Dzibanché Part 3 of 4: Plaza Xibalba and the Pyramid of the Owl

Pirámide del Buho, occupies the east side of Plaza Xibalba. Its rounded corners show evidence of the Petén style of architecture popular in the Early Classic period (200-600 AD). While excavating a royal tomb inside the pyramid, archeologists found numerous grave goods, including a ceramic bowl with an image that gave the pyramid its name.

In Part 3 of my Dzibanché series, we will take a look at this pyramid and two of Plaza Xibalba's other structures.  Of the 22 plazas that archeologists have so far identified, Plaza Xibalba appears to have been the most important. It was the most important ceremonial area of the Kaan (Snake) Dynasty, which originated at Dzibanché around 200 AD and eventually extended its domination over most of the Late Classic Era (600-1000 AD) Maya world.

Overview: Plaza Xibalba

Site map of Plaza Xibalba. The plaza stands just to the east of Plaza Gann, the area we examined in Parts 1 and 2 of this series. The Plaza Xibalba's platform is about 4m (12ft) above Plaza Gann and is accessed via stairways on the north and south sides of Pirámide de los Cormoranes (Edificio 2). In fact, the rear of Edificio 2 forms the west side of Plaza Xibalba. Directly across from it is Pirámide del Buho (Pyramid of the Owl), also known as Edificio 1. It is the largest structure at Dzibanché. Occupying the the north and south sides of Plaza Xibalba are two nearly identical structures called Palacio Norte and  Palacio Sur. Archeologists named the plaza after the Maya underworld because of its many associations with death and the afterlife.

Xibalba mask from Chetumal Museum of Maya Culture. Xibalba (Shee-bal-ba) means "Place of Fear" in the K'iche' Maya language. Access to the underworld was through caves or cenotes (limestone sinkholes filled with water). Xibalba was ruled by twelve gods collectively known as the Lords of the Underworld. They had horrendous names like "Flying Scab", "Bone Staff", "Pus Demon" and "Bloody Claws". Chief among these Lords were the two gods: "One Death" and "Seven Death".

Xibalba had nine levels through which the newly dead had to pass. Each level contained traps and tests, including hazards such as crossing raging rivers of blood and passing through rooms filled with fire, ravenous jaguars, and razor-sharp obsidian blades. Maya tombs often contain items which were thought to aid the dead in accomplishing this fearsome journey. These include weapons, tools, food, and precious items such as jade. The requirement to pass through Xilbalba had nothing to do with personal conduct, or one's good or bad acts while living. The only way to avoid the journey was to die a violent death.


Edificio 1 - Pirámide del Buho 

Like many of Dzibanché's structures, the Pyramid of the Owl was constructed in multiple stages. The earliest phase was a much smaller pyramidal platform built sometime between 200-300 AD. The remains of this initial pyramid were later used as the core of the one seen above. The later structure was built in several phases between 300-600 AD. The Pyramid of the Owl has four stepped levels with a broad staircase facing to the west. The second, third, and fourth levels have large panels on either side of the stairs. The surfaces of these panels were once stuccoed and painted. During the Late Classic, large stone masks were mounted on the panels, an indication of the influence of the Rio Bec architectural style.

Staircase of the Pyramid of the Owl, viewed from the top of Palacio Sud. The staircase is impressively steep, with four landings. The man descending is stepping very carefully on his way down the narrow stairs. A slip could be dangerous, possibly even fatal. As a result, access to the upper levels of many of Mexico's ancient pyramids and monuments has been prohibited in recent years. I understand the reasoning, but it often closes off some wonderful photographic opportunities. Fortunately for me, climbing was permitted on this particular pyramid.

Schematic of the Pyramid of the Owl, viewed from above. Although the Pyramid of the Cormorants may be a bit taller, the Pyramid of the Owl is, overall, the larger of the two structures. In design, the Owl Pyramid shows some similarity to the much smaller Pyramid of the Lintels, seen in Part 1. The temple at the top contains a relatively small, narrow room which was once covered by a vaulted, corbel ceiling.

Entrance to the temple is restricted by a barrier. However, the room inside is easily photographed from behind the barrier. The terrace in front of the temple gives a good view of the Plaza Xibalba, the rear of Pirámide de los Cormoranes and other areas of Dzibanché.

