were the elite units who led the fight against Hernán Cortéz.

The dirty work got done with obsidian weapons like these. On the left is a spear point, while the blade on the right may have been part of a long knife or thrusting weapon. Obsidian is volcanic glass, a substance that can be shaped into very sharp tools or weapons. The cutting edge on some obsidian weapons has been found to be many times sharper than modern steel surgical instruments.

Another Jaguar Warrior raises his spear for a deadly thrust. The meaning of the Battle Mural is in dispute among archaeologists. Some see it as a genuine battle, with the Jaguar Warriors apparently emerging victorious. Others believe that the scenes represent a mass human sacrifice, possibly of captives from a battle. The evidence offered for this is that many of the Eagle Warriors appear to be unarmed and are dismembered. What appears to be the head of an Eagle Warrior lies just in front of the left foot of the Jaguar Warrior shown above. I don't have an opinion in this dispute. What seems clear to me is that the Jaguar Warriors represent a victorious and triumphant Cacaxtla. The Battle Mural may portray an actual battle, and ancient cities didn't tend to celebrate their great defeats.

A snarling stucco figure may portray an ancient warrior-ruler. The museum at Cacaxtla contains a number of figures dressed in fantastically complicated garb, like the one shown above.


The Bird and Jaguar Priests

The Bird Priest. This is the full panel containing the Bird Priest, seen in close detail in my first photo of this posting. In addition to the priest and the feathered snake upon which he stands, there are many interesting details to this mural. I wondered about the purpose of implement he holds in his arms, but the sign at the site held no explanation. The border of the panel surrounding the priest contains many further details.

Detail of the Bird Priest mural. Here you an see the serpent, with green/blue feathers along his back. This is a clearly a reference to Quezalcoatl, the famous "feathered serpent", a deity whose origin goes back at least as far as the earliest period of Teotihuacan, around 100 BC. The "business end" of the device held in the priest's arms is the head of another snake, which seems about to devour the head of the feathered serpent. Note also the feet of the priest, represented as the talons of a bird. My interpretation of this scene is that the priest is using the device to intimidate the snake on which he stands, or perhaps as a tool to direct it. This may be intended to emphasize the ability of the priest to make the god do what he wants. Of course, this is only my speculation. I invite anyone who has information about the meaning of this image to leave a comment. Notice the plants and animals along the border below the feathered serpent. There are at least 27 different plants and animals represented in this and the other murals around Cacaxtla.

The Jaguar Priest is both similar and different from the Bird Priest. To the left of the doorway leading to the inner sanctum, facing the Bird Priest, stands the Jaguar Priest. Their postures are similar, and they both carry large shaft devices with which they appear to be directing or influencing the creatures on which they stand. In the mural above, the Jaguar Priest stands upon an elongated jaguar. Jaguars were viewed as powerful symbols throughout Mesoamerica all the way back to the Olmecs. Interestingly, drops of water appear to be cascading from the device down onto the head of the jaguar. Water was a very important element in prehispanic life and, as such, carried very powerful symbolic meanings. Like the Bird Priest, the Jaguar Priest has the feet of an animal, in this case the claws of a jaguar.

Bust of a ruler/priest found at Cacaxtla. The figure, which appears to be speaking, or even shouting, wears an elaborately feathered head dress and a large necklace of some sort.

Hutches to raise animals, but what kinds? Again, there seems to be a dispute among archaeologists about these small stone enclosures. One source holds that they were for raising parrots, whose brightly colored feathers were valuable throughout the ancient world. Another asserts that these are rabbit hutches used to raise food for the noble elite who lived in the Cacaxtla complex. I suppose it is also possible that their use could have changed from one to the other over time.

A figure with the face of a tipsy clown. Although this fellow wears the garb of an important figure, his face is anything but solemn with authority.

Xochitécatl's Pyramid of the Flowers, seen from Cacaxtla's North Platform. This ancient pyramid was built, according to some, as early as 700 BC. It is part of a separate complex that is much older than Cacaxtla. If you missed my Xochitécatl posting, it is Part 13 of this series and you can just scroll down. This photo gives you a sense of the close proximity of the two sites, and of the woods and small fields that surround both. From each site, one has a vast, 360 degree vista of the surrounding valley and volcanos in the distance.

