EXPLORER AND PHOTOGRAPHER ALICE DIXON ADDS THE MYSTIC INTO MAYA EXPLORATIONS

Alice Dixon LePlongeon

At 22 years old, Alice Dixon met Augustus Le Plongeon, a world explorer of antiquities, in London, in 1871. Le Plongeon, 26 years her senior, traveled to Europe after successful journeys to South America and California. His extensive explorations in Peru and Chile led him to London to study Mexican and Maya artifacts and manuscripts at the British Museum where they met. 

Considered an amateur archeologist, Dixon, a second generation photog- rapher, photographed ruins at Chichen Itza and Uxmal alongside her husband.

Alice Dixon's father, Henry, was a copper-plate printer who became a successful photographer and was recognized for his development of panchromatic photographic for his photos of London architecture. Alice learned the principles of photography from her father and worked as his assistant in his studio.

SPIRITUAL INFLUENCES

Another family member with a strong influence on Alice was her uncle, Dr. Jacob Dixon, who practiced spiritualism. Alice became involved in that movement at a young age, participating in seances at her uncle's home.

As for Le Plongeon, in Peru he studied earthquakes and explored the country's archeological sites, including Tinhuanaco which he photographed while trying to assimilate clues as to who the builders of that empire might have been. In combination with his own Peruvian explorations, he'd read the works of John Lloyd Stephens and Frederick Catherwood, explorers of the Yucatan in the 1840s, and came to believe that civilization had early origins in the New World and he began to form philosophies on the world's great civilizations.

A few years into his South American sojourn, Le Plongeon heard of the California gold rush and jumped a ship to partake in that historic event, spending several years in gold country where he speculated on land and became a surveyor. There he managed to earn thirty thousand dollars in profits, enough to fund his trip to Europe as well as future South American travels. 

In Europe he stumbled onto a new photographic technique that used paper instead of metal and urged the inventor to teach him the process. This would serve him well when uncovering Yucatecan ruins, enabling he and Dixon to document their discoveries. Their photos of Uxmal and Chichen Itza remain some of the best ever taken as they show the pyramid sites as they stood for eons, long before archeologists re-discovered them.

HONEYMOON IN MEXICO

Soon after meeting, Alice and Le Plongeon were married. For their honey-moon they set sail for Cuba then onto Mexico, where they planned to explore ancient pyramid sites. They landed in Progreso, Yucatan, in 1873. 

A bout with yellow fever for Alice dampened their arrival but Le Plongeon nursed her back to health. During her recuperation the two studied Yucatecan Maya and became acquainted with local scholars. They believed communicating with present day Maya was an important step to interpreting the past. Alice remained a champion of the Maya her entire life, and wrote about them long after she left the Yucatan.

Alice in Palace of the Governors, Uxmal

Their first visit to see pyramids was at Uxmal, forty miles south of Merida. They were awed by the size of the site and camped in the Governor's Palace, sleeping on hammocks. They both took photos, cleared the land to better see the site and were determined to return again later.

Camping at Uxmal

CHICHEN ITZA

The number one item on the Le Plongeons' bucket list was Chichen Itza. He'd heard from a local that a sacred codex was buried there in a building with many chambers and he believed he could further his eccentric theory of Maya world supremacism if he could locate the text. Their timing overlapped the Caste War of Yucatan, and Piste, the pueblo nearby, was overrun with Chan Santa Cruz Indians. Le Plongeon, determined to search for the desired text, asked local authorities to post soldiers at the site as security.

He located the building, could not locate the text, but the building's lintel contained numerous glyphs which he believed could further his theory. He took 500 stereoscopic photos of the hieroglyphs, and he and Alice traced a number of murals and made molds of them in bas relief.

QUEEN MOO AND PRINCE CHACMOOL

They fixated on the Upper Temple of the Jaguars near the ball court. It was 1875. Workers discovered a large slab with carved figures holding outstretched arms. Le Plongeon called it Atlantis. Murals on the walls depicted village life, war scenes and rulers in court. The explorer concluded this was a generation of Maya rulers whose totem was an eagle or macaw. He declared it a symbol of a Maya princess who he christened Queen Moo (Maya for macaw). Her brother he named Prince ChacMool, powerful warrior, a reference to jaguar in Mayan. This flimsy attempt at a scholarly decision became the basis for his Maya myth as the center of world civilization and placed him squarely at odds with fellow archeologists of the time. His Maya "myth" led to much derision and plagued him his entire career.