South end of the narrow, vaulted temple room shows evidence of smoke. A small seat or altar occupies the southeast corner of the room. There is a similar structure at the north end of the room. I am inclined to believe that these are altars because of the evidence of blackened areas on the walls at both ends of the temple. This probably indicates smoke from ritual fires.

A third seat, or altar, stands against the back (east) wall inside the temple. This one has an interesting slot near its middle. I have found no information as to the purpose of the slot, but it might once have contained a statue or other ritual object. This structure faces the entrance of the temple, strongly suggesting an altar. In 1994, archeologists examined the floor in front of this altar and found the beginning of a stairway. When they were cleared, the stairs led down into the interior of the pyramid, all the way to the level of Plaza Xibalba. There, the excavators found a recessed tomb containing the remains of a woman, obviously of great status, possibly even a queen. Her grave goods are some of the finest found at Dzibanché.

The owl on the lid of this funerary bowl gave Pirámide del Buho its name. One of the finds was a lidded pot decorated with the image of an owl (buho) with its wings spread. Archeologists were so impressed that they named the pyramid after it. To the Maya, owls were the harbingers of death and closely associated with Xibalba. It is not, therefore, surprising to find an owl depicted on a funerary pot. Owls were also powerful symbols at Teotihuacán, the great empire which so strongly influenced the Classic Maya. Palacio Atelco, the military academy of Teotihuacán, is decorated with birds with extended wings that may be owls (although they might also be eagles). Further, the Teotihuacán military leader who took power in Tikal in 378 AD--either through conquest or a coup d'etat--was named Spear-thrower Owl. (Photo from Latin American Studies website)

This engraved Spondylus shell was also found in the tomb. The shell is set with jade and shows a ruler sitting cross-legged on a throne. The relief carving is inlaid with jade and black coral. The figure on the throne wears a nosepiece and ear spools of jade, as well as jade ornaments on other parts of his body. On his head, he wears the emblem of the "jester god", which signifies royalty. In his arms, he holds a rattlesnake. Another snake is also depicted and a deity emerges from its jaws. All this may refer to a previous ruler or possibly a mythical culture hero. The style corresponds to the period from 450-550 AD. (Photo from Arqueologia Mexicana website)

The Diving God decorates a censer found at Dzibanché. A censer is a ritual device used during religious ceremonies to burn incense, usually copal. Among the pantheon of Maya gods, the Diving God (Ah-Muzen-Cab) was especially important. Archeologists nicknamed him the Diving or Descending God because he is always depicted in an upside down posture, as if he were diving out of the sky.

Although he is portrayed here in human form, he sometimes appears as a bee because he is the god of beekeepers, bees, and honey. Maya beekeeping began thousands of years ago, but became particularly prevalent during the Post Classic Era (1000-1520 AD). The Maya used a species of stingless bee that they called Xunan Kab, but its scientific name is Melipona beecheii. They used honey to make balché, an alcoholic drink consumed in religious festivals. In addition to local consumption, honey was also an important trade item. (Photo from Wikimedia Commons)

The rear of the Pirámide de los Cormoranes forms the west side of Plaza Xibalba. This shot was taken from atop Pirámide del Buho, looking west. The irregular stonework at the top of the Pyramid of the Cormorants is what remains of the large roof comb that once rose above its temple. Below the roof comb, in the lighter colored stone, you can see two large, rectangular surfaces. They are part of a series that cover the back and sides of the pyramid. They show the architectural influence of Teotihuacán.


Palacios Sud y Norte

Large rectangular pillars line the front of Palacio Sur on the south side of Plaza Xibalba. Just in front of the pillars is a long, narrow terrace from which the ceremonies in the plaza below could be viewed by elite spectators. The pillars are separated by nine entrances along the front of the building. There used to be a broad staircase rising up from the plaza to the level of this terrace. However, after the Spanish Conquest, the staircase was dismantled and the stones reused for Spanish buildings elsewhere. Only a grassy embankment remains.

Schematic view of Palacio Sur from above. The structure is in the form of a low, stretched-out pyramid. There are three lines of pillars and roof supports that create two long, narrow galleries. Ten pillars are on the front, with another ten on the rear, while the middle row contains six. There are nine doorways on the front and another nine on the rear. Numbers were always significant to the Maya, and nine is the number of levels in Xibalba. The only doorway through which you can pass directly through to the back of the building is the central door. All the other doorways are offset. Facing Palacio Sur on the north side of Plaza Xibalba is Palacio Norte, a virtually identical structure. Because of this close similarity, I will only show Palacio Sur in this posting.

