The cultural tradition of stuccoed and polychromatic murals in central Mexico dates back to Early Classic Teotihuacan and continued into the subsequent Epiclassic period, with the stunning murals from Cacaxtla as the most famous and well-studied example. In this paper, we present three examples of stuccoed and richly painted benches or thrones from the mayor Epiclassic site of Xochicalco in the Mexican state of Morelos. A careful iconographic and epigraphic analysis of the imagery, as well as the associated hieroglyphic signs from one of the benches, leads us to suggest that these benches played a pivotal role in displaying the religious, mythological, and historical underpinnings of hierarchical power at Xochicalco. Based on comparisons with benches and seats from Classic Maya culture and, in particular, the contemporaneous Terminal Classic city of Chichen Itza, which was deeply involved in interregional relations with central Mexico, we also suggest that the Xochicalco benches may even have served as royal seats or thrones.

Inspired by recent developments in Johannine research in Denmark, this article investigates the coherence of the concept of pneuma and paraklêtos in the Johannine writings. On the basis of the clear difference between pneuma and paraklêtos in First John, it differentiates between three different concepts in the Fourth Gospel. The first concerns Jesus’ possession of the pneuma from the incarnation to the death on the cross. It derives from the synoptic tradition, or more probably directly from the Gospel of Mark. The second does not have parallels in the synoptic gospels. It concerns the role of the pneuma for the believers. All instances are connected with the ritual praxis in the community and have remarkable relations to Paul. The third conception includes the Paraclete-sayings and is probably a genuine Johannine invention. It presents the pneuma-paraclete as an active figure that takes the place of the absent Jesus and in many ways authorizes the gospel writing. It is furthermore argued that the logos of the prologue can be understood in specific Stoic terms. The Stoic understanding of logos as being the cognitive side of the material pneuma is able to comprise all aspects of the Johannine pneuma-paraclete even if it is a combination of different ideas. Therefore, the prologue should be understood as a philosophical introduction that makes the reader incorporate all three Johannine pneumata into one conception.

The important Classic period site of Teotihuacan is renowned for its great size, ancient influence, and intricately decorated polychrome murals. The latter are the focus of the present study, in particular the unique landscape scene from Murals 2 and 3 from Portico 1 of the North Patio of the Atetelco residential compound that depicts a row of toponymic hill signs. The three hills have identical qualifying elements embedded, identified as combinations of an owl and a spearthrower. The murals thus make a repeated reference to a place named “Spearthrower Owl Hill.” The dating of the murals to the Early Xolalpan phase (ca. A.D. 350–450) makes them contemporary with the so-called Teotihuacan entrada into the Maya lowland sites such as Tikal, where hieroglyphic texts make mention of a Teotihuacan-affiliated individual known as “Spearthrower Owl.” From these findings—and based on Mesoamerican naming practices—we go on to suggest that the Atetelco toponym and the historical individual share the name of a common forebear, possibly that of a previously unidentified Teotihuacan martial patron deity. As such, the Early Classic Teotihuacan “Spearthrower Owl” deity has much in common with the legendary Huitzilopochtli of the Late Postclassic Mexica. Our reexamination of the murals from Atetelco shows the enormous potential that further studies in Teotihuacan writing and iconography still have for our understanding of the history and religion of this major Mesoamerican site.

This article analyzes the iconography on a ceramic vessel collected from the site of Los Naranjos, Honduras, over 70 years ago by Danish archaeologist Jens Yde. The relatively more naturalistic representation of the scene on the vessel allows us to interpret the motifs called “dancing figures” as relating to a well-documented corpus of Mesoamerican origin mythology. We then turn our attention to the site of Los Naranjos and document the fact that the area of Lake Yojoa closely mirrors the idealized Mesoamerican landscape associated with the place of the earth's creation. Combining this insight with the depiction on the Yde vessel, we suggest that the Cave of Tauleve may have been considered the place of human creation or human emergence.

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