This completes Part 15 of my series on Puebla and is the end of the series itself. My next posting will be entirely different: a whimsical, photo-walk around Ajijic, the Mexican village where I live. I think you'll enjoy the change. If you have any comments on this or any of my other postings, please leave it in the Comments section below or email me directly.

If you leave a question in the Comments section PLEASE leave your email address so I can respond.

Hasta luego, Jim

Puebla Part 14: The vivid murals of ancient Cacaxtla

God "L", the patron of long-distance traders, standing by his loaded pack. Even after 1300 years, Cacaxla's murals are amazingly vivid and full of life. Carole and I had read of spectacular murals in some ruins to the north of Puebla. When it was time to depart for home, we decided to visit them on our way. The photo above is a detail from a large mural in the Red Temple at ancient Cacaxtla (pronounced Ka-kash-tla). This ancient complex of temples and palaces is only a short distance across a ravine from the ruins of Xochitécatl (see Part 13 of my Puebla series). For a Google map of Cacaxtla, click here.

The Nahuatl word Cacaxtla means "place of the merchant's pack". The site was named after the scene in the mural above. The figure shown above is God "L" of the Maya. His pack, loaded with trade goods, lean against his walking stick. He wears a cloak made from a bear skin with the head still attached as kind of a hood. His nose and the top half of his face are painted green. That he is rich can be seen in his adornments, including earrings, a necklace with a large pendant, and bracelets. These are all apparently of green jade, a very precious substance in ancient Mesoamerica. Strapped to the frame of his backpack are various objects of trade including a plant in a pot. The blue-green color used in this and other murals is called Maya blue, one of a number of indications of heavy Maya influence on Cacaxtla.

Overview of the Cacaxtla site

Artist's conception of ancient Cacaxtla. The complex sits on top of a volcanic knob, one of two on the crest of a mountain surrounded by lush valleys. The other knob contains the much-older Xochitécatl, about 1 kilometer (.62 mi.) away. Cacaxtla is built upon a platform 200 meters long (656 ft.) and 25 meters high (82 ft.), called the Gran Basamento.The north end of the complex is on the upper right of the photo. The original main entrance was the great stairway located in the middle of the east side. It gave access to the broad plaza in the center of the complex. There are structures to the north, south, and west of the plaza containing temples, living quarters and administrative areas. The site pictured above is the only part of Cacaxtla to be completely excavated. Much more remains unexcavated  in the area surrounding the top of the volcanic knob on which it sits.

Cacaxtla today is protected by a huge metal roof. Without the roof, the murals would soon deteriorate and the world would lose a treasure. Although archaeologists did some initial work in the 1940s, real excavation was not begun until after looters discovered the extensive murals in 1974 and word reached the government of a major discovery. Still, it was not until the 1980s that the Gran Basamento was excavated. All this delay means that the wonderful murals have been protected and kept on site instead of being moved to Mexico City or elsewhere as they might have been in earlier years.

Scale model of Cacaxtla, looking south. In the foreground, or north end, of the complex is the sunken plaza used for elite religious rituals. Immediately behind the sunken plaza is a row of truncated pillars that look like broken teeth. Out of sight below the pillars is a long mural with a series of battle scenes. On the right hand (west) side of the great plaza is a temple which contains both Teotihuacan and Maya architectural styles, and two colorful murals on pillars. Just beyond the great plaza on the upper right is the Red Temple, containing the mural of the merchant seen in my first photo. The upper left area above the great plaza contains the Plaza of the Three Temples and the residential area for the priests and nobles who lived in the complex.

Sentinel pyramid, guarding the approach to Cacaxtla. The tractor in the foreground provides a sense of scale. There was no sign at this structure, so I dubbed it the Sentinel pyramid. This pyramid, and another unexcavated one just out of sight on the right, straddle the path leading to the grand staircase, Cacaxtla's main entrance. Along with these pyramids, there are a number of defensive structures and ditches around Cacaxtla. The city grew up in a time of great turmoil, immediately after the collapse of the Teotihuacan Empire in 600 AD. The disappearance of that great central authority allowed the emergence and growth of numerous smaller regional entities such as Cacaxtla, but also meant there would be intense conflict among them.

