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//	2007 Julia Yu, Lenny Burdette
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					content : 'Writing was independently invented in five areas of the ancient world: Mesopotamia, Egypt, China, the Indus Valley, and Mesoamerica. Of these, the Maya glyphic system stands out for its creation of syllabic and pictorial writing, in the most visually diverse scripts ever conceived. The writing was recorded on a wide variety of media that include ceramics, stone, wood, shell, textiles, animal hides, and screen-fold codex books. Although most of the materials are lost forever due to decay and destruction, much of this priceless literary cultural heritage survives on Maya vessels and artifacts.' 
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					content : 'Writing was independently invented in five areas of the ancient world: Mesopotamia, Egypt, China, the Indus Valley, and Mesoamerica. Of these, the Maya glyphic system stands out for its creation of syllabic and pictorial writing, in the most visually diverse scripts ever conceived. The writing was recorded on a wide variety of media that include ceramics, stone, wood, shell, textiles, animal hides, and screen-fold codex books. Although most of the materials are lost forever due to decay and destruction, much of this priceless literary cultural heritage survives on Maya vessels and artifacts.' 
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	'33' : {
		width: 730,
		height: 280,
		largeWidth: 1515,
		largeHeight: 590,
		location: 3,
		featured: true,
		position: 0,
		audio: 'cmn/audio/Vessel_33.wma',
		transcript : ' One of the most striking features of this vase are the red-outlined day hieroglyphs that separate the text into twelve separate sections.<p> They actually outline for us the twelve separate kings of the Snake polity who acceded to the throne.<p>This kind of a pot, which was copied from a book recording the histories of these kings, would have been owned by a large number of nobles.<p>Although there are only twelve of the vessels in existence today, we have to imagine many more that archeologists haven’t found yet and that all of them would have been treasured heirlooms of the individual noble who had one.',
		title: 'VASE <i>with</i> SIXTY HIEROGLYPHS',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, AD 600–900. Red and black on cream ceramic.  K1372. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress.<p>This vase is one of only twelve all-glyphic vases known to exist.  Called “Dynastic Vases,” the vessels recount and date a series of coronations of rulers of the Snake Dynasty, a powerful ruling lineage of the Maya.  The exact number of coronations recounted varies depending on the size of the vessel and the scale of the glyphs.  The attested range is between five and nineteen, and this vessel provides the second-longest document sequence: twelve separate coronations.<p>The dates of the twelve accessions vary somewhat from vessel to vessel, but a listing of dates and ruler names, where decipherable, is shown below.  Apart from minor deviations, all sentences are read from top to bottom and begin with the date of the coronation (occasionally erroneous), or Calendar Round (in red).  Included below is the nickname for the dynastic founder “Skyraiser” and also four suggested readings where the symbols are especially clear or namesakes are well known.',
		hotspots: [
			{
				id: 1,
		       	title: 'Ruler One',
		        text: '7 Chuwen 19 Pop - "Skyraiser"',
				left: 43,
				top: 55,
				x: 92,
				y: 98
			},
			{
				id: 2,
		       	title: 'Ruler Two',
		        text: '10 Imix 14 Yaxkin - Tayel (Chan) K\'inich (as here, this ruler occasionally takes the additional  title "Kaloomte" following his emblem glyph)',
				left: 97,
				top: 119,
				x: 209,
				y: 293
			},
			{
				id: 3,
		       	title: 'Ruler Three',
		        text: '3 Imix 7 Yax (impossible date) Chanal Chak Chapaht',
				left: 211,
				top: 65,
				x: 456,
				y: 90
			},
			{
				id: 4,
		       	title: 'Ruler Four',
		        text: '3 Edznab 1 Muan',
				left: 210,
				top: 149,
				x: 447,
				y: 275
			},
			{
				id: 5,
		       	title: 'Ruler Five',
		        text: '13 Ahau 8 Zodz',
				left: 283,
				top: 38,
				x: 579,
