Nineteenth-Century Photographs of Archaeological Collections from Mexico

PA ST PR ESENTED

Archaeological Illustration and the Ancient Americas

dumbarton oaks pre-columbian symposia and colloquia

Series Editor

Joanne Pillsbury

Editorial Board

Elizabeth Hill BooneTom CumminsDavid Webster

PAST PR ESENTEDArchaeological Illustration and the Ancient Americas

JOANNE PILLSBURYEditor

DUMBARTON OAKS R ESEARCH LIBR ARY AND COLLECTION

Washington, D.C.

This publication was made possible in part by a gift from the estates of Milton L. and Muriel F. Shurr.

© 2012 Dumbarton Oaks

Trustees for Harvard University, Washington, D.C.

All rights reserved.

Printed in China by Everbest Printing, Ltd.

16 15 14 13 12 1 2 3 4 5

Library of Congress Cataloging-in-Publication Data

Past presented : archaeological illustration and the ancient Americas / Joanne Pillsbury, editor.

p. cm. — Dumbarton Oaks Pre-Columbian symposia and colloquia

Includes index.

isbn 978-0-88402-380-7 (hardcover : alk. paper)

1. Indians—Historiography—Pictorial works.

2. Indians—Antiquities—Pictorial works.

3. Archaeology—America—Pictorial works.

4. America—Antiquities—Pictorial works.

I. Pillsbury, Joanne.

e58.p27 2012

970.004'97—dc23

2011036487

Volume based on papers presented at the symposium “Past Presented: A Symposium on the History of

Archaeological Illustration,” held at the Dumbarton Oaks Research Library and Collection, Washington, D.C.,

on October 9–10, 2009.

Series Editor: Joanne Pillsbury

Art Director: Kathleen Sparkes

Design and Composition: Melissa Tandysh

Managing Editor: Sara Taylor

Jacket illustrations: front cover: Henry Warren, Broken Idol at Copan, from Frederick Catherwood, Views

of Ancient Monuments in Central America, Chiapas, and Yucatan, 1844. Back cover: Stela D, Copan, from

John Lloyd Stephens, Incidents of Travel in Central America, Chiapas, and Yucatan, 1841.

Frontispiece: Francisco Laso, Inhabitant of the Cordillera of Peru, 1855, oil on canvas, 135 × 86 cm, Pinacoteca

Municipal “Ignacio Merino,” Municipalidad Metropolitana de Lima, Lima.

www.doaks.org/publications

vi i

l ist of illustr ations | ix

pr eface a n d ack now ledgm en ts | xix

1 Perspectives: Representing the Pre-Columbian Past | 1Joanne Pillsbury

2 European Antiquarianism and the Discovery of the New World | 49Alain Schnapp

3 The First Steps on a Long Journey: Archaeological Illustration in Eighteenth-Century New Spain | 69

Leonardo López Luján

4 The Uncanny Tombs in Martínez Compañón’s Trujillo del Perú | 107Lisa Trever

5 Beyond Stephens and Catherwood: Ancient Mesoamerica as Public Entertainment in the Early Nineteenth Century | 143

Khristaan D. Villela

6 Antonio Raimondi, Archaeology, and National Discourse: Representations and Meanings of the Past in Nineteenth-Century Peru | 173

Luis Felipe Villacorta Ostolaza

7 Nineteenth-Century Photographs of Archaeological Collections from Mexico | 207

Adam T. Sellen

8 Drawing Glyphs Together | 231Byron Ellsworth Hamann

9 “Unavoidable Imperfections”: Historical Contexts for Representing Ruined Maya Buildings | 283

Scott R. Hutson

10 “Wings over the Andes”: Aerial Photography and the Dematerialization of Archaeology circa 1931 | 319

Jason Weems

c on t e n t s

vi i i contents

11 Printed Pictures of Maya Sculpture | 355Bryan R. Just

12 Telling It Slant: Imaginative Reconstructions of Classic Maya Life | 387Stephen D. Houston

13 Realizing the Illustration Potential of Digital Models and Images: Beyond Visualization | 413

John W. Rick

14 Beyond the Naked Eye: Multidimensionality of Sculpture in Archaeological Illustration | 449

Barbara W. Fash

con tr ibu tors | 471

i n dex | 477

ix

1.1 Hubert Robert, The Temple of Saturn and the Opening of the Cloaca Maxima, 1780s 2 1.2 Detail of the Codex Huamantla, 1592 5 1.3 Maarten van Heemskerck, Torso Belvedere, Fragment of an Obelisk, ca. 1532–1536 6 1.4 Pirro Ligorio, Map of Ancient Rome, 1553 7 1.5 Rodrigo Caro, Antigüedades, y principado de la ilustrissima ciudad de Sevilla, 1634 8 1.6 Giambattista Nolli, Map of Ancient Rome, 1748 9 1.7 Huaca sita en el cerro nombrado Tantalluc, from Baltasar Jaime Martínez Compañón,

Trujillo del Perú, 1781–1789 10 1.8 Antonio Bernasconi, Elevations of the Temple of the Inscriptions and Temple of the Cross,

Palenque, 1785 11 1.9 Engraving of an Aztec temple, from Francesco Clavigero, Storia antica del Messico, 1780–1781 11 1.10 Charles-Marie de La Condamine, Plan and Elevation of Ingapirca, from “Mémoire sur quelques

anciens monumens du Pérou,” 1746 12 1.11 Frontispiece of Charles-Marie de La Condamine, Journal du voyage fait par ordre du roi,

a l’équateur, 1751 13 1.12 Pencil sketch for a vignette, from Charles-Marie de La Condamine, Journal du voyage

fait par ordre du roi, a l’équateur, 1751 13 1.13 Illustrations of Cholula and Xochicalco, from Alexander von Humboldt, Vues des cordillères,

et monumens des peuples indigènes de l’Amérique, 1810 14 1.14 Genre portrait of an Inca royal family, from Amédée François Frézier, Relation du voyage de la

Mer du Sud, 1716 15 1.15 Illustration of the Mitla ruins by José Luciano Castañeda, from Guillermo Dupaix, Antiquités

mexicaines, 1805–1807 16 1.16 Illustration of a figurine by José Luciano Castañeda, from Guillermo Dupaix, Antiquités

mexicaines, 1805–1807 17 1.17 Cleomenes the Athenian, Medici Venus, first century bc 17 1.18 Jacques-Louis David, Death of Socrates, 1787 18 1.19 Jean-Frédéric Waldeck, The Beau Relief, Palenque, 1832 19 1.20 Stela D, Copan, from John Lloyd Stephens, Incidents of Travel in Central America, Chiapas,

and Yucatan, 1841 20 1.21 Henry Fuseli, The Artist in Despair over the Grandeur of Antique Remains, 1778–1780 21 1.22 Pachacamac, from Mariano Eduardo de Rivero y Ustáriz and Juan Diego de [Johann Jakob von]

Tschudi, Antigüedades peruanas, 1851 22 1.23 View of Chan Chan, from Charles Wiener, Pérou et Bolivie, 1880 23 1.24 George de Forest Brush, The Sculptor and the King, 1888 23

i l lu s t r at ions

x illustrations

1.25 Francisco Laso, Inhabitant of the Cordillera of Peru, 1855 24 1.26 Chromolith depicting mummy bundles in situ, from Wilhelm Reiss and Alphons Stübel,

The Necropolis of Ancon in Peru, 1880–1887 25 1.27 Chromolith depicting mummy bundles, from Wilhelm Reiss and Alphons Stübel,

The Necropolis of Ancon in Peru, 1880–1887 26 1.28 Claude-Joseph Désiré Charnay, View of the Eastern Facade of the Fourth Palace

(Also Known as the East Building in Quadrangle F), Mitla, Mexico, 1859 27 1.29 Ephraim George Squier, Sun Temple at Ollantaytambo, 1865 28 1.30 Georges B. von Grumbkow, Alphons Stübel en la Puerta del Sol, Tiahuanaco, 1877 29 1.31 Gateway of the Sun, Tiwanaku, from Ephraim George Squier, Peru: Incidents of Travel

and Exploration in the Land of the Incas, 1877 29 1.32 Augustus Le Plongeon photographing the east facade of the House of the Governor,

Uxmal, photograph by Alice Le Plongeon, 1876 30 1.33 Panorama of the south half of the east facade of the House of the Governor (detail),

photographs by Alice and Augustus Le Plongeon, 1876 30 1.34 Josef Albers, Pared con grabado, Chan Chan, Trujillo, Peru, 1953 32 1.35 Glyph B33, Lower Ica Valley, Peru, photograph by Edward Ranney, 1993 33 1.36 Maya polychrome vessel 34 1.37 Rollout photograph of a Maya polychrome vessel, by Justin Kerr, 1985 34 1.38 Moche vessel showing the “Burial Theme,” photograph by Christopher Donnan, 1999 35 1.39 Rollout drawing of a Moche vessel showing the “Burial Theme,” by Donna McClelland,

ca. 1999 35 1.40 Iconographic kinship chart, from Miguel Covarrubias, Indian Art of Mexico and

Central America, 1957 37 1.41 Middle Horizon resources utilization, Basin of Mexico map, from William T. Sanders,

Jeffrey R. Parsons, and Robert S. Santley, The Basin of Mexico, 1979 38 2.1 Tumulus in the village of Zaventem, near Brussels, before excavation, from Jean Lemaire

de Belges, Des anciennes pompes funeralles, 1507 52 2.2 Tumulus in the village of Zaventem, near Brussels, after excavation, from Jean Lemaire

de Belges, Des anciennes pompes funeralles, 1507 53 2.3 Site of Jelling, Denmark, showing ancient mounds, runic stones, and church in 1578, from

Peter Lindeberg, Commentarii rerum mirabilium in Europa ab anno octuagesimo sexto, usq, 1591 54 2.4 Foundation of the city of Tenochtitlan, from Diego Durán, Historia de las Indias de

Nueva España e islas de la tierra firme, ca. 1581 58 2.5 Drawing of the Castillo of Chichen Itza, from Diego de Landa, Relación de las cosas de Yucatán,

ca. 1660, copy of a ca. 1566 original 60 2.6 Drawing of pre-Hispanic remains at Izamal, from Diego de Landa, Relación de las cosas de

Yucatán, ca. 1660, copy of a ca. 1566 original 61 2.7 Drawing of an architectural complex at Tiho (Mérida), from Diego de Landa, Relación de las

cosas de Yucatán, ca. 1660, copy of a ca. 1566 original 62 2.8 Cuzco, from Pedro de Cieza de León, Parte primera de la chronica del Peru, 1553 63 2.9 Stratigraphic section, from Olof Rudbeck et al., Olf Rudbeks Atland eller Manheim

[Atlantica], 1679–1702 64 3.1 Computer drawing of a hypothetical reconstruction of the Templo Mayor, Tenochtitlan,

by Tenoch Medina, 2009 70 3.2 Three-dimensional terrestrial scan of the monolith of the goddess Tlaltecuhtli, Tenochtitlan,

by Guido Balzani and María Sánchez Vega, 2008 70 3.3 Mapa de San Francisco Mazapan, Teotihuacan, ca. 1700 72 3.4 La ciudad de Tzintzuntzan, Patzquaro, y poblaciones de alrededor de la laguna y la traslacion

de la silla a Patzquaro, 1778 73

xiillustrations

3.5 Códice de Teotenantzin, Sierra de Guadalupe, commissioned by Lorenzo Boturini Benaducci, ca. 1736–1743 74

3.6 Guillermo Dupaix, Reliefs on Zacahuitzco Hill, Sierra de Guadalupe, ca. 1791–1804 75 3.7 Diagram of the Códice de Teotenantzin, Sierra de Guadalupe, by Julio Romero, 2009 76 3.8 Diagram of the Plano topográfico de la Villa de Nuestra Señora de Guadalupe y sus

alrededores en 1691, Sierra de Guadalupe, by Julio Romero, 2009 76 3.9 José Antonio de Alzate y Ramírez, Temple of the Feathered Serpent, Xochicalco, 1777–1778 79 3.10 Copperplate engraving of a plate of the Matrícula de Tributos, from Francisco

Antonio Lorenzana, Historia de la Nueva España, 1770 80 3.11 José Antonio de Alzate y Ramírez, Bas-Relief of a Man Being Attacked by a Bird of Prey,

Xochicalco, 1777–1778 81 3.12 Lithograph of the bas-relief on the atrium wall of the church of San Hipólito, Mexico City,

from Jesús Sánchez, “Notas arqueológicas iv: El sueño de Motecuhzoma,” 1886 82 3.13 A Facade of the Temple of the Feathered Serpent, Xochicalco, 1784–1791, from José Antonio

de Alzate y Ramírez, Descripcion de las antiguedades de Xochicalco, 1791 83 3.14 Copperplate engraving of various reliefs, Xochicalco, from Pietro [Pedro] Márquez,

Due antichi monumenti di architettura messicana, 1804 83 3.15 The Pyramid of the Niches, El Tajín, from Anonymous, “Papantla,” 1785 85 3.16 Guillermo Dupaix, Pyramid of the Niches, El Tajín, ca. 1791–1804 85 3.17 Copperplate engraving of the Pyramid of the Niches, El Tajín, from Pietro [Pedro] Márquez,

Due antichi monumenti di architettura messicana, 1804 86 3.18 Coatlicue and the Border of the Sun Stone (Calendar Stone), Tenochtitlan, 1790, from

Antonio de León y Gama, Descripción histórica y cronológica de las dos piedras que con ocasión del nuevo empedrado que se está formando en la plaza principal de México, 1792 89

3.19 Sun Stone (Calendar Stone), Tenochtitlan, 1790–1791, from Antonio de León y Gama, Descripción histórica y cronológica de las dos piedras que con ocasión del nuevo empedrado que se está formando en la plaza principal de México, 1792 89

3.20 Guillermo Dupaix, Archaeological Collection of Vicente Cervantes, Mexico City, ca. 1791–1804 90 3.21 Guillermo Dupaix, Archaeological Collection of Ciriaco González de Carvajal, Mexico City,

ca. 1791–1804 90 3.22 Guillermo Dupaix, Archaeological Collection of Guillermo Dupaix, Mexico City, ca. 1791–1804 91 3.23 Sculpture of the Goddess Chalchiuhtlicue, Mexico City, 1804–1810, from Alexander von

Humboldt, Vues des cordillères, et monumens des peuples indigènes de l’Amérique, 1810 94 3.24 Plan of the Palace, Mitla, 1802–1810, from Alexander von Humboldt, Vues des

cordillères, et monumens des peuples indigènes de l’Amérique, 1810 95 3.25 An Elevation of the Palace, Mitla, 1802–1810, from Alexander von Humboldt,