View of Volcan Popocatépatl to the west. The rolling volcanic knobs give way to a broad, flat, lush valley. In the distance, with its peak shrouded in clouds, the active Popocatépatl volcano broods, quiet for the moment. The people who settled Cacaxtla were Olmeca-Xicalancas who moved there from the Maya area of the southern Gulf Coast. This is one reason for the strong Maya influences at Cacaxtla. The Olmeca-Xicalancas also moved into the Cholula area around that time, and they may have had a hand in the fall of that great city in 650 AD. From around 650 AD to about 900 AD, Cacaxtla was the power that ruled the Puebla-Tlaxcala Valley area. That the people saw their domain as the product of the desperate conflicts of their time can be seen in the great battle murals in their capital. In the end, Cacaxtla itself fell to the Toltecs around 900 AD. Those grim militarists launched their armies from their capital at Tollan (Tula), not far to the northwest and, by conquering cities like Cacaxtla, built another of Mesoamerica's long succession of great empires.


Plaza of the Three Pyramids

View from the top of the temple on the north end, looking south. A sense of scale can be gained from the line of people in the background. After the Toltec conquest, Cacaxtla lingered on for a time, but by 1000 AD the site was abandoned and all the glory and power that was Cacaxtla disappeared under tangles of vegetation. The mists of prehispanic history closed over the site and its rediscovery would have to wait almost another 1000 years.

Bedoom in "The Palace". Modern people would not consider the rooms large, but the thick walls would have meant warmth in the winter and coolness in summer. Notice the raised sleeping platform in the corner of the room. Another reason for the rooms' small size is that Mexico's climate in this area allowed people living at Cacaxtla to spend most of their days outside in the public areas like the plaza.

The faces of Cacaxtla. This collection of carved stone heads starts with that of a child in the upper left, then a boy in the upper right, with an adult male on the lower right and an old man on the lower left. I found it extraordinary to look upon these faces and consider that they might have been modeled from actual people in that long-ago time.

Even mundane details can provide interesting insights. The groove carved in the floor above was a water channel in The Palace. It leads to a covered drain. A system of channels and drains allowed rain water to run off and be collected efficiently. Since the ruins are on top of a mountain, it must have been important to collect any available water. It would have taken considerable effort to bring it up from the valley below.

Jade relief carving. The man pictured wears an elaborate head dress, earrings and a necklace. He is bare-chested and has somewhat of a pot belly. A loin cloth hangs between his legs. Something about this little object tweaked by memory. I later looked back through my photographs from Tollan, the Toltec capital. There I found a similar jade carving, showing a similarly dressed man in much the same posture. Was the object above brought to Cacaxtla by the Toltecs during or after their conquest? Perhaps the carving I saw in Tollan arrived there as an item of trade prior to Cacaxtla's fall? Maybe both items originated from some unknown third source? They seem too similar for there not to be a connection. I guess it's just another of ancient Mexico's little mysteries.

Some of the many stumps of pillars found throughout the complex. The pillars lined a sunken courtyard next to The Palace. Notice the plaster remaining on the stumps, still covered by the original red paint. A consistent color scheme is found all over Cacaxtla, with of red bands along the bottoms of pillars and walls, topped by white paint above, .

Lifelike human torso. This statue is of a man wearing fine clothing, including an elaborate collar around his neck. He also has a rather unusual belt and appears to be wearing shorts. The realistic portrayal of the human form is a striking aspect of Cacaxtla sculpture. Many cultures, such as the Toltecs and Aztecs used very stylized forms, appearing in the same postures again and again. Perhaps it was the Maya influence on Cacaxtla that brought about the realism in its sculpture. Maya sculpture is among the most exquisitely realistic in all Mesoamerica.

The sunken courtyard next to The Palace. This was a place for rituals, as can be seen by the small altar in the lower left of the photo. The use of the pit in the stone floor just behind it was unclear. Perhaps it was for ritual fires. The stairway in the background leads up into a temple.


Governor's Rooms

The Red Temple was part of an administrative area. The most striking discovery here was the mural seen in the upper left of the photo. The first photo of this posting is a detail of this mural. This part of the complex is still being restored by archaeologists, as you can see by the wooden forms they have erected to protect the area.

