Discussions of the Open Lattice
WHY IS A LATTICE DESIGN SO IMPORTANT? WHAT COULD A BUNCH OF SIMPLE SQUARES OR DIAMOND SHAPES POSSIBLY HAVE TO DO WITH EQUALITY AND COMMITMENT?
A design of latticework appears almost everywhere. In its simplest form, the lattice is a basic geometric form, interwoven materials creating squares and diamonds. The most common visual of a simple lattice work design that a majority of people have seen is the chain-link fence or less menacing, a screen door. Meanwhile, the trellis, more specifically the garden trellis on which climbing flowering plants or ivies have a tradition of growing. In his text on the science and treatment of botany, Pliny the Younger wrote, in the 1st and 2nd centuries CE, how useful trellises, pergolas, and green tunnels were in the course of gardening. They were closing off a garden space, even while giving the area more opportunity to grow (Carroll 2003, Turner 2005, Thacker 1985). The openwork art and architectural style of lattice-work appears in everything from jewelry to windows, from towers to embroidery, and from pottery to sculptures (Ching 1995, Harriss 1975, Whitfield 1984).
AI generated image of the planned Taiyuan Botanical Garden in Northern China with the open design latticework ceiling (Image from archello, story by Allie Shiell).
There are many routes that one can go down within this open topic, so the larger article will focus on the instances where the meanings ascribed to structures with these designs varied between markers of public and open spaces versus areas that were hidden from view. This portion in particular will look at the earliest examples and their descriptions of the lattice as a legal netting. The most wide-reaching description of the different meanings can be qualified between a gateway against a fence or wall, and the differences between public legal use and private household uses. As designs appear worldwide showing many hundreds of variations, the architectural purpose of including latticework and the notion of a public area will differ, especially based on the rulers in charge and the century in which they lived. But, even if the lattice design could be seen as maybe contradictory (when looked at from a worldwide context, which is pretty ridiculous on its own), the lattice is used as a design for privacy, as a catcher of false promises, as a gateway, with any name the lattice is an invitation for some and a wall to others.
The Netting
Mesopotamia
In Mesopotamian prehistory, cylindrical seals were [identifiers of leaders] and their transportation around the Fertile Crescent and their discovery in Egypt demonstrates widely expanding borders. An example of this was found in Naga-ed-De̛r; one of four such seals, that was all of the Jemdet-Nasr styles, and has a lattice design patterned with a fish motif (Smith & Simpson 1998: 15). This style comes from the quintessential tell or settlement mound in Iraq and thus giving the period (3100-2900 BCE) the same name (Langdon 1931). This period followed the protoliterate (prehistoric) period in Mesopotamia, even though it only comes into vague timely contact with Egypt's also prehistoric Gerzeh/Naqada II Culture (3500-3200 BCE) (Smith & Simpson 1998: 15, Langdon 1931, Shaw 2000).
Another example of the net lattice, shown more literally is seen in a seal relating to the myth of Inanna/Ishtar's and then her husband's, Dumuzid, descent into the underworld dating back to the Akkadians in the 3rd millennium BCE before the Sumerian version came out from the 3rd dynasty of Ur (2112 BCE – 2004 BCE) (Kramer 1961: 83–86, Wolkstein & Kramer 1983: 127–135). It appears most like the lattice is a cage, or a net as a punishment for Dumuzid after Inanna was trapped while in the underworld before returning to life thanks to androgynous figures Gala-tura and Kur-jara who were made special by the god Enki. Upon returning to the mortal world galla demons came after Inanna and told her that someone needed to take her place. With most of her close servants properly mourning her the next person they visited was Dumuzid, who was living like a lavish king in his wife's absence. Due to this insulting display, Inanna had the galla demons drag him down to the underworld until the events of Dumuzid's Dream (Kramer 1961, Wolkstein & Kramer 1983).
Figure 2. Ancient Sumerian seal impression showing Dumuzid being tortured in the Underworld by the galla demons (British Museum).