Vues des cordillères, et monumens des peuples indigènes de l’Amérique, 1810 95 3.26 Benito Moxó’s personal museo, 1804–1805, from Benito María de Moxó, Cartas mejicanas, 1837 96 3.27 José Antonio Polanco, Indio triste (Sad Indian), 1794 97 4.1 Plan of the ancient Chimú city of Chan Chan, from Baltasar Jaime Martínez Compañón,

Trujillo del Perú, 1781–1789 108 4.2 Plan of a palace of Chan Chan, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

1781–1789 109 4.3 A wrapped Peruvian mummy with a small camelid, from Baltasar Jaime Martínez

Compañón, Trujillo del Perú, 1781–1789 110 4.4 Tomb of an indigenous lord, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

1781–1789 111 4.5 Archaeological illustration of a Moche burial in Huaca del Sol excavated by Charles Hastings

in 1972, from Christopher B. Donnan and Carol J. Mackey, Ancient Burial Patterns of the Moche Valley, Peru, 1978 112

xi i illustrations

4.6 Funerary objects, a South American mummy, and an Egyptian mummy, from Adam Olearius, Gottorfische Kunst-Kammer, 1674 113

4.7 Artistic reconstruction of Tomb 2 at Sipán at the moment of interment, by Percy Fiestas, ca. 1993 113

4.8 Two Chimú ceramic bottles, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 1781–1789 116

4.9 Chimú ceramic bottle in the shape of a shrimp from Trujillo 117 4.10 Rear view of entombed lord depicted in Figure 4.4, from Baltasar Jaime Martínez Compañón,

Trujillo del Perú, 1781–1789 119 4.11 Costume of an unmarried woman from Barcelona, from Christoph Weiditz, Trachtenbuch,

1529 120 4.12 Rear view of the costume of the woman seen in Figure 4.11, from Christoph Weiditz,

Trachtenbuch, 1529 120 4.13 Indian warrior, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 1781–1789 121 4.14 Costume of a warrior of Florida, from Cesare Vecellio, Habiti antichi, et moderni di tutto

il mondo, 1598 122 4.15 Chimú tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 1781–1789 123 4.16 Chimú tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 1781–1789 124 4.17 Chimú tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 1781–1789 125 4.18 Chimú or Chimú-Inca tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

1781–1789 127 4.19 Chimú or Chimú-Inca tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

1781–1789 128 4.20 A highland funerary building and a Recuay or Moche staff finial, from Baltasar Jaime

Martínez Compañón, Trujillo del Perú, 1781–1789 130 4.21 Annibale Carracci, Mary Magdalene in a Landscape, ca. 1599 131 4.22 The wake of an Indian wearing a Franciscan habit (Indio velándose), from Baltasar Jaime

Martínez Compañón, Trujillo del Perú, 1781–1789 132 4.23 José del Castillo, Sister Juana Magdalena, 1769 133 5.1 Agostino Aglio, Installation View of the Exhibition Ancient Mexico, Egyptian Hall, Piccadilly,

London, ca. 1824 145 5.2 Cast of the Aztec Calendar Stone made in Mexico by William Bullock, 1823 146 5.3 Panoramic View of the Valley of Mexico from Tacubaya, frontispiece of William Bullock,

Six Months Residence and Travels in Mexico, 1824 146 5.4 Agostino Aglio, Installation View of the Exhibition Modern Mexico, Egyptian Hall, Piccadilly,

London, ca. 1824 147 5.5 Agostino Aglio, View of the Falls at Tivoli, 1804 148 5.6 Agostino Aglio, Standard-bearers and Figures Seated in a Circle with God Image at Center,

detail of an Aztec migration panoramic drawing, ca. 1825 149 5.7 Standard-bearers and figures seated in a circle, 1830, from Lord Kingsborough, Antiquities

of Mexico, 1831–1848 150 5.8 Agostino Aglio, Sojourn at Tula, detail of an Aztec migration panoramic drawing, ca. 1825 151 5.9 The Palace at Palenque, 1830, from Lord Kingsborough, Antiquities of Mexico, 1831–1848 151 5.10 Design for the Rotunda, Leicester Square, London, from Robert Mitchell, Plans and Views

in Perspective of Buildings Erected in England and Scotland, 1801 152 5.11 Chr. V. Nielsen, Viewing Platform with Spectators and Detail of Panoramic View of

Constantinople, 1882 153 5.12 Robert Burford and John Burford, Key to Panorama of Mexico City from the Pamphlet

Accompanying the Exhibition, Leicester Square, London, 1826 154 5.13 View of Catherwood’s Panorama Building in New York, 1837 156

xi i iillustrations

5.14 Robert Burford, Key to Panorama of Jerusalem from the Pamphlet Accompanying the Exhibition, 1839 157

5.15 Frederick Catherwood, Study for Maya Monument, ca. 1842 158 5.16 Henry Warren, Broken Idol at Copan, from Frederick Catherwood, Views of Ancient

Monuments in Central America, Chiapas, and Yucatan, 1844 159 5.17 House of the Governor, frontispiece of John Lloyd Stephens, Incidents of Travel in Yucatan, 1843 160 5.18 Karl Friedrich Schinkel, Native American Fire Temple from Set Design for the Opera

Fernand Cortez, 1818 162 5.19 Jean-Frédéric Waldeck, Ideal Reconstruction of a Ceremony, ca. 1867 163 6.1 Frontispiece of Mariano Eduardo de Rivero y Ustáriz and Juan Diego de [Johann Jakob von]

Tschudi, Antigüedades peruanas, 1851 176 6.2 Sacsahuaman, from Mariano Eduardo de Rivero y Ustáriz and Juan Diego de

[Johann Jakob von] Tschudi, Antigüedades peruanas, 1851 177 6.3 Vista de la Calle de Mercaderes, 1863, from Mariano Felipe Paz Soldán, Atlas geográfico

del Perú, 1865 178 6.4 An Indian, from Mariano Felipe Paz Soldán, Atlas geográfico del Perú, 1865 179 6.5 Map of Peru, from Mariano Felipe Paz Soldán, Atlas geográfico del Perú, 1865 180 6.6 Photograph of Antonio Raimondi, ca. 1880 181 6.7 Antonio Raimondi, Corpus Christi Dancer, 1859 182 6.8 Antonio Raimondi, Botanical Illustration, 1854 183 6.9 Antonio Raimondi, Pre-Hispanic Burial Chamber, 1857 184 6.10 Antonio Raimondi, San Antonio Petrogylphs, 1864 185 6.11 Alfred Dumontel, Mummy Bundle, 1874 188 6.12 Alfred Dumontel, Copper Object Found at Pacasmayo, ca. 1874 189 6.13 Alfred Dumontel, Stone Carvings from Chavín de Huántar, ca. 1874 190 6.14 Alfred Dumontel, Stone Sculptures from Ancash, ca. 1874 191 6.15 Alfred Dumontel, Stone Sculptures from Ancash, ca. 1874 191 6.16 Alfred Dumontel, Stone Sculptures from Ancash, ca. 1874 192 6.17 Map of the Geographical History of Peru, 1875, from Antonio Raimondi, El Perú, 1876 194 6.18 Map of the Geographical History of Peru (detail), 1875, from Antonio Raimondi, El Perú, 1876 195 6.19 Map of the Geographical History of Peru (detail), 1875, from Antonio Raimondi, El Perú, 1876 196 6.20 Engraving of Atahualpa’s chamber, from Antonio Raimondi, El Perú, 1880 198 6.21 Engraving of Sacsahuaman, from Antonio Raimondi, El Perú, 1880 199 6.22 Alfred Dumontel, Pongo de Manseriche, from Antonio Raimondi, El Perú, 1880 199 6.23 Antonio Raimondi, Map of Peru, 1887–1900 200 7.1 Archaeological collection of Auguste Genin, ca. 1900 208 7.2 Archaeological collection of Fernando Sologuren, ca. 1900 209 7.3 Page 246 from El museo mexicano, 1840 211 7.4 Emanuel von Friedrichsthal, Maya Censer, 1840 212 7.5 Désiré Charnay, Objects from Tenenepanco, 1880 214 7.6 Etching of objects from Tenenepanco, from Désiré Charnay, “Mis descubrimientos en México

y en la América Central,” 1884 215 7.7 Désiré Charnay, Collection in the Museo Nacional, Mexico City, 1880 216 7.8 “Carte-de-visite” of Eugène Boban, ca. 1865 218 7.9 Frontispiece of Eugène Boban, The Boban Collection, 1886 218 7.10 Zapotec urn from the Eugène Boban collection with notes by W. H. Holmes, ca. 1887 219 7.11 Labeled objects in the Fernando Sologuren collection, ca. 1900 220 7.12 Label on object from the Manuel Martínez Gracida collection 221 7.13 Eduard Seler in the Hacienda del Cacique, Oaxaca, 1886 222

xiv illustrations

7.14 Objects shown in Figure 7.13 now located in the storeroom of the Ethnologisches Museum, Berlin, 2010 222

7.15 Archaeological collection of Gustave Bellon, ca. 1898 223 7.16 Marshall H. Saville’s reordering of the Gustave Bellon collection, ca. 1898 224 7.17 Gold and silver artifacts from Oaxacan collections, from Nicolás León, “Arqueología

zapoteca,” 1910 225 8.1 System for the classification of k’atun groups, from Léon de Rosny, Essai sur le déchiffrement

de l’écriture hiératique, 1876 233 8.2 Mexican numbers, from Manuel Orozco y Berra, “Códice Mendozino,” 1878 234 8.3 Details from the Codex Dresden, from Paul Schellhas, “Die Maya-Handschrift der Königlichen

Bibliothek zu Dresden,” 1886 235 8.4 Examples of the Feathered Serpent, from Alfred P. Maudslay, Biologia Centrali-Americana,

1889–1902 236 8.5 Comparative chart of ancient Mexican shields, from Antonio Peñafiel, Indumentaria antigua,

1903 237 8.6 Examples of sculpted feathers, from Herbert Spinden, A Study of Maya Art, 1913 238 8.7 Portrayals of flowers at Tulúm and highland Mexican depictions of aromatic flowers,

from Karl A. Taube, “At Dawn’s Edge,” 2009 238 8.8 Shields from the Codex Mendoza and other Aztec pictorials, from Patricia Reiff Anawalt,

“A Comparative Analysis of the Costume and Accoutrements of the Codex Mendoza,” 1992 239 8.9 Representations of vision in the Mixtec screenfolds, from Byron Ellsworth Hamann,

“Seeing and the Mixtec Screenfolds,” 2004 240 8.10 Pieces of wood viewed under a microscope, from Anthony Leewenhoeck, “An Abstract

of a Letter from Mr. Anthony Leewenhoeck of Delft to Mr. R. H.,” 1683 247 8.11 Two plants, from Dr. Sloane, “An Account of Two Plants Lately Brought from the Cape

of Good-Hope,” 1693 248 8.12 Anatomy, from Denis Diderot and Jean Le Rond d’Alembert, Encyclopédie, 1751–1772 [1762] 250 8.13 Natural history, principles of botany, Linnaean system, from Denis Diderot and Jean Le Rond

d’Alembert, Encyclopédie, 1751–1772 [1768] 251 8.14 Two water lilies, from Commission des Sciences et Arts de l’Égypte, Description de l’Égypte,

1809–1818 [1809] 252 8.15 Hieroglyphic inscriptions and hairstyles copied at Denderah, from Commission des Sciences

et Arts de l’Égypte, Description de l’Égypte, 1809–1818 [1822] 253 8.16 Scales of Coleoptera, from George Dimmock, “Scales of Coleoptera,” 1884 254 8.17 Maya and central Mexican hieroglyphs, from Eduard Seler, “Does There Really Exist a

Phonetic Key to the Maya Hieroglyphic Writing?,” 1892 255 8.18 Numeric characters and symbolic figures, from Francesco Saverio Clavigero, Storia antica

del Messico, 1780–1781 256 8.19 Hieroglyphic figures from the Mendoza collection, from Alexander von Humboldt, Vues des

cordillères, et monumens des peuples indigènes de l’Amérique, 1810 257 8.20 Single text-embedded hieroglyphic details, from Léon de Rosny, “Les sources de l’histoire

Anté-Colombienne du nouveau-monde (2a article),” 1876 258 8.21 Text-embedded images of whole artifacts, from Edward Tylor, Anahuac, 1861 259 8.22 A single text-embedded hieroglyphic detail and a linear dictionary of central Mexican

hieroglyphs, from J. M. A. Aubin, Mémoire sur la peinture didactique et l’écriture figurative des anciens mexicains, 1885 [1849] 260

8.23 Plants of central Mexico, from Francesco Saverio Clavigero, Storia antica del Messico, 1780–1781 261

8.24 Bambus Thouarsii, from Alexander von Humboldt and Aimé Bonpland, Botanique, 1829 263

xvillustrations

8.25 Microscopic characteristics of the scales of various reptiles, from A. L. Herrera, “Aplicaciones del microscopo a la clasificación de los vertebrados,” 1890 264

8.26 Three species of Cerdia, from W. Botting Hemsley, Botany, vol. 4 of Biologia Centrali- Americana, 1886–1888 265

8.27 Plate 20, from Eduard Seler and Caecilie Seler, “Plantae Selerianae I,” 1894 266 8.28 Plate 1 of the lithographic edition of the Lienzo de Tlaxcala, from Alfredo Chavero,

Homenaje á Cristóbal Colón, 1892 269 8.29 Lienzo de Tlaxcala, digitally reconstituted from the 1892 lithographic edition, 2010 270 8.30 Pages 4–6 of the Codex Borgia, showing two styles of page-dividing red grids 271 8.31 Red-and-black grid of signatures at the end of a 1547 document from Toluca 271 8.32 The two centers of the Lienzo de Tlaxcala 272 9.1 Map of Copan, from George B. Gordon, Prehistoric Ruins of Copan, Honduras, 1896 284 9.2 Map of a portion of the ruins of Chunchucmil 285 9.3 Mounds represented with prisms, profiles, and hachures 287 9.4 Schematic illustration of how hachures record both the length and steepness of slope 288 9.5 Tzacauil Acropolis, showing prismatic convention superimposed on 0.5 m contour lines 289 9.6 Egyptianized illustration of a temple at Palenque by José Luciano Castañeda, from

Guillermo Dupaix, “Monuments of New Spain,” 1831 291 9.7 Prismatic representation of the Temple of the Magician at Uxmal, from Jean-Frédéric

Waldeck, Voyage pittoresque et archéologique dans la province d’Yucatan, 1838 292 9.8 Map of Uxmal (detail), from John Lloyd Stephens, Incidents of Travel in Yucatan, 1843 292 9.9 Map of Chichen Itza (detail), from John Lloyd Stephens, Incidents of Travel in Yucatan, 1843 293 9.10 Map of Copan (detail), from John Lloyd Stephens, Incidents of Travel in Central America,