Perhaps the ruler himself? This figure was clearly a person of great significance. He wears a gorgeously feathered head dress, with an embroidered collar and a tunic that extends to his knees. On his feet are sandals that extend up to mid-calf. In his left hand he holds what may be a purse or (in modern terms) a briefcase. Once again, lacking an explanatory sign, I was left to speculate.

Mural of the merchant in the Red Temple. The representation of the merchant in the Red Temple is significant. The fall of both Teotihuacan and Cholula left Cacaxtla occupying one of the most strategic geographic locations in Mesoamerica. It was astride the trade routes from the Maya regions of the southern coast, as well as from Tajin, the newly emergent power in the northern coastal area. Trade from the Zapotec and Mixtec areas around Oaxaca also passed through here as well from the altiplano, or high plateau country, to the north. Merchants might carry conch shells from the Gulf Coast to be used as musical instruments, or bird feathers as well as live birds and other animals from the jungles of the Yucatan. Jade and obsidian were widely prized and were also light and compact and thus easy to carry. Such merchants were carriers of culture as well as goods. Cacaxtla thus became a crossroad of cultures, and this can be seen in its variety architectural elements.

The left portion of the merchant's mural. Maize (corn) was essential to the food economy of Mesocamerica. As such, it occupied a central place in the ancients' religious mythology. The Hero Twins, the most important figures in the Maya creation myth, were closely associated with maize. The plants shown above include not only maize, but also cacao, from which chocolate is made. Chocolate was an important ritual drink and was usually restricted to the elites. Notice the lizard climbing up the border of the mural, and the birds flocking in the plants. The mural is full of such exquisite little details. The colors on this mural are amazingly vivid after so many centuries.


West side of Cacaxtla

A feature called the Latticework adorns the west side of the complex. This feature is clearly Maya in origin. However, the exterior of the room contains the tablera and talud style typical of Teotihuacan. Even though Cacaxtla and the other regional powers only emerged because of the fall of Teotihuacan, that great empire was remembered with respect and even awe for centuries afterward.

Stuccoed wall relief on the west side of the complex. This relief carving is of unbaked clay over stucco. All that remains of this relief are the lower body and feet of the person originally portrayed. The lower legs are covered by a garment on which the weaving is intricately displayed. Sprouts of maize and cacao grow up between the toes of the sandaled feet.

More painted pillars line the west side of Cacaxtla. The rectangular framing on the side of the pillars is a Teotihuacan style. This is another example of dominant color scheme. A red base with white paint above is the style seen throughout the site.

Ancient tools held a mystery for me. These devices seemed to be tools, but for what purpose? Like so many other strange objects I have encountered in Mexico's museums, there was no sign to explain them. Then I compared them to a photo from the west side of Cacaxtla.

The strong residual influence of Teotihuacan is clearly displayed here. The vertical rectangular panel, with a sloping wall underneath, can be found nearly everywhere Teotihuacan's influence touched. The small circular objects bordering the rectangle on the right are called chalchihuetes (jewels). In the panel above, these were made out of stucco. The tools in the previous photo seem perfectly suited to form chalchihuetes like these. Mystery solved? Perhaps.

This completes Part 14 of my Puebla series. My final part (at last, you say!) will show the remainder of Cacaxtla, including the famous battle murals. I hope you have been enjoying this series. I found Puebla and these ruins an absolute delight. If you ever have a chance to visit, you should definitely try. If you would like to comment on this or any other of my blog postings, please either do so in the Comments section below, or email me directly.

If you leave a question in the Comments section, PLEASE leave your email so that I can respond.

Hasta luego, Jim

Puebla Part 13: The hilltop citadel of Xochitécatl

Pyramid of the Flowers, Xochitécatl. You are viewing a telephoto shot of the pyramid's east (back) side as seen from its nearby sister ruin, Cacaxtla. The two ruins are less than an hour's drive northwest of Puebla, not far from the intersection of the #190D cuota (toll road) between Mexico City and Puebla, and the new Arco Norte cuota. Carole and I visited the ruins on our way back from Puebla to our home in Ajijic, on Lake Chapala, in Jalisco State. The ruins, located in Mexico's smallest state, Tlaxcala, sit on the tops of twin volcanic knobs at the crest of a mountain surrounded by a vast, lush valley. There is a stunning 360 degree vista. The two knobs are about 1 km (.62 mile) apart, separated by a shallow ravine thickly covered by vegetation and small, intensively-cultivated fields. Although we stopped at Cacaxtla first before visiting Xochitécatl, I decided to reverse the order of presentation because Xochitécatl is by far the oldest of the two. In my next two postings, I will focus on Cacaxtla and its temples and palaces filled with gorgeously painted murals. For a Google map of the sites, click here.

