Figure 3, Coe: 1973
Extended Nose BridgeMost easily described as an extension of the nose bridge, this next modification is something that de Landa does not discuss, however it is clearly detailed in many images, especially from Palenque and the surrounding area. The image of an extended nose bridge is pictured in very many ways, all of which suggest repeated scarring starting from the "original" nose, extending in some cases all of the way up the forehead, creating a ridge of raised scar tissue. Some images (such as those of Lady Xoc, Plate 5), show a perfectly smooth line giving the appearance of the nose extending all the way up the forehead. Others (figures 1 & 2) actually picture a line where the "natural" nose ends, and the extension starts. This almost appears to be a molding of putty-like material, and it is unclear if this is representing a temporary application or a permanent by highly scarred ridge. Scar tissue in this area would not look totally natural, and would most likely create a clear distinction between the "real" nose, and the extended part. Other images show bumps on the foreheads (Plate 4), which do not create a look of a continuous nose bridge, or perhaps are unfinished, the process has gone wrong, or the subject is purposely depicted with a "less than perfect" aesthetic.
The process of creating this look is a difficult one to determine, as there are no images of the process shown explicitly. However, there is depicted on a ceramic (figure 3) what appears to be the process by which this modification was created. There are depicted a few characters with bone/paper/shell or some other substance passed through the skin, raising the forehead. It is unfortunate that it is not clear what this substance is, as it could help to determine exactly what the process entailed. It is possible that the substance was placed under the skin to create scar tissue beneath the skin leaving the surface of the skin smooth. However, there are no contemporary examples of this form of modification being done, and as far as my research has found, this is a completely unknown form of modification within other cultures.So, the question of implantation is raised. If this substance is shell, or flint, or stone, it is possible that the extended forehead look was created with implanting these substances under the skin, to create an extended "skeleton". However, if this was the case, it would presumably be quite common to find these materials near the head at burials, and it is not. Unfortunately, this sort of remnant may go unnoticed or undescribed by archaeologists, and the evidence may simply have been overlooked. Further, the substance may have been organic, and simply not survived to be included in the archaeological remains. Also, the implantation might have been of a substance like mud, which is known of in certain African cultures, which causes a significantly raised scar upon healing (Larratt, 1998).
There are a few figurines that suggest children who already have the process of an extended forehead begun (Plate 1). This presents confusion as the above described process is shown on adult males. However at different time periods the process may have been started at different ages, and there may in fact have been more than one way to create this appearance. Further, it is suggested by some (Schele, 1997) that these figurines represent an adult male hiding underneath the skirts of a woman.
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