Front corridor of Palacio Sur. When I first climbed to the top of Palacio Sur, I was puzzled by the structure of the building. It did not seem to be a sensible arrangement for a living space with the name "palace". The extremely long, narrow corridors would have created a difficult passage for two people approaching each other. Further, unlike Palacio Pop in Plaza Gann, there are no sleeping compartments, storage areas, or large rooms for social gatherings.

The answer, apparently, is that Palacios Sur and Norte are not really elite residential spaces at all. Instead, they form, along with Pirámide del Buho,  an elaborate funerary monument to the Kaan Dynasty female who is buried in the pyramid. Plaza Xibalba is therefore entirely ceremonial in function, and the elite residential and administrative structures are located elsewhere.

Bowl found in a Dzibanché tomb. This is yet another example of fine craftsmanship. While this bowl was used for funerary purposes, it could just as well have been used to serve dinner to an elite family. (Photo from Latin American Studies website)

How the nobles who lived a Dzibanché may have appeared. I took this photo at the Museum of Maya Culture in Chetumal. The mural is a reproduction of a mural found in a room at a different Maya city. There are no similar murals at Dzibanché to show us the appearance and adornment of the Kaan Dynasty elite, but they probably looked very much like this.

The male figures wear extravagant head dresses and rich jewelry of jade and other rare stones. Their shoulders are draped with long, white, cotton cloaks with embroidered hems. The only other forms of clothing they wear are embroidered loin cloths with long extensions draping down the front. In Yucatan's typically warm climate, other clothing would be superfluous.

This completes Part 3 of my Dzibanché series. I hope you have enjoyed it. If you would like to leave any thoughts or questions, please do so in the Comments section below or email me directly. If you leave a question in the Comments section, PLEASE leave your email address so that I can respond.

Hasta luego, Jim

Ek Balam Part 3 of 7: The South Plaza's Twin Temples and the Structure 10 ceremonial complex

The nearly identical Twin Temples share a common base platform. The Twin Temples stand side-by-side along the west side of Plaza Sur. Because they are almost mirror images of each other, those who excavated them called them the "Twin Temples", or simply "The Twins". The structure that we see today was built during the Late Classic era (700 AD-1000 AD). However, excavation has revealed structures from earlier periods underneath. Maya rulers usually wanted to surpass their predecessors. Consequently, their architects often built bigger, more elaborate structures over those constructed by previous dynasties. 

In this posting, I will cover the Twin Temples and the large platform called Estructura 10, which stands on the east side of Plaza Sur. These two sets of structures form the upright arms of the "U"-shaped plaza while the Oval Palace, seen in Part 2, forms the base. In addition to showing the photos, I will discuss how these structures were used by the city's ancient Maya inhabitants. For directions to Ek Balam from Valladolid, see Part 1 of this series.

Schematic showing the exterior and interior layouts of the Twin Temples. Despite the name, they are not quite identical. The difference is in the size and positioning of the two sets of stairs. The staircase on the right is very symmetrical with the rest of its temple. The staircase on the left is not quite as wide and is offset slightly to the right of center of its temple. Why the ancient architects built it this way is not clear. The two temples share a platform on their first level. Each temple has two doors and each door leads into two back-to-back rooms. Between them, the two temples have a total of eight equal-sized rooms. 

The interior corridors of each temple form crosses. A person inside a temple would have  access to all four of its rooms without needing to exit the building. Archeologists found a pair of stucco heads, one in each temple (see above). It is possible that the heads may represent the Hero Twins of Maya mythology. The facade of the temples was once decorated with painted figures made from stucco or lime mortar. Ek Balam thus differs from other cities in northern Yucatan, such as Uxmal or Chichen Itza, which were primarily decorated with carved stone.

The Twin Temples, viewed from the left (south) side. The base which the temples share is 40m (131ft) long and 17m (56ft) wide. Each temple is about 6m (20ft) tall. Above the trees in the background to the right is the top of the Acropolis. Just below it is Estructura 8, a part of the ball court. The court is quite close to the Twin Temples and this proximity is probably not coincidental. The Ball Game is a key part of the Hero Twins' myth. Unlike the ball courts at Chichen Itza and Uxmal, there are no mid-court stone rings in Ek Balam's court. However, the Twins have stone rings set in their walls, a possible reference to the game.

