In the temple of the Sun, in a position precisely corresponding to that occupied by the tablet of the cross, stands a somewhat similar tablet cut in low-relief on three slabs covering an area of eight by nine feet. The figure of the cross in this instance is displaced by a hideous face or mask supposed to represent the sun, supported by a framework resting on the shoulders of crouching men. The priest and priestess occupy the same positions as occupied by them in the tablet of the cross. Each is in the act of presenting a child with masked face to the sun, and each is standing upon the back of a kneeling slave. The lateral tablets are covered with columns or rows of hieroglyphics, as in the tablet of the cross.[564] The stuccoed roofs and piers of both the temples—Cross and Sun—may be truly pronounced works of art of a high order. On the former, Stephens observed busts and heads approaching the Greek models in symmetry of contour and perfectness of proportion. M. Waldeck has preserved in his magnificent drawings some of these figures, which are certainly sufficient to prove beyond controversy, that the ancient Palenqueans were a cultivated and artistic people. In passing to Uxmal the transition is from delineations of the human figure to the elegant and superabundant exterior ornamentation of edifices, and from stucco to stone as the material employed. The human figure, however, when it is represented, is in statuary of a high order. The artists of Uxmal did not improve upon the Palenque models so much in the design as in the execution of their subjects. Uxmal statuary approximates more closely to what properly may be called statuary, being cut more nearly “in the round” and having less unfinished back surface than the Palenque statue. The elegant square panels of grecques and frets which compose the cornice of the Casa del Gobernador, delineated in the works of Stephens, Baldwin and Bancroft, are a marvel of beauty, which must excite the admiration of the most indifferent student of this subject. The ornamentation of this great cornice, equal to one-third the height of the building, is cut on blocks of stone and inserted in the wall with the utmost precision, so that every line matches, and the graceful arabesques and bas-reliefs, which sometimes cover several blocks with a single figure, are unbroken by apparent joints. The grandest specimens of American ornamental sculpture are, however, to be seen on the inner fronts of the four buildings of the Casa de Monjas, a plan of which is given on page 351 of this work. It will be remembered that these fronts face the court around which the buildings were constructed. The court front of the eastern building is probably one of the most tasteful and interesting specimens of sculpture to be met with in America.[565] M. Waldeck considers that it presents an appearance of grandeur of which it would be difficult to give an idea, while Stephens considers its