The fabricated myth about a Maya princess and her warrior king brother who had been forced to flee Egypt, bringing their philosophies of the Maya with them, seduced the two at-one-time prominent Maya notables. They were viewed as the Maya world's "new age" scholars due to this far-fetched belief and the theory branded Le Plongeon as an eccentric crackpot, earning him disdain from those in his field. 

Excavation of ChacMool at Chichen Itza

Yet in spite of his oddball theories, Le Plongeon discovered the famous statue, ChacMool, five feet long weighing hundreds of pounds, which is virtually synonymous with Chichen Itza and the ancient Maya. Originally spelled Chaacmool, Maya for powerful warrior, the word was misspelled as ChacMool through a mis-translation by one of his missives to a benefactor. The ChacMool statue was lauded by the American Geographical Society as a great archeological find. The Le Plongeons struggled to bring the statue to the U.S. to display in Philadelphia at the America Centennial Exhibition but the president of Mexico denied their request. 

In the meantime, they sent other Maya artifacts to the U.S. to display at centennial ceremonies but the objects arrived too late. And in another spate of bad luck, the photos Le Plongeon had labored over were stolen by another archeologist who claimed them for his own. Soon even their main benefactor would give up on their excursions. At times they found it difficult to find money to eat, so dire was their situation. 

"SURROUNDED BY ENEMIES"

"Surrounded by enemies, Remington always at hand, death lurking in every direction," Alice wrote in a letter to a friend in 1877, describing their predicament. The Mexico government had refused to pay them for the extensive work they'd completed in not only raising the incredible ChacMool artifact but in delivering it to the pueblo Piste. With this final blow, they picked up and moved on to other ruins—Mayapan and sites in Honduras.

Their travels continued and in 1884 the Le Plongeons left Mexico and settled in New York. There Alice focused on her writing, both fact and fiction. She became well known for a series of articles written for the New York Times and other publications in which she romanticized the Maya world. Her best known work was Queen Moo's Talisman. Both she and her husband lectured non-stop in Europe and the U.S. promoting the Yucatan pyramids and the Maya. 

Queen Moo's Talisman

In A Dream of Maya, by Larry Desmond and Phyllis Messenger, Desmond explains if history had been kinder to the Le Plongeons, it would have depicted an extraordinary couple whose lifelong work had not been fairly appraised. The book gives deep insight into their lives and their controversial views and document their hard-nosed earnestness and early pioneering excavations—from digging up pyramid sites to drawing architectural floor plans and tracing murals to keeping detailed photographic records.

A Dream of Maya by Desmond and Messenger 

Their extensive explorations were done under the duress of the Caste War, yet they persisted and came away with great discoveries. 

Augustus Le Plongeon died in New York in 1908. Alice died in New York in 1910.

If you enjoyed this post, check out  Where the Sky is Born: Living in the Land of the Maya, on Amazon. My website is www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are also on Amazon. And my journalistic overview of the Maya 2012 calendar phenomenon, Maya 2012 Revealed: Demystifying the Prophecy, is on Amazon.

THE MAGNIFICENT MAYA CALENDAR SYSTEM AND HOW IT WORKS

Maya Calendar (historyonthenet.com)

"The deep time of the Maya calendar is stunning in its scale. . . It expressed the grandest expressions of time ever put down on stone or paper by human minds." David Stuart, archeologist and MacArthur Genius Grant recipient.  

THE CALENDARS

What if you thought of a calendar—or time—as a spiral, not a sheaf of papers that hang on a wall?

The Maya viewed time differently than we do today with the Gregorian calendar. The present was determined by the past. Everything repeated, everything was a recurring pattern. They only had to view the past to know what would happen in the future. Their intricate system of separate calendars was possibly used for predictions, say some archaeologists like Michael Coe, though others would disagree. It is widely thought that they borrowed the system from their Mesoamerican neighbors, the Olmec.

True Maya Calendar from Madrid Codex

Three calendars were a staple of every day Maya life. This triumvirate includes the Tzol'kin, or sacred round, which lasts 260 days; the Haab', which is a 360-day "solar"calendar to coordinate with the total number of days it takes the earth to rotate around the sun but with five 'days that had no name' at the end coming to 365; and the Long Count calendar, one of the most important cycles of Maya time, which lasts 5,125 years and which had been forecast to end on December 21, 2012.

COUNT OF DAYS

The 260-day Tzol'kin calendar is religious in its bearing. The count of days, as it is also known, was invented by pairing two smaller cycles—numbers one through thirteen—which equals the number of layers in Maya heaven, and the cycle of the twenty "day" names. The Tzol'kin is formed as a circle, not as a straight line.

