it was consecrated and might be play'd in, but not before. The owner of the Tennis Court, who was always a lord, never play'd without making some offering and performing certain ceremonies to the idol of gaming, which shows how superstitious they were, since they had such regard to their idols, even in their diversions. Moctezuma carry'd the Spaniards to this sport, and was well pleas'd to see them play at it, as also at cards and dice." This account by Herrera of the temples surrounding the playground would be as accurate if it purported to be a description of Chichen instead of Mexico. The two roofless buildings which we found north and south of the court certainly suggested temples, but a more elaborate confirmation of the religious element in this ball-game is found at the southern end of the eastern wall, where stands another building larger than either of those described. This is called "The Temple of the Tigers," from a frieze design, marvellously lifelike, of jaguars (always called tigers in Yucatan) pacing after one another. The building is built to the same level as, and indeed forms part of, the wall of the Tennis Court. Its position, with serpent-columned doorway, facing the arena, indicates that it, too, figured in the ceremonies of the ball-game. Of the front room nothing remains but the two columns and the back wall, out of which latter a doorway leads into an inner apartment. Here are the most remarkable Mayan paintings so far discovered. They cover, or, to be accurate, they once covered (for they are much mutilated), the whole wall space. The colours used are green, red, blue, a reddish brown (the colour of the human skin in all Mayan paintings), and yellow. The designs are coarse in outline, the colours are faded, the plaster is chipped; but the humanity of it all holds you. The method employed in these mural paintings was that of placing one layer of pigment over another. Thus a green shield with yellow bosses studding it was depicted by the shield being first painted entirely over with green, discs of yellow chalky pigment being then placed on the green background. This method, which at the time of the actual painting obviously must have added to the glowing realistic effect, has its grave disadvantages in the detaching of these superimposed layers of paint by crumbling during the passage of centuries. Thus much of the original skill of the design is for ever lost to us.