What we know of the Hero Twins comes largely from the Popul Vuh. It was a document covertly created by traditional Maya priests after the Conquest. This was during the suppression of Maya religious practices, which the Church denounced as "devil worship". The original Popul Vuh has not survived, but there still exists an 18th century Spanish translation. 

Due to the post-Conquest composition of the original, and possible erros in its translation, the text was long thought to be unreliable. However, when the Pre-Classic civilization of El Mirador was excavated, the carvings on its temples showed the Hero Twins story, just as it was told in the Post-Conquest Popul Vuh translation. 

The Hero Twins' myth involves the Maya Ball Game, maiz, and the Underworld. All these were central to the Maya world-view. The Hero Twins, Hunahpu and Xbalanque, were the sons of Hun Hunahpu, and the nephews of his brother Vucub Hunahpu. The father and uncle were avid Ball Game players, but their noise disturbed the Lords of Xibalba (the Underworld). To stop the racket, the Lords challenged them to a game on Xibalba's court. After the Lords defeated Hun Hunahpu and his brother, they were ritually decapitated. Hun Hunahpu's head was put in a tree, where it was found by Blood Moon, the daughter of one of the Lords of Death.

The decapitated head spoke to Blood Moon and spit in her palm, which impregnated her. When the Lords of Death discovered her pregnancy they decided to kill her. However, she escaped to the world above and went to the house of Xmucane, the mother of the decapitated brothers. Blood Moon told the mother that she was pregnant from Hun Hunahpu, but Xmucana didn't believe her. As a test, Xmucane told her to go to the garden and pick a netful of maiz ears. However, Blood Moon found there was only one plant. So, she magically caused the plant to produce enough ears to fill her net and was then accepted by the mother. 

Blood Moon gave birth to the Hero Twins, who grew up hearing tales of their father and uncle as great ball players. The Twins took up the game, but the noise again disturbed the Lords of Xibalba. Like their father and uncle, Hunahpu and Xbalanque were challenged to play in Xibalba. But first, they had to overcome a series of fearsome tests. In the last test, they burned up in a furnace, but regenerated themselves. This astonished the Death Lords, who demanded that a similar miracle be performed on them. The Hero Twins agreed and ritually killed the Lords of Death, but then refused to resurrect them. After returning to the world above, Hunahpu and Xabalanque rose into the sky, becoming the sun and moon.*

*This is a very abbreviated version of the myth. For a fuller version, click here.

Estructura 10: The Great Platform

A broad staircase leads up from the plaza to the top of Estructura 10s great platform. At the far end of the wall, you can see the north bastion, one of two that protrude from the two ends of the platform's west wall. Estructura 10 faces the Twin Temples across Plaza Sur and forms the eastern side of the plaza. The platform measures 5m (16ft) from the base of the plaza to its broad, flat top.

The platform was constructed in the Late Classic period (700-1000 AD) and is Plaza Sur's largest structure. It seems to have been created for large ceremonies and doesn't appear to have had any residential functions. The only decoration on the platform's walls is a cornice along the top edge made of stones, some of which are as much as one meter in length.

  

Schematic of Estructuras 10, 11, and 12. The rectangular platform measures 43m (141ft) long and 30m (98ft) wide. The dimensions of Estructura 10s platform make it the largest in Plaza Sur. However, it is dwarfed by the much larger structures in the Plaza Norte. Just beyond the top of its staircase is a small altar. On the opposite (east) side of the platform is a one-story temple. On either side of the temple are low, square-shaped mounds of rubble. 

Estructura 10's platform has two associated structures (11 and 12) on its top left (northeast) and bottom right (southwest) corners. These are actually part of the network of walls that connect various buildings that lie inside the two concentric perimeter walls that surround the whole sacred precinct. Estructura 11 connects the platform to Estructura 3, which forms the east side of Plaza Norte. Estructura 12 connects with the Oval Palace (see Part 2 of this series).

Corner of the northwest bastion. Note the size of the wall and the projecting cornice along the top. The architectural influence of the Petén region of northern Guatemala can be seen in the rounded shape of the corner. It must have taken an extraordinary effort to create this platform. First, the ground had to be leveled. Then, baskets of earth were brought to build up the platform from the plaza's surface. Next, thousands of large, heavy stones had to be carried to the site to build the walls. All this was accomplished with human energy alone and without metal tools, wheeled vehicles, or draft animals.

