The plan of the city returns us to what we had said, all its brilliance to the immense square solar in which the expansion of Teotihuacán operated, on both sides of the Causeway of the Dead, is its parallel or perpendicular disposition. The most frequent arrangement consists of a series of alleys of about 2.5 m wide added to four lateral walls of blocks of streets and rooms, and always of a floor, also constituted spacious palaces or simple houses for the citizens, the majority seem to have Houses of 100 people maybe more. This last fact makes us think that in a life with the characteristics of a community: large community and family members and perhaps labor communities.
These types of houses were so widespread, that in some cases it has come to think that they could have been huts for the pilgrims. The Tlamilolpa group has no less than 175 rooms around 21 small patios and 5 places. In the excavation of these rooms, archaeologists seem to stumble over circular pits about 1 meter in diameter, rough and categorical, excavated in the floors of the courtyards of the rooms: we are talking about tombs. In it, bones were sometimes found somewhat broken and in other graves were found clean and arranged in an order that is not that of a skeleton. If the artists of Teotihuacan were wonderful potters, they were no less outstanding as sculptors, as the funeral masks show.
Sculpted in clay, basalt, obsidian, serpentine or onyx, the highly stylized and spiritualized faces look at us, or even better, contemplate eternity with eyes open beyond what is visible. Very few times, it has been possible to model the human facets so that they show less to the person and more to a presence and a meaning. Not even Egypt produced anything that would better communicate the impression of untimely serenity and therefore a definite presence. Unfortunately, our ignorance of the hieroglyphic code that would allow us to decipher it does not allow us to see in the discovered paintings of the City of the Gods more than an extraordinary vigor of its strokes and impetuous concision of its style.