Overview

Site map of Xochitécatl. It is not a large or extensive site, as you can see, but it is well worth visiting. Both Carole and I were struck by a sense of its great antiquity. It is definitely the oldest prehispanic site we have visited in Mexico. Four major structures are grouped on a broad, leveled-off space on top of the volcanic knob. A long, winding road to the site takes you to a parking area and a set of steps leading to a small museum, some of the artifacts of which I am including. Just beyond the museum you encounter the Spiral Pyramid, identified by the red arrow above.  At the south side (bottom) of the map is the Serpent Temple. Located on the east side is the large Pyramid of the Flowers, seen in the first photo of this posting. Between the Spiral and Flower pyramids is a low rectangular structure known as the Platform of the Volcanos. No ruins of habitations have been found in this site, leading archaeologists to believe it served a purely ritual function. The people would have lived in the fertile valley surrounding the volcanic knobs.

Clay figure of a woman, Xochitécatl museum. Although small, the museum has a large number of artifacts, both inside and in the small plaza outside. Some were labeled, but many were not, so some of my comments about them are just educated speculation. The female above, well dressed in a flowing shawl, a long skirt, and an extensive head dress, probably represents a woman of some importance. There are many representations of women among the museum's artifacts. Many of these pieces were used in fertility rites. Figures like the one above help us understand how the people saw themselves at a particular time. The word Xochitécatl is Nahuatl, the language of the Aztecs. It means "home of the flower lineage", and is pronounced "So-shee-tek-atl." The site was built more than 1500 years before the Aztecs arrived in the area, and what the original inhabitants called it is unknown. The Pyramid of Flowers, Serpent Temple, and Spiral Pyramid all date back to the Middle Preclassic era (800 BC - 300 BC), making early Xochitécatl contemporary with the Olmec Civilization, the "Mother of Cultures." Except for one significant gap in time, people used the site from then until around 950 AD, when the Classic era civilizations all over Mesoamerica collapsed. Between 150 AD and 600 AD, the site was abandoned because of the eruption of the nearby, and still-active, Popocatépetl volcano. The volcanos Iztaccihuatl and La Malinche are also visible from the site. Between 600 AD and 950 AD, the ruins were reoccupied by the people of Cacaxtla as a subsidiary ceremonial site. During this period, the Platform of the Volcanos was constructed and the Pyramid of Flowers was used for the ritual sacrifice of children.  Even though Xochitécatl was abandoned again about 950 AD, there is evidence that ritual activity continued well into the Spanish Colonial period, and may continue even today. Major archaeological work did not occur until very recently, in 1993-94.


The Spiral Pyramid

The Spiral Pyramid sits on the extreme west side of the leveled-off volcanic knob. On its top sits a Christian cross, erected in 1632, about 110 years after the Conquest. It was the practice of Spanish civil and religious authorities to plant crosses, or even erect churches, on top of indigenous temples. Their message was clear: "we're on top now." My sources vary on the time when the pyramid was erected, one saying 700 BC and another 300 BC. In either case, it is very old, pre-dating not only the Aztecs, but also the Toltecs, and even the great civilization of Teotihuacan.

The spiraling levels of the pyramid are unique. To the best of my knowledge, this is the only spiral pyramid in the entire area of Mesoamerica. There are 10 tiers to the structure, which is built from boulders and tiles. The interior does not contain other structures or previous pyramids but is entirely filled with volcanic ash. Since no steps have been found, it is believed that access to the top was by following the spirals in a priest-led procession that must have been quite spectacular.

Ritual figure found at Xochitécatl. Figures like this may have been used in the rituals held on top of the Spiral Pyramid. The figure is nude and, although it doesn't possess genitals, it does appear to have a navel. Note the extensive head dress, probably representing feathers. Two human burials were discovered inside the structure of the Spiral Pyramid.

