The plate opposite represents a portion of these figures. Exposed for ages to a long succession of winds and rains, the characters were faded and worn; under the glare of a tropical sun the lines were confused and indistinct, and the reflection of the heat was so intense that it was impossible to work before it except for an hour or two in the afternoon, when the building was in the shade. The head-dress of the figures is, as usual, a plume of feathers, and in the upper row each figure carries a bundle of spears or a quiver of arrows. All these figures were painted, and the reader may imagine what the effect must have been when all was entire. The Indians call this chamber Stohl, and say that it represents a dance of the antiguos; and these bas-reliefs, too, have a distinct and independent value. In the large work of Nebel, entitled "Voyage Pittoresque et Archeologique dans le Mexique," lately published at Paris, is a drawing of the stone of sacrifice in the Museum of Mexico, and now for the first time published. It is nine feet in diameter and three feet thick, and contains a procession of figures in bas-relief, which, though differing in detail, are of the same general character with those sculptured on the wall of this building. The stone was dug up in the plaza of Mexico, near the spot on which stood, in the time of Montezuma, the great teocalis of that city. The resemblance stands upon a different footing from any which may exist in Mitla, or Xocichalco, or other places, the history of which is unknown, and forms another connecting link with the very people who occupied the city of Mexico at the time of the conquest. And the proofs go on accumulating. In the upper building, the back of which appears in the engraving, is presented a casket containing, though broken and disfigured, perhaps the greatest gem of aboriginal art which on the whole Continent of America now survives. [Engraving 50: Paintings] [Transcriber's Note: Text within Engraving above each group: No. 1, No. 2, No. 3, No. 4. Text at Bottom: Outlines from paintings on the walls of a room at CHICHEN-ITZA. The colors are vivid and well preserved and consist of Green, Yellow, Red, Blue and a Reddish brown, which last color is invariably used for the color of flesh, the color of the women is somewhat lighter than that of the men. On the line marked No. 1 the figures follow as shewn in the drawing. On line No. 2 the figures are all on the same line but some figures occur between the first two and the last two which are omitted from being much defaced. Line No. 3 represents figures taken from various groups. No. 4 the same. Figures 9 in. high.]