				y: 89
			},
			{
				id: 6,
		       	title: 'Ruler Six',
		        text: '1 Imix 11 Mol (impossible date)',
				left: 329,
				top: 120,
				x: 696,
				y: 281
			},
			{
				id: 7,
		       	title: 'Ruler Seven',
		        text: '13 Cib 19 Chen',
				left: 397,
				top: 64,
				x: 840,
				y: 89
			},
			{
				id: 8,
		       	title: 'Ruler Eight',
		        text: '8 Lamat 11 Yaxkin',
				left: 453,
				top: 100,
				x: 957,
				y: 275
			},
			{
				id: 9,
		       	title: 'Ruler Nine',
		        text: '1 Muluc 2 Kankin - Ahk\'ab Ohl Bahlam',
				left: 517,
				top: 43,
					x: 1067,
				y: 101
			},
			{
				id: 10,
		       	title: 'Ruler Ten',
		        text: '11 Chuen 8 Zip (impossible date) - Yuhknoom Ch\'een',
				left: 529,
				top: 152,
				x: 1110,
				y: 270
			},
			{
				id: 11,
		       	title: 'Ruler Eleven',
		        text: '11 Caban 12 Yax (impossible date)',
				left: 580,
				top: 228,
				x: 1214,
				y: 480
			},
			{
				id: 12,
		       	title: 'Ruler Twelve',
		        text: '1 Chuen 19 Xul',
				left: 643,
				top: 123,
				x: 1338,
				y: 281
			},
			{
				id: 13,
		       	title: 'Ruler Thirteen',
		        text: 'It is known from another vessel with a longer dynastic text that a stray glyph at the end of this text (8 Caban) belongs to the accession date of Ruler 13, Yuhknoom Yich\'aak K\'ahk\'.',
				left: 688,
				top: 200,
				x: 1437,
				y: 484
			}
		]
	},
	'8': {
		width: 720,
		height: 295,
		largeWidth: 1515,
		largeHeight: 590,
		location: 3,
		featured: true,
		position: 1,
		audio: 'cmn/audio/Vessel_08.wma',
		transcript: 'Perhaps the most striking aspect of this vase is the striding skeletal figure holding outstretched in one hand an obsidian lancet and in the other hand grasping by the hair a decapitated human head.<p>There are a lot of grisly and nightmarish aspects on this vessel. <p>We see a bat swooping down from the glyphs on the rim of the vessel and just underneath the bat we see another figure holding a flint knife in one hand and another decapitated human head.<p>Behind this figure strides another one holding another one of these flint lancets and two individuals who by the cigarettes in their mouths tell us that this is indeed a night-time scene.<p>A final floating figure above or in front of the skeleton is a lightning bug or a firefly who also tells us that this is a scene set in night and set in darkness.<p>These kinds of vessels with scenes from mythology and scenes from Maya ideas of the Underworld and the Otherworld were sort of focal points for stories and narratives that would have been told as these drinking vessels were passed around a campfire or a group of individuals sitting and talking about Maya myths and stories late into the evening.',
		title: 'VASE <i>with</i> ELEVEN FIGURES',
		description: 'GUATEMALAN HIGHLANDS. Nebaj region. Late Classic Maya, AD 600–900. Polychromed orange-gloss ceramic. K1490. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This Maya vase from the Guatemalan Highlands dates from 600–900 AD, the Late Classic Maya period. Experts believed that scenes such as this represented gods from the Underworld, but recent scholarship has clarified the role of these horrific creatures as animate spells and personified illnesses sent out by sorcerers.',
		hotspots: [
			{
				id: 1,
		    	title: 'Skeleton',
		    	text: 'Perhaps the most striking aspect of this crowded, nocturnal scene is the blanched, animate skeleton—his limbs and features highlighted by white and red paint.  In his right hand is a long black carved obsidian staff, which he holds out at a prominent angle that clearly divides the scene in half and focuses attention on the skeleton as the starting point of the procession. In his left hand, the deathly figure clutches a dismembered human head, still dripping blood.',
				left: 294,
				top: 144,
				x: 630,
				y: 293
			},
			{
				id: 2,
		    	title: 'Bat',
		    	text: 'Behind and above the skeleton, a hideous bat descends from the sky, its wings marked by disembodied eyes.',
				left: 375,
				top: 110,
				x: 804,
				y: 230
			},
			{
				id: 3,
		    	title: 'Priest with human head',
		    	text: 'Below the bat strides a darkly robed priest, also clutching a severed human head and a large obsidian blade.',
				left: 405,