The flat, grassy top of the pyramid provides a spectacular view. Since the Spiral Pyramid sits on the edge of the plateau, the ground to the west drops sharply down the mountain. Standing here, you are provided with a 360 degree view of the valley and the volcanos in the distance. Archaeologists believe that the structure functioned either as an astronomical observatory or for the worship of Ehecatl, the god of wind. The top of the Spiral Pyramid was certainly breezy the day we visited.


The Serpent Temple

The Temple of the Serpent. The building is rectangular, and built with 4 stepped tiers. The overall structure was constructed in 3 successive stages. My sources differ again, placing its erection in either 700 BC or 300 BC. It is constructed of riverbed stones, which would have had to be hauled up a considerable distance from the valley below.

Serpent's head, found at the temple. This sculpture gave the temple its name. It was found along with two other sculptures in a large, hand-carved, stone basin on the top level. The other two sculptures represented a jaguar-man, and another man with a sceptre. All of them were in post-Olmec style. The Olmec civilization ended about 400 BC, but its influence continued to reverberate through Mesoamerica for another 1500 years until the arrival of the Spanish.

West side of the Serpent's Temple, showing the 4 stepped tiers. The total dimensions of the temple are 80 meters (262.5 ft. ) by 50 meters (164 ft.). A room was discovered along this side of the temple containing large amounts of worked obsidian, including cores, chippings, knives, projectile points, and scrapers. Bone tools and antlers were also found. Apparently this part of the temple was used as a workshop. Ceramic remains date the workshop to the late Preclassic period (350 BC-100 AD).

"I'm the man!" This small figure stands with arms extended and thumbs up, pointing toward himself. It seems like a rather triumphant posture, although this might merely be my modern interpretation. Otherwise nude, he wears a necklace, large spool earrings, and a flat hat of some kind. 

The sole entry point to the Serpent Temple was from the north side. The ramp seen above is a modern construction. Archaeologists believe the temple was used in rites related to water. The view here is from the plaza in front of the Pyramid of the Flowers looking southwest. In the background, the peak of Popocatépetl is shrouded with clouds.

Platform of the Volcanos

Steps on the west side of the Platform of the Volcanos. The Platform is believed to be the base of a building that has now disappeared. The structure is 50 meters (164 ft.) long and 35 meters (114 ft.) wide. The Teotihuacan Empire fell in 600 AD, but its influence was still powerful in 750 AD when the platform was built. An example of this can be seen in the wall that extends down vertically to a sloping panel, called a talud, a characteristic of Teotihuacan architecture. In addition, the orientation of the platform is 16 degrees from magnetic north, similar to that of buildings at Teotihuacan. The builders were the neighboring people of Cacaxtla, who constructed their city long after Xochitépetl was abandoned due to Popocatépetl's eruption in 150 AD. Needing more ceremonial space, and no doubt impressed by the antiquity of the ruin across the ravine, the Cacaxtla people cleaned up the area, built the Platform of Volcanos on the remains of a previous structure, and began using it for religious rites.

Figure seated on a throne may have presided over rites at the Platform of Volcanos. The figure is richly dressed and may be a ruler or chief priest. Notice his elaborate head dress and the fine sandal he wears on his left foot (the only one remaining). The slitted eyes are another characteristic feature of the Teotihuacan style.

Female heads of fertility offerings. More than 200 such female figures were found at the platform in the 1960s by German archaeologist Bodo Spranz. A figurine representing the female goddess Tlazolteotl was one of those found. She was the goddess responsible for purification from sins, particularly those of a sexual nature. This provides an interesting connection to all the fertility figures. In addition, evidence of the burial of human infants was discovered in the upper section of the platform. The sacrifice of infants is known to have been conducted at this time in Xochitécatl. The overall placement of the Platform of the Volcanos in the center of the large plaza formed by the Spiral Pyramid, the Serpent Temple, and the Pyramid of Flowers indicates that it was a ritual site of great importance. 

The Monolithic Basins

Two large Monolithic Basins are located immediately in front of the Pyramid of Flowers. Their function was to hold water, a liquid considered essential to fertility. The one above is buried to ground level, the other sits on top of the ground. It is believe that children and infants destined for sacrifice were first washed in these basins before ascending the steps to their fate. 

