A book that brings together art historical and archaeological data incurs many debts. To Sara Ladrón de Guevara, whose careful reconstruc- tions of Tajín sculpture will be fundamental to all later studies, I owe the data on which important elements of Chapter 4 are based. Her colleague Yamile Lira López also contributed key data and interpretations to that section. Arturo Pascual Soto’s insistence on the longue durée of Tajín his- tory, especially that period before the apogee, became very important for my seriation of the narrative sculpture in Chapter 3. Patricia Sarro continues to be a source of insight into all things.