				top: 200,
				x: 870,
				y: 395
			},
			{	
				id: 4,
		    	title: 'The god Akan',
		    	text: 'The masked figure behind the priest can probably be identified as an aspect of Akan, the god of drinking, smoking, and boxing. He wields an obsidian knife and holds out a length of cloth, which may conceal a blunt striking weapon.',
				left: 509,
				top: 168,
				x: 1091,
				y: 339
			},
			{	
				id: 5,
		    	title: 'Rodent and jaguar',
		    	text: 'Above the god, a frightened rodent appears to be the next victim of a rampaging jaguar.',
				left: 572,
				top: 77,
				x: 1224,
				y: 159
			},
			{
				id: 6,
		    	title: 'Priests with cigars   ',
		    	text: 'Behind the masked figure, two priests light cigars that likely contain the powerful <i>nicotiana rustica</i>.',
				left: 631,
				top: 135,
				x: 1349,
				y: 327
			},
			{	
				id: 7,
		    	title: 'Priest with obsidian blade',
		    	text: 'The smokers are followed by a tall, sumptuously attired priest who holds out a massive obsidian blade.',
				left: 69,
				top: 130,
				x: 144,
				y: 267
			},
			{	
				id: 8,
		    	title: 'Firefly',
		    	text: 'Behind the priest floats a supernatural firefly that belches forth flames, which indicate that the procession takes place at night.',
				left: 163,
				top: 92,
				x: 353,
				y: 207
			},
			{
				id: 9,
			    title: 'Canine figure',
			    text: 'Finally, an anthropomorphic black canine brings up the rear.  Like the masked figure, he holds an obsidian blade and a concealed bludgeon.',
				left: 198,
				top: 186,
				x: 419,
				y: 377
			},
			{
				id: 10,
		   		title: 'Vessel\'s text',
		    	text: 'Although sixteen separate glyphs appear in the rim text of this vessel, and an additional seven are embedded in the imagery (ostensibly as captions), none are legible.  These repetitious and imaginative "pseudoglyphs" are meant merely to convey the "idea" of writing, along with all of the attendant social status of a literate text.',
				left: 267,
				top: 53,
				x: 575,
				y: 108
			}
		]
	},
	'22': {
		width: 720,
		height: 300,
		largeWidth: 1515,
		largeHeight: 631,
		location: 3,
		position: 2,
		audio: 'cmn/audio/Vessel_22.wma',
		transcript: 'This elegantly painted vessel portrays for us two individuals of the priestly scribal hierarchy.<p>The individual in the forefront is identified by the glyphs in front of his face as being Winik, a man, a human scribe.<p>He holds out in his left hand an inkpot made from a cut shell. <p>He would have used this to paint the “codex” or screen-fold book that’s on the ground line in front of his hand.<p>Thousands of these books existed during the Maya Classic Period, but only three survive in various European libraries today. <p>Behind the human scribe is a supernatural figure identified by symbols on the surface of his skin as a glowing, angelic being, who would have brought writing with him from the Otherworld.<p>He holds a brush outstretched in his right hand and also holds an inkpot.<p>Hieroglyphs in front of his face let us know that he was a supernatural scribe, the patron of writing.',
		featured: true,
		title: 'CODEX-STYLE VASE <i>with</i> MAYAN SCRIBES',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, AD 600–900. Red rimmed, black on cream ceramic. K4010. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This vessel, from the heartland of Maya civilization in Northern Guatemala, is decorated by a limited palette (red, black, and cream) and is devoted to a scribal theme.  The figures on the vessel are a human scribe and the god of scribes, Itzam, identified as such by iconic imagery and glyphs.',
		hotspots: [
			{
				id: 1,
                title: 'Scribe',
                text: 'The first figure is a Maya scribe. He holds a carved conch shell, which is his paint container or inkpot.  In his headdress, the scribe wears two signs of his profession: a small bundle of bark paper pages and two brushes.  The net on the headdress is the traditional symbol of the old priestly god Itzam, the patron god of scribes.',
				left: 212,
				top: 221,
				x: 440,
				y: 465
            },
			{
				id: 2,
                title: 'Glyphs',
                text: 'The bottom hieroglyph in the set of two glyphs in front of the scribe reads "a man," but the top glyph is indecipherable.',