Disfigured stone face found in one of the Monolithic Basins. There were 4 stone sculptures found in the basin, including this one. People born with disfigured faces were often considered holy in these early societies. Other stone artifacts found in the basin include a toad, a serpent, and another with the face of a human corpse.  

A human face emerges from the mouth of a serpent. This was one of the stone sculptures found in the basin. Serpents were potent symbols in Mesoamerica, often associated with Quetzalcoatl, the creator god. On the back of the Temple of Warriors at Tollan, the Toltec capital, there is a wall covered with relief carvings of skeletal figures emerging from snake mouths.  

Flower petals float in the Monolithic Basin. The area near the basin contained no plants that might produce such flowers, and I came to the conclusion that these were deliberately deposited by someone as an act of reverence. If true, the ancient religions show remarkable resilience. In fact, a very large number of people living in Tlaxcala and Puebla States still speak Nahuatl as their first language. Local festivals still feature dances and other rituals that are traceable to prehispanic times.

Pyramid of the Flowers

Pyramid of the Flowers seen from the west side of the plaza. The pyramid is quite large, measuring 100 meters (328 ft.) by 140 meters (459 ft.), similar in size to the Pyramid of the Moon at Teotihuacan. However, it does not stand as high as its Teotihuacan counterpart. That such a small site should possess such a large pyramid is remarkable. The structure was constructred with 8 tiers using riverbed stones, blocks cut from the bedrock and tiles. It must have been an immense job to drag all that up to the top of this mountain.

Infant in cradle was one of many in the museum. I found more than a dozen of these figures in the Xochitécatl museum. More than 2000 clay figures and 15 stone sculptures were found on the great stairway that leads up to the top of the pyramid. A very large proportion of the figures represented females, from infancy through old age. They include pregnant women, some of whom are shown with abdomens split open which contain richly dressed babies inside. The heavy emphasis on women and children indicates that fertility was the focus of this pyramid, particularly in its later period. 

View of the south side of the pyramid. This photo was taken from the top of the Serpent's Temple. It clearly shows the multiple platforms that make up the Pyramid of the Flowers. The edge of the east side of the plateau is just behind the pyramid. 

The great staircase, looking down from the top. Carole, standing in the upper left of the photo, provides a sense of scale.The two Monolithic Basins sit right at the base of the stairs. The children to be sacrificed would be ritually washed there, and then, with great ceremony, brought up to the top level. I can't imagine what must have been going through their minds, and the minds of their parents.

Obsidian blades and 2 jade objects. Excavations at the pyramid also revealed that there was a large obsidian workshop located there, in addition to the one at the Serpent's Temple. I found no mention of how the children were actually killed, but many Mesoamerican societies used obsidian blades like these for human sacrifices. Obsidian is volcanic glass and very hard. It can be brought to a sharpness equivalent to a modern surgical scalpel. Buried in the top level of the pyramid were the remains of more than 30 children and one adult. The children had beads of jade placed in their mouths, apparently to ease their journey into the underworld. 

The Pyramid of the Flowers has its own version of Stone Henge. The top of the pyramid is a large, flat, grassy rectangle. Near the head of the staircase are the remains of a structure a bit like that found at pre-historic Stone Henge in England. The 2 upright stones are crowned with a stone lintel. The fallen stones lying about indicate that the structure above was one of a series that enclosed an area. Astronomical observations from the top of the pyramid reveal that from this point every September 29th, the sun appears to rise from the mouth of the La Malinche volcano. 

View from the top of the Pyramid of the Flowers, looking east. The ground drops away steeply on the back side of the pyramid. Below is the ravine separating Xochitécatl from Cacaxtla. The land that isn't forested is intensively cultivated in small fields, as it would have been in ancient times. The Cacaxtla ruin is covered by the structure seen on top of the hill in the upper right of the photo.

This completes Part 13 of my Puebla series. In the next two postings, I will show Cacaxtla, with its dramatic and colorful murals, painted on the walls of temples and palaces unearthed only recently. If you enjoyed this posting, I invite you to comment, either directly by email or in the Comments section below.

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Hasta luego, Jim