from any fancied idea of what it might have been, but from such remains and indications that it was impossible to make anything else of it. It is thirty-eight feet front and twenty-eight feet deep, and has three doors. The end piers are ornamented with hieroglyphics in stucco, two large medallions in handsome compartments, and the intermediate ones with bas-reliefs, also in stucco; in general character similar to those before given, and for that reason, not to multiply engravings, they are omitted.
The interior, again, is divided into two corridors, about nine feet wide each, and paved with stone. The engraving, No. 71, represents the front corridor, with the ceiling rising nearly to a point, and covered at the top with a layer of flat stones. In several places on each side are holes, which are found also in all the other corridors; they were probably used to support poles for scaffolding while the building was in process of erection, and had never been filled up. At the extreme end, cut through the wall, is one of the windows before referred to, which have been the subject of speculation from analogy to the letter Tau.
The back corridor is divided into three apartments. In the centre, facing the principal door of entrance, is an enclosed chamber similar to that which in the last building we have called an oratory or altar. Its outline is seen in the engraving. The top of the doorway was gorgeous with stuccoed ornaments, and on the piers at each side were stone tablets in bas-relief. Within, the chamber was four feet seven inches deep and nine feet wide. There were no stuccoed ornaments or paintings, but set in the back wall was a stone tablet covering the whole width of the chamber, nine feet wide and eight feet high.
The tablet is given in the engraving. No. 72, and I beg to call to it the particular attention of the reader, as the most perfect and most interesting monument in Palenque. Neither Del Rio nor Dupaix has given any drawing of it, and it is now for the first time presented to the public. It is composed of three separate stones, the joints in which are shown by the blurred lines in the engraving. The sculpture is perfect, and the characters and figures stand clear and distinct on the stone. On each side are rows of hieroglyphics. The principal personages will be recognised at once as the same who are represented in the tablet of the cross. They wear the same dress, but here both seem to be making offerings. Both personages stand on the backs of human beings, one of whom supports himself by his hands and knees, and the other seems crushed to the ground by the weight. Between them, at the foot of the tablet, are two figures, sitting cross-legged, one bracing himself with his right hand on the
