It has been argued that the Egyptian and Palenque sculpture resemble each other in that both are generally in profile; but the trivialness of the reasoning will be at once apparent. On the contrary, Mr. Bancroft remarks, “Sculpture in Egypt is for the most part in intaglio, in America it is usually in relief.” Notwithstanding the oft-repeated assertion that a resemblance between Egyptian and Maya hieroglyphics exist, no one of the Egyptologists so successful in their chosen field have been able to decipher the Maya writing. It is not improbable that the Palenque and Copan civilization received its first impulse from some of the peoples of the southern or eastern shores of the Mediterranean, but from which it would be impossible to say even if we were certain that such was the case. Whatever of a foreign character it may have had at first has been mostly lost in the independent development of new and original characteristics, the natural outgrowth of new wants and new conditions, arising through the lapse of many centuries. The latter remark we think may be applied with even more certainty to the Nahua civilization as displayed in its sculpture. All through Mexico the favorite subject for the Toltec or Aztec sculptor was the serpent, generally the rattlesnake. Mr. Bancroft in his fourth volume has given numerous examples of this fact. Serpent sculpture was also common among the Mayas, but to a less extent, and it is not improbable that the symbol entered into their art through the Quichés—a mixed people composed of Mayas and Nahuas. We have already observed the same disposition to sculpture the rattlesnake among the Mound-builders. In the great serpent upwards of a thousand feet in length on Brush Creek, Adams County, Ohio, we find a striking analogy to the tendency of Mexican art. Furthermore, the great serpent grasps in its jaws (if they may be so called) an immense oval figure of precisely the shape of an egg, and “the combined figure is regarded as a symbolical illustration of the Oriental cosmological idea of the serpent and the egg.” We have seen in the remarks of Señor Melgar that two examples of the egg possessing precisely the same significance which is attached to it in Eastern Asia were found near the City of Mexico. The part which the serpent symbol plays in the south and east Asiatic sculpture and mythology is probably well known to the reader; and if not, a perusal of Maurace’s _Indian Antiquities_ or Moor’s _Hindu Pantheon_ will satisfy him that it occupied a place equally important among Nahuas and Hindoos. The great serpent in Ohio may be a connecting link between the art of both Mexicans and Asiatics. In the course of independent development which the Nahuas underwent during thousands of years, the cosmological symbol of the egg may have been lost and supplanted by that of the serpent alone, the emblem of the life principle in both America and Asia. However, we may safely close these speculations