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Location: Monument 3 was discovered by the Seler-Sachs during the winter of 1906-07 lying just south of Structure 9 (Mound 2C). Monument 3 is now housed in the Museo Nacional de Antropologia e Historia in Mexico City.
Associations: Weiant conducted excavations in and around Structure 9 and suggested that sherds from the plaza floor resembled sherds found in the Ranchito Group burials (Weiant 1943:12-13). Unfortunately, Weiant did not identify archaeological relationships between material from his excavations and the strata within which Monument 3 was deposited as an obsolete sculpture.
Condition: Well preserved apart from the upper edge which is broken away on all four sides.
Photographs: Present report, Plates 11, 12; Seler-Sachs 1922: Plate V; Weyerstall 1932: Figure 7; Stirling 1939:195; 1943: Plate 5; de la Fuente 1973: Plate 228.
Drawings: Present report, Figure 14, 15; Stirling 1943: Plate 17, 18; Covarrubias 1961, Figure 31; Smith 1963, Figure 138; Stirling 1965: Figure 26; Bernal 1968: Figure 25; Wicke 1971: Figure 2; Helmuth 1987: Figure 191.
References: Seler-Sachs 1922; Weyerstall 1932; Stirling 1943, 1965; Covarrubias 1961; Kubler 1962; Smith 1963; Williams and Heizer 1965; Bernal 1968; Wicke 1971; de la Fuente 1973.
Carved Areas: All four sides are carved, the bottom and interior are plain.
Material: The material is a coarsely porphyritic olivine-augite basalt with large phenocrysts. The source of the stone is probably Cerro el Vigia, where large boulders of the same material are found (Williams and Heizer 1965, Heizer Smith and Williams 1965:102).
Dimensions: Outside 122 cm, x ? cm, Inside 99 cm, x 65 cm, Height 152 cm, Side thickness 15 to 20 cm.
Shape: Monument 3 is a rectangular box with flaring sides.
Description: Monument 3 is a rectangular stone box with flaring sides and elaborate flat relief carving on all four sides. The sides are labeled A, B, C and D, after Stirling (1943). Sides A and B are the long sides, while sides C and D are the short sides.
Side A: The composition of Side A consists of a central figure, Figure A, with two figures to either side, Figures B and C, and two figures below, Figures D and E. There may also have been two figures above, but there is no evidence of a sixth and seventh figure.
Between Figures A and D and B and C are two agnathic grotesques identical to the slippers of Figure A which are described below. Undulating scrolls emerge from the mouths of serpent heads and the elbows and loins of Figure A, while along the bottom of the composition is a series of scrolls with ornamental pitting. These elements are all characterized by raised fillets along their inner and outer edges. The picture plain inside the bracket and scrolls is further ornamented with an incised line.
Figure A: Figure A is a short stubby person in full front view, the legs are spread apart with the feet pointing outward and the arms are clasped in the serpent grasping gesture. The figure wears agnathous grotesque head slippers and an agnathous belt head which covers most of the torso. Double scrolls undulate downward from the figure's elbows.
The figure's slippers are each composed of an agnathous long-lipped grotesque head shown in profile. The upper lip is a half bracket with a thickened tip and a winged scroll on the cheekplate. Below the tip of the lip is a mass of four long incisors. Flanking the incisors is a serrated tooth band with a scroll at the corner of the mouth. Above the lip is a nose knot with a drilled nostril and a beaded forelock at the upper edge. Above the cheek scroll is an eye slit. Above the eye slit the supraorbital element terminates in scrolls at the outer edges and a longer undulating element in the center. At the corner of the mouth is a long "hand" element and a second mouth scroll. At the rear of the cheekplate the back of the slippers can be seen.
