Quien Sabe? “Who Knows?”

QUIEX SABE? "WHO KNOWS?"' From a Painting by George M. Ottinger.

QUIEN SABE?— "WHO KNOWS?" In the western part of Honduras, Central America, shrouded in an immense forest, and in dark and impen- etrable mystery, slumbers the ruins of an ancient city, to modern antiquarians and travelers known as Copan. Next to the crumbling temple in importance, or per- haps before it, as an indication of the artistic skill of its builders, are the carved statues or obelisks, remarkable for their size and well-executed sculpture. The sides and backs are covered with hieroglyphics, arranged in square tablets which probably contain the names, titles, and per- haps history of the beings whose images in stone they serve to decorate. Standing in front of some of the statues are found sculptural blocks of stone. The obelisk represented in the painting stands in the court of the temple. In appearance and in character, it is tasteful and pleasing. It represents a queen who, ages ago, by virtue and good deeds, endeared her mem- ory in the hearts of her subjects. As the years rolled on, their love became worship. Christianized as the nations of Honduras of the present day are presumed to be, they still cling and secretly pay reverence to their sacred statues. A young girl, her water jar and bundle of fagots at her feet, has placed her floral offering on the altar, on which

she reclines, gazing up at the mute stone face, and Who Knows? She may be a lineal descendant of this deified queen. Time and its vicissitudes have robbed her of royalty, and left her a poor "hewer of wood and car- rier of water" — who knows? who knows? George M. Ottinger.