Another Babylonian reference to the lattice is from the Myth of Etana, composed in 2100 BCE, a Sumerian king who supposedly lived in the 3000s BCE (Nilssen 1932: 77, Graves 1960: I, 252). This king, in the myth, "ascends to heaven on an eagle" and is known as "he who stabilized the lands" (Izre'el 2000). In the Babylonian State, the capital of which was Babylon (founded in 2300 BCE) under the Akkadian Empire with its founding dating back to 2334 BCE, there was a text of the myth that made this ritual clear. The myth of Etana, however, was interwoven over several centuries with a folk legend about the eagle and the serpent. But, the myth itself follows part of the life of the heirless king Etana who daily provides sacrifice to the God Shamash (Hooke 2004: 6.59). Shamash instructs King Etana to cross over the mountain, where he'll find an eagle that "will guide him to the plant of birth" (Hooke 2004: 6.60). In the folk story, which turns into backstory in the larger myth, the eagle and a serpent had made a solemn oath of friendship to each other, to protect and provide for each other and each other's young. This plan had worked for a time, but the eagle "conceived of evil in his heart, and broke his oath... [and] devoured the snake's young" (Hooke 2004: 6.60). The snake asked Shamash to punish the eagle who was able to be captured by the snake with the lattice net that came down from flanking columns. That is when Etana showed up and the eagle, being carried with broken wings, 'led' Etana to the plant of birth, which worked and provided Etana with a long line of succession (Mark 2011). In this myth, the lattice net is part of a trap and may influence later mythology with the net being used in the same way, as punishment for those who would break their sacred oaths.
Greek and Roman World
In the European tradition, the lattice work enclosing a generally open area is called transenna (in Italian). This gardening practice dates back to the classic period of ancient Greece and Rome, 8th century BCE - 6th century CE. While researching this one particular word, an interesting contradiction came to light regarding the difference between the English common usage and the direct Italian-to-English translation. Rather than being the assumed general architecture style of open flow, the translation was either hurdle (according to Google Scholar's automatic translation software), to block off, or a barrier (according to Collin's Dictionary, the Cambridge Dictionary, Bab.la, etc.) with only Merriam Webster stating transenna as a lattice or screen of stone or metal enclosing and protecting a shrine (Merriam Webster), with others including that they mainly appeared in early Christian shrine architecture (Crook 2000). These artistic styles mainly appear when the shrines are no longer automatically open for all people to visit as temples and open-air shrines. While this isn't a straight contradiction it shows just how many assumptions might occur based on a slight variation of definition over the centuries.
In the Latinate world, one only needs to look at the capitals themselves. The easiest examples noticed by passersby are the short fences with the lattice design. With their stout height, they are not much of a hurdle, while still appearing as a point of designed architecture. Also, the windows, are lined with stone or marble and the spaces are sometimes filled with clearer thinner materials such as alabaster (Loth 2010). This is due to their original use as a public area identifier, being the important symbol to come out of the myth of the Dioskouros.
[All photos above come from Roman Lattice by Calder Loth in 2010 via The Institute of Classical Architecture & Art (ICAA)].
The Sparta columns connect to the myth of the Dioskouros, which translates to 'Sons of Zeus', and includes the goddess in between. To summarize the myth from which arose the Dakana; as mortals Castor and Pollux (aka Polydeuces) were twin sons of the Spartan queen Leda and Zeus (disguised as a swan) and raised by Leda and her husband Tyndareus (Hesiod, frag. 66 in Ziogas, 2013). During their life they accompanied the heroes of Jason's Argonauts, joined in the Calydonian Boar Hunt, rescued their kidnapped sister Helene after destroying Athens, raped their cousins' (another set of twin brothers Lynceus and Idas of Messenia) betrothed, the Leucippides ("daughters of the white horse"), Phoebe and Hilaeira, whose father was Leucippus translating to "white horse" (Kerenyi 1959: 109, Stratikis 1987: 20–23), and in their last act 'shared the fate of a grave in the valley of Therapnai' (Pindar, Nemean Ode 10 ep3 - ep5).