Chiapas, and Yucatan, 1841 293 9.11 Map of Uxmal, from Désiré Charnay and Eugène E. Viollet-Le-Duc, Cités et ruines

américaines, 1863 294 9.12 Map of Ake, from Désiré Charnay, The Ancient Cities of the New World, 1887 295 9.13 Map of Copan, from Alfred P. Maudslay, Biologia Centrali-Americana, 1889–1902 296 9.14 Map of Topoxte, from Teobert Maler, Explorations in the Department of Peten, Guatemala,

and Adjacent Region, 1908 297 9.15 Map of Group II, Holmul, from Raymond E. Merwin and George C. Vaillant, The Ruins

of Holmul, Guatemala, 1932 298 9.16 Map of Santa Rita Corozal, after Thomas Gann, Mounds in Northern Honduras, 1901 298 9.17 Map of Seibal, from Teobert Maler, Explorations of the Upper Usumatsintla and Adjacent

Region, 1908 299 9.18 Map of Teotihuacan, from Désiré Charnay, The Ancient Cities of the New World, 1887 300 9.19 Map of Uxmal, from William Henry Holmes, Archaeological Studies among the Ancient

Cities of Mexico, 1895–1897 301 9.20 Map of Uxmal, from Sylvanus Morley, The Ancient Maya, 1947 309 9.21 Panorama of Uxmal, from William Henry Holmes, Archaeological Studies among the

Ancient Cities of Mexico, 1895–1897 310 10.1 Robert Shippee and George R. Johnson, The Great Wall of Peru, Like That of China, May

Have Repelled Invasions, 1931, from Robert Shippee, “Aerial Adventures in Peru,” 1933 320 10.2 Robert Shippee and George R. Johnson, Uncut Stones Cemented with Adobe Form the Forts

along the Great Wall, 1931 321 10.3 Robert Shippee and George R. Johnson, A Section of the Wall near Its Western End Showing

the Character of Construction, 1931 321 10.4 The Port of Supé [sic], Peru, ca. 1928–1929, from George R. Johnson, Peru from the Air, 1930 327 10.5 Sugar Plantation, Peru, ca. 1928–1929, from George R. Johnson, Peru from the Air, 1930 327

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10.6 Peruvian Mountains, ca. 1928–1929, from George R. Johnson, Peru from the Air, 1930 328 10.7 Forested Mountains, ca. 1928–1929, from George R. Johnson, Peru from the Air, 1930 328 10.8 Chan Chan, ca. 1928–1929, from George R. Johnson, Peru from the Air, 1930 329 10.9 Colca River Valley, ca. 1928–1929, from George R. Johnson, Peru from the Air, 1930 330 10.10 Diagram showing how stereographic pin-points are photographed, from Dache Reeves,

Aerial Photographs: Characteristics and Military Applications, 1927 332 10.11 Diagram showing the inclination of a camera when taking an oblique, from Dache Reeves,

Aerial Photographs: Characteristics and Military Applications, 1927 333 10.12 Photomosaic map of the Andagua Valley, from Robert Shippee, “Lost Valleys of Peru,” 1932 333 10.13 Plan of the Inca Fortress of the Sacsahuaman, from Ephraim George Squier, Peru: Incidents

of Travel and Exploration in the Land of the Incas, 1877 336 10.14 Part of the Fortress of the Sacsahuaman, from “The Seat of the Inca,” from Ephraim George

Squier, Peru: Incidents of Travel and Exploration in the Land of the Incas, 1877 337 10.15 Salient Angle of the Fortress, from Ephraim George Squier, Peru: Incidents of Travel and

Exploration in the Land of the Incas, 1877 338 10.16 Section of the Walls of the Fortress, from Ephraim George Squier, Peru: Incidents of Travel

and Exploration in the Land of the Incas, 1877 338 10.17 Modern Peruvian Head, from Ephraim George Squier, Peru: Incidents of Travel and Exploration

in the Land of the Incas, 1877 339 10.18 Gate-Way at Cemetery—Front View, from Ephraim George Squier, Peru: Incidents of Travel

and Exploration in the Land of the Incas, 1877 340 10.19 Plan of Temple of Pachacamac, from Ephraim George Squier, Peru: Incidents of Travel and

Exploration in the Land of the Incas, 1877 341 10.20 Robert Shippee and George R. Johnson, View from the North of the Ruins of Pachacamac in the

Lurin Valley, 1931 341 10.21 The shadows of objects, from Dache Reeves, Aerial Photographs: Characteristics and Military

Applications, 1927 344 10.22 Robert Shippee and George R. Johnson, Oblique Aerial View of Pachacamac, 1931 346 10.23 Robert Shippee and George R. Johnson, A Stairway at Pachacamac, 1931 347 10.24 Robert Shippee and George R. Johnson, Vertical Survey View of the Colca Valley, 1931 347 10.25 Robert Shippee and George R. Johnson, Oblique Aerial View of the Pre-Hispanic Site of

San Antonio, Colca Valley, 1931 348 10.26 Robert Shippee and George R. Johnson, Oblique Aerial View of the Towns of Yanque

(foreground) and Ichupampa, Colca Valley, 1931 349 11.1 Stela B (east face), Copan, Honduras, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 1841 358 11.2 Stela N (south face), Copan, Honduras, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 1841 359 11.3 Pier E, House A, Palenque, Mexico, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 1841 360 11.4 Stela E (north face), Quirigua, Guatemala, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 1841 361 11.5 Southeast Corner of Monjas Building, Uxmal, Mexico, from John Lloyd Stephens, Incidents

of Travel in Yucatan, 1843 362 11.6 Facade of the House of the Masks, Kabah, Mexico, from Désiré Charnay, Les anciennes villes

du nouveau monde, 1885 364 11.7 Facade of the House of Masks, Kabah, Mexico, from John Lloyd Stephens, Incidents of Travel

in Yucatan, 1843 365 11.8 Désiré Charnay, Facade of the House of the Masks, Kabah, Mexico, 1882 366 11.9 Lintel 24, Yaxchilan, Mexico, from Désiré Charnay, Les anciennes villes du nouveau monde, 1885 367

xvi iillustrations

11.10 View of the Main Plaza, Copan, Honduras, from Alfred P. Maudslay, Biologia Centrali- Americana, 1889–1902 368

11.11 Stela A (south side), Copan, Honduras, from Alfred P. Maudslay, Biologia Centrali- Americana, 1889–1902 369

11.12 Two Views of Cast of Stela E (north face), Quirigua, Guatemala, from Alfred P. Maudslay, Biologia Centrali-Americana, 1889–1902 371

11.13 Lintel 1, Yaxchilan, Mexico, from Teobert Maler, Researches in the Central Portion of the Usumatsintla Valley, 1901–1903 373

11.14 Stela 1 (back), Piedras Negras, Guatemala, from Teobert Maler, Researches in the Central Portion of the Usumatsintla Valley, 1901–1903 374

11.15 Stelae 2, 5, and 6, Piedras Negras, Guatemala, from Teobert Maler, Researches in the Central Portion of the Usumatsintla Valley, 1901–1903 375

11.16 Hieroglyphic Stairway, Structure 10L-26, Copan, Honduras, from George B. Gordon, The Hieroglyphic Stairway, 1902 376

11.17 Hieroglyphic Stairway, Structure 10L-26, Copan, Honduras, from George B. Gordon, The Hieroglyphic Stairway, 1902 377

11.18 Altars from Copan, Honduras, from Sylvanus G. Morley, The Inscriptions at Copan, 1920 378 11.19 Series of stelae from Copan, Honduras, from Herbert J. Spinden, A Study of Maya Art, 1913 379 11.20 Maya carving developing to Late Classic styles, from Tatiana Proskouriakoff, A Study of

Classic Maya Sculpture, 1950 380 12.1 Rollout painting of a Maya vessel, by Mary Louise Baker 390 12.2 William Henry Holmes, Grand Canyon at the Foot of the Toroweap—Looking East, 1882 393 12.3 Panorama of Chichen Itza, from William Henry Holmes, Monuments of Yucatan, 1895–1897 394 12.4 William Henry Holmes, Field Sketch of Copan Structure 26, 1895 394 12.5 Cross Section of Tower, Palenque, from William Henry Holmes, Monuments of Yucatan,

1895–1897 395 12.6 “Denuded” Tower, Palenque, from William Henry Holmes, Monuments of Yucatan, 1895–1897 396 12.7 Adela Breton, Annexe of the Casa de las Monjas and the Iglesia, Chichen Itza, ca. 1900 397 12.8 Adela Breton, Colonnaded Building, Ake, ca. 1901 398 12.9 Adela Breton, Avenue of the Dead, Teotihuacan, 1896, from “From Moon Pyramid,

S. Juan Teotihuacan 15.2.94” 398 12.10 Panoramic View of San Juan Teotihuacan—Looking South, from William Henry Holmes,

Monuments of Yucatan, 1895–1897 399 12.11 George de Forest Brush, An Aztec Sculptor, 1887 400 12.12 Composite Fiction by Henry Sandham of Buildings, Artifacts, Sculpture, and People at

Copan, from George B. Gordon, “The Mysterious City of Honduras,” 1898 401 12.13 Herbert Herget, Young Woman Thrown into Well at Chichen Itza, 1936 402 12.14 Roy Andersen, Young Widow at Early Classic Entombment, Río Azul, 1986 403 12.15 Peter E. Spier, View of Tikal, 1975 404 12.16 Tatiana Proskouriakoff, Acropolis, Piedras Negras, 1937 405 13.1 Illustration of a cornice fragment from Chavín de Huántar, from original digital photograph

by John W. Rick, 2003 422 13.2 hdr image of Chavín de Huántar under night lighting, by Mathew C. Rick, 2009 423 13.3 rti of bronze Etruscan mirror, by Mark Mudge, 2010 425 13.4 ikonos satellite image of the area surrounding Chavín de Huántar 426 13.5 dem of area surrounding Chavín de Huántar, by James Rohr, 2000 428 13.6 View of ancient roadway (red line) leading from Chavín de Huántar to Olleros within

the surfaced dem of Figure 13.5, by James Rohr, 2000 429 13.7 Landscape of and surrounding Chavín de Huántar over time, models and images by

Daniel Contreras, 2007 430

xvi i i illustrations

13.8 Basic architectural map of the site of Chavín de Huántar and environs based on total station data and generated with Surfer program, by John W. Rick, 2008 431

13.9 Two photographs of Chavín de Huántar taken from behind the Falcon Portal, by John W. Rick, 1997 432

13.10 View of cad (MicroStation) model of Chavín de Huántar, looking toward the southwest, by John W. Rick, 1996 433

13.11 Isometric view of cad (MicroStation) model of the major construction blocks of Chavín de Huántar, by Silvia R. Kembel, 2008 434

13.12 Solid model of Chavín de Huántar calculated from high-density, high-resolution gps coordinates, by William C. Poe, 1998 434

13.13 Surface and subsurface image of three-dimensional-coordinate point cloud of Chavín de Huántar gathered by Cyrax scanner, looking toward northeast, by John Ristevski, 2005 435

13.14 Image from three-dimensional-scan point cloud of the interior of Rocas Canal, primary drain of Chavín de Huántar, by John Ristevski, 2005 435

13.15 Surfaced and texture-mapped image of cad model of Chavín de Huántar, looking west 436 13.16 Eastward rendering of the Throne Room of the Northwest Palace, Nimrud, Iraq 437 13.17 Image of post–Chavín-period structures found in the Circular Plaza of Chavín de Huántar,

by Michelle Touton, 2005 438 13.18 Renderings of cad (MicroStation) model showing sunrise light in the Circular Plaza of

Chavín de Huántar, by John W. Rick, 2004 439 13.19 Fence model of resistivity line images from the Square Plaza of Chavín de Huántar,

assembled in SketchUp, images from Nigel Cook and model by Daniel Contreras, 2009 439 13.20 Model of the Lanzón, Chavín de Huántar, created from three-dimensional scanner data,

by John Ristevski, 2005 440 13.21 Images of a quartzite stone core tool (Preceramic period, 3000 bc) from below the modern

Plaza de Armas, Chavín de Huántar, by John W. Rick, 2009 441 13.22 Four views of a stamped pottery sherd from Chavín de Huántar, by John W. Rick, 2009 442 14.1 Drawings of Zoomorph P, Quirigua, by Annie Hunter, from Alfred P. Maudslay, Biologia

Centrali-Americana, 1889–1902 450 14.2 Front and side views of Zoomorph P, Quirigua, from Alfred P. Maudslay, Biologia

Centrali-Americana, 1889–1902 451 14.3 A camera lucida and sketch showing its use 454 14.4 Examples of Tatiana Proskouriakoff’s sculpture renderings from Veracruz on coquille board, 1954 455 14.5 Stipple drawing of a carved jade from the cache beneath the Hieroglyphic Stairway, Copan 457 14.6 Artist Citlali Coronel of the Proyecto Pinturas Murales at the Universidad Nacional

Autónoma de México practicing a field line drawing at Yaxchilan, Chiapas 458 14.7 Barbara Fash drawing Stela 12 in the Copan Valley with epigrapher Berthold Reise 459 14.8 A fallen sculptural facade from Structure 10L-29 and its reconstruction in the Copan

Sculpture Museum 459 14.9 Comparison of a traditional photograph, line drawing, and three-dimensional scan

(presented two-dimensionally) of Step VII of Structure 33, Yaxchilan 460 14.10 Testing the three-dimensional scanning application on Maya sculpture from Copan’s

Hieroglyphic Stairway at the Peabody Museum 462 14.11 A three-dimensional virtual model of Copan’s Hieroglyphic Stairway created from 1998 scans 462 14.12 Inked line drawing of Lintel 13, Yaxchilan, from Ian Graham, Corpus of Maya Hieroglyphic

Inscriptions: Yaxchilan, 1977 463 14.13 Three views of a three-dimensional model of a Hieroglyphic Stairway block from Copan

shown with lighting cast from different angles 464 14.14 Alexandre Tokovinine and Honduran team, Erasmo Ramírez and Adelso Canan, at work

scanning Copan’s Hieroglyphic Stairway 466 14.15 Beatrice Viramontes recording a painted mural at the Templo Mayor 467

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This volume initially took shape as a symposium organized by the Pre-Columbian Studies program at Dumbarton Oaks. Entitled “Past Presented: A Symposium on the History of Archaeological Illustration,” it was held on October 9 and 10, 2009. The gathering was intended to bring together scholars from a variety of disciplines to consider the intellectual and social history of representations of the ancient Americas and the ways in which such images shaped, and continue to shape, understandings of the Pre-Columbian past.