"There is nothing quite like it, anywhere else in the world, " says archaeo-astronomer Anthony Aveni, author of The End of Time: The Maya Mystery of 2012. "The sacred Tzol'kin is the centerpiece of the Maya calendar system; it is the single most important chunk of time the Maya ever kept, and still keep, in remote areas.

"But why 260?" pondered Aveni. "Multiply numbers thirteen and twenty? Also the Venus cycle's appearance as morning or evening star is 263 days."

Aveni believes that 260 days came about as some enlightened daykeeper, eons ago, realized this particular number signified so much.

FOCAL HARMONY

"It was a focal harmony point. It brought together so many of nature's phenomena: the moon, Venus, planting cycles. It may not have come about in a flash," he continues, "but with Maya knowledge that number and nature are joined together perfectly, the discovery of the multiple significance of 260 was bound to be raised to prominence in Maya time consciousness. One even took their name and their fortune from the day name in the 260-day count calendar."

COMMUNING WITH THE GODS

Maya God Images (mayangods.com)

The Tzol'kin could have been used for making predictions, for communicating with the gods. The Maya believed a god ruled each day, and depending on that god's traits, it could be good or bad for certain activities. This calendar was used in the way one's horoscope would be viewed today.

The calendar is easy to remember and that's why it has been passed down and is still in use. It fits into the culture of the people, said Barbara Tedlock, anthropologist and author of Time and the Highland Maya.

The Haab' calendar, which works with the Tzol'kin, has 18 named "months" of 20 calendar days each. The Maya then added five days at the end of this 360-day cycle. It was considered a nineteenth month and these five odd days were considered unlucky but essential to bring a total of 365 days for a full rotation cycle.

Caracol Observatory at Chichen Itzá

CALENDAR ROUND

These two calendars, like cogs in a wheel, meshed a named day in the Tzol'kin and also had a conjunct day in the Haab'. But this same "double" day could never reproduce again for 52 years, roughly the length of a human life. This was called the calendar round, and the only annual time count possessed by the people of Mexico. There were 260 possible different combinations of number and name in this creation. A Maya Calendar Round date is actually two dates listed as a pair, with a separate reference point.

Night Star Gazing at Chichen Itza (by Chichenitza.com)

In this combined calendar round, slippage occurred because a year is actually 365.24 days which as mathematicians and stargazers extraordinaire they had computed, but this did not bother the Maya. Nor did they try to play catch up like we do with leap years. They just let time roll along.

"That would mean Christmas could back up to early fall or the Fourth of July might back up into the cold of winter for us," said Anthony Aveni. "It wasn't of concern to the Maya," he continued, "because they placed more emphasis on following an unbroken chain of time."

52-YEAR CYCLE

This 52-year cycle combination was celebrated throughout Mesoamerica. The Aztecs included it in their fire ceremony that was timed by sky events. At midnight, when the calendar keepers saw the Pleiades had passed the zenith, they knew the movements of the heavens hadn't stopped, the world had not ended, and they would have another 52 years. 

Third in the triumvirate of Maya calendars is the Long Count and although widely used in Mesoamerica, the Maya took it to its highest degree during the classic period. The Long Count consisted of 13 baktuns. One baktun is 400 years. The starting point of the Long Count calendar, according to early archeologist Eric Thompson, was August 11, 3114 BC. It was known as 4 Ahaw.

13TH BAKTUN

This date may have been chosen because it coincided with the completion of a cycle of successful crops, an August summer's day. If you flash forward 5,125 years you come to the cycle's end, and this is where the December 21, 2012 debate came in. It also ended the thirteenth baktun cycle, an auspicious time for the Maya or 13.0.0.0.0. as carved on Maya stela.

Oldest Known Maya Mural, San Bartolo, Guatemala (by sciencenews.com)

Aveni goes on to explain the Maya used this innovation in their calendar so royalty could create a dynastic narrative that covered vast stretches of elapsed time. It extended Maya culture all the way back to the creation of the gods, cementing the reputation of daykeepers and royalty as gods themselves.

DAYKEEPERS

The daykeepers act as go-betweens. "They are empowered to make prayers to the gods and ancestors on behalf of the lay people," Barbara Tedlock said.

Maya Scribe

He or she pays attention to each and every day, making offerings of copal incense and lighting candles; they also do dream interpretations. Through dreams and reading the day's influence, recommendations were then made for the best course of action and both were used to plot one's future. Barbara Tedlock, anthologist along with her husband Dennis, author, translator and anthrologist, were initiated as daykeepers in a Guatemala highlands pueblo where they lived from 1975 to 1979, a very unusual occurrence for those not of Maya descent. 