				left: 60,
				top: 199,
				x: 122,
				y: 423
            },
			{
				id: 3,
                title: 'The god Itzam',
                text: 'Itzam, the patron god of scribes, accompanies the human scribe. The old god’s body is marked with symbols of brightness, indicating his glowing supernatural nature, and he wears his signature net headdress. He holds a brush daintily in his right hand and steadies a conch shell paint palette in his left.',
				left: 466,
				top: 209,
				x: 971,
				y: 437
            },
			{
				id: 4,
                title: 'Glyphs',
                text: 'Above the god, a series of hieroglyphs read "sage, learned man," and "artisan."',
				left: 331,
				top: 73,
				x: 686,
				y: 156
            }
		]
	},
	'33_2': {
		width: 518,
		height: 300,
		location: 3,
		title: 'FLEUR-DE-LYS VASE <i>with</i> PRIMARY STANDARD SEQUENCE GLYPH BAND',
		rollout: true,
		rollX: 250, rollY: 80,
		featured: false,
		position: 3,
		audio: 'cmn/audio/Vessel_33_2.wma',
		transcript: 'This tall cylindrical drinking vessel has a very repetitive, formulaic sequence of glyphs along its upper surface. Many vessels across the Maya area record the dedication of these drinking vessels and their owners.<p>This one tells us that the owner was a great prince, of a site unknown, unfortunately, yet the decoration on the surface with the stylized water lilies tells us that this vessel came from northeastern Guatemala, and there’s a chance that this noble’s name may yet turn up on a monument from that region, letting us know the home site from which this extraordinary vase comes.',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, AD 600–900. Black and orange on white ceramic. K5229. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This tall, narrow cylindrical vessel is a striking example of a class of vessels that feature a stylized, repetitive motif of three-lobed white and black flowers reminiscent of the lilies ("fleurs-de-lis") used in later European art and heraldry.  Despite their frequent appearance on vessels from this region, their significance remains unclear.<p>This vessel was a drinking cup, signified by its shape and a glyph that names it as such.  Unlike most cups of this type, this vessel omits the proper name of its owner, which may have rendered it suitable as a gift or an item of tribute.<p>Along the outer rim of the vessel runs a nine-glyph dedicatory formula.  Such formulae are repetitive and predictable, and this recurring sequence of glyphs was noted well in advance of its successful decipherment.  These glyphs can be read as follows:<p>“The writing of the drinking-cup of [the] Great Prince . . . is here[by] presented.”'
	},
	/*
	'33_3': {
		width: 371,
		height: 326,
		location: 3,
		featured: false,
		audio: 'cmn/audio/Vessel_33_3.wma',
		position: 4,
		transcript: 'One of the chief reasons for the Maya carvings of hieroglyphs on panels like this one here are for the recordings of ceremony or for dedications of buildings and structures.<p>This one records a calendrical ceremony in which the king celebrates the end of a k’atun, a ritual Maya twenty-year period, by dressing up in a fabulous costume of what’s called the “Water Lily Serpent” by scholars, a great creature that symbolizes the riverways of the Mayan world.<p>We know a lot about this particular celebration and this king because he’s recorded on other monuments that give us the larger context in which this somewhat fragmentary piece belongs.',
		title: 'FRAGMENT <i>of </i> HIEROGLYPHIC MONUMENT',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, tenth century AD. Carved limestone. K6343. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This fragmentary limestone panel is carved in a style unique to the site at Pomona, Tabasco, and dates from the Late Classic period, tenth century.  It was probably part of a long series of panels recording celebrations over a two-hundred-year period from the late sixth century to the late eighth century AD.<p>Although badly eroded and broken, enough survives of the main part of the inscription to translate as follows:<p>“the 18th-katun ended. It is a stone-seating. Chak-?, [the] Divine Pipa Lord, casts incense in the guise of the Water Serpent. He raises [the] stone [at]. . . .”'
