walls of the queen’s chambers to be Assyrian in their type. On the Isla Mugeres (in the latter part of the year 1876), Dr. Le Plongeon exhumed portions of a female figure in terra-cotta, which indicate an advanced state of art among the ancient Mayas. The fragments of the statue, consisting of the head and feet, were probably attached to the front of a brasero or incense-burner used at the shrine of the Maya Venus, located on the southern extremity of the island. It was immediately in front of this shrine, visited by Cordova in 1516,[573] that the remains of the statue were found buried in the sand. The expression of the face is cruel and savage, the nostrils are perforated and also the pupils of the eyes. The teeth are filed as those of the statue Chaac Mol are said to be. The head is surmounted by a head-dress eight inches high. The fragments of this statue are now in the possession of Mr. Salisbury.[574] [Illustration: Mural Painting from Chaac Mol Monument Chichen-Itza.—(From a copy by Dr. and Mrs. Le Plongeon.)] [Illustration: Terra-cotta Figure from Isla Mugeres.] Through the courtesy of the owner we are enabled to present a photographic reduction of the relics in the preceding cut. [Illustration: The Cara Gigantesca.] At Izamel, the burial-place of the culture-hero Zamna, a remarkable example of aboriginal sculpture is found upon the side of a mound now enclosed in a private court-yard. This specimen of art, known as the Cara gigantesca, or gigantic face, measures seven feet in width and seven feet eight inches in height. “The features were first rudely formed by small rough stones, fixed in the side of the mound by means of mortar, and afterwards perfected with a stucco so hard that it has successfully resisted for centuries the action of air and water.” The accompanying cut from Mr. Bancroft’s work will show the type of features. The subject of Maya sculpture is almost a limitless one, but we trust that the above-cited examples may give the reader a comprehensive acquaintance with the existing types. The sculpture of Copan is no less remarkable than its architecture. In fact, every object bore the skillful marks of the graver’s chisel. The great number of sculptured obelisks, pillars and idols have been the wonder of every reader of Mr. Stephens’ description. Since his work is so generally known, we refrain from presenting more than one example of Copan art. In the accompanying cut employed in Mr. Bancroft’s work the elaborateness of the sculpture will be observed, and may well be pronounced a marvel of aboriginal art. [Illustration: Copan Statue.]