Figures 11 & 12. Dioscorus battling Giants, Athenian red-figure, Shape: amphora, 400-390 BCE (Photo from Musée du Louvre) – Description: "Detail of one of the Dioscuri twins battling a Gigante from a painting of the Gigantomachia (War of the Giants). The demigod is depicted as a horseman wearing a petasos cap and brandishing a spear. His brother also appears in the painting (see 2nd image).
Figure 13. The Dioscuri twins, Castor and Polydeuces, march on Marathon to recover their abducted sister Helene from Theseus. The pair are depicted as horsemen armed with spears. Athenian red-figure, Shape: kylix, 450 BCE BCE. (Photo from the Museum Collection of National Archaeological Museum of Ferrara, Catalogue No. Ferrara T18CVP in the Beazley Archive No.211599) Painter Attributed to the Penthesilea Painter Dateca.
* Their sister Helene was the same as Helen of Troy, but the twins died before she was kidnapped years later by Paris and taken to Troy, so they didn't participate in the Trojan War (Atsma 2019).
When Castor fell in battle Polydeuces got revenge and then was killed by Ida, who Zeus then struck with a thunderbolt before making Polydeuces a god. Because of the brothers' connection of love and friendship, Polydeuces refuses to rise if his brother stays dead. Zeus acquiesced and brought up Castor as well, giving them both access to both the mortals and the gods on alternating days (Pindar Nemean Ode 10 ep3 - ep5; Pseudo-Apollodorus, Bibliotheca 3. 136 - 137). The Gemini twins also became the gods of St. Elmo's Fire [an electrical discharge which appears on the rigging of ships portending deliverance from a storm], along with horsemanship, and the protection of travelers and guests, as they were constantly traveling between and the guests of two of the realms (Lycophron, Alexandra 564 ff, Greek poet 3rd BCE).
These brothers show up on coinage, in paintings, as statues, on shrines, and had their own temples.
Figures 14, 15, & 16 Dioscuri, Rome, Capitol (Photo from NoJin).
Figure 17. Coin of Antiochus VI with Dioskouroi (Photo by Uploadalt at the MET).
3 a/b: Copies of the Dioscuri paintings in Pompeii at the House of the Dioscuri. The authentic paintings are housed at the National Archaeological Museum of Naples (Lil Herodotus 2019).
4: Relief (2nd century BC) depicting the Dioskouroi galloping above a winged Victory, with a banquet (theoxenia) laid out for them below. Inscription: ‘To the Great Gods, Danaa daughter of Aphtonetos (Atthoneiteia)’. (Marie-Lan Nguyen 2011).
5: Roman sarcophagus (160 CE) depicting the rape of the Leucippides, Phoebe, and Hilaeira (Vatican Museum).
6: Fragmentary remains of the Temple of Castor and Pollux in Rome (2005).
7: Pair of Roman statuettes (3rd century AD) depicting the Dioscuri as horsemen, with their characteristic skullcaps (Metropolitan Museum of Art).
Here, as well as in the Mesopotamian region, lattices were important for making oaths and contracts while in their presence, as the gods were watching. This shows up in the mythology with their sister Helene as a third pillar or as a subject between them, providing the connection. Alternately, because the twins' visages often appear flanking roads or votive offering shrines for travelers or guests, the twin motif provides its connection, which was deeply engrained in the society of the time (Browning 1997, Parker 2003) But most importantly to the lattice point the Spartan aniconic representation of the Tyndaridai/Dioscuri was two upright posts joined by a cross-bar, called the dókana meaning "beam figure" (Burkert 1985, Kerenyi 1959: 107, Sekunda 1998: 53).
Figure . Dokana relief from Sparta (Waites 1919).
