The Habitat and its Outcome

The plain of the city brings back as we left said, all of its brightness to the immense squared plot according to which the expansion of Teoithuacan was operated on, to both sides of the Causeway of the Dead, in its parallel or perpendicular disposition.

The most frequent disposition consists in a series of alleys of about 2.5 m wide added to four lateral walls of street blocks and rooms, and always one story buildings, they also constituted roomy palaces or simple houses for the citizens, the majority appears to have houses about 100 people perhaps even more. This last fact makes us think in a life with the characteristics of a community: big familiar communities and perhaps labor communities.

This sort of houses was so extended, that in certain cases, it has come to even think that they could have been lodges for pilgrims. The Tlamilolpa group counts with no less than 175 rooms around 21 small patios and 5 plazas. In the excavation of these rooms, the archeologists seem to stumble with some circular pits of a 1meter diameter approximately and categorical, excavated in the grounds of the patios of the rooms: we are talking about graves. In them, bones were found some times a little decomposed and in other graves they were found clean and disposed in an order that is not that of the skeleton. If the artists of Teotihuacan were marvelous potters, they weren’t less outstanding as sculptors, as the funeral mask shows us.

Sculpted in clay, basalt, obsidian, serpentine or onyx, the highly stylish and spiritualized faces looks at us, or better yet, they contemplate at eternity with their eyes open even further than it is visible. Very few times, it has been accomplished to model the human features in way that they show less a person and more a presence and a meaning. Not even Egypt produced something that would communicate us better the impression of untimely serenity and therefore a definite presence. Unfortunately, our ignorance of the hieroglyphic code that would allows to decipher it, doesn’t let us see, in the discovered paintings in the City of the Gods more than the extraordinary vigor of its traces and impetous concision of its style.

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