I am grateful to many individuals for their participation in the organization of the symposium and their sup-port of the present volume. In particular, I would like to thank the director of Dumbarton Oaks, Jan Ziolkowski; William L. Fash; and the members of the board of senior fellows, including Barbara Arroyo, Elizabeth Boone, Tom Cummins, Virginia Fields, Charles Stanish, Gary Urton, and David Webster. Two papers presented at the symposium, by Peter Galison and Daniel Schávelzon, were not available for publication in this volume. For Alain Schnapp’s paper, the French was translated by Cécile Morrisson, Miriam Doutriaux, and Alexandre Tokovinine, while Emily Gulick Jacobs prepared additional translations of the Spanish texts. I am grateful to the interns who participated in the symposium, including Lucia Abramovich, Ari Caramanica, Emily Kline, and Hillary Olcott. Marco Curatola, Jean Frisbie, Bridget Gazzo, Norman Hammond, Reiko Ishihara-Brito, Natalia Majluf, Alexandra Méndez, Juan Antonio Murro, Deborah Stewart, Parker Van Valkenburgh, Janne Weissman, and Steve Wernke provided additional assistance at various stages of the project.

Two anonymous reviewers provided helpful advice on an early draft of this volume, and I am very grateful for their suggestions. The publication of this volume would not have been possible without the assistance of Ari Caramanica and Emily Gulick Jacobs. Ari’s insightful, substantive contributions and tireless efforts in acquiring images and rights contributed significantly to the improvement of the volume. Emily’s hard work, good judgment, and creative ideas were evident, as is always the case, at every stage of this project, and I remain greatly in her debt. I also owe my thanks to Ben Benus, who provided key assistance in the final publication stages.

I conclude by offering my deepest thanks to Kathleen Sparkes, the director of publications at Dumbarton Oaks, and Sara Taylor, art and archaeology managing editor. I am grateful to Sarah Soliz for her fine copyedit-ing and Melissa Tandysh for her elegant design.

joa n n e pill sbu ry

pr e fac e a n d ac k now l e d g m e n t s

207

a d a m T . s e l l e n

Nineteenth-Century Photographs of Archaeological Collections from Mexico

7

Figure 7.13

Around the turn of the twentieth century, two Mexican his-torians paid a visit to the Mexico City residence of Auguste Genin, a wealthy French mer-chant. His house was crammed with objects of every kind, ranging from dissected animals soaked in formaldehyde to ornate ceramic effigies. The men had business to transact with don Augusto, as they called him, but this was soon disposed of, and the visit turned into a tour of the collection. They found their guide to be educated and well spoken, exceptionally courteous, and given to “large gestures” reflecting his endless enthusiasm for his collec-tion. Leading his guests around the rooms where he exhibited his treasures (Figure 7.1), he displayed what one of them would much later describe as “a natural and profound knowl-edge” of the importance, provenance, and particular characteristics of each object. At the conclusion of the tour, the fascinated visitors were each presented with a Havana cigar and a book (Gómez de Orozco 1932:238).1

As this account of a visit to Genin’s collection suggests, museum-going as we now under-stand it is a relatively recent development in Mexico. Well into the twentieth century, many collections were privately held. Most of these private, often heterogeneous, collections, referred to as museos or gabinetes (in a usage reminiscent of the German Wunderkammern), were eventually acquired by larger public institutions. In the new context—public and implicitly national rather than private and local—the artifacts were reinterpreted to fit shift-ing social, political, even scientific narratives. In the transition from gabinete to museum, the anecdotal flourishes linking individual artifacts to their collectors (Genin’s stories of discovery and adventure, for example) were lost, and only a few third-party accounts of these museums still exist.

208 sellen208

The personal narratives perished with the collector, and the collections were dispersed, but a static memory of these private holdings still exists in photographs that today serve as enduring reminders of the collectors and their approach to ancient material culture. A considerable number of these views are taken from a wide angle and from the vantage point of a visitor standing at the entrance to the collection room (Figure 7.2). At first glance there appears to be little order to the massing of objects, where jumbles of wares overflow onto the floor and gather dust. A closer look reveals artifacts arranged on wooden shelves according to size or type, with the smaller items aesthetically displayed on cloth-covered boards deco-rating the walls. In the more tightly framed shots of selected groups and individual objects, we can discern that each piece has an identifying label, but even in blowups of the clearest of these images what is written there is obscured. If we could get close enough to read these labels, would an underlying order reveal itself?

As archaeological collections grew exponentially in size during the thirty-year period of Mexico’s porfiriato (1880–1910), so did the number of images that illustrated those hold-ings. The data we can glean from these photographs are not only crucial for reconstructing forgotten finds of ancient burials and sites (e.g., Urcid and Sellen 2009), but also they allow us to understand the mindset of the collectors—in effect proto-archaeologists—and how they constructed knowledge about the past. As Bruce Trigger (1985:219) has pointed out, the history of archaeological exploration (an activity in the nineteenth century that was mainly

Figure 7.1

Archaeological collection of Auguste Genin, ca. 1900. Photograph courtesy of the

National Anthropological Archives, Smithsonian

Institution, Suitland, Md. (2002-14671).

209Nineteenth-Century Photographs of Archaeological Collections from Mexico 209

focused on artifact retrieval and documentation) is key to understanding our progress in the interpretation of archaeological data in terms of human behavior. Thus, by revisiting these collections we can also deepen our understanding of pivotal moments in the history of archaeology, when typologies and classifications were just beginning to form and when photography, applied to the collections, was making its debut as a tool of analysis.

In this chapter, I will draw on a rich corpus of nineteenth-century photographs of col-lections. The bulk of these images comes from Oaxaca, where an unusually rich archaeo-logical record and florescence of scientific and cultural activity in a previously isolated area of the country gave rise to an unprecedented number of private collections. Early explor-atory photographers, such as Claude-Joseph Désiré Charnay, produced other images that I will also analyze. The questions that will guide my inquiry are the following: What were the visual and scientific antecedents to this type of photograph? Can we deduce incipient classifications from the arrangements of archaeological material in the images? How were images of collections used by proto-archaeologists, and what do these images tell us about the state of early archaeology in Mexico? In answering these questions, I hope to demon-strate that these photographs, although influenced by a strong tradition of artifact illustra-tion, were born out of a relentless mercantilism that took hold of the antiquities market in the mid-nineteenth century. At the time, there was a widespread scientific interest in archaeological materials, and a competition ensued between countries, including Mexico,

Figure 7.2

Archaeological collection of Fernando Sologuren, ca. 1900. Photograph courtesy of the Library of the University of Pennsylvania, Philadelphia.

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to acquire content for their museums. Infinitely more energy was spent trying to acquire collections than on actually studying them, an unfortunate situation often repeated in cur-rent archaeological practice. Though this was generally true of the period, many Mexican collectors were intensely active in studying and classifying their collections—a fact that has gone unnoticed by almost all of the official histories—and the visual clues in photographs have played a key role in reconstructing their efforts.

To fully comprehend photographs of archaeological collections, we need to place them in the historical context in which they were made. The proto-archaeologists of this period were heavily influenced by a scientific method inspired by positivism. For this group of intellectuals, and for Mexican archaeological practice in general, the crucial contribution of positivism was the scientific empiricism that it enshrined. Scientific positivism, with its insistence on observational evidence, the collection of facts, is what allows us to distinguish these scholars from their more speculative predecessors and their theory-oriented successors (Winters 1991:786). Wholesale collecting became the trademark of the nineteenth-century proto-archaeologist, and the accumulation of vast quantities of objects (albeit by frequently chaotic means) made possible the establishment of typologies. Gordon Willey and Jeremy Sabloff (1974:18), in their comprehensive history of American archaeology, recognize the importance of this activity during the second half of the century as an antecedent to a more theoretical discipline; their designation of this era as the “Classificatory-Descriptive period (1840–1914)” reflects its emphasis on the “systematic description of archaeological remains and monuments and on the classification of these data in accordance with formal typologies.” Many ceramic typologies devised in this period are still in use today and are still fundamental tools for understanding ancient cultural boundaries.

While most nineteenth-century collectors nurtured scientific concerns, primarily focused on the origins of ancient American culture, they also harbored a strong nation-alistic drive to collect, and many—Mexican and foreign—aligned themselves with their nation’s museum-building priorities. In this context, individual objects were traded, and whole collections were bought and sold. A convergence of collectors, inspectors, dealers, and museum curators formed the hub of this complex exchange, and eventually the bulk of the archaeological collections they managed moved from private hands to public coffers, whether for science or simply as possession for possession’s sake.

Photographs played a key role in those transactions and were often accompanied by catalogs and inventories of the objects. Much of this material, however—the images, the lists, and the artifacts—is no longer associated, long since dispersed among a diversity of archives, museums, and private holdings or simply lost to the ravages of time. The photo-graphs, once separated from their original contexts, are simultaneously stripped of crucial information that could help explain their content, such as useful remnants of data that were once carefully recorded by the collector about each object.

Such orphaned images are common, in part because photographs are desired objects, and, in much the same way as the artifacts they depict, collecting them was commonplace among a Western scientific community eager for empirical knowledge. As Iskander Mydin (1994:250) puts it, “photographs of collections were obtained from all over the world to be studied in the metropolis, and considered ‘raw’ data, collected, swapped and archived for the common scientific good.” This situation was particularly prevalent in Mexico, where local collectors and agents of foreign institutions were engaged in a frenetic competition for


archaeological materials. Toward the end of the century, however, as Mexican laws prohibit-ing the export of cultural heritage were ramped up and as collections became scarcer, images increasingly became substitutes for possessing the actual objects.

Antecedents to the Photographs of Collections

The photographic documentation of artifacts has a strong antecedent in works that were pro-duced during the Enlightenment, when collecting, comparing, and displaying objects was a central episteme of intellectual life (Henare 2005:49). In this tradition, framed around the curiosity cabinet and the scientific efforts to master and manage nature by creating strict tax-onomies, early works on Mesoamerica were produced. Seminal works such as Alexander von Humboldt’s Vues des cordillères, et monumens des peuples indigènes de l’Amérique (1810) and the results of Guillermo Dupaix’s expedition (which took place between the years 1805 and 1807 but was not published in its entirety until Antiquités mexicaines in 1834) focused on ob jects found either in informal excavations or that were part of established collections. Illustration was a key component to this research. Dupaix (1969:1:9), an explorer commissioned by the

Figure 7.3

Page 246 from El museo mexicano, 1840, vol. 1, with notes by Eduard Seler. Photograph courtesy of the Ibero-American Institute, Berlin.

212 sellen212

king of Spain, Charles IV, to deliver a full assessment of the vestiges of ancient civilization in New Spain, emphasized the importance of drawings over verbal descriptions: “The technique of delineating the artifacts is necessary, as an image satisfies more than the most prolific of descriptions.” His appreciation for the image was perhaps heightened by his own lack of skill as a draftsman (see López Luján, this volume). Nonetheless, he had an eye for talent, and in concert with the Mexican artist José Luciano Castañeda, he ensured that all plans and draw-ings were presented to scale and that measurements were included—techniques that are now followed religiously by most archaeologists in the field. Each artifact rendered was numbered and had a corresponding verbal description, often including a detailed provenience.

Humboldt and Dupaix set the tone, and soon after, Mexican scholars also began to col-lect and catalog archaeological material on a grand scale, presenting it in select publications for a public eager for a national vision. One such publication was the luxuriously illustrated

Figure 7.4

Emanuel von Friedrichsthal, Maya Censer, 1840,

daguerreotype, 6.7 × 5.5 cm,

Slg por, Pk 3338, 9. Photograph courtesy

of the Österreichische Nationalbibliothek,

Vienna.


El museo mexicano (1840–1845), which had a run of five volumes before internal and foreign conflicts hastened its end (Figure 7.3). These studies pioneered the concept of archaeological documentation, but surprisingly few of the early explorers armed with cameras would use them as methodological templates for their own work; rather, the studies served as cultural roadmaps informing explorers of what routes to follow and what types of objects were avail-able in different regions.

With the inception of photography in the middle of the nineteenth century, drawing, as a method of archaeological documentation, had its first competitor. In 1839, barely two years after the daguerreotype was invented, cameras began to arrive in Mexico. Portraiture was the most popular form of photography, and intrepid daguerreotypists created a bustling side business selling images of people in order to fund their main objective: archaeological exploration. Much of the subject matter of the first photographers in Mexico depicted ruins, but some of these early images also included artifacts, such as the famous Aztec Calendar Stone captured by an unknown photographer in 1839 while it was still embedded in the side of Mexico City’s cathedral (Buerger 1989:34). Another taken in 1840, and attributed to the Austrian baron Emanuel von Friedrichsthal, is the earliest known photograph of a Maya artifact (Figure 7.4), a Postclassic censer that was part of a private museum belonging to the Camacho brothers, Spanish priests who lived in Campeche during the first half of the nineteenth century (Sellen 2010; Taracena Arriola and Sellen 2006:56). Few people had an opportunity to see these images, however, because daguerreotypes are unique objects and could not be reproduced (the image is projected directly onto a sensitized metal plate, and no negative is made). The limited potential to reproduce photographic images at this time was a barrier to disseminating results of expeditions, and daguerreotypes, though surely awe inspiring to the first viewers, made little impact in this regard.

The Acquisitive Camera

Not until the work of Désiré Charnay, the French photographer who made several trips to Mexico, was a broad international audience able to view photographic images of Meso-america. In 1863, he presented forty-seven prints in an album entitled Cités et ruines améri-caines. Charnay’s camera work in this publication was mostly panoramic in nature and was produced with the complicated wet-plate process. Considering the technical and logistical difficulties involved, each image was, in Ignacio Bernal’s (1992:114) opinion, “heroic.”

At the time, however, the French explorer had his critics who disparaged his photo-graphic method and its overall application to archaeology. His compatriot Jean-Frédéric Waldeck, a painter by profession and an intrepid explorer of Mexican ruins in his own right, pointed out the technique’s inability to reproduce colors, show details in dark interiors, or faithfully depict the perspective of a building. Moreover, he accused the photographer of taking his images “in passing,” without spending the time to “linger” over details, thus running the risk of overlooking important information (Debroise 2001:90–91). But consid-ering the interpretive excesses present in Waldeck’s own work, his disapproval rings a little hollow. Another critic was Gumesindo Enríquez, a Mexican politician who in 1880 gave a speech opposing Charnay’s proposal before the Congress to export antiquities, wherein he took the opportunity to deride Charnay’s method:

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Common sense tells me that to archaeologically study an object, a mold or a pho-tograph is not enough. The photograph is not able to tell us the composition of an object, nor how it was sculpted; it cannot tell us to which genealogical epoch the drawing or relief on the stone corresponds; nor can the photograph find or know if the stone was sculpted with a specific instrument, if with iron or something else, as well as other precise archaeological data necessary to establish epochs (Díaz y de Ovando 1990:70).