In Laconia, the region of southern Greece in which Sparta ruled, their prodigal daughter and sometimes goddess Helen/e has been pictured in reliefs from before the 2nd century BCE "as a stiff xoanon 'wooden image' (Nilsson 1932: 73)" (Silver 1992: 100). On the Laconian cup from 550 BCE, from Pipili 1987, was shown as a lattice between two snake-entwined pillars, one of which is depicted as behind another lattice (Pipili 1987). The Dókana relief moved from the Laconia/ Spartan lotus flower (on the left) to the Greek world through the lattice design with the belief that between the vertical pillars, Helene watches as an oath goddess along with her brothers. This connection is derived from her epithet 'Rhamnusian' in the nearby Attica [where Athens lies], where she is typically depicted with a torch or wicker basket because of their presence in underground repositories and treasuries (Silver 1992: 100). This is believed to be another link to Babylonian texts due to the position of the handmaids as watchers being comparable to the Babylonian 'nadītu' or businesswomen-preistesses as treasury protectors (Silver 1992: 100).
The goddess in the window is also sometimes shown as either Hera or Aphrodite with connections to either of two larger myths with the lattice acting as a net. The bindings of either the seated Hera or Ares and Aphrodite, as an "ensnared pair", are tied by Hephaestus at Mt. Etna, as his main mythological home (Od. 8.266-389: Brukert 1985:154, 168, Grimal 1986, Silver 1992: 289). In the case of Hera, her (only hers) son Hephaestus was a “screw you” to Zeus after Athena burst out of his head. Hera wanted a child of her, singular, own. When he was born, however, either he was already disfigured or she changed her mind for some other reason so tossed him off of Mount Olympus. Since he is a god, he survived and grew to become the god of smithing and craftsmanship. All this to say that in one version of a myth, Hephaestus captures Hera and holds her as his prisoner, though eventually, he does let her go after she shares some kind words. What is substantial about this turn of events is that Hera was a goddess of oath-keeping. She was the goddess of marriage so having her be the one wrapped up as an oath breaker in terms of caring for her child, while also being the main goddess that a person in ancient Greece or Rome (as Juno) would make oaths in front of, as a ‘witness’ is very interesting to me.
The same contradiction in logic appears when the ensnared gods are Aphrodite and Ares. Long story short, the two of them are constantly having an affair after Aphrodite is forced to marry Hephaestus by Zeus. They are discovered with Helios’ help, and Hephaestus catches them in a net while they were ‘together’ to expose them to the other gods. Hephaestus dragged them up to Mount Olympus where the other gods mocked and laughed at them, though no one seemed to be particularly disgusted with their actions. Poseidon persuaded Hephaestus to free them if Ares paid a fine. In the aftermath, Aphrodite gave birth to Harmonia, Ares’ daughter. Hephaestus made a cursed necklace for Harmonia that brought tragedy to anyone who owned it, and some sources say that Aphrodite and Hephaestus divorced, but not all. This is yet another example of making oaths before oath-breakers, perhaps as a warning that “if you don’t keep the oath you are swearing to, THIS could happen to you”.
**If I do ever get married I might decorate an arch with flowers and a net.
There is another contradiction between Sparta and Athens (since they were so often adversaries) as it applies to the lattice design and how it applies to the Gods. In Athens it was Apollo that had the title prostates, meaning 'one who stands before' (LSJ s.v.) and name variant Apellōn, which appeared in the meanings (attested by fifth-century scholar Hesychius) of the words for 'meetings' and 'sheepfolds' (Gutherie 1950), the latter of which is described as a lattice-like fence where meetings would often take place (Silver 1992: 289-90).
This also continued in Judaism through the stories of Samson and the pillars of Solomon's temple in Israel. In the story of Samson’s marriage the mention of lattice is a blink-and-you-’ll-miss-it moment;
At the window of my house
I looked down through the lattice.
7 I saw among the simple,
I noticed among the young men,
a youth who had no sense.