View of the west side of Estructura 10, its southwest bastion, and Estructura 12. The steps you see in the right center lead up to the top of Estructura 12. A sign at Ek Balam describes Estructura 12's narrow wall as "a very peculiar construction which was probably used for ceremonial purposes". The steps allow access to the top of the wall, but there are no stairs leading down the other side. The sign further stated that Estructura 12 was used for ceremonial functions or possibly as a raised space for guards to watch the access points to the site. Estructura 12 was built in three stages, all within the Late Classical period.

Estructura 10: The Ceremonial Complex atop the Platform

Model of a ceremony at a Maya temple. In the scene, the ruler has just arrived on a palanquin, carried by four servants, He is greeted by a trumpeter and various richly dressed nobles and their servants. A woman kneels with an offering at the bottom of the stairs. Near the top left side of the temple, another noble blows on a conch shell. A priest sits cross-legged in front of the small temple's door, awaiting the ruler's approach. The ceremonies conducted at Estructura 10 probably looked very much like this.

I photographed the model above at the Museum of Maya Culture in Chetumal, capital of the State of Quintana Roo, on the Caribbean side of the Yucatan Peninsula. This scene was based on the many stone carvings, painted murals, and other sources of information found at Classic-era Maya sites. It is probably as accurate a representation as could be achieved with our present knowledge of ancient Maya religious and cultural practices.

Just past the top step of the staircase, you can see the small altar and the temple. On either side of the temple are the low rubble mounds. The altar's placement is interesting. Usually altars like this are found immediately in front of a temple, or in the center of a broad space, like this platform. Coming from this direction, the altar faces east, toward the rising sun, the most sacred direction. Thus, rituals could be performed as soon as the staircase was mounted. The proximity to the top of the stairs might be explained by the need for a special ritual upon entering the platform's ceremonial area and prior to crossing over to the temple. 

On the other hand, the opposite direction (west) faces toward the Plaza Sur. The setting sun had other important religious meanings which might have required a different kind of ritual. One thing I have learned about these ancient people is that nothing was done randomly. Everything had at least one symbolic meaning and sometimes several.

The temple is on the eastern edge of the platform, which drops off steeply behind it. Unlike the walls of the platform, the temple was constructed with cut stones. The structure is only one story, but has two levels, with the upper section a bit smaller than the main body. There is only one door, which leads into a narrow hallway. In front of the door is a small stone terrace. The temple was built in the Post-Classic period (1000-1500 AD). Its size and construction are similar to the "miniature temples" found along the Caribbean Coast of Yucatan, where Post-Classic Maya culture once flourished.

I took this shot standing on the low rubble mound to the right of the temple. You can see part of the other mound in the left of the photo. I have found no explanation of the purpose of these mounds. One possibility is that they functioned as reviewing stands. This would have allowed noble spectators to watch processions as they came over the top of the staircase and approached the temple. The mounds may once have been topped by thatch-roofed structures made of wood, so that the spectators could be protected from rain or sun.  

Ancient relief carving of a Maya priest performing a ritual. He is kneeling and carries a censor (incense burner) in his left hand. The burner would have contained fragrant pom (copal incense). With his right hand, he appears to be dropping something into the space below him. The priest's whole posture suggests intense, reverent concentration. Looking at the carving, I could almost hear the rhythmic sound of drums and the mournful tone of a conch shell trumpet echoing in the background.

The figure's clothing and headgear match those of some of the figures in the model from Chetumal's Maya Museum. He wears thick bracelets on each wrist, probably of jade. Suspended on his back is a sort of pack or pouch, possibly used to carry materials necessary for his rituals. While this particular carving is not from Ek Balam, there is good reason to believe that priests looking and acting very much like this performed similar rituals on the platform of Estructura 10 and in its temple.

The temple's door opens into a short, narrow hallway. At the end of the hall is a low altar. This space was probably reserved for rituals which were considered too sacred to be performed in public. Perhaps only the ruler and the very top officials and high priests were allowed entrance. Above, you can see the carefully cut stones used to construct the temple, which are unlike the construction materials used for the platform itself.

This completes Part 3 of my Ek Balam series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below or email me directly. If you leave a question, please include your email address so that I can respond in a timely fashion.