Both of these criticisms, leveled almost twenty years apart, reveal that tension existed between the detractors and proponents of this new technology. The arguments against it are not very solid since at the time few were making claims that photography would resolve the issues for which they were being criticized; nonetheless, the critics—each with their own personal or political agenda—sought to highlight the technique’s limitations.

In his first publication, Charnay hoped to reach the same public that John Lloyd Stephens and Frederick Catherwood had captured twenty years before. But the high cost of the edi-tion was prohibitive for most buyers, and it was not widely consulted (Evans 2004:109). For his second publication, where he presented the pictures he took between the years 1880 and 1882, Charnay (1884) found a solution for reproducing the images faithfully and cheaply by having them copied as etchings that in turn could be printed in black ink. In this work, there are a considerable number of illustrations of collections based on photographs, such as a group of objects that were excavated from what the French explorer called the “cemetery”

Figure 7.5

Désiré Charnay, Objects from Tenenepanco, 1880.

© Photo scala, Florence. Musée du quai Branly, Paris.


at Tenenepanco, an outcrop of land on the side of the Popocatepetl volcano (Figures 7.5–7.6). Compared to Dupaix’s and Castañeda’s efforts to register objects using scale and color and to number them so that textual explanations of their discovery corresponded to the objects themselves, these vague assemblages evidence little documentary rigor, aside from Charnay’s sporadic commentary. In this case, the genesis of the photographic technique and its application to Mesoamerican studies did not lead to a vastly improved documentation of the archaeological record. This improvement would occur a decade later, spearheaded by Alfred Maudslay and Teobert Maler.

Charnay undoubtedly had a scientific curiosity for ancient material culture, but he also had an overriding need to collect, and he used his camera to document objects that had the potential to be acquired. In his mindset, these two objectives were probably one and the same, for, in his era, collecting was a scientific endeavor. The context of the pictures he took can be better understood if we examine the terms of his controversial contract with the government, located in a thick file that was maintained by the Ministry of Public Instruction and is now in the Archivo General de la Nación in Mexico City. Established in 1880, the agreement (also known as a partage) stipulated that Charnay would receive two-thirds of the finds (to be divided between museums in New York and Paris) and the gov-ernment the remaining third, but the selection process allowed Mexican museum officials to have the first pick.2 Also, to ensure an accurate accounting of the excavated material, the federal inspector Lorenzo Pérez Castro accompanied the expedition. He meticulously inventoried the objects recovered between 1880 and 1881, but these notes and detailed diary

Figure 7.6

Etching of objects from Tenenepanco, from Désiré Charnay, “Mis descubrimientos en México y en la América Central,” 1884, p. 287.

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of the excavations have been disassociated from the photographs and the objects that are now dispersed among three different museums in Mexico City, New York, and Paris. The documents help explain why Charnay took so many pictures of objects arranged in groups: precisely because he was keeping a record of excavated materials that he would not be able to remove from Mexico.

Charnay’s covetous ambitions had deep roots in French imperial desires. From the beginning of the nineteenth century, this nation was a conspicuous consumer of antiqui-ties, exemplified by Napoleon’s rapacious campaigns in Egypt (Fagan 2004). In Mexico, the French government had an interest in acquiring artifacts far beyond the excavated materials that were covered by Charnay’s contract and maintained contact with him at a very high level. In 1881, the explorer received a letter from France’s prime minister, Jules Ferry, known for his impassioned support of expanding colonial possessions. He urged Charnay to acquire as many objects as possible, to procure “specimens from the Mexican museum that France does not possess,” and to this end suggested that he cede the host government double the amount of material from his excavations or give them a larger share of his molds.3 Charnay’s pictures of the collections on display in the Museo Nacional in Mexico City (Figure 7.7) undoubtedly played a role in the French government’s desire to possess them, and, in light of his government’s directive, the French explorer probably photographed specific objects in the museum with the intention of later acquiring them. In this sense, his camera was not a tool of passive observation but one of active acquisition.

Figure 7.7

Désiré Charnay, Collection in the Museo Nacional, Mexico City,

1880. © Photo scala, Florence. Musée du quai Branly, Paris.


Porfirian-Era Collections

Before the profound cultural developments of the porfiriato were to take place, beginning around 1880, the previously cumbersome photographic process had significantly evolved and was progressively easier to manage. Cameras were more portable, and the number of roving photographers was growing steadily (Debroise 2001:31). Concurrently, archaeo-logical collections in Mexico increased at an exponential rate due to a more stable political situation and a renewed interest in preserving the pre-Hispanic past. These well-organized cabinets—painstakingly assembled by local intellectuals, doctors, lawyers, and bureau-crats—constituted motors of knowledge about the past that were becoming increasingly public as individual collectors opened their doors to the general public or sold their interest to the state. The archaeological cabinets were also highly coveted by foreign agents who were intent on acquiring them for museums in their respective countries, and many carved out lucrative business opportunities in this sector. Photographs played a significant role in the international pursuit to gather museum materials, as curators, antique dealers, and assorted go-betweens would often dispatch images of collections in order to gain approval for their purchase. Furthermore, whether the collection was purchased or not, the images acquired their own currency, circulating among the scientific circles of the day.

In the private domain, one of the most prominent agents of the antiquities trade was Eugène Boban (1834–1908), a French citizen who operated internationally in Mexico City, New York, and Paris. He spent twenty-five years in Mexico and claimed to be the “antiquar-ian to His Majesty the Emperor,” Maximilian of Hapsburg (Walsh 1997). Boban was not a scientific collector and explorer in the same vein as Charnay; he was a dealer, as his business card indicated:

Eug. Boban Duverge. Antique Dealer. Member of the Anthropology Society and the many Societies of French and Foreign Scientists. No. 111 Clinton Place near 6th Avenue, New York.4

Boban had little interest in studying the objects he acquired because, to him, they were commodities; nonetheless, as a shrewd salesman, he had a competent understanding of his product and how to market it. Boban created an aura of the “expert” by associating himself with several scientific societies of the day. He called his establishment in Mexico the Museo Científico, and he catered to private collectors who already owned cabinets. A photograph of the period shows him surrounded by his collection in what was probably part of his store (Figure 7.8). Boban (1886) also published auction catalogs of his collectibles (Figure 7.9), and like Charnay he would use etchings to illustrate the more spectacular objects. Serious pros-pects, such as William Henry Holmes, a curator in the Smithsonian Institution’s Bureau of Ethnology, would receive photographs of objects. Although Holmes did not purchase any of Boban’s wares, he used the promotional images to study certain artifacts and in one case added detailed notes to the margins (Figure 7.10). Boban’s photographs originally had a commercial intent, but Holmes transformed them from records of private holdings to an important source for scientific inquiry.

While dealers such as Boban generated their own photographs of the wares they wished to sell, there was also an abundance of images circulating that illustrated well-established

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collections in Mexico. These private cabinets were gold mines to the acquisition-minded museums, and local collectors found themselves being courted by a vast array of inter-ested parties. One collector often cited is Fernando Sologuren (1850–1918), a medical doc-tor who lived in Oaxaca City and whose holdings—said to be the most important in the nation—were sold to the Museo Nacional in 1907 (Sellen 2005). In 1895, the Congress of Americanists, while touring sites in Oaxaca, made a special appointment to see his private museum (Lombardo de Ruiz 1994:1:284). The visit generated a flood of international inter-est in purchasing the collection, and serious offers were made by deep-pocketed individu-als such as Joseph Florimond Loubat, a wealthy American who funded research projects for the American Museum of Natural History in New York, and Eduard Seler, curator for the Museum für Völkerkunde in Berlin, now the Ethnologisches Museum. There were also intermediaries who hoped to profit from the sale. The German antiquarian Wilhem Bauer-Thoma is on record as offering the collection to museums in Berlin and Budapest

Figure 7.8 Figure 7.9


Figure 7.8

“Carte-de-visite” of Eugène Boban, archaeologist to the court of Maximilian, ca. 1865, Museo Nacional de Historia, Chapultepec. conaculta-inah-mex; reproduced by permission of the Instituto Nacional de Antropología e Historia, Mexico City.

Figure 7.9

Frontispiece of Eugène Boban, The Boban Collection, 1886.

Figure 7.10

Zapotec urn from the Eugène Boban collection with notes by W. H. Holmes, ca. 1887. Photograph courtesy of the National Anthropological Archives, Smithsonian Institution, Suitland, Md. (2003-37068).

(Gayarmati 2004:50). To lure buyers, he sent out photographs of the objects situated against a black backdrop or lined up on shelves. One set of these images is now located in the archives of the Ethnologisches Museum (König and Kröfges 2001:125), and others, nearly identical, are now dispersed throughout museums and archives in Mexico, the United States, and Europe.5 Not all of the pictures can be attributed to Bauer-Thoma, and how they ended up in so many different places is also unknown. Although we are not able to clarify all of the details associated with these images at this time, the pictures would appear to have had an intrinsic value: they were raw data that could be studied and archived, and this, in part, explains their wide distribution among different institutions.

Photographs of collections have been a key resource for understanding how these col-lections were organized. The multiple views of Sologuren’s collection show similar objects grouped on shelves, indicating a basic arrangement according to type (Figure 7.11). But an examination of the labels adhered to the artifacts proves that this classification went far

Figure 7.10

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beyond simple typologies. Before the porfiriato came to an abrupt end with Díaz’s exile in 1911, many Oaxacan collectors had already divested their holdings to the Museo Nacional (Sellen 2006). When these transactions occurred, it was standard procedure to inventory every item, a task that was carried out by copying the information the collectors had duti-fully compiled on each object and meticulously recorded on individually numbered labels. Now yellowed and peeling, many of these nineteenth-century tags are still miraculously stuck to the artifacts, confirming photographic evidence—where we can see the labels but not read their content—that everything in these collections had been classified. The printed labels show that each piece was assigned a cultural affiliation, such as Zapotec, Mixtec, or Cuicatec; other lines were added for a description of the object, the district of the state where it was located, and a more specific provenience, such as “found in a tomb,” and in many cases the find was also dated (Figure 7.12).

We know that Sologuren was not alone in his meticulous cataloging of artifacts, and like-minded colleagues such as Manuel Martínez Gracida, Francisco Belmar, and Abraham Castellanos also participated in the creation of an emerging, shared classification. This informal archaeological club would often explore and excavate together on weekends, and they are known to have actively traded objects among themselves (Sellen 2005). A com-parative analysis of the labels they created indicates that these four Oaxacan collectors used the same printed labels, constituting a coordinated effort to organize their collec-tions that represents an early—if not the first—systematic classification of archaeological

Figure 7.11

Labeled objects in the Fernando Sologuren collection, ca. 1900.

Photograph courtesy of the Ethnologisches Museum,

Berlin, cat. no. Mex-ZMiV-3a (viii e 5248).


material according to cultural affiliation in Mexico. It is a little-known fact that when the nineteenth-century archaeological collections were purchased by museums, they were often already well documented and classified by their owners, as exemplified not only by the extensive cabinets from Oaxaca but also by those collections in other areas of the country, such as Guillermo de Heredia’s in Mexico City or José Dorenburg’s in Puebla. From the perspective of the museum, this practice added value because the institution would not acquire a jumble of artifacts, but rather a wealth of usable information. Mexican archaeolo-gist Alfonso Caso was especially mindful of this feature when he was considering buying Sologuren’s second collection for the Museo Nacional in 1931, saying that it was of great worth “because all the objects are authentic and their provenience is exactly known.”6

The Image Collectors

Photographs were an extension of the classificatory process carried out by the original col-lectors and came to be important components in the analysis of archaeological materials. Researchers began to collect photographs as they would objects, and some would use the images as reminders of their travels. Eduard Seler was probably the most systematic and prolific collector of these types of images. In concert with his wife, Caecilie Seler-Sachs, he carried out six field seasons in Mexico and Guatemala between the years 1887 and 1911, and he returned to his institution with an astounding thirteen thousand objects (Dolinski 1998:7) and reams of documentary evidence in the form of notes, drawings, and photographs. This material is part of his personal archive that is now in the Ibero-American Institute in Berlin and constitutes one of the best records to date of early views of Mexican archaeology,

Figure 7.12

Label on object from the Manuel Martínez Gracida collection, Museum of World Cultures, Göteburg. Photograph by the author, 2010.

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including photographic images by Teobert Maler, Adela Breton, Charles Burlingame Waite, and Karl Hermann Berendt, to name a few. Seler pasted the images he collected onto gray boards, often adding explanatory notes in the margins, and he was particularly interested in any picture that depicted a collection (see Figure 7.3).

Seler himself is not on record as ever having taken a photograph, but we know that Caecilie owned a Kodak box camera and used it to take hundreds of pictures of their travels.

Figure 7.13

Eduard Seler in the Hacienda del Cacique, Oaxaca, 1886.

Photograph courtesy of the Ibero-American Institute, Berlin.

Figure 7.14

Objects shown in Figure 7.13 now located in the storeroom of the

Ethnologisches Museum, Berlin. Photograph by the author, 2010.


Many of these small-format black-and-white photographs are included in his scrapbook; some are sentimental in nature and show sunsets or Eduard studiously working in the field, while others seem to be more purposeful. In one of these pictures, Eduard poses next to an archaeological collection they had acquired (according to the text in the margin) near the Hacienda del Cacique, San José el Mogote, a town in the Etla arm of the Oaxacan valleys (Figure 7.13). The image has the casual feel of a tourist’s snapshot, but perhaps the intention was to record dutifully the ceramic assemblage before it was shipped back to Germany. Most of the objects shown in Figure 7.13 can now be found in the storeroom of the Ethnologisches Museum in Berlin (Figure 7.14). A closer look at the objects on the table reveals that they coincide with each other temporally and that they, in all probability, form part of the same tomb offering. The ceramics may be correlated with the Tani phase (ad 250–350), a period that is characterized by interaction between highland Teotihuacan and the Zapotec of the central valleys (Winter et al. 1998) and that is not well represented in the archaeological record. Thanks to the German couple’s initiative in photographing the objects as a group, we are able to come to conclusions about their provenance and to reevaluate them in light of current archaeological knowledge.

Figure 7.15

Archaeological collection of Gustave Bellon, ca. 1898, Saville Archive, box 28. Photograph courtesy of the Division of Anthropology, American Museum of Natural History, New York.

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Figure 7.16

Marshall H. Saville’s reordering of the Gustave

Bellon collection, ca. 1898, Saville Archive, box 27.

Photograph courtesy of the Division of Anthropology,

American Museum of Natural History, New York.