8 He was going down the street near her corner,
walking along in the direction of her house
9 at twilight, as the day was fading,
as the dark of night set in.~ Proverbs 7:22
It comes up after Samson’s father is warning him against adulterous women, and is looking through the window screen (which I’ll go into later in this series). But, maybe the symbolic meaning of latticework could play into this simple statement. The adulterous women would clearly not be keeping their oaths and the senseless young man walking to “her house” is going to be ensnared while Samson is watching from behind the lattice, on the other side, where he could still keep his oaths.
Simplifying the Bible’s text, in the Temple of Solomon ‘there were lattices of checker work with wreaths of chain work for the capitals on the tops of the pillars, a lattice for the one capital and a lattice for the other capital’ (English Standard Version 1 Kings 7). Obviously, there are basically innumerable interpretations of what that entire passage means. If the tradition of netting and latticework did, in fact, carry over maybe the pillars for the different lords of the capitals were up to be closer to god and the latticework and chains would act as reminders of them making oaths before god.
***But I’m no Biblical scholar so, here’s a heaping pile of salt.
Mayan Community
Art and architecture in the Maya lowlands are completely disconnected from the other side of the world. This was the inspiration for my interest in the subject, and I focus on their importance because their meaning connects to public works and swearing oaths.
The lattice design is one of the major motifs of the Puuc architectural style which got its name from the Puuc region in the Mexican state of Yucatán on the northernmost area of the Yucatán Peninsula. The word puuc comes from the Maya word for "hill" or “low range of hills” (University of Idaho n.d.) Since the Yucatán is mostly flat, this term was used to refer to the large hills in the southern part of the state, known as the Puuc region or Puuc hills. These hills extend into northern Campeche and western Quintana Roo. This architectural style began at the end of the Late Classic period (around 600-900 CE) but experienced its greatest extent during the Terminal Classic period (800–925 CE). Key sites like Uxmal, Kabah, Labná and Sayil display this style, using local materials and advanced engineering (Ringle et al., 2021). This architectural form developed due to environmental and cultural influences, with the limestone landscape allowing for complex structures and serving as a means for the elite to express their identity and power.
The detailed stonework, decorative friezes, and unique "Maya arch" show a high level of architectural skill that balanced beauty and strength (Figure —). This style's most distinctive characteristic is its innovative construction technique, which utilized a concrete core faced with carefully cut veneer stones. The lower portions of buildings typically featured smooth, unadorned walls punctuated by doorways, while the upper façades displayed intricate stone mosaics that alternated between geometric patterns and elaborate figurative sculptures (Contributors to Wikimedia projects, 2003). This technical advancement moved beyond earlier Maya construction methods, which relied on larger stones set in lime and mud mortar, allowing for more stable and spacious interior rooms (Contributors to Wikimedia projects, 2003).
The many ceremonial buildings highlight the importance of religious practices and rituals in Maya society, supported by various ritual deposits found there during archaeological fieldwork (Begel, 2024). The Puuc architectural style reflects the Maya's close relationship with their environment and their beliefs about the cosmos. Buildings were aligned with celestial events, and their decorative symbols revealed a strong knowledge of astronomy and mythology (Inomata et al., 2013). This style provided a space for cultural expression, featuring deities and mythological stories that were key to Maya social life. Features like intricate mosaics and decorative elements such as masks and serpents display the artistic values and cultural identity of the Maya people (Ringle et al., 2021; Inomata et al., 2013). As the Puuc region is known for its dense settlements, showing a complex social and political structure, the arrangement and design of buildings reveal connections among various groups, helping us understand Maya politics and economics (Speal, 2014). It is also possible that the organization of Puuc sites reveals a sophisticated grid plan incorporating both practical and cosmological considerations, like the lattice design itself. In addition, cities were often arranged along north-south axes, as evidenced by structures like the sacbé (raised causeway) at Sayil (Figure —). This architectural layout facilitated both commercial and religious activities, connecting various urban centers through a network of communication routes and with dense housing populations spanning from one city to the next. The most significant sites within this network include Uxmal, Kabah, Sayil, and Labná, each contributing to the region's architectural vocabulary while maintaining distinct characteristics (Pre-Hispanic Town of Uxmal - UNESCO World Heritage Centre, 2022).
