225 and 230), the combination no doubt expressing the high god Kukulkan, who, among the early Maya, seems to have been represented only in this indirect way (see p. 226). In the later art, especially that exhibiting Toltec affinities, we have a more direct delineation of the deity in the shape of a human figure whose face is surrounded by the jaws of a serpent, but who is provided with wings carved in the best Maya style (Fig. 87). The foreshortening of feathers has already been mentioned, but it may be added that perhaps no people has shown in its art such an appreciation of this form of ornament as the Maya, and for sheer beauty the feather-motive shares the honours with the plant-design (see Fig. 60; p. 289), often shown in combination with fishes and grotesque masks, which appears not only on the sculptures, but also in the frescoes. CHAPTER XIV--CONCLUSIONS It is obvious that the two forms of culture described in the foregoing chapters, Mexican and Maya, were at least very closely related the one to the other; but it is equally obvious that the connection was closer between the Maya and the pre-Aztec inhabitants of the Mexican valley than between the former and the Aztec. Religion in both areas ran on similar lines, and the pantheons included certain more or less otiose high gods, and a rain and thunder agricultural-deity whose worship was of primary importance. The importance of blood-offerings, combined with the late introduction of human sacrifice, the existence of a ritual and solar calendar, both similar in nature, and the habit of constructing buildings of ceremonial importance on lofty pyramidal mounds or terraces are features common to both. Besides this, as far as the later Maya are concerned, we find traditions of a historical nature which make mention of places, such as Tulan and the Seven Caves, which occur in Mexican legends, and at Chichen Itza, where at least one section of the population traced their origin to “Tulan,” we have ruins corresponding exactly in style to those found at the pre-Aztec site Tulan in the Mexican valley. Other similarities relating to material culture are equally numerous, as well as similarities in art and symbolism. Many of these have already received attention, but, as a further illustration of the latter, mention may be made of a small detail which is of comparatively frequent appearance on sculptures throughout the Mexican and Mayan area. This consists of a trapezoidal figure interlaced with a triangle or another trapezium, and occurs usually as a head-ornament. A series of its manifestations is illustrated in Fig. 86. Here the earlier monuments where it appears are represented by Copan (_a_), Menché (_c_), Piedras Negras (_b_) (for Naranjo see Pl. XXIII; p. 302); in Yucatan it occurs at Uxmal (_g_); on the fringe of the Mexican valley, at Tehuacan (_d_) and Xochicalco (_e_); in the valley itself, at Tenango (_k_), Xico (_m_), and, to the