Hasta luego, Jim

 

Dzibanché Part 2 of 4: Plaza Gann and the Pyramid of the Cormorants

Pirámide de los Cormoranes. The Pyramid of the Cormorants is the largest structure at Dzibanché. It has many fascinating features, including the burial crypt of a famous king and mysterious relief carvings beside one its staircases. The pyramid got its name when archeologists excavated the king's crypt. There, they found a vase with the image of a large, aquatic bird called a cormorant.

Dzibanché is believed to be the original capital of the Kaan (Snake) Dynasty, who founded the city approximately 200 AD. The city was once thought to have been abandoned in 1000 AD, at the end of the Classic Era. However, recent discoveries show that it was occupied until about 1300 AD, well into the Post-Classic. Although the Kaan Dynasty got its start at Dzibanché, the Kaan eventually came to rule--directly or indirectly--many Classic Era Maya cities. Eventually, this included Calakmul, the greatest and most powerful of them all.

Overview of Plaza Gann

Site map Plaza Gann. I devoted part of my last posting to Templo de los Cautivos (Edificio 13), which stands on the plaza's west side, along with its south and north wings (Edificios 12 and 14). In this posting, I will walk you around the other three sides of the plaza, which includes Pirámide de los Cormoranes (Edificio 2), which occupies the east side of the plaza, Palacio Pop (Edificio 11) on the south side, and Templo de los Tucanes (Edificio 16) on the north.

The archeological site that we visited is actually only a small part of what was once a sprawling urban complex. Dzibanché's maximum extent may have been as large as 40 square kilometers. Although twenty-two separate plazas have been identified, only a handful have been excavated. Quite literally, archeologists have barely scratched the surface. In future years, it is likely that the Snake Dynasty's ancestral home will reveal many more of its secrets.


Edificio 2: Pirámide de los Cormoranes

Pyramid of the Cormorants, viewed from its southwest corner. The staircase on the right of the photo leads up to the Plaza Xibalba which is bordered by the Pirámide del Buho (Pyramid of the Owl) and two more palaces. In this shot, you can see the pyramid's rounded corners. These are typical of the Petén architectural style popular during the early Classic Era.

Two of the three entrances into the interior of the pyramid. The third entrance is in the center of the stairs near the top. In my research, I have been unable to find any mention of these entrances and whether they are of ancient or modern origin. However, they may be the tunnels dug by archeologists which allowed them to discover burials in the pyramid. One of these graves contained the remains of Sky Witness, the 17th Kaan ruler of Dzibanché. His reign spanned the period between 561 to 572 AD.

Vase from Sky Witness' crypt in the Temple of the Cormorants. The crypt contained not only the bones of the ruler, but rich grave goods, suitable for a monarch. The image of a cormorant on this vase prompted archeologists to name the pyramid after it. Following ancient Maya funeral practices, the vase was ritually "killed" by punching a hole in it. But, there was much more than the vase in the tomb. (Photo from latinamericanstudies.org)

Jade masks were also found in the grave. Jade masks, ornaments, and various ceramic pots were also found in the crypt. Only the most elite members of Maya society, usually the rulers, were buried with elaborate jade masks like these. The elaborate jade mask covering the face of Palenque's ruler, Pakal the Great, is another example. Jade was considered not only a a sacred substance, but was as valuable to the ancient Maya as diamonds are in today' society. (Photo from Quintana Roo website).

The physical remains of Sky Witness tell an extraordinary story. An osteological analysis of the bones shows that, when he died, Dzibanché's 17th Kaan ruler was a powerfully built young man in his 30s. His relative youth at death fits with his surprisingly short, 11-year reign. The skull bears the healed scars of many battles, which indicates that he personally led his warriors into the thick of the fray. It is unknown, at this time, whether Sky Witness' early demise resulted from battle injuries or natural causes.

View from the northwest corner. On the left, you can see another set of stairs leading up the side of the pyramid to Plaza Xibalba. Beside the stairs are thatched palapas, put there to protect polychrome stucco wall decorations that were revealed when a later wall was dug away. Several large pediments are visible between the palapas and the main staircase on the right. More pediments can be seen on the temple at the top of the pyramid, and others are on the back. Like those found on the Templo de los Linteles, the pediments are a further indication of the influence of Teotihuacán, the great trading metropolis lying more than 1300 km to the west. The temple at the top of the pyramid contains two long galleries with corbel-arched ceilings. Rising high above the back of the temple are the remains of a large crest, called a "roof comb". This was a support structure for three large masks or medallions that were once mounted there.