Figure —. Labná, Yucatan, Mexico: archway, west side (Labna. (2024, October 9). https://en.wikipedia.org/wiki/Labna)
Figure —. Wall from Kabah with the statues of leaders, the serpentine zig-zag motif, and the lattice motif (R. Whitehouse 2013).
Figure —. The sacbé (raised causeway) that connects the sites of Kabah and Labná, with the Labná gate archway in the background (R. Whitehouse 2013).
The lattice design is called celosía simple by art historian Marta Foncerrada Moreno (Foncerrada de Molina 1963). Foncerrada Moreno says that lattice patterns serve two decorative purposes: first, they provide a background for other designs and images, and second, they give a dynamic, flowing quality to the building's exterior (Cannon 2024: 2). This pattern is created like a Maya woman adding cross-stitch designs to woven cotton fabric, making small x's one stitch and row at a time. Each stone stitch reflects how a crossed string lies on and goes through the weave of cloth or clothing (Cannon 2024: 2). The geometric patterns on buildings would have been almost transcribed from textiles. Many of these symbol patterns could tell stories about the cosmos, general mythology, and local legends, like those on the buildings of the Nunnery Quadrangle at Uxmal (Cannon 2024). Building types, alignments, and decorative elements were designed to correspond with astronomical events like solstices and equinoxes (Šprajc 2021). This architecture-celestial relationship emphasizes the cosmos' role in Maya life, influencing agriculture, rituals, and social structure to remind people of the divine order governing the universe.
Figure . “Simple cross-stitch pattern on East Building, Plaited snake border on North Building, and complex or woven lattice pattern on North Building” (Cannon 2024: 3).
Figure . The Maya Moon Goddess, Ix Chel or Goddess I on the moon.
The lattice design often appears on clothing. The main deity who wears a woven skirt lattice made of jade beads is the Young Moon Goddess who is often identified as Goddess I. The Maya Young Moon Goddess, Ix Chel or Goddess I, often is shown with or partly as a rabbit. When more human she, is sometimes depicted as wearing a lattice jade skirt, and in Figure — she is sitting on the moon which also has the lattice design.
This is not to say that men or a third gender could not or did not wear the lattice design; in the eyes of academics today, it appears to be gender-neutral (Figures a and b)(Cannon 2024). The criss-cross design was often an ordinary pattern used in ritual/ceremonial mats and as a complex version of the design in the huipiles or loose-fitting tunic used in Lady Xoc’s blood-letting ritual in Yaxchilan’s Lintel 24, while the pattern was also worn by warriors in battle (Figures — & —).
Figures — a & b. Maya codices, like the Madrid and Dresden, show fiber arts being done. Textile crafts frequently appear and highlight their ties to the cosmos and rituals. Many drawings and glyphs depict women, genderless figures, gods, and skeletons engaged in various textile activities such as warping, weaving, brocading, netting, and embroidery.
Figure —. Maya site of Yaxchilan (Mexico). Classic period. Lintel 24 of Structure 23 depicts a bloodletting ritual: Lady Xoc, wife of King Shield Jaguar II drawing blood using a barbed rope through her tongue. (British Museum).
Figure —. The north jamb from Room 21 (Eastern Door) of the Codz Pop in Kabah. Either a dance or battle scene (Photo by R. Whitehouse 2013).
The lattice design often incorporates elements that are emblematic of the ruling elite's authority, thereby reinforcing their status within the community (Inomata et al., 2013). In terms of structural functionality, the lattice design contributes to the stability and durability of public buildings. The crisscross patterns allow for effective weight distribution, which is crucial in a region prone to seismic activity. This engineering aspect of the lattice design demonstrates the advanced understanding the Maya had of architectural principles, enabling them to construct enduring structures that could withstand environmental stresses (Rice, 2019; Speal, 2014). The lattice work also facilitates ventilation and light penetration, enhancing the usability of public spaces (Maurizi et al., 2022). Moreover, the lattice design serves a symbolic function in public buildings, often associated with ceremonial and communal activities. The open nature of lattice structures can be interpreted as an invitation for community participation and interaction, reflecting the social dynamics of Maya society where public gatherings and rituals were central to communal life (Ryvkin et al., 2019). The design thus embodies the principles of accessibility and inclusivity, allowing for the congregation of people during important events (Kulagin et al., 2020).
