The House of the Columns is located about 80 metres to the southeast of the Palace, on a rectangular plot of land about 7' (2 metres) in height. It faces to the west, and while "L" shaped, it is laid out mainly on a north-south axis. According to INAH, there are 8 rooms but only 5 doorways are apparent. It would seem to have been the living quarters of an upper-class family. There are chultuns, and more pottery and grinding stones (metates, manos) have been discovered here.
I have decided to show only this portion, one entrance, instead of the entire structure, so as to present more about the Puuc style on display in this instance. There are variants in Puuc architecture, and this, the simplest, has been given the name "Junquillo". (No, not by me!)
Turning to what we can see in the photograph, I divide the fašade in two, along a horizontal line above the door's lintel. Starting at the ground, there is an extended single line of stonework forming a molding, and also serving as a threshold for the door. Next, the simple facing consists in a veneer of stones upon a concrete base. The Maya door jambs taper outward from top to bottom with a clearance seldom more than 5'5". The lintel furnishing support above appears to be of stone, although in many instance the Maya used wood. This is all similar to what we saw in structures CA-5 and CA-6 at Oxkintok.
Above the doorway, we encounter the frieze. This is framed by what is termed the 'medial molding' comprising short columns. The longer columns above this may consist in more than one drum to achieve the desired length. Around the House of the Columns, these columns appear continuously, rather than in clusters of 2 or 3 or more. The 'terminal molding' is a repeat of the medial molding, albeit the columns appear slightly less robust, so as to furnish a minor change in pattern. There would have been a cornice above the terminal molding, although it appears to be missing and overtaken by vegetation.
An alternate Puuc architectural style (mosaic) would incorporate decoration achieved via linear frets, latticework, X's, etc. complementing large mask designs. At Labna, one need look no further than the Palace for such teatment.
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