It's hard for the modern world to fathom why such a complex calendar system existed. Michael Coe, archeologist and author of The Maya (Editions one through eight), stated his belief of the why's and wherefores like this: "How such a period of time even came into being is an enigma, but the use to which it was put is clear: Every single day had its own omens and associations and the march of the twenty days acted like a fortune-telling machine guiding the destinies of all the Maya and the peoples of Mexico who used this calendar. It still survives in unchanged form among some indigenous peoples of southern Mexico and the Maya highlands, under the guard of the calendar priests."

Maya Stela of Ruler

With this calendar fashioned as a direct line to the cosmos, royalty and priests were able to govern and control the masses by predicting common events. Most likely with the aid of their calendars and the predictions derived from them, the Maya enjoyed 1500 years of relative stability. It was not until ninth century AD, the finale of the classic period of the Maya, that the Long Count was abandoned and not seen again on Maya stela. Times were changing. One wonders if the stars and calendars predicted that. And I would guess that yes, they did.

If you enjoyed this post, check out my other works, Where the Sky is Born: Living in the Land of the Maya. It's available on Amazon with tales of expat life and living within 100 miles of four major pyramid sites. Also, check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are available on Amazon where you can find my overview of the 2012 Maya calendar phenomenon, Maya 2012 Revealed—Demystifying the Prophecy.*

*Excerpts of Chapter 6 from my book Maya 2012 Revealed—Demystifying the Prophecy were used in the post.

DAY TRIPPING TO THE MUST-SEE MAGNIFICENT MAYA PYRAMIDS AT EK BALAM

Ek Balam Gateway to the Underworld (En-Yucatan Travel)

Day Tripping

Excerpt Chapter 17, Where the Sky is Born—Living in the Land of the Maya

On the paid highway just outside of Valladolid we stopped at the toll booth to pay the fee. All around us the monotonous landscape of the eastern Yucatan prevailed. Flat and dry with the occasional crecopia tree, ranch or small hacienda, there was little else. In five minutes we were at the city's outskirts, driving on a narrow one-way street past tidy cement block homes. A mustard-colored stone wall hugged the road all the way into el Centro.

Crecopia (Useful tropical plants)

Our rental car bolted towards the square where wrought iron benches with wooden slats were crowded with locals and tourists alike. I gazed at an ancient stone church with two tall spires that stood on the south corner of the square as we rounded the wide traffic circle, looking for a sign that would direct us to Ek Balam.

Although its past history was ominous, present day Valladolid was that pleasant contradiction one so commonly finds in Mexico—a busy city with one foot in the past and one in the future. Commerce prevailed and the streets were lined with shoppers and vendors taking care of daily chores and business.

Valladolid

One more time around the traffic circle and el Centro and we spotted the sign directing us to the pyramid site, only 15 kilometers away. Another one-way street led out of town and we followed it past small pharmacies, neat houses and the occasional tienda. 

Once on the city's outskirts the road narrowed considerably but was smooth and newly paved. Several kimometers later another sign pointed to the right and we took a turn that dipped and led down to an empty creek bed, then back up the other side into a forgotten pueblo. Packed dirt streets no more than 12 feet wide were bordered by rock walls dividing the street from tiny yards with ancient stone houses coated with rough plaster. Some lots had twig huts with palapa roofs. At one crossroads, two squealing pink piglets ran dangerously close to our tires, chased by a squawking red rooster, tail feathers bobbing. A hunched old woman eyed our late model rent-a-car cautiously as we inched our way through this time warp in history.

Countryside near Ek Balam (PxHere)

Finally out of town, we welcomed the freedom of the open countryside. In the distance I saw a pyramid temple peeking above the low shrub landscape. A simple green sign with an arrow and picture of a pyramid pointed down a side road to the north. We turned onto the sacbe, an ancient Maya pathway, and drove slowly towards what we hoped was the site entrance. 

At a primitive palapa a caretaker appeared. He explained there was a ten peso donation and asked if we wanted a guide. We said yes and he pointed to a raven-haired boy of ten.

"Mi hijo, Jorge." His son would assist us. We dropped the pesos in a handmade wooden box and followed the boy down the road.

Entrance to Ek Balam (photo Loco Gringo)

Except for his size, Jorge had all the attributes of a serious 40-year old. He was reflective and deliberate in his speech, and as we walked, he began telling us the history of Ek Balam. Construction started around 100 B.C. The site was named for Maya ruler Ek Balam, bright star jaguar. Ek to the Maya is the brightest star in the heavens; balam is the word for jaguar. The first excavations of the site were carried out by Frenchman Désiré Charnay in 1886, and more recent work had begun in 1987 when INAH (National Institute of Anthropology and History) funding was granted. Although the city was compact, there was still much to be done. He explained that the number of buildings on the site suggested Ek Balam had been rich and powerful at the same time, possibly holding the position of agriculture center of the northwestern Yucatan.