	},*/
	'33_4': {
		width: 371,
		height: 326,
		location: 3,
		featured: false,
		position: 4,
		audio: 'cmn/audio/Vessel_33_4.wma',
		transcript: 'This remarkable carved jade ear spool gives us a tabulation of the kinds of objects that the Maya saw in the heavens and in the night sky.<p>We have the sun, in opposition to the moon here, and we have Lamat, or the sign for Venus, in opposition with the night sky itself, facing one another across the hole in the center of the ear spool.<p>One of what would have been a set of two matched objects, these would have been worn either by idols (images of deities) or perhaps by kings in ritual dance; sacred objects of ceremonial attire, not things that would have been worn in everyday life.',
		title: 'EARFLARE <i>with</i> FOUR INCISED GLYPHS',
		description: ' GUATEMALAN LOWLANDS. Early Classic Maya, AD 200–400. Light green jade and red cinnabar. K6384. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This earflare from the Guatemalan Lowlands, dated to AD 200–400, is made of jade with hieroglyphs highlighted with cinnabar.  A high-ranking nobleman or king may have worn this ornamental item.<p>In Maya art, earflares are typically associated with themes of centrality and opposition.  This example includes four bird-like deities that have directional symbols on their foreheads.<p>Clockwise from the top:<p>A: LAMAT, a representation of Venus typically associated with the South<p>B: UH, a representation of the Moon, associated with the North<p>C: AHK\'AB “night,” associated with the West (and therefore nightfall)<p>D: K\'IN “sun” and “day,” associated with the East (and therefore the sunrise)'
	},
	'23': {
		width: 720,
		height: 189,
		location: 3,
		featured: false,
		rollout: true,
		rollX: 140, rollY: 80,
		position: 5,
		audio: 'cmn/audio/Vessel_23.wma',
		transcript: 'This Late Classic cylindrical vessel portrays for us Itzam, the scribal and priestly god. If we roll out the scene, we realize that he is in animated conversation with a monarch. The king sits in front of a sumptuous throne, and curtains hanging behind him let us know this takes place inside a palace. <p>Extending from underneath the king’s nose is the square-nosed serpent motif, revealing his divine essence and the moisture of his breath. It also tells us that the hieroglyphs painted between the two figures represent the king’s speech. This is their conversation, writ large in hieroglyphs. <p>Behind the king, we see a dwarf, seated in the palace chamber. Hieroglyphs in front of the dwarf are slightly effaced, but nevertheless they would have provided this courtier’s name and let us know that he was an elevated personage in his own right within the larger setting.',
		title: 'VASE <i>with</i> SEATED RULER <i>and</i> DWARF',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, AD 600–900. Red rimmed, black on cream ceramic. K4113. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>A ruler wearing a beaded headdress sitting cross-legged on his throne is depicted on this Maya vessel.  Extending from under his nose is the “square-nosed serpent” motif often worn by the Sun God.  The king is addressing Itzam, known as the creator god and patron of scribes, and behind him sits a chubby dwarf wearing a fancy headdress. The glyphs in front of the dwarf are too eroded to be read, but likely give his name and at least one title.<p>The king, whose hand is open in a conventional gesture of oration, is speaking the glyphic passage, which can be read as follows:<p>‘Yajaw Ek\', [the] first . . . man, Itzamtuun, [and?] Drink[ing] Serpent arrive at. . . . It is his image [in] creation and darkness.”'