The Cosmological Significance of Lattice Patterns
The lattice further symbolizes important concepts that bridge the physical and spiritual worlds, revealing the Maya’s understanding of the universe. This reflects the dual nature of Maya cosmology, which values balance between opposing forces like life and death, the material and spiritual worlds, and highlights the cyclical nature of life and the importance of balance in the community and the universe (Carmean et al., 2011). With its crisscrossing lines, the design acts as a metaphor for the web of life, where everything is related and has a role in the larger cosmic order. This reflects the Maya idea of a united universe, where humans, nature, and the divine form a single, harmonious system (Isendahl 2011; Akbar et al., 2021). These patterns also often feature motifs from the natural world, like plants and animals, reflecting the Maya belief in the sacredness of their environment and the need for harmony with it (Akbar et al., 2021). By incorporating natural elements into their buildings, the Maya strengthened their cultural identity and their connection to the earth, which they saw as a living entity and called the Earth Monster which they depicted in carvings on doorways and building corners (Akbar et al., 2021).
Celestial Alignments and Sacred Architecture
The lattice patterns adorning these buildings served as more than decorative elements; they were integral components of a sophisticated system of astronomical observation and ritual significance. The Maya demonstrated exceptional skill in aligning their structures with astronomical events, creating buildings that functioned as both physical spaces and cosmic markers (Cartwright 2015). Their careful attention to orientation reveals a deep understanding of celestial mechanics, with many structures positioned to capture specific solar events such as solstices and equinoxes (Chichén Itzá - Ancient Observatories - Exploratorium, n.d.). These alignments and the gridded patterns of their city layouts were more than practical considerations, but were spiritually significant, as the Maya believed such architectural features facilitated communication with the gods and ensured agricultural prosperity (Sacred Earth Journeys, 2024).
The incorporation of natural proportions into Maya architecture reflects a sophisticated understanding of sacred geometry that parallels that of other ancient civilizations (Ancient Maya Geometry—Mexicolore, 2024). Their use of the golden mean and other natural ratios demonstrates an intimate knowledge of the mathematical principles underlying natural forms. The Maya builders employed these proportions not through standardized measurements but through an intuitive system using cords based on human proportions, creating structures that resonated with both natural harmony and human scale (Ancient Maya Geometry—Mexicolore, 2024).
These geometric arrangements reflect their understanding of the universe as an ordered, interconnected system where every element plays a crucial role. The lattice patterns in the Maya architecture physically manifest this belief in universal interconnectedness that includes animals, plants, celestial bodies, and spiritual forces, all with mutual responsibilities to maintain their shared world (Lisa Lucero, 2020). The complexity of Maya architectural symbolism extends beyond simple geometric patterns to incorporate representations of natural and supernatural elements (The Fantastical Puuc Codz Poop of Kabah - Maya Ruins, 1995). The careful arrangement of these elements suggests a deliberate effort to create spaces that embodied both worldly and divine aspects of their cosmology (The Fantastical Puuc Codz Poop of Kabah - Maya Ruins, 1995; Gendrop 1998). At sites such as Kabah, the integration of serpent symbolism and fully carved skull masks into architectural motifs demonstrates how the Maya viewed their built environment as a bridge between the natural and supernatural realms.
Reflections
From around the world, these ancient architectural structures that feature intricate lattice patterns represent a sophisticated understanding of universal order and what’s called sacred geometry. These designs connected the earthly realm with the divine, aligning with astronomical principles and integrating natural proportions. This architectural philosophy reflected practical needs and embodied both the Old- and the New worlds’ spiritual beliefs, illustrating similar worldviews where the material and spiritual realms were intimately intertwined.
