Another type of Mexican carving is seen in the statue of Teoyaomiqui, the god of war and death, of which the two faces are different. Bandelier believes this to be a statue of the war-god Huitzilopochtli. Another remarkable statue given mention by Bandelier is the “Indio Triste.” This is a squatting figure of an Amerind executed with more simplicity than is usual with Amerind work in this region. Bandelier considers it a torch-bearer, a supposition borne out by evidence he advances, and also by the arrangement of the hands and arms, which are brought out forward of the chest as if clasping something in the empty space between the fingers. This statue is forty inches high and two feet wide. A comparatively small number of Aztec sculptures have been found. Almost all were destroyed or buried by the zeal of the early priests. Under the City of Mexico and in other places there are probably many lying intact, and some day they may come to the light. “The art of sculpture in aboriginal Mexico,” says Bandelier, “while considerably above that of the Northern Village-Indians, is still not superior to the remarkable carvings on ivory and wood of the tribes of the North-west Coast and often bears a marked resemblance to them.”[162] Proceeding on southward, the next great group of carvings is that ascribed to the Mayas, and extending, in a general way, from the Isthmus of Tehuantepec to the borders of Honduras and somewhat beyond. The people formerly occupying this area were extremely active in the line of carving, and there are preserved to us tablets, figures in bass-relief, statues, monoliths, and other stone- and wood-work that, taken together, easily bring this people in the very front place among Amerind artists. Their buildings were most elaborately ornamented with carving in stone, or wood, and with modelling in stucco, and there were many tablets bearing carved inscriptions. One of the most famous of these tablets adorned a beautiful building called in modern times “The Temple of the Cross.”[163] It stands at Palenque. The tablet was affixed to the rear wall of an inner chamber, termed by Europeans the “Adoratorio,” and was in three sections, the total dimensions of which were ten feet eight inches wide, by six feet four inches high. One section of this tablet remained in place at the time of Charnay’s last visit, one was in Las Playas, and the other, the third, is in the Smithsonian Institution. At each extreme end of the whole composition was a mass of the calculiform writing; next came two figures separated by a peculiar design in the centre, which somewhat resembles a cross, and it was this design that gave the name to the tablet. While the execution is remarkable it is nevertheless primitive, and similar to other Amerind art in quality and conception. It is a high development of Amerindian sculptural ideas. Another similar tablet exists in the so-called “Temple of the Sun.” A cast of this was made by Charnay and a