	},
	'40_1': {
		width: 506,
		height: 300,
		location: 3,
		rollout: true,
		rollX: 250, rollY: 80,
		featured: false,
		position: 6,
		audio: 'cmn/audio/Vessel_40_1.wma',
		transcript: 'This remarkably stylized cylindrical drinking vessel is an attempt by the Maya to come to terms with foreign imagery and gods pouring out of central Mexico, far to the west of the Maya area.<p>The central icon is of a large bird, with feather fans and other icons that indicate that it’s an import from central Mexico, from the great city of Teotihuacán.<p>Above the image and on the rim of the vessel is the name, or at least the Maya name, of this foreign entity Waxaklajuun Ubaah Kaan, “the eighteen-headed serpent.”<p>When we roll out this image, we see that not only this great foreign bird but also foreign serpents or foreign snakes are indicated in these vertical panels to either side of the two birds that are depicted.<p>This was that foreign entity, and the Maya’s attempt to use their own writing and art to come to terms with elements far outside of their own region.',
		title: 'VESSEL <i>with</i> TEOTIHUACÁN-MAYA WAR <i>and</i> SACRIFICE THEMES',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, AD 600–900. Polychrome ceramic. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>Scholars do not agree on the interpretation of many aspects of this vessel.  However, most believe that the vessel is remarkable and includes Teotihuacán and Maya cultural references.  For example, the two prominent “birds” are raptor-like and include references to Teotihuacán military symbolism (the eye-goggles, bleeding heart motifs, and elaborate profile) and also the Maya sky god in his bird form.<p>The rim text is poorly executed, badly abraded, and shows several signs of recent retouching, making a full translation inadvisable.'
	},
	'16': {
		width: 720,
		height: 259,
		location: 3,
		featured: false,
		rollout: true,
		rollX: 140, rollY: 80,
		position: 7,
		audio: 'cmn/audio/Vessel_16.wma',
		transcript: 'This cylindrical drinking vessel records a number of hunters returning from a successful hunt.<p>If we roll out the scene, we see that there are two individuals who are carrying deer on tumplines hanging right from their very foreheads.<p>Other individuals are blowing on conch­shell trumpets, indicating the return of successful hunters from their foray into the wilderness.<p>Intriguingly, hieroglyphs above the scene are not actually legible. They’re what scholars refer to as pseudo-glyphs, illegible writing provided to give the idea of writing, and to channel the prestige of writing from the center of the Maya world into texts that are recorded on the outskirts of Maya civilization, where perhaps a very different Maya language was actually spoken.',
		title: 'VASE <i>with</i> HUNTING SCENE',
		description: 'GUATEMALAN HIGHLANDS. Chama style. Late Classic Maya, AD 600–900. Polychromed orange-gloss ceramic.  K808. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>The hunters in this scene wear hats, probably woven from plant fibers, and carry long blowguns.  Scenes similar to this still occur in Yucatán today.  A group of male villagers form a hunt.  They march home triumphantly carrying a prize deer, while blowing on conch shell trumpets to herald their entrance to the village.<p>As with a number of other vessels from this region, the text on this vessel is entirely pseudoglyphic—that is, the glyphs are not meant to be read, but merely present the “idea” of writing.  The glyphic sign below the tongue of one of the deer and in front of the mouth of one of the hunters may indicate the “last breath” glyph.'
	},
	'40': {
		width: 519,
		height: 300,
		location: 3,
		featured: false,
		rollout: true,
		rollX: 240, rollY: 80,
		position: 8,
		audio: 'cmn/audio/Vessel_40.wma',
		transcript: 'This tall, narrow cylindrical vessel provides us with a privileged glimpse into the workings of the Classic Maya court. The stairs in the foreground and also the columns tell us that this scene takes place right in the front of the Classic Maya palace. We can glimpse through the doorways to see what’s taking place within the building, but our attention is focused on the tall central individual.<p>He’s being painted for ceremony by an individual immediately in front of him. Another holds up a mirror so that we can tell that he’s gazing at himself as he is being dressed for ceremony. A third fastens on a wristlet, as just behind the king’s throne a watchman is ever vigilant to make sure that individuals don’t approach the king without permission. Another individual standing behind and to the left of the king holds up a parasol, one of the indications that this scene takes place outdoors and underneath the sun.<p>A dwarf reclines in the stairway and other individuals stand in the foreground.<p>Hieroglyphs scattered throughout the scene give us the names and captions of individuals.<p>The king carries the high-ranking title, "baahkab."<p>Other signs are effaced, but tell us that we are looking at a historical scene, not just a general view of a classic Maya palace, but a snapshot, as if from life.',
		title: 'VASE <i>with</i> PALACE SCENE',
		description: 'GUATEMALAN LOWLANDS. Late Classic Maya, AD 600–900. Polychrome ceramic. K6341. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This tall, thin, cylindrical Maya vessel is unique for its detailed picture of courtly life. Central to the scene is a standing ruler in his throne room being dressed for a ceremony by three attendants.  A dwarf cavorts and amuses the king.  Behind the king’s throne crouches one of his bodyguards, ever vigilant, while behind the bodyguard stands a fan bearer whose ministrations keep the king cool.<p>While many of the caption glyphs, probably intended to identify the participants in the ceremony by name and rank, are eroded beyond legibility, the partially abraded hieroglyphs behind the ruler declare his status as “foremost [in the] world.”'