While the Mesopotamian and Greco-Roman worlds utilized the lattice in architecture centuries earlier, the Puuc architectural style still showcases the Maya's advanced engineering capabilities, their adaptability to the environment, and the rich religious symbolism embedded in their structures. Characterized by unique elements such as concrete cores and depictions of deities, the Puuc style offers a glimpse into the Late Classic Maya period, revealing a deep symbiosis between technical proficiency, environmental awareness, and cultural expression. These long-lasting insights contribute significantly to our understanding of these extraordinary civilisations' social, political, and religious dynamics. Symbols and motifs display what is important to a society and a culture. What is so engrained is that the symbol itself is shorthand for the very idea. Love it or hate it the lattice design is more than a pattern, more than a cage for our limited ideas. It is a promise that we are loyal to each other, that we are all welcome, and that there is more that brings us together than divides us. Those connections can bring us together, no matter what gateways lay before us.
Continuation...
Columns with netting around the top will, over time, mean that this netting will create links and could later become gateways to the heavens and to the halls of Hades and beyond. Which will be continued in the next part of this.
As a dirty holdover until the next reading, remember that Greece and Rome had very different views on the human body. As a child at heart, this still makes me giggle.
Additional Reading:
Greek and Roman Translated Parts of Hymns and Stories – Thenoi Project
Mohamed, J. (2015).The traditional arts and crafts of turnery or mashrabiya (Doctoral dissertation, Rutgers University-Camden Graduate School): 1–33.
If you want to read the Sumerian version of the Inanna-Ishtar myth. Dalley 1989: 154.
Underworld Myths Video by Overly Sarcastic Productions
If you have a thing for maths:
Simplex-lattice designs by the Engineering Statistics Handbook
The Analysis of Lattice Designs by E.R. Williams, D. Ratcliff, & P.H. van Ewijk
Citations:
A Cosmology of Conservation: Ancient Maya Environmentalism. (2020). https://climatecultures.net/cultural-change/maya-cosmology-conservation/
Ancient Maya Geometry - Mexicolore. (2024). https://www.mexicolore.co.uk/maya/home/ancient-maya-geometry
Akbar, N., Abubakar, I., Shah, A., & Al-Madani, W. (2021). Ecological embeddedness in the maya built environment: inspiration for contemporary cities. Land, 10(12), 1360. https://doi.org/10.3390/land10121360
Alkhader, M., Nazzal, M., & Louca, K. (2018). Design of bending dominated lattice architectures with improved stiffness using hierarchy. Proceedings of the Institution of Mechanical Engineers Part C Journal of Mechanical Engineering Science, 233(11), 3976-3993. https://doi.org/10.1177/0954406218810298
Atsma, A. (2019). DIOSCURI (Dioskouroi) - Greek Gods of Horsemanship & Protectors of Sailors. Retrieved 6 July 2020, from https://www.theoi.com/Ouranios/Dioskouroi.html.
Begel, J. (2024). Characterizing and classifying mayan ritual deposits. Estudios De Cultura Maya, 64, 97-128. https://doi.org/10.19130/iifl.ecm.64.2024/0011wx00s893
Browning, W. R. F.(1997), "Dioscuri", A Dictionary of the Bible, Oxford University Press.
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Music:
'Bring Me The Sky' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au
'Into The Wilds' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au
'Sentinel' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au
'The Great Sea' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au
'Victor Lux' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au
'Clear Skies' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au
The Maya civilization used lattice designs in their art, clothing, and buildings, showing their ties to the universe and their impact on nature. These patterns in fabrics, pottery, and stone carvings symbolize connections between the material and the spiritual. Beyond decoration, the lattice represented structure and order, reflecting the structure and order of the cosmos and how we are all interwoven. Every line and intersection carries meaning, encouraging exploration of their rich cultural stories.