The face of the belt head is shown in front view with a buccal mask obscuring the entire face below the level of the nostrils. The upper lip of the mask is a thick double bracket with winged scrolls to either side. Below the center of the lip is a "U" shaped bracket incisor with two winged scrolls emerging from its lower edge. Flanking the stylized incisor are serrated tooth bands with scrolls at the corners of the mouth. Above the buccal mask is a broad flat nose with drilled nostrils. The Supraorbital elements terminating in scrolls above their outer edges. To either side of the nose are recessed eye slits with drilled circles at the inner edges.
A loincloth which splits into a beaded trident hangs below the incisor of the belt head. Below the loincloth is an undulating element which splits into two scrolls at the distal end. This element bears incised parallel lines and is bordered with rows of "U" elements.
An agnathous long-lipped grotesque head is superimposed on the bifurcation of the undulating element. The face of the grotesque is shown in right profile. The upper lip is a half bracket with a thickened tip and a winged scroll on the cheekplate. Below the lip a long tooth band commences with an incisor at the tip of the lip and terminates in an element hanging below the cheekplate. Above the lip is a nose knot with a drilled nostril and a beaded forelock at the upper edge. Above the cheek scroll is an eye slit. Above the eye slit the supraorbital element terminates in scrolls at the outer edges and a longer undulating element in the center. At the corner of the mouth is a second mouth scroll. At the rear of the cheekplate is a circular earflare with a superfixed lozenge shaped cartouche containing a "U" element and a subfixed serpent head with slit eye, curved snout and large incisor.
Behind this grotesque is a circular starburst with round beads on the end of each short ray. In the center of the starburst is another head formed of a trident with a nose knot and incisors added.
Figure B: The composition calls for a figure to the left of Figure A, but no trace of this figure remains.
Figure C: Figure C, to the right of Figure A is missing except for the lower parts of his legs. The legs are in a kneeling position which is commonly used in symbolic art styles to suggest motion. The feet are bare and the legs are adorned with banded anklets.
Figure D: Figure D is to the lower left of Figure A and is represented upside down. The figure wears an elaborate headdress with a high crest, a round nose bead,a buccal mask, a large earflare with subfix, a shell pectoral, a loincloth with a wide belt and pendant celt and banded anklets above bear feet. One of the figure's feet is missing but, the legs are in a kneeling position and the right arm crosses the chest while the left arm is extended behind the figure to grasp a spear.
Figure E: Figure E is to the lower right of Figure A and is represented upside down. The figure wears a monkey helmet, a small earflare, a high rounded crest, a round nose bead, knotted armlets, a wristlet on the left wrist?, suspenders, a loincloth with a wide belt, knotted leglets and banded anklets above bear feet. The legs are in a kneeling position and the right arm crosses the chest while the left arm is extended behind the figure to grasp an ax or mace. A staff is thrust diagonally through the figure's suspenders.
Side B: The composition of Side B was probably a mirror image of Side A, with a central figure, the mostly missing Figure A, two figures to either side, Figures B and C which are completely missing, two figures below, Figures D and E, agnathic grotesques, undulating scrolls and pitted scrolls.
Figure A: Figure A is entirely missing but was probably a short stubby person in full front view with the legs spread apart, the feet pointing outward and the arms clasped in the serpent grasping gesture just like Figure A of Side A. The only part of Figure A which remains is one of the two scrolls at the distal end of the undulating element below the loincloth.
Figure B: Figure B is missing.
Figure C: Figure C is missing.
Figure D: The only portion of Figure D which remains is the high rounded crest on his headdress. Figure D probably had several other features in common with Figure E of side A.
Figure E: Figure E is to the lower left of Figure A and is represented upside down. The figure wears an elaborate knotted headband with a Classic Veracruz style scroll and high crest, a buccal mask, a large earflare with a long bone infix, a shell pectoral a wristlet on the left wrist and a loincloth with a banded belt knotted at the rear. Both of the figure's feet are missing but, the legs were probably in a kneeling position and the left arm crosses the chest while the right arm is extended behind the figure to grasp a spear.
Side C: The compositional devices used to divide the space on Side C are virtually identical to those of Side D where better preservation permits a more complete description.
Figure A: Figure A is at the bottom of the composition in the center of an inverted bracket with ornamented scrolls to either side. He is sitting on the ground with both hands grasping a spear that may pierce his belly. His face is a cruel caricature and his feet are bear. The figure wears a conical helmet with a crested grotesque at the front, an elaborate earflare assemblage, a high rounded crest, a chin strap grotesque, a knotted cloth necklace, puffy wristlets and a loincloth with a wide belt knotted at the front and the rear.
Figure B: Figure B looms with both arms raised behind the left scroll of the bracket framing Figure A. His headdress is difficult to make out, though there may be a feather panache to the rear of the headdress. On the chest is a pectoral in the form of a cartouche with a bar above and a pendant below. The figure wears puffy wristlets and carries a rectangular shield in his left hand. It is possible that Figure B has just transfixed Figure A with his spear.
Figure C: Figure C is missing from this side.
Side D: Side D is divided into three areas by an inverted bracket with a tilt to the right and scrolls to either side. Above the center of the bracket are a scroll and two tabs, above these is an undulating element with a border of tabbed tabs along the right edge. The flanking scrolls are also bordered with tabs, to the left, and a beaded starburst, to the right. These elements are all characterized by raised fillets along their inner and outer edges. The picture plain inside the bracket and scrolls is further ornamented with an incised line.
Figure A: Figure A is at the bottom of the composition in the center of an inverted bracket with scrolls to either side. He is kneeling on the ground with both hands grasping a spear which he directs at Figure B. His mouth is open and his feet are bear. The figure wears a peculiar helmet with an elaborate earflare assemblage, a high rounded crest, a lozenge shaped feature with a feather crest, a round nose bead, a chin strap, a knotted cloth necklace, armlets and a loincloth with a wide belt knotted at the front. Behind the head of his spear is a round element with a rope attached.
Figure B: Figure B looms behind the left scroll of the bracket framing Figure A and thrusts vigorously at Figure A with his spear. His headdress is difficult to make out, though there may be a feather panache to the rear of the headdress and an undulating element hangs down at the front. At the corner of the cheek is the subfix to an earflare. The figure wears wristlets and a type of armlet suggesting the armlets of Monuments 15 and 16, and his loincloth is knotted behind his back. Figure B's spear is ornamented with several round elements.
Figure C: Figure C looms, with one arm gesturing at his forehead, behind the scroll of the bracket framing Figure A. His headdress is a feline head with an earflare and a feather panache to the rear of the headdress. He wears a round nose bead, a buccal mask, bands through his earlobe, long hair?, puffy wristlets a loincloth knotted at the front and carries a rectangular panel in his left hand.
Remarks: Early in this century Tres Zapotes was visited by the Selers who provided the first photographic record of Monument 3 and a more insightful description than later, more often cited, descriptions (Seler-Sachs 1922).
Concerning this sculpture Coe asserts "This carved stone box is of great interest, for the style appears to be transitional between Olmec and Izapan. Olmec traits are the "war in heaven" scene, resembling that on Stela 3 at La Venta, and the presence of war clubs, but all the other details are Izapan, including the treatment of the face, the use of spears, feathered headdresses, and the general clutter of the design." (Coe 1965b:773).
It is difficult to see why Coe perceives this piece as an example of Izapan style. Monument 3 conforms to none of the features of Izapan style, the artist made no effort to depict space, the figures are well proportioned and the scene is not narrative. The iconographic features which Coe lists as "Izapan" are all non-diagnostic traits which "Izapan" art shares with Early Maya art. Indeed, Monument C shares few features of any kind with sculptures from Izapa.
The elaborate flat surface pattern, which Coe characterizes as "cluttered", is typical of Maya style. His interpretation of the scene as a Miltonesque "war in heaven" is even less likely, given the secure identification of the hand-across-chest gesture of figures on sides A and B as a gesture of peaceful intent.