Statues at Ek Balam (Yucatan photos)

We walked through an amazing four-sided gateway arch that, Jorge explained, connected to a sacbe (road) which connected to all the Maya kingdoms. Ek Balam had numerous sacbes, he explained, to all major sites in northern Yucatan and beyond. The views from the arch landing were breathtaking.

Arch of Ek Balam (photo FinalTransit)

Front Ek Balam arch (photo Mauricio Marcelin)

"Paul," I said. "This is fantastic."

A three-sided wall, either ceremonial or defensive, surrounded the city, similar to the wall at Tulum. Ek Balam was known to contain an astrological observatory, palace, tower, a ball court, two cenotes and a building archeologists named the Acropolis, most likely due to the sculptures found inside—full figure statues that looked more Greek than Maya.

From the 10-foot high stairway at the gateway arch, Jorge directed us through the ball court and onward to the remarkable Acropolis. He told us the Acropolis was twice the size of El Castillo at Chichen Itza, with tunnels inside leading to tombs. A unique stucco fresco had life-size statues intricately carved into it. These were definitely rare in the Maya world. They appeared Asian, closer in appearance to Angor Wat than Chichen Itza. I'd not seen anything like it before in Mexico. 

Acropolis at Ek Balam (photo 123RF)

We climbed two-thirds of the way up the edifice, to get a closer look at the statues. Burnished in time to a golden brown, it was almost impossible to believe we were here in Ek Balam. Paul stood before the stucco fresco. "They seem Grecian, or Indian. Look at the lotus position on that statue," he said as he pointed at a character with a Shiva-like headdress.

Hindu comes to the Maya at Structure 4 (photo Yucatanmagazine)

Statues (Mediawarehouse.com)

Through a hallway leading to the tomb of the ruler, Ukit Kan Le'k Tok, who coined Ek Balam, was a 12-foot high stucco mouth with teeth, representing the gateway to the underworld, the Maya version of the River Styx. Archeologists theorize most of the Acropolis was built around 800 A.D. by Ukit Kan Le'k Tok.

The Maya so well preserved the stucco in the Acropolis tomb that no modern restoration was required. After the ruler was buried, the tomb was filled with powdered limestone and rocks, and the entire facade was covered with the same material for preservation.

Ek Balam (photo CancunAdventure.com)

Jorge was a perfect guide, very absorbed in the details of the site and its history. He confided that his dream was to one day become an archeologist. We paid him for his guide work and he followed us out to the car, not wanting to end the conversation.

Within minutes he became a ten-year old again, excitedly asking where we were from and where we were going. He gallantly opened my car door and in so doing, spotted my Maya Ruins Guide in the back seat.

Maya Ruins Guide

Noting his look of longing I asked, "Quieres mi libro?" Would you like my book.

"Si, si!" he said, looking terribly excited at the prospect.

I told him it was in English, but I was sure that since he was going to be a famous archeologist some day, he would soon learn that language.

He agreed wholeheartedly and the last image I have of Jorge was his hugging the Maya Ruins Guide tightly to his chest as we pulled onto the ancient sacbe leading us away from Ek Balam.

                                                             ***

Side note: Where the Sky is Born was written in 2003 and many of our Maya travels happened much earlier, late 1980s, so much is now changed—pretty much everywhere in the Yucatán. Ek Balam, however, is still a site to be reckoned with. The foliage surrounding it is lush and gorgeous, and the real plus is it's not as touristy as nearby Chichen Itza. The statues are so very different from other art found at Maya pyramid sites. They're quite exquisite.

If you enjoyed this excerpt from my memoir Where the Sky is Born: Living in the Land of the Maya, it's available on Amazon with many more tales about ex-pat life, living within 100 miles of four major pyramid sites for many years, owning a bookstore in Mexico, and Maya culture and Mexico travel. Subscribe to my bi-monthly blog posts above, or check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are also on Amazon.  My journalistic overview of the Maya 2012 calendar phenomenon, Maya 2012 Revealed: Demystifying the Prophecy, is also on Amazon. 

WHY WAS FRANK LLOYD WRIGHT OBSESSED WITH THE MAYA?

 

The Ennis House, Los Angeles (photo TripSavvy).