Another collector of images of collections was Marshall H. Saville, an archaeologist at the American Museum of Natural History, but his approach was somewhat different from that of Seler. He created new classifications from collectors’ photographs by physically alter-ing the pictures and reordering them. For example, Saville received a photographic album from Gustave Bellon, a French merchant living in the city of Oaxaca who hoped to sell his collection to the museum. The pictures were interspersed with an inventory, and Bellon had written numbers directly on the photographs so one could link the objects to the list (Figure 7.15). The museum declined to buy the collection, but Saville, instead of returning the cata-log to its rightful owner, cannibalized it, cutting up the photographs in order to extract the individual objects. With the aid of these postage-stamp-sized images, he devised new classifications for the objects, comingling materials from photographs he had received of other collections, such as that of Sologuren (Figure 7.16). Unfortunately, many of the objects in Bellon’s collection—the ornate Zapotec urns, in particular—were fakes (Mongne 2000), thus leading Saville to create fanciful categories based on spurious data.

Figure 7.17

Gold and silver artifacts from Oaxacan collections, from Nicolás León, “Arqueología zapoteca: Técnica del vaciado y fundación entre los zapotecos precolombinos,” 1910, p. 163.

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Both Seler and Saville epitomize the type of researcher who would collect images of collections. As their copious correspondence suggests, they were more interested in obtain-ing the actual objects for each museum’s collections, but part of that acquisitive process was to first procure images of these goods. The pictures quickly became objects of study in themselves, along with notes, newspaper clippings, scrapbooks, and files stuffed with maps, drawings, and other diverse mementos of expeditions. This eclectic assortment was the raw data of the nineteenth-century archaeologist.

Mexican collectors had a different approach to archaeological study. Because they could more easily access the material, they obviously did not need to amass images of artifacts. Nonetheless, they saw the value of the photographic technique for documenting views of their collections, and a few were becoming increasingly interested in photography as a method for scientific inquiry. A case in point is Nicolás León, the curator of the Museo Michoacano in Morelia. He was hired to organize the Museo Oaxaqueño in 1891, and using a number of local collections as his database, he published an article on metallurgi-cal techniques (lost wax casting and soldering) practiced by the ancient Zapotecs (León 1910). An introductory photograph entitled “The Study of the Zapotec and the Application of Photography to Archaeology” (my translation) illustrated various pendants, beads, bells, and earrings used in the study (Figure 7.17). “Application” refers to the enlargement of images of the artifacts to analyze how they were made. For example, in one blowup León detected the presence of the artist’s fingerprints pressed into the soft gold as a result of the delicate molding process, and he concluded that usage, rather than the ancient jeweler, was responsible for the “polished” areas on the piece. This use of the photographic process to study archaeological objects was still in its infancy, but from León’s work we can appreci-ate that scientific inquiry using photography was oriented toward the analysis of material culture in the local cabinets rather than toward fieldwork.

Conclusions

Recognized within a specific area of inquiry often known as expeditionary art, nineteenth-century drawings and photographs of pre-Hispanic ruins have received a fair amount of academic attention (Balm 2000). But images of collections, although closely associated with this genre, are rarely discussed, even though the activity of collecting was the driving force behind many expeditions. To a certain extent, this neglect is understandable because photo-graphs of collections, collectibles in themselves, were often divorced from the surrounding conditions that explained them. As we have seen, by reestablishing a connection to these contexts, we can more clearly identify the reasons why these collections were photographed:

1) To illustrate objects—or groups of objects—that were recently excavated and to cre-ate a visual register that would often be accompanied by an explanatory text of the exploration.

2) To sell the collection to a prospective buyer; in such cases, the photograph was usu-ally associated with other documents, such as an inventory list.

3) To study the material; when it was difficult to acquire an archaeological artifact, a picture of the artifact was considered the best alternative.


Despite the original intent of the photographer, photographs of collections, once in an international market, became scientific currency, commodities that were recycled and layered with different meanings each time they changed hands and were transformed by the collector. How these images were used tells us a great deal about the state of early archaeology in Mexico. The photographs of the Mexican collections, when considered with other types of documentation such as inventory lists and labels, show us that rudimentary classifications and typologies had already taken root and, furthermore, that local collec-tors working over decades had systematically developed them. The images also inform us about the modi operandi of that century’s proto-archaeologists, who spent a great deal of energy compiling files on objects and “collecting facts” to be analyzed at a later date. Much of the legacy of their tireless activity, represented by museum cabinets and archives brim-ming with artifacts and data, is still waiting for researchers to mine in search of answers. This kind of research can be a highly productive undertaking, as the study of photographs of nineteenth-century collections, similar to a recent interest in plaster molds from this period (Cezeaux 2008), can help us identify materials from important archaeological dis-coveries that are today a faded memory.

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Notes 1 All translations by the author. 2 Contract between the government of Mexico and

Désiré Charnay, June 1, 1880, Archivo General de la Nación (agn), ipba, box 146, file 22, pp. 20–23.

3 Jules Ferry to Désiré Charnay, August 23, 1881, agn/ipba, box 146, file 22, p. 156.

4 Smithsonian Institution Archives, William Henry Holmes Papers 1870–1931, Correspondence A-Nel, box 1, folder 7. Letters and photographs of Boban’s collec-tion of Zapotec antiquities.

5 In Europe, the Seler Archives in the Ibero-American Institute in Berlin contains more than one hundred drawings and sixty-nine photographs; the Historical Archives in the Ethnologisches Museum in Berlin owns a copy of the inventory list of over two thousand

objects; and the Historical Archives of the Übersee-Museum in Bremen holds thirteen photographs. In the United States, the Rare Book Collection of the University of Pennsylvania library holds sixty-four photographs. In Mexico City, the Museo Nacional de Antropología holds thirteen photographs; the Fondo Reservado of the Biblioteca Nacional de Antropología e Historia owns twelve photographs; and the Fototeca of the Archivo General de la Nación holds eight photo-graphs. The Fondo Martínez Gracida of the Biblioteca Central in Oaxaca may also have materials.

6 Alfonso Caso to the director of the Museo Nacional, Luis Castillo Ledon, February 20, 1931, Archivo Histórico, Museo Nacional de Antropología, vol. 78, p. 198.

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47 1

Barbara W. FashBarbara W. Fash is the director of the Corpus of Maya Hieroglyphic Inscriptions (cmhi) at the Peabody Museum at Harvard University. An artist and museum professional (MA, museum studies, Harvard University, 2007), she has worked to record, study, and conserve the sculpture carvings—espe-cially the Hieroglyphic Stairway—at the Maya site of Copan, Honduras, since 1997. She is the codirec-tor of the Copan Mosaics Project (1985–present); she was the curator and exhibition director of the Copan Sculpture Museum (1993–1996), the Honduras direc-tor of the Hieroglyphic Stairway Conservation Project (1997–2001), and the director of the Database Project for the Research Library and Archives at Copan’s Regional Center for Archaeological Research (2000–2002). She has curated two recent exhibitions: Distinguished Casts: Curating Lost Monuments at the Peabody Museum (October 2001–October 2007) and Fragile Memories: Images of Archaeology and Community, Copan, 1891–1900 (June 2008–March 2009). In addition to numerous schol-arly articles, her publications include Precolumbian Water Management: Ideology, Ritual, and Power

(2006, with Lisa Lucero) and The Copan Sculpture Museum: Ancient Maya Artistry in Stucco and Stone (2011). Her illustrations appear in numerous books, including Scribes, Warriors, and Kings: The City of Copán and the Ancient Maya by William L. Fash (1991, 2001), Ceramics and Artifacts from Excavations in the Copan Residential Zone by Gordon R. Willey, Richard M. Leventhal, Arthur A. Demarest, and William L. Fash (1994), and Maya Sculpture of Copan by Claude F. Baudez (1994). She was awarded the Hoja de Laurel de Oro by Honduras in 2008 and currently directs an effort to produce three-dimensional scans of the Hieroglyphic Stairway and publish additional cmhi volumes.

Byron Ellsworth HamannByron Ellsworth Hamann recently completed a PhD in the Department of Anthropology and the Department of History at the University of Chicago. His is currently preparing the manuscript “Bad Christians, New Spains: Muslims, Catholics, and Native Americans in a Transatlantic World” for pub-lication. He is also working on a website with his col-laborator Liza Bakewell.

c on t r i bu tor s

472 contribu tors

Stephen D. HoustonStephen D. Houston is the Dupee Family Professor of Social Sciences at Brown University, with a pri-mary appointment as professor of anthropology. He holds a PhD and MPhil from Yale University and an AB from the University of Pennsylvania. A recipi-ent of several fellowships, including the MacArthur and the Guggenheim, Houston has authored, coau-thored, and edited a number of books, including The Memory of Bones: Body, Being, and Experience among the Classic Maya (2006, coauthored with David Stuart and Karl Taube), Veiled Brightness: A History of Ancient Maya Color (2009), and The Classic Maya (2009, coauthored with Takeshi Inomata). He consid-ers the origins, development, and extinction of writ-ing systems in The Disappearance of Writing Systems: Perspectives on Literacy and Communication (2008, coedited with John Baines and John Bennet) and in an earlier volume, The First Writing: Script Invention as History and Process (2004), under his sole editor-ship. He is now working on the results from long-term excavations at the Classic Maya city of Piedras Negras, Guatemala, and has begun other research, with support from the National Endowment for the Humanities and the National Science Foundation, at the dynastic center of El Zotz, Guatemala.

Scott R. HutsonScott R. Hutson, an associate professor in the Department of Anthropology at the University of Kentucky, directs the Ucí/Cansahcab Regional Integration Project, which focuses on political, social, and economic transformations surround-ing the construction of an eighteen-kilometer-long causeway in northern Yucatan, Mexico. He has also served as codirector of other field projects in Yucatan, most notably the Chunchucmil Regional Economy Program with Bruce Dahlin. He is the author of Dwelling, Identity, and the Maya: Relational Archaeology at Chunchumil (2010). A former fellow in Pre-Columbian Studies at Dumbarton Oaks (2005–2006), Hutson coedited The Social Experience of Childhood in Ancient Mesoamerica (2006, with Traci Ardren) and coauthored the third edition of Reading the Past: Current Approaches to Interpretation in

Archaeology (2003, with Ian Hodder). He is also the first author of articles published in American Antiquity, Ancient Mesoamerica, Anthropological Quarterly, Cambridge Archaeology Journal, Catena, Dialectical Anthropology, Journal of Anthropological Archaeology, Journal of Archaeological Sciences, Journal of Field Archaeology, Journal of Social Archaeology, and others. His research and writ-ing have been supported by the National Science Foundation, the Wenner-Gren Foundation, and the National Geographic Society–Waitt Foundation.

Bryan R. JustBryan R. Just is the Peter Jay Sharp, Class of 1952, Curator and Lecturer of the Art of the Ancient Americas at the Princeton University Art Museum. Just received a PhD (art history and linguistics) and MA (art history) from Tulane University in 2006 and 1999, respectively, and a BA (archaeological studies and history of art) from Yale University in 1995. A specialist in ancient Maya art history, his recent publications include “Mysteries of the Maize God” in the Princeton University Art Museum Record (2009), “Modifications of Ancient Maya Sculpture” in Res: Anthropology and Aesthetics (2005), and “In Extenso Almanacs in the Madrid Codex” in The Madrid Codex: New Approaches to Understanding an Ancient Maya Manuscript (2004). He also contributed to the Princeton University Art Museum’s Handbook of the Collections (2007). Just is currently developing an exhibition and related catalog on Maya polychrome ceramics associated with the Ik’ kingdom, and he served as the in-house curator (with William Fitzhugh and Julie Hollowell) of the exhibition Gifts from the Ancestors: Ancient Ivories of Bering Strait at the Princeton University Art Museum (October 2009–January 2010).

Leonardo López LujánLeonardo López Luján is senior researcher in archae-ology at the Museo del Templo Mayor in Mexico City and director of the Proyecto Templo Mayor since 1991. He holds a PhD in archaeology from the Université Paris X–Nanterre. He specializes in the politics, religion, and art of Pre-Columbian

473contribu tors

urban societies in central Mexico and has been a visiting researcher at Princeton University and Dumbarton Oaks, as well as a guest professor at the Università degli Studi di Roma “La Sapienza,” the Sorbonne, and the École Pratique des Hautes Études in Paris. He has authored or coauthored thir-teen books, including The Offerings of the Templo Mayor of Tenochtitlan (1994, winner of the Kayden Humanities Award), Mexico’s Indigenous Past (2001, with Alfredo López Austin), Aztèques: La collec-tion de sculptures du Musée du quai Branly (2005, with Marie-France Fauvet-Berthelot), La Casa de las Águilas (2006, winner of the Premio Alfonso Caso), and Escultura monumental mexica (2009, with Eduardo Matos Moctezuma). He has edited or coedited seven volumes, including Gli Aztechi tra passato e presente (2006, with Alessandro Lupo and Luisa Migliorati), The Art of Urbanism: How Mesoamerican Kingdoms Represented Themselves in Architecture and Imagery (2009, with William L. Fash), and El sacrificio humano en la tradición religi-osa mesoamericana (2010, with Guilhem Olivier). He was given the social sciences award by the Academia Mexicana de Ciencias in 2000. In recent years, he has also devoted part of his time to research on the origins of archaeology in New Spain.

Joanne PillsburyJoanne Pillsbury is the associate director of the Getty Research Institute and the former director of Pre-Columbian Studies at Dumbarton Oaks. She holds a PhD and an MA in art history and archaeology from Columbia University and a BA in anthropology from the University of California, Berkeley. She has been the recipient of grants and fellowships from the Fulbright Commission, the Metropolitan Museum of Art, Dumbarton Oaks, and the Samuel H. Kress Foundation, and she has conducted archaeological field research in Peru, West Africa, and California. She is the editor of the three-volume Guide to Documentary Sources for Andean Studies, 1530–1900 (2008), editor of Moche Art and Archaeology in Ancient Peru (2001), and coeditor of Palaces of the Ancient New World (2004, with Susan Toby Evans). Her recent articles have

addressed topics in eighteenth-century archaeology, the history of collecting, Spondylus in ritual and rep-resentation, and architectural sculpture of the late pre-Hispanic period in the Andes.

John W. RickJohn W. Rick is associate professor and former chair of anthropological sciences at Stanford University, curator of Anthropological Collections, and past director of Stanford’s Archaeology Center. His teaching concentrates on South American archae-ology, the beginnings of social complexity, Andean hunter-gatherers, stone tools, and digital method-ologies in archaeology. For the last seventeen years, he has directed fieldwork at Chavín de Huántar, a monumental World Heritage site dating to around 1000 bc. His cooperative mapping, excavation, and conservation work at the site is done under long-term agreements with the Peruvian government. His interests in Chavín center around understand-ing how early religious cults strategized the begin-nings of political authority in the Andes; he focuses on the architectural contexts and ritual conditions used to naturalize the concept of authority. He is participating in a study of archaeological acous-tics in underground spaces at Chavín and is using a range of digital techniques to document and analyze the critical issues of space, media, and perception at this highly strategized center. A previous long-term project focused on early hunter-gatherer cave sites in the puna grasslands of Peru; he has also done archaeological fieldwork throughout South America and the American Southwest. Rick is also currently directing a fieldwork project on Preclassic sites near Lake Atitlan in the Guatemalan Highlands. His publications include Prehistoric Hunters of the High Andes (1980) and articles ranging across these sub-jects as well as additional topics of interest.