	},
	'33_1': {
		width: 720,
		height: 189,
		location: 2,
		rollout: true,
		rollX: 140, rollY: 140,
		featured: false,
		position: 9,
		audio: 'cmn/audio/Vessel_33_1.wma',
		transcript: 'This carved vessel from northern Yucatan has two different faces.<p>On what may be called the kind of secondary face, we actually have a series of hieroglyphs that record little more than the owner of the vessel.<p>But on the other side we have an intricate carved scene that portrays two creatures in animated conversation: a woodpecker on the left, and an owl on the right.<p>Embedded hieroglyphs and symbols tell us that the woodpecker had red feathers and that the owl had white feathers, and small incised hieroglyphs embedded in the pictorial art actually tell us what they were saying to one another.<p>Sadly we can’t read all of what passes between these two birds, but there’s always the hope that future discoveries will clarify this ancient conversation for us.',
		title: 'CARVED UNDERWORLD SCENE <i>and</i> FIVE HIEROGLYPHS',
		description: 'YUCATÁN.  CHOCHOLÁ STYLE. Late Classic Maya. AD 600–900. Grey ceramic. K6303. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This bowl from Yucatán dates from the Late Classic Maya period, 600–900 AD.  The deeply carved figural scene, the bold diagonal column of glyphs, and lack of color distinguish this vessel as an example of Chocholá-style pottery.  The carved scene on this bowl depicts an anthropomorphic woodpecker ("left") presenting gifts to an aged, lordly owl ("right") whose lengthy tail feathers blossom out in all directions, dividing the scene neatly in half.  In bowls of this type, the decorative elements and hieroglyphs themselves define the colors of the figures.  The woodpecker is marked with the hieroglyph “red” and similarly, the owl wears the “white” glyph atop its head, suggesting snowy white feathers.<p>The nine lightly incised glyphs above the two creatures represent the birds’ speech. The large diagonal text is a typical dedication found on Chocholá-style pottery. The large text can be read as follows:<p>“It is the cup of [the] Kaloomte\', Ohlis ?-Took\', Kab Huk Pet.”'
	},
	'18': {
		width: 371,
		height: 326,
		location: 3,
		featured: false,
		audio : '',
		position: 10,
		title: 'CACHE VESSEL <i>with</i> APPLIED GOD HEADS',
		description: 'GUATEMALAN LOWLANDS. Early Classic Maya, AD 200–600. Painted ceramic. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>Vessels like this one were used to hold ceremonial offerings and were ritually buried in consecrated locations, such as beneath stone monuments and temples, or buried with a wealthy lord.  The face of the Sun God, Kinich Ajaw, dominates the lower part of the vessel.  The mask of his counterpart, the Jaguar God of the Underworld or the night sun, supports the Sun God.  The upper part of the vessel presents the night sun, identified by the curl between the eyes.'
	},
	'13': {
		width: 371,
		height: 326,
		location: 1,
		featured: false,
		audio : '',
		position: 11,
		title: 'BALLGAME YOKE <i>in</i> FORM <i>of </i> TOAD',
		description: 'MÉXICO.VERACRUZ. Early Classic Maya, AD 200–400. Carved gray granite. Jay I. Kislak Collection, Rare Book and Special Collections Division, Library of Congress<p>This granite ballgame yoke or belt from Veracruz dates to AD 200–400. It is carved with an abstract image of a toad. The ballgame, played by two opposing sides with a solid rubber ball, was prevalent throughout the cultures of Mesoamerica. To protect their ribs and torsos, players would wear a yoke of leather or wood around their waists.  Carved stone yokes, such as this one, are probably replicas of those worn during an actual game.'
	}
}