Hieroglyphic inscriptions are common on stone lintels above doorways, and at the Akab Dzib an inscription is associated with the carving of a seated human figure on the soffit of the lintel. This is not the only example of human figures on a stone lintel from the Chichén Itzá area, but it is the only one in situ in a building of the Pure Florescent period (Beyer 1937:Pl.2). In summary, sculpture in low relief usually consists of masks and geometric forms on platforms, facades, roof combs and flying facades, and hieroglyphic inscriptions on stone lintels. Sculpture in full round is virtually unknown from Pure Florescent Chichén Itzá.
pilasters, jambs, lintels, building facades, facings of substructures, stairway ramps, ball court rings, and altars. Sculpture in the round is relatively common during the Modified Florescent period, when some of the forms were serpent heads and serpent columns, large and small atlanteans, chac mools, jaguar thrones, standard bearers, roof ornaments, animal figures, incensarios, and other sundry sculptures. Therefore, like floor plans and basic techniques of construction, the variety and distribution of sculpture in the two periods are fundamental criteria for distinguishing Pure Florescent from Modified Florescent constructions. On the basis of the presence or absence of some these features, the following structures are the Pure Florescent constructions at Chichén Itzá.
This contrasts sharply with Modified Florescent Chichén Itzá, where low relief sculpture occurs in considerable variety on walls, columns,
Kilmartin and O’Neill map (detail), Ruppert 1952:Fig. 151