Alain SchnappAlain Schnapp is professor of classical archaeology at the University of Paris 1, Panthéon-Sorbonne. His main publications include The Discovery of the Past (1994), La conquista del passato, alle origine dell’archeologia (1994), Le chasseur et la cité: Chasse

474 contribu tors

et érotique en Grèce ancienne (1996), I l’histoire de l’art (Préhistoire et antiquité) (1997), Encyclopedia of Archaeology (coeditor, 2001), Guide des méthodes de l’archéologie (2002), and L’histoire ancienne à travers cent chefs-d’œuvre de la peinture (2004).

Adam T. SellenAdam T. Sellen is professor of Mesoamerican stu-dies at the Universidad Nacional Autónoma de México in Mérida, Yucatan. He is a specialist in pre-Hispanic Oaxacan cultures and ceramic analy-sis. His dissertation, which was awarded the Premio Alfonso Caso in 2002, focused on the iconography of ceramic effigy vessels commonly referred to as Zapotec urns. This study, entitled El Cielo com-partido: Las vasijas efigie zapotecas (2007), was recently published by the Universidad Nacional Autónoma de México. He has written extensively on a variety of themes relating to nineteenth-century archaeological collecting, such as ceramic fakery and private cabinets. He helped curate the permanent Pre-Columbian exhibition at the Royal Ontario Museum, where he was a postdoctoral fellow (2002–2004), and he was recently awarded the Edmundo O’Gorman Fellowship at Columbia University to complete his latest book, Orphans of the Muse: Archaeological Collecting in Nineteenth-Century Oaxaca. This study documents the history of local Mexican collectors and their groundbreak-ing vision, with the aim of reuniting the orphaned, decontextualized remnants of their collections. Sellen’s current project studies parallel collecting practices in the Yucatan Peninsula.

Lisa TreverLisa Trever is a doctoral candidate in the Department of History of Art and Architecture at Harvard Uni-versity. Her research interests embrace issues of visual representation in the ancient Andes as well as colonial illustration and interpretation of Pre-Columbian art and culture. She is completing her dissertation “Moche Mural Painting and Practice at Pañamarca; A Study of Image Making in Ancient Peru” and has been awarded the William Tyler

Fellowship in Pre-Columbian Studies at Dumbarton Oaks for 2011–2013. She holds an MA in art his-tory from the University of Maryland and a BA in archaeological studies from Yale University. Trever is the coauthor (with Joanne Pillsbury) of “The King, the Bishop, and the Creation of an American Antiquity” (2008) and “Martínez Compañón and His Illustrated ‘Museum’” (2011). She is also the author of “Idols, Mountains, and Metaphysics in Guaman Poma’s Pictures of Huacas” in Res: Anthropology and Aesthetics (2011).

Luis Felipe Villacorta OstolazaLuis Felipe Villacorta Ostolaza received his licenciatura in archaeology from the Pontificia Universidad Católica del Perú. He was the recipient of a museology scholarship granted by the Japanese International Cooperation Agency in 2000. A for-mer member of the Instituto Nacional de Cultura del Perú, he was the director of the Puruchuco on-site museum (1999–2002) and served as a member of the board of the National Technical Commission for Archaeology (2005–2006). He is currently a can-didate for the MA in history at the University of Guelph, Canada. His archaeological work focuses on the Central Coast, with an emphasis on the era of Inca occupation. Villacorta Ostolaza has been the director of the Museo Raimondi in Lima since 2002. He studies the legacy of the Italian natural-ist Antonio Raimondi and the development of the sciences in Peru during the nineteenth century. He directs a publication project for the Fondo Editorial, Universidad Nacional Mayor de San Marcos, that aims to annotate and reissue Raimondi’s major sci-entific studies; so far, he has published six books under the collective title Estudios geológicos y mine-ros para la obra “El Perú” (2003–2009). Each volume is accompanied by an introductory study that links Raimondi to broader trends in the history of sci-ence and modernity, nature and nation-building, appropriation of the past, historical representation, liberalism, and the local bourgeoisie. For his efforts, the Italian government bestowed on him the title “Knight of the Order of the Star of Italian Solidarity.”

475contribu tors

Khristaan D. VillelaKhristaan D. Villela is research professor of art his-tory at the University of New Mexico and scholar in residence at the Santa Fe University of Art and Design. He earned a PhD and MA in art history from the University of Texas, Austin, and a BA from Yale University. His research focuses primarily on histo-riographical topics, especially the nineteenth-century rediscovery and reinvention of Pre-Columbian art and cultures. Villela is the author of articles on Maya hieroglyphic writing and on other topics in Latin American art and historiography. He is the author of Ancient Civilizations of the Americas: Man, Nature, and Spirit in Pre-Columbian Art (2011) and the coauthor of The Aztec Calendar Stone (2010, with Mary Ellen Miller) and Contemporary Mexican Architecture and Design (2002, with Ellen Bradbury and Logan Wagner), a survey of twelve of the best res-idential architects in Mexico today. In the field, he has worked at Chichen Itza on the Rubbings Project with Merle Greene Robertson and the Pre-Columbian Art Research Institute. He was the curator for the exhi-bitions Obsidian Mirror-Travels: Refracting Ancient Mexican Art and Archaeology at the Getty Research Institute, Los Angeles (2010–2011) and Ancient Civilizations of the Americas: Man, Nature, and Spirit in Pre-Columbian Art at the Miho Museum, Shigaraki, Japan (2011). His current research deals with the

School of American Archaeology and Museum of New Mexico’s Quirigua Project (1910–1913).

Jason WeemsJason Weems is assistant professor of art his-tory at the University of California, Riverside. He is a specialist in American art with an emphasis on the history of vision and visuality in regional, national, and transcultural contexts. His current book, Barnstorming the Prairies: Aerial Vision and Modernity in Rural America, 1920–1940 (in press), traces the impact of aerial view-making on represen-tations of the U.S. agrarian landscape. In addition to several recent articles on aerial vision, he has also published and lectured on topics such as visual scale in postwar American art and science, architecture and camouflage, race and propaganda during World War II, and the intersection of sight and sound in New Deal culture. His current research (from which this volume’s chapter is drawn) explores the visual culture of archaeology and its role in the conceptu-alization of landscape and history in the Americas during the later nineteenth and early twentieth cen-turies. He is the past recipient of fellowships from the Smithsonian, the Luce Foundation, and the University of Michigan Institute for the Humanities and was recently awarded a University of California Hellman fellowship.

47 7

Page numbers in italics indicate illustrative material.

Aabstract art and aerial photography, 345Academy of San Carlos and scientific drawing,

68, 92–98, 94–97accuracy and objectivity issues, 1, 4, 32–33. See

also objectivityAccursio, Mariangelo, 55Acropolis, Piedras Negras (watercolor;

Proskouriakoff, 1937), 404–405, 405Adams, R. E. W., 232aerial photography, 31, 319–353; abstract art and,

345; dematerialization and aestheticiza-tion of landscape by, 324, 345–349, 346–349; digital, 412, 425–426, 426; Great Wall of Peru, discovery of, 318, 319–322, 320, 321; impact on archaeology of, 318, 319–324, 320, 321; military engineering and, 309; modernist ideology and, 329–334; pattern, flatness, and hori-zontality, shift in emphasis to, 342–349, 344, 346–349; sense of authority, meaning, and order conveyed by, 324–325, 331–334, 350nn5–6; shadow, interpretation of, 344; Squier’s telescoping visual structure compared to Shippee-Johnson photos, 337–342, 341, 345; Stonehenge, 1906 aerial shot of, 350n3; visual perspective transformed by, 324–325; World War I, initial use in, 322, 350nn2–3. See also Shippee-Johnson expedition over Peru, 1930s

Aglio, Agostino, 144–149, 145, 147–151, 154–155, 160, 163, 165

Agüera, Francisco, 78, 83, 84, 88, 89, 90–91, 98, 99Aguirre, Robert, 147, 157, 303Agustín, Antonio, 52, 54, 55Ake: cartographic representation of buildings at,

293, 295, 297, 310; Colonnaded Building, Ake (drawing; Breton, ca. 1901), 397, 398

Alamán, Lucas, 143, 166n4Albers, Josef, 31, 32Alberti, Leon Battista, 50–51, 57albumen prints, 363Alcina Franch, José, 56Aldrovandi, Ulisse, 249Alejo de Meave, Joaquín, 78Alma-Tadema, Lawrence, 22Almendáriz, Ricardo, 8, 144, 163Alphons Stübel en la Puerta del Sol, Tiahuanaco

(albumen silver print; Grumbkow, 1877), 29Alzate y Ramírez, José Antonio de, 12, 78–84, 79,

81, 99, 100n3, 100n7, 143American Geographical Society, mandate of, 329Americas: ambivalent relationship with Pre-

Columbian past in, 7; nationalism and iden-tity in, 22–23, 174–175, 210 (see also Raimondi, Antonio, and creation of national discourse in Peru); Western art and Maya recon-structions, relationship between, 392–393, 393, 398–400, 401–403. See also indigenous peoples of Latin America

Anahuac (Tylor, 1861), 257, 259

i n de x

47 8 index

Anales del Museo Nacional de México, 262, 264Anawalt, Patricia Reiff, 236, 239, 268Ancash, stone sculptures from (watercolor and

pencil drawings; Dumontel, ca. 1874), 191, 191–192, 193

Les anciennes villes du nouveau monde (Charnay, 1885), 364, 367

The Ancient Cities of the New World (Charnay, 1887), 293, 295, 300

The Ancient Maya (Morley, 1947), 308, 309Ancient Mexico exhibition, London (1824–1825),

144, 144–147, 163Ancón, illustrations of mummy bundles from,

24–25, 25, 26, 109Andagua Valley survey, Shippee-Johnson expedi-

tion over Peru, 331–334, 333Andersen, Roy, 389, 401–403, 403Annexe of the Casa de las Monjas and the Iglesia,

Chichen Itza (drawing; Breton, ca. 1900), 397Annius of Viterbo, 55Las antiguedades de las ciudades de España

(Morales, 1575), 55Antigüedades peruanas (Rivero and Tschudi,

1851), 18, 22, 176, 176–178, 177, 181, 192Antigüedades, y principado de la ilustrissima

ciudad de Sevilla (Caro, 1634), 6, 8, 56Antiquae urbis Romae cum regionibus simula-

chrum (Calvo, 1532), 52Antiquités mexicaines (Dupaix, 1834), 15, 16, 17,

97–98, 211, 274n8Antiquities of Athens (Stuart and Revette, 1762–

1830), 23–24Antiquities of Mexico (Kingsborough, 1831–1848),

144, 147, 148–149, 150, 151, 166n7, 274n8Arana (artist), 83, 84, 99archaeological illustration and the ancient

Americas, 1–46; accuracy and objectivity issues, 1, 4, 32–33 (see also objectivity); artistic process, as research tool in itself, 390, 414, 456–458, 457, 460–461; arts and archaeol-ogy, interpenetration of, 5–6, 6, 15–23, 18–24, 31, 33, 144; cartography (see cartographic representation of buildings; cartography); construction of knowledge, shaping, 3; digital media, 37, 413–446 (see also digital illustra-tion); European antiquarianism and, 5–9, 6–9, 49–67 (see also European antiquarian-ism and the New World); fields of fragments drawings, 231–281 (see also fields of fragments drawings); as fundamental archaeological tool, 3, 4; gender and, 33, 389, 407n3; indig-enous tradition of, 4–5, 5; as interpretive act, 36; Martínez Compañón’s Trujillo del Perú, 8–9, 10, 107–140 (see also Trujillo del Perú); from military surveys, 14–15, 15; modern norms of, 32–36; monumental folios, 23–25, 25; nationalism and identity in Americas, 22–23, 174–175, 210 (see also Raimondi, Antonio, and creation of national discourse in Peru); in New Spain, 8–15, 10–15 (see also

New Spain, eighteenth-century archaeologi-cal illustrations of); photography, 25–31, 27–30 (see also aerial photography; Mexican private collections, photographs of; photography; sculpture, printed pictures of); as public entertainment, 143–171 (see also public enter-tainment, nineteenth-century archaeological illustration as); purposes of, 4, 6, 7; recon-structions, 36–37, 387–411 (see also recon-structions); from scientific expeditions, 10–12, 12–14, 93, 109–110, 115–116; sculpture (see multidimensionality of sculpture, represent-ing; sculpture, printed pictures of); staffage or lack of staffage, 18–21, 22, 23, 392, 393, 397, 404–405, 405; standards and standardization, 36; technological developments in, 6, 9–10, 25, 31–33, 37–39, 69, 70, 77–78

Archaeological Studies among the Ancient Cities of Mexico (Holmes, 1895–1897), 301, 308, 310

Arias Montano, Benito, 55Arica, Malaspina expedition sketches by Bauza

from, 110Armour, Allison, 393“Arqueología zapoteca: Técnica del vaciado y

fundación entre los zapotecos precolombinos” (León, 1910), 225, 226

Arreola, José María, 71artificial lighting in the field, photographic use

of, 373The Artist in Despair over the Grandeur of

Antique Remains (drawing; Fuseli, 1778–1780), 16, 21

artistic process, as research tool in itself, 390, 414, 456–458, 457, 460–461

arts and archaeology, interpenetration of, 5–6, 6, 15–23, 18–24, 31, 33, 144

“At Dawn’s Edge: Tulúm, Santa Rita, and Floral Symbolism in the International Style of Late Postclassic Mesoamerica” (Taube, 2009), 236, 238

Atahualpa’s chamber (engraving after drawing by Dumontel, 1880), 197, 198

Atlas de la historia física y política de Chile (Gay, 1854), 175, 177, 178, 202n3, 202n5

Atlas de Venezuela (Codazzi, 1840), 175, 177, 178, 202n2, 202n5

Atlas geográfico del Perú (Paz Soldán, 1865), 178–180, 178–181

atlases, scientific, 175–181, 176–180. See also Raimondi, Antonio, and creation of national discourse in Peru

Aubin, J. M. A., 258, 260, 274n9authority: aerial photography conveying sense

of, 324–325, 331–334, 350nn5–6; prismatic rep-resentation of buildings conveying, 308–310, 309–310

Ayer, Edward E., 71An Aztec Sculptor (painting; Brush, 1887), 21–22,

399, 400

479index

BBaird, Spencer, 304Baker, Mary Louise, 32, 390Ballesteros Gaibrois, Manuel, 108Bandelier, Adolph, 299, 302, 308Banvard, John, 154Barker, Robert, 149–152Bastian, Adolf, 262Baudez, Claude, 164Bauer-Thoma, Wilhem, 218–219Bauza, Felipe, 110The Beau Relief (lithograph; Waldeck, 1832),

15–16, 19Bellon, Gustave, 223, 224, 225Belmar, Francisco, 220Benavente, Toribio de (Motolinia), 59Benson, Richard, 355Bentham, Jeremy, 153, 391Berendt, Karl Hermann, 222Bergier, Nicolas, 55Bernal, Ignacio, 213Bernasconi, Antonio, 8, 10, 11, 290Berquist, Emily, 114, 136n14Bersu, Gerhard, 307–308Bingham, Hiram, 31, 337Biologia Centrali-Americana (Maudslay, 1889–

1902), 232–236, 236, 245, 262, 265, 296, 363, 370, 450

Biondo, Flavio, 50, 51, 55birds’-eye views, 309, 324Bishop, Sir Henry, 161Blanton, Richard, 302Boban, Eugène, 217, 218, 219Bodega y Quadra, Francisco de la, 93Codex Bodley, 148Bohrer, Frederick, 39Bonaparte, Napoleon, 15, 98, 152, 161, 162, 216,

249, 291Bonavia y Zapata, Bernardo, 88Bonomi, Joseph, 155, 166n14Bonpland, Aimé, 261–262, 263Borges, Jorge Luis, 283Codex Borgia, 166n7, 255, 271Boscán, Juan, 54botanical illustration. See natural history

illustrationsbotany. See natural history illustrationsCodex Boturini, 145, 148, 149, 150Boturini Benaducci, Lorenzo, 73–77, 74–76, 145Bowditch, Charles, 305, 306Boyvin, Pierre, 246Bracciolini, Gian Francesco Poggio, 51Bradley, Richard, 283Branciforte, Marquis de, 93Brasseur de Bourbourg, Charles-Étienne, 257, 258,

259, 274n10, 293, 297, 308Breton, Adela, 33, 222, 397, 397–398

Brinton, Daniel, 165Broken Idol at Copan (lithograph; Catherwood,

1844), 16–18, 142, 159Brothers, Cammy, 5, 246Brotherston, Gordon, 269Brown, Bill, 136n12Brüning, Heinrich, 31Brush, George de Forest, 21–22, 23, 389, 398–399,

400Bry, Theodor de, 246Bucareli y Ursúa, Antonio María de, 78Bufalini, Leonardo, 51buildings, cartographic representation of. See

cartographic representation of buildingsBullock, William and William Jr., 144–147,

145–147, 149, 153, 154, 163, 166nn4–5, 304Burford, John, 152, 154Burford, Robert, 145, 152, 154, 157burials. See mummies; tombs; Trujillo del PerúBustamante, Carlos María, 143

Ccad (computer-aided design) programs, 432–434,

433–436, 436, 438, 440Calakmul, cartographic representation of build-

ings at, 302Calendar Stone, Tenochtitlan, 88–90, 89, 100n6,

143, 144, 145, 146, 164, 165, 213Calvo, Marco Fabio, 52, 59Camacho brothers, 213Camden, William, 52–53, 55, 56, 59camera lucida, 356–360, 358–361, 453, 454Campo Antico, G. B., 96Cañizares-Esguerra, Jorge, 88Cape of Good-Hope, account in Philosophical

Transactions of two plants brought from, 247–248, 248

Carnegie Institution of Washington, 372, 376, 389, 404, 453

Caro, Rodrigo, 6, 8, 56Carr, Robert, 286Carracci, Annibale, 131Carro, Cabello, 120, 122–126Cartas mejicanas (Moxó y Francolí, 1837), 96,

96–97Carter, Howard, 452, 467cartographic representation of buildings, 283–316;

disciplinary needs of archaeology and, 307–308; hachured plans, 286–288, 287, 288, 290, 293, 297–302, 303, 311; historical development of techniques in nineteenth century, 290–302, 291–301; informal imperialism, in context of, 303–307, 308–309; perceptions affected by methodology of, 308–310, 309–310; reality and representation, space between, 283–285, 284, 285; sculpture, as handmaiden to documenta-tion of, 303–307; text and maps, coordination of, 310. See also prisms

480 index

cartography: birds’-eye views, 309, 324; La ciudad de Tzintzuntzan, Patzquaro, y poblaciones de alrededor de la laguna y la traslacion de la silla a Patzquaro (1778), 72–73, 73; contour map-ping, 289; interpretive maps, 36, 38; Map of Ancient Rome (1553), 6, 7; Map of Ancient Rome (1748), 6, 9; Mapa de Uppsala, 71; New Spain, eighteenth-century archaeological illustra-tions of, 71–77, 72–76; objectivity, search for, 283, 289–290, 307–308; Plano topográfico de la Villa de Nuestra Señora de Guadalupe y sus alrededores en 1691, 74, 76; Raimondi’s El Perú, creation of national cartographic narrative in, 193–201, 194–196, 198–200; San Francisco Mazapan, maps of, 71–72, 72; Trujillo del Perú, map of diocese (1786) in, 114, 116

Caso, Alfonso, 221, 236Castañeda, José Luciano: cartographic represen-

tations of buildings and, 290–291, 291; New Spain, eighteenth-century illustrations of, 15, 16, 17, 98, 100n13; private collections, illus-trations of, 212, 215; public entertainment, archaeology as, 149, 151, 155

Castellanos, Abraham, 220Castelnau, Francis de, 181Castera, Ignacio de, 87Castiglione, Baldassare, 55Castilla, Ramón, 179Castillo, José Clemente del, 116, 133casts and molds: multidimensionality of sculp-

ture, representing, 450; photographs of, 370Catherwood, Frederick: artistic despair at Copan,

16; Broken Idol at Copan (lithograph; 1844), 16–18, 142, 159; Brush’s work drawing on, 21–22; camera lucida, use of, 356–360, 358–361; cartographic representation of buildings by, 291, 292, 293, 297, 311; Charnay compared, 214, 363–366, 364, 365; daguerreotype camera, use of, 361–362, 362; Incidents of Travel (1841–1844), illustrations for, xx, 20, 22, 25, 142, 156–160, 158–161, 257, 292, 293, 356–362, 358–362, 365; institutional photography compared to work of, 381; Maudslay compared, 368, 370; pan-oramas, 152, 155–156, 156, 157, 159–160, 160–161, 164; public entertainment, nineteenth-century archaeological illustration as, 144, 155–160, 156–161, 164, 165, 304; Stela D, Copan (steel-plate engraving; 1841), xx, 20, 165; Study for Maya Monument (drawing; 1842), 16; Waldeck compared, 163

Cavo, Andrés, 84Celtis, Konrad, 52The Century, 400Cerda, Vicente de la, 93Cerro Guacamayo, cartographic representation of

buildings at, 299Cervantes, Vicente, 90, 92Chac Mool, Chichen Itza, discovery of, 306

Chalchiuhtlicue sculpture, Mexico City (engrav-ing; anonymous student from Academy of San Carlos, 1810), 68, 93, 94

Chalon, Paul Frederic, 197Chambi, Martín, 31Champollion, Jean-François, 258Chan Chan: aerial photographs of, 326, 329, 329–

330, 334, 350n11; Pared con grabado, Chan Chan, Trujillo, Peru (photographic collage; Albers, 1953), 31, 32; photographs of, 31, 32; in Trujillo del Perú (Martínez Compañón, 1781–1789), 108, 108–109, 118; View of Chan Chan (illustration; Wiener, 1880), 18, 23. See also Chimú

Chapuis, H., 364Charles III (king of Spain), 8, 87, 92, 107, 115Charles IV (king of Spain), 15, 98, 107, 117, 212, 290Charles V (Holy Roman Emperor), 268, 272Charnay, Claude-Joseph Désiré: cartographic

representation of buildings by, 293, 294, 295, 297–299, 300, 311; Catherwood compared, 214, 363–366, 364–366; Maudslay and, 368; mercantilism of nineteenth-century antiqui-ties market and, 215–216, 306; photography of, 27, 27–28, 209, 213–216, 214–216, 217; sculpture, mechanically reproduced photographs of, 362–368, 364–367, 381

Chase, William Merritt, 407n11Chavero, Alfredo, 269, 274n8Chavín de Huántar: digital dimensional models

of, 428–436, 428–441, 438–442 (see also dimen-sional models); digital photography techniques applied to, 412, 420, 422, 423, 424, 426; pottery sherds from, 441–442, 442; Raimondi and El Perú editorial staff illustrations of sculptures from, 172, 189–191, 190; Raimondi’s rubbings of monuments from, 186, 190–191; satellite image of, 412, 426; Stela Raimondi, 187–189; stone tools from, 441; Tello Obelisk, 438, 439

Chichen Itza: Annexe of the Casa de las Monjas and the Iglesia, Chichen Itza (drawing; Breton, ca. 1900), 397; cartographic representation of buildings at, 292, 293, 297, 308; Chac Mool, discovery of, 306; Herget’s reconstructions of (1936), 386, 400, 402; Holmes’ drawings of (1895–1897), 393, 394, 395; Landa’s description of, 59, 60; multidimensionality of sculpture, representing, 453

Chimú: ceramic bottle and illustration,Trujillo del Perú, 115, 116, 117; tomb figures from Trujillo del Perú possibly representing burials of, 126–129, 127, 128. See also Chan Chan

Cholula, Humboldt’s illustration of (1810), 10–12, 14

Chumucha/Pusilha, maps of, 297Chunchucmil, map of ruins of, 284, 285Cicero, 50Cieza de León, Pedro de, 18, 63, 64, 193, 196, 201Cisneros, Cardinal, 54Cités et ruines américaines (Charnay and Viollet-

Le-Duc, 1863), 27–28, 213, 293, 294, 363

481index

Clarke, John, 146Clavigero, Francesco Saviero, 9–10, 11, 143, 254,

256, 259, 260–261, 261, 274n6Cleomenes the Athenian, Medici Venus, 15, 17Clüver, Philipp, 56cmhi (Corpus of Maya Hieroglyphic Inscriptions

program), Peabody Museum, 36, 241, 452, 461–465

Coatlicue stone, Tenochtitlan, 88, 89, 143, 144, 165Coba, cartographic representation of buildings

at, 302Codazzi, Agostino, 175, 177, 178, 202n2, 202n5“Códice Mendozino: Ensayo de descifración

geroglífica” (Orozco y Berra, 1878), 232, 234, 245, 262

codices: Bodley, 148; Borgia, 166n7, 255, 271; Boturini, 145, 148, 149, 150; Cospi, 166n7, 252; de la Cueva, 144; Dresden, 148, 166n7, 232, 235; Huamantla, 4–5, 5, 144; Mendoza, 148, 232, 234, 236, 239, 245, 249, 252, 255, 257, 262, 268; Ríos, 252; de Teotenantzin, 73–75, 74, 76; Tlaxcala, 144; Vaticanus B, 166n7, 249; Vienna, 166n7, 249; Xolotl, 4–5, 71

Coe, Michael, 232Coe, William, 389Colca River valley, aerial photography of, 326, 330,

343, 346, 347, 348, 349collection, culture of: in early modern and

Enlightenment eras, 211, 211–213, 212; fields of fragments images and, 246; informal imperialism and, 304–306; mercantilism of nineteenth-century antiquities market and, 209–211, 215–216, 217–219, 227, 306; private collections in Mexico, photographs of (see Mexican private collections, photographs of)

collodion or wet-plate camera, 363Colonnaded Building, Ake (drawing; Breton, ca.

1901), 397, 398“A Comparative Analysis of the Costume and

Accoutrements of the Codex Mendoza” (Anawalt, 1992), 236, 239, 268

Composite Fiction by Henry Sandham of Buildings, Artifacts, Sculpture, and People at Copan (reconstruction; Sandham, 1898), 400, 401

computer-aided design (cad) programs, 432–434, 433–436, 436, 438, 440

conquest of New Spain: European antiquarian-ism and, 48, 56–59, 58; Raimondi’s mapping and historical account of, 196–197

constructs, prisms and hachured plans as, 288–289

contour mapping, 289Contreras, Daniel A., 426, 429, 430, 439Copan: artistic despair of Catherwood at,

16; Broken Idol at Copan (lithograph; Catherwood, 1844), 16–18, 142, 159; carto-graphic representation of buildings at, 282, 283, 284, 292, 293, 293–295, 296, 308, 310; digital scanning at, 382; informal imperialism and Peabody expedition to, 304, 305; main plaza

(photograph; Maudslay, 1889–1902), 368, 370; Morley’s photos of inscriptions from, 376, 378; Structure 10L-29 (modern photographs before and after reconstruction), 458, 459; Structure 26 (field sketch; Holmes, 1895), 394, 395; three-dimensional scanning, training of local researchers in, 465. See also Hieroglyphic Staircase, Copan; stelae, Copan

Copper Object Found at Pacasmaya (watercolor; Dumontel, ca. 1874), 178, 189

copperplate engraving and prints, introduction of, 77–78, 100n2

Coronel, Citlali, 458Corpus Christi Dancer (travel notebook sketch;

Raimondi, 1859), 182, 183Corpus of Maya Hieroglyphic Inscriptions pro-

gram (cmhi), Peabody Museum, 36, 241, 452, 461–465

Cortés, Hernán, 57, 268, 269, 272Cortez, or the Conquest of Mexico (theatrical

work; Planché and Bishop, 1823), 161Codex Cospi, 166n7, 252Costa Scena, or a Cruise across the Southern Coast

of Kent (aquatint; Havell, 1823), 155costume books, sixteenth-century, 118, 120Cotton, Robert, 59Covarrubias, Miguel, 36, 37Crawford, O. G. S., 309Crocker, Philip, 302Crónica general de España, 55Crook, Nigel, 439Codex de la Cueva, 144cultural imperialism: cartographic representation

of buildings in context of, 303–307, 308–309; National Geographic illustrations and, 401

Cuzco: Raimondi’s identification as ancient capital of Peru, 195; Raimondi’s watercolors and plans of, 186; Spanish conquest and, 57; woodcut, from Pedro de Cieza de León, Parte primera de la chronica del Peru (1553), 63, 64. See also Sacsahumaman

Cyrax-type three-dimensional scanning, 430, 435, 436

Cyriac of Ancona, 51

Ddaguerreotype camera used for Incidents of

Travel, 361–362, 362Danicorum monumentorum libri (Worm, 1643), 56Daston, Lorraine, 32–33, 388, 399, 400, 406, 407n2Dávalos, Felipe, 32David, Jacques-Louis, 16, 18Dávila, Pedro Franco, