These important ruins were not described by Stephens and Catherwood. Captain Dupaix’s work gives some account of them, and Desiré Charnay, who saw them since 1860, brought away photographs of some of the monuments. Four of the standing edifices are described by Dupaix as “palaces,” and these, he says, “were erected with lavish magnificence; * * * they combine the solidity of the works of Egypt with the elegance of those of Greece.” And he adds, “But what is most remarkable, interesting, and striking in these monuments, and which alone would be sufficient to give them the first rank among all known orders of architecture, is the execution of their mosaic relievos, very different from plain mosaic, and consequently requiring more ingenious combination and greater art and labor. They are inlaid on the surface of the wall, and their duration is owing to the method of fixing the prepared stones into the stone surface, which made their union with it perfect.” Figure 33, taken from Charnay’s photograph, shows part of the mosaic decoration on a wall of one of the great edifices at Mitla. [Illustration: Fig. 32.--Ruined Palace at Mitla.] [Illustration: Fig. 33.--Mosaics at Mitla.] The general character of the architecture and masonry is much like that seen in the structures at Palenque, but the finish of the workmanship appears to have been more artistic and admirable. These ruins are remarkable among those of the country where they are found. All who have seen them speak much as Dupaix speaks of the perfection of the masonry, the admirable design and finish of the work, and the beauty of the decorations. Their beauty, says M. Charnay, can be matched only by the monuments of Greece and Rome in their best days. One fact presented by some of the edifices at Mitla has a certain degree of historical significance. There appears to be evidence that they were occupied at some period by people less advanced in civilization than their builders. M. Charnay, describing one of them, points out this fact. He says of the structure: “It is a bewildering maze of courts and buildings, with facings ornamented with mosaics in relief of the purest design; but under the projections are found traces of paintings wholly primitive in style, in which the right line is not even respected. These are rude figures of idols, and meandering lines that have no significance. Similar paintings appear, with the same imperfection, on every great edifice, in places which have allowed them shelter against the ravages of time. These rude designs, associated with palaces so correct in architecture, and so ornamented with panels of mosaic of such marvelous workmanship, put strange thoughts in the mind. To find the explanation of this phenomenon, must we not suppose these palaces were occupied by a race less advanced in civilization than their first builders?”