Frank Lloyd Wright, considered by many to be the greatest architect of all time, never attended a formal architectural school. Wielding an avant-garde edge, he thought of interior and exterior places as one. This concept extended to his building forms and construction methods. Wright's signature on a certain type of architecture became not only an embellishment but a trademark. 

During a career that spanned 70 years, he designed over 1000 structures, created in harmony with humanity and the environment in a philosophy he dubbed organic architecture. His early beginnings were in the midwest where he was born and raised. That too is where he began his formal career as an architect in Chicago in 1893, after moving from rural Wisconsin.

THE PRAIRIE STYLE

From early on he experimented with different styles, incorporating one or more into his commissions, and by 1900, had developed a style that was to become his signature, the Prairie Style.  

Taliesen West (Architecturemagazine.com)

Coonley House/Prairie Style (Curbed Chicago)

1893 WORLD'S PRE-COLUMBIAN EXPOSITION

Though it's believed that Wright never stepped foot on the Yucatán Peninsula, home to numerous Maya pyramids, when he arrived in Chicago, lore has it he was inspired by the display of Maya artifacts and replicas at the 1893 World's Pre-Columbian Exposition in Chicago. It was there he glimpsed plaster castings from major Maya sites, Chichen Itza and Uxmal. A feature of the lesser known Labna site, in the Pu'uc Region in southern Yucatán, became important to his work due to his recurring use of its meaningful arch.

Nunnery Quadrange, Uxmal site (Archeology.eu)

Wright's interest in the Maya was piqued early on, from childhood. He was drawn to the Maya world when his mother showed him pictures in books about Central America and Mexico."Those images stayed in his mind most of his life," said Thomas Hines, UCLA architectural historian.

INCIDENTS OF TRAVEL BEST SELLER 

Las Monjas, Chichen Itzá (Frederick Catherwood)

In the 1840s, two books about Central America archeology became best sellers: Incidents of Travel in Central America, Chiapas and Yucatán, and Incidents of Travel in Yucatán, Part 2, by explorer John Lloyd Stephens and British artist Frederick Catherwood. The 1893 exposition's display of the ancient Americas lauded the indigenous people who first called this continent home. It was one of Stephens' books that drew Wright into the world of the Maya.

GOLDEN DOORWAY

Wright and his employer, Louis Sullivan, had contributed a monumental golden doorway for the Transportation Building at the fair and during his many visits to check on it, Wright would have seen Stephens' casts and photos of the Maya buildings. Both he and his employer were drawn to the style which would eventually be known as Mayan Revival; they both distained the European Neo-classical style that dominated other buildings at the expo.

Golden Doorway for Transportation Building

Eventually Wright broke from his employer and established his own firm in Oak Park, Illinois, where he designed numerous commissions, gaining ground and at times notoriety with many well-heeled clients. By this time he was married. With his wife, Catherine, and their six children, he settled into a white picket fence existence.

Edwin and Mamah Cheney house (compositiondelascasa.com)

THE CHENEY HOUSE

While designing a house for local residents Edwin and Mamah (Mamey) Cheney, Wright and Catherine began socializing with his clients at the precise moment that middle age, ennui regarding his Prairie style designs, and a craving for change and greener pastures collided. Mamah, a feminist and free thinker, could keep up with Wright intellectually. She intrigued him. Change won. She and her husband divorced almost immediately, allowing Mamah to escape the confines of her marriage. The couple soon left for Europe to avoid the brouhaha and the tabloids. They spent time in Germany and Italy, where he viewed various architectural styles. On their return to the US and despite his wife refusing to grant an immediate divorce, Wright was determined to build a house for Mamah in the rural fields of Wisconsin near his childhood home. It would be transformational and a beauty, and he would name it Taliesin.

Taliesin (Wisconsin Visitor Bureau)

TALIESIN 

Love and happiness, however, were short lived. At a nearly completed Taliesin in 1914, his lover Mamah Bothwick Cheney was murdered by a household staff member along with her two children and five others. After the heinous massacre, Wright sought solace far from the midwest. Los Angeles, known as a place for reinvention and recuperation, beckoned. He headed west.

Mamah Borthwick Cheney (history.com)

After the murders, he was again exposed to Maya architecture and pyramids at the Panama Pacific Exposition in San Francisco in 1915. As the displays at Chicago had stimulated Wright, mentioned by Thomas Hines, the Panama Pacific Exposition glimpse of Maya culture made a lasting impression.

Though the displays were based on a Maya fantasy world, they cemented the Maya link between architecture and death, "Which was not only the setting for a fantastic pyramid palace but also for human sacrifice; part of the complexes displayed where humans were buried."

WRIGHT IN LOS ANGELES

"A place where the living could communicate and remember the dead," said Hines. "And after the loss of his lover, Mamah Cheney, death was much on the architect's mind. The exceptional architectural style of the Maya sites must have greatly intrigued him, for it was an outsized influence on his Los Angeles architectural style," continued the UCLA historian.

A.D. German Warehouse (franklloydwright.org)

Prior to his exodus to LA, Wright tried out his Mayan Revival style on a Richland, Wisconsin commission in 1915, —the A.D. German Warehouse. On completion, the site hardly looked like something that would house the wares of a green grocer in a small Wisconsin town—it more resembled a temple pulled from a Catherwood drawing of the Maya Nunnery at Uxmal.

This commission helped test the Maya motif that would become the basis of his residential work in Los Angeles. On completing Wisconsin, he accepted an offer to design the Imperial Hotel in Japan.  

Hollyhock House (photo Curbed LA)

MAYAN REVIVAL STYLE

Today five iconic LA houses render his Maya look. While constructing the first, Hollyhock House, he worked simultaneously in Japan on the Imperial Hotel which helped shape his vision as an architect.

Though the houses Wright designed in Los Angeles pre-dated the Art Deco movement that began in the 1920s, they have the undeniable air of deco. We'll never know if Wright influenced the movement or vice versa. And though the Mayan Revival style itself had begun at the turn of the 20th century, its popularity accelerated once Wright got on board. This style is most notably seen in his Southern California open-concept layouts built from concrete stackable blocks molded with local materials and natural color schemes, and stamped with bold geometric motifs.

Hollyhock House, his first LA commission, was completed in 1921 for oil heiress Aline Barnsdall who had purchased 36 acres on the eastern edge of Hollywood. Wright's finished design was above all a Maya temple. Barnsdall had planned on a multi-arts center, and never intended it for residential use.

The hearth at Hollyhock House (photo Curbed LA)

HOLLYHOCK PLUS FOUR 

With its 17 rooms and seven baths, it's often noted as a bridge of Wright's two prominent styles: Mayan Revival, with textile blocks inspired by temples from Palenque, and Prairie Style, with its low-pitched roof line. 

In 1927 she gifted it to the city. But it was at Hollyhock House, named for the flower that Barnsdall most loved, where Wright began working with natural materials. 

A "cultural nationalist," according to leading Wright authority Kathryn Smith, Los Angeles, he strove to define an original American architecture and shied away from Victorian and Spanish colonial styles. Though of Welsh origin, he believed an indigenous architectural style would better suit the Americas rather than a European style architecture.

Kathryn Smith said he sought out traditional materials on the lands where he was building, making the concrete blocks from sand and granite, stamping them with motifs resembling Maya symbols. His open concept layout led to massive rooms and enormously high ceilings, in some cases creating the feeling of a mausoleum, as people who actually lived in his houses had been known to say.

Next came the Alice Millard commission on one acre in Pasadena, La Miniatura. This is where he truly refined the concrete molecular block system, with his stamped Maya patterns. Flat-roofed and mysterious, a wall of blocks stamped with equi-distant diametric crosses greets one at the property's edge. One historian said the cross is a reference to the MesoAmerican understanding of the cardinal directions, pointing to the cardinal elements that establish the shape of the universe. Some called the Millard House a small temple in a eucalyptus grove.

The Millard House

The placement of the house is in a ravine, with two towering eucalyptus trees standing nearby, and gives the feel of being at a jungle pyramid site, much like Palenque. 

After the Millard commission came the Storer House in 1923. Built on a steep hillside, the house is dominated by a large upstairs living room with a high ceiling. Maya inspired columns and tall narrow windows dominate. It's believed that this house was built on spec. It was owned by Joel Silver, Hollywood producer, from 1984 until 2002. He gave it a thoughtful renovation including a pool that had been in the original plans. Brendan Gill, one of Wright's most thoughtful biographers, said it was more like a home for a Mayan god.

 

The Storer House (Californiahomedesigns.com)

Probably the best known FLW house in Los Angeles is the Ennis House, built also in 1923, for Charles and Mabel Ennis. It very much appears to be another Maya grand palace, but the Ennis' insisted that Wright incorporate some of their desires into his design. Notably seen in a handful of movies—Blade Runner, Day of the Locust, The House on Haunted Hill—it overpowers the environment and looms over the neighborhood like an ancient ruin, visible for miles around.

The Ennis House (TripSavvy.com)

Ennis House stamped wall of concrete Maya blocks (photo Galerie)

And last of the FLW LA five is the house built in 1924 for dancer Harriet Freeman and her husband Samuel, the Freeman House. Donated to USC, the daughter and son-in-law of the Dean of Architecture lived in the house while attendeding university. "It felt like a ruin," she said in 2002. "It was crumbling down all around us."

The Freeman House

Of Wright's LA houses, the Freeman House had the happiest existence. It was home for 60 years to the Freemans, a Bohemian couple who befriended him and scraped together the money for Wright's commission. Notably it was the only Wright house in LA to hold long-term occupants. The Freemans lived there until 1986 when they donated it to USC. According to Harriet Freeman, the house was dense and introverted, but it well suited their purposes. Along with being their home, Harriet, a dancer, used it as a dance center and salon where she entertained and performed.

GRANDSON ERIC WRIGHT

Eric Wright, 91, the architects's grandson who lives at FLW's unfinished Malibu property high in the hills, was interviewed by Christopher Hawthorne, architecture critic for the LA Times, for his documentary on Wright, That Far Corner. When Hawthorne asked what drew FLW to Los Angeles, he was candid. "He was very upset about the loss of Mamey and the adverse publicity because they weren't married," Wright said.

"What was his state of mind when he moved to Los Angeles?" Hawthorne asked. 

"Sorrow," Wright said. "He had a wonderful life until her death."

Eric Lloyd Wright in Malibu (Los Angeles Magazine)

Hawthorne asked Tim Samuelson, Chicago's cultural historian, what he made of Wright's LA Mayan Revival look. "They seem like, the houses, almost mausoleum-like. They are heavy. One critic described them as dark and macabre—like the drama of Sophocles. The LA homes were. . . brutal, romantic, fantastic, and—strange."

FUNEREAL ASPECTS

Filmmaker Hawthorne continues, "The LA houses have funereal aspects. They're sinister, lacking joy. But scholars are hesitant to embrace the crude character of pre-Columbian death cults. These ideas, however, shaped Wright's understanding of pre-Columbian design and their meaning."

"His architecture," historian Blair Kamin said, "and this mission helped him to recover from personal tragedy. His architecture saved him in the end."

"His LA houses," continued Hawthorne, "stand apart from his work overall and apart from the rest of LA architecture of the period. They are not just heavy, but heavy-hearted—their starkness, and in some cases, their state of ruin. I don't think it's because the houses look crypt-like and that is why they are empty. It's because they are crypt-like that none are used as full-time residences. They are off-putting. The houses are shadowed by violence and even death.

"At the time, building these houses was a means for Wright to put a troubled period behind him for good. It exemplified his own uncertain state of mind. I believe they were a catalyst for putting aside that very troubled period.

"Wright buried Mamey in the Unity Chapel Cemetery in Spring Green, Wisconsin—but she's also buried in Los Angeles."

                        

                                                                  

Unity Chapel, Spring Green, Wisconsin—FLW's first commission

Who knew that Wright's ongoing obsession with the Maya would rescue him as he worked his way out of grief by creating mausoleum-like, cathedral/pyramid tombs over and over and over again in reverence of the woman he loved and lost. As the historian said, his architecture saved him in the end.

Gravestone for Mamah Borthwick Cheney in Spring Green, Wisconsin

Resources for this post came from Curbed LA—Demystifying Frank Lloyd Wright's Most Eccentric Homes; Coming Around to Frank Lloyd Wright—Architecture Magazine; Getting it Wright: Today's Prairie Style; Trip Savvy's Frank Lloyd Wright LA Homes; Frank Lloyd Wright Foundation: Peek Inside 7 Iconic FLW Houses; ChicagoCurbed.com's Take a Walking Tour of FLW's Oak Park Homes; WendyCity'sChicago.com's World Fair Moments: Sullivan's Golden Door; Sunset Ranch in LA: Frank Lloyd Wright in Los Angeles; Los Angeles Magazine's Inhabiting a Legacy; Curbed LA—Frank Lloyd Wright's Forgotten Hollywood Sand Castle; Artsy.net's How Frank Lloyd Wright's Take on Mayan Temples Shaped Hollywood; Loving Frank, by Nancy Horan; and the documentary That Far Corner, by Christopher Hawthorne.

If you want to read more about the Maya, Mexico and the Yucatán, sign up at the top right for my bi-monthly blogs, or check my website at www.jeaninekitchel.com. Where the Sky is Born: Living in the Land of the Maya, my memoir on life as an expat is available on Amazon. Also there check out my Mexico cartel thrillers, books one and two in my Wheels Up trilogy: Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown. For a journalistic overview of the Maya 2012 calendar phenomenon, check out Maya 2012 Revealed: Demystifying the Prophecy.