Sky Witness won fame as the conqueror of Tikal, the Snake Dynasty's great rival during the Classic Era. However, he does not deserve all the credit. His predecessor, the 16th Kaan ruler, was named  Stone Hand Jaguar (K'ahk' Ti' Ch'ich'). This very astute ruler laid the groundwork for Sky Witness' later triumph. Stone Hand Jaguar lived a thousand years before Machiavelli, but he would have perfectly understood the intrigues and conflicts among the city-states of the Italian Renaissance.

Archeologists believe that Tikal's somewhat mysterious relationship with Teotihuacan may have been a key factor bolstering its power. Established in the mid-5th century, this connection is believed to have provided one of the main channels for the spread of Teotihuacán's influence throughout the Classic Maya world. In the mid-6th century, as Teotihuacan began to decline, its connection with Tikal weakened and eventually ended. This loss, in turn, contributed to a decline in Tikal's power and influence. Moving into this power vacuum, Stone Hand Jaguar quietly and patiently built a web of alliances. Over a period of twenty years, he gradually surrounded Tikal with hostile city-states who had tired of its domination.

Stucco relief carvings decorate the left side of the Pyramid of the Cormorants. The carvings follow the stairs as they rise up to Plaza Xibalba. They show traces of the red paint with which they were once coated. Like the talud y tablera motif of the Temple of the Lintels, these designs show that the cultural influence of Teotihuacán extended even to the capital of the Kaan Dynasty.

Stone Hand Jaguar's political outreach included dynastic weddings with other ruling houses and arranging ball games between Dzibanché and other city-states. Other tactics included gifts to his counterparts during a long series of "social" visits to their cities. All this is known from glyphs and carvings on the walls and stelae of the cities he targeted for alliances. Individually, these carvings appeared to have no particular significance. However, when archeologists viewed them collectively, a distinct pattern of sophisticated political intrigue emerged. It was as if Machivelli's book, The Prince, had been written in ancient Maya glyphs.

Stucco wall design. I was puzzled by these designs, because I was unable to find human or animal figures or glyphs. The design above may be of a flower at the end of a sinuous stem or something entirely different. Many of the images are abstract, with some having repetitive elements.

Among the cities Stone Jaguar courted were Caracol to the southeast of Tikal, and Naranjo and Holmul on the east. Waka, to the west, had a particularly warlike reputation and was thus an object of special attention. Eventually, Tikal was isolated and surrounded. Stone Hand Jaguar died before he could see the fruits of his efforts. It was left to his successor, Sky Witness, to carry out the long-range plan.

When all was ready, Caracol, supported by Naranjo and Holmul, attacked from the southeast. Meanwhile, Sky Witness led the forces of Dzibanché and Waka in the west. According to an altar-carving at Caracol, Sky Witness attacked Tikal on April 29, 562 AD. He defeated its army, sacked the city, and sacrificed its king on his own altar. Tikal would not rise again for another 130 years.

Edificio 11: Palacio Pop

View of Palacio Pop from its west end. Palacio Pop occupies most of the south side of Plaza Gann. The name "Pop" refers to the first month of Haab, the Maya's 365-day secular calendar.  The Haab, in conjunction with the sacred 260-day Tzolk'in calendar, followed the 52-year cycle of the Calendar Round. The Maya are famous for the sophistication and accuracy of their calendars, which ruled every aspect of their society.

Pop was the first month of the year and it was preceded by fasting and abstinence. The first day of Pop was celebrated by feasting, drinking and gift-giving. To the Maya, Pop symbolized community and marriage. I have not been able to determine why the archeologists gave this structure its name. It could have been related to artifacts found here, or perhaps they excavated it during the month of Pop.

East end of Palacio Pop. This is the oldest part of the palace. Above, you can see the several stepped levels and to the right is one of the balustrades of the stairs. The palace was an elite residence constructed in phases during the late Classic era (600-1000 AD). Edificio 11 is long and rectangular and its top level is divided into three rooms. The smaller rooms on each end are separated by a large one in the middle. There are five doorways in the front wall of these rooms and two doorways in the rear.

The Palace from the rear. The south side of Palacio Pop has a large terrace. This area may have contained additional rooms at one time, possibly made from perishable material. Alternatively, it could have served as an area for outdoor living.

The central room contains two broad benches along its rear (south) wall. The benches may have served as seats during the day and beds at night. In the space between the benches is a door leading to the rear terrace. Three of the five doorways on the front (north) wall can be seen above.

The east end of Palacio Pop contains a smaller room with an L-shaped bench. The wall that partially separates this room from the larger one indicates that this was a private space, possibly a bedroom. The man repairing the wall in the background is one of the site's maintenance workers. The small room at the opposite end of the palace also contains a wide bench, but only across the end of the wall.

View from the top of the palace's stairs toward Plaza Gann. There are several different sets of stairs on the front (north) side of the palace, leading up to the rooms on top. There are several more small rooms on the lower levels on either side of the main staircase facing the plaza.

Limestone was the material used to build Dzibanché's stone structures. The whole Yucatan Peninsula is a large, flat, limestone shelf that used to be seabed. The stone lies at or just under the surface of the soil in many places, making it easy to quarry. Limestone is relatively soft and light-weight, making it ideal for building monumental structures, as well as for the sculptures and stelae found throughout Yucatan.

A fire ring stands in the entrance of a room. I thought this a very odd placement for a fire ring. When entering or leaving the room, you would have step very carefully to avoid the fire. None of the explanatory signs mentioned this fire ring, which left me speculating on its use. Perhaps it--and the room--had some ritual purpose? At other sites in Yucatan and elsewhere, I have nearly always found rings like this either in the center of a room or against one of the walls.

Lidded pot found at Dzibanché. The snarling jaguar and intricate painted designs demonstrate a high quality of workmanship. This shows the level of sophistication of Dzibanché's elite and a quality of life that would have been envied by their contemporaries in Europe. Intact ceramics like this are usually found among grave goods, particularly if the crypt has not been looted. Works like this would never have survived for a thousand years on the surface. (Photo from latinamericanstudies.org)

Edificio 16: Templo de los Tucanes

Templo de los Tucanes occupies the north side of Plaza Gann. The temple is named after the toucan, a large bird with a colorful, curved beak that inhabits the jungle around Dzibanché. This structure, also known as Edificio 16, is a temple with three stepped levels and a broad staircase which extends across the front of the building. This staircase has three flights of stairs, built like "stadium seats". Seated here, elite audiences could watch ceremonies taking place in Plaza Gann.

The Temple of the Toucans was modified four times over the centuries. The first two constructional stages occurred in the Early Classic (300-600 AD), with another during the Late Classic (600-900 AD). The final modification occurred during the Terminal Classic (900-1000 AD). During the changes, annexes were added on both ends, the staircase was changed and enlarged, and the vaulted rooms once located on the top level were demolished to create more space.

Two large masks decorate the eastern end of the temple, one above the other. The one on the bottom is shown above. At one time, this mask was covered with stucco and painted. These materials have long-since worn away, leaving only the stone remnants.

At the center of the photo is a small emblem that looks like a petalled flower circled by a ring. The flower is in the middle of the mask's open mouth, with a prominent chin just below. Above the mouth is a large curved nose, looking like it belongs to a boxer who has been in too many fights. On either side of the nose are rounded cheeks and above these are slitted eyes. Framing the face is an elaborate hairstyle, or possibly a head dress.

View of Templo de los Tucanes from the east side. Just to the right of the stairs, you can see the stepped levels containing the masks. Archeologists believe that rooms made of perishable materials, probably wood and thatch, once occupied the top of the temple. The remains of the eastern annex, added after the initial construction phase, can be seen at the far right.

The second mask is above and set back from the first. Once again, the stucco and paint are gone but the mask can still be discerned. At the bottom of the face is a slightly receding chin. Above it is an open mouth, surrounded by fleshy lips. In the center of the face is a hooked nose and on either side, above the nose, are two square eyes. The meaning of these masks is lost in the mists of time. However, their prominent placement on the front of this temple signifies that the gods, or persons, that they represent were important to Dzibanché's people.

This concludes Part 2 of my Dzibanché series. I hope you have enjoyed it and, if so, you will leave any thoughts or questions in the Comments section below, or email me directly. If you leave a question in the Comments section, PLEASE leave your email address so that I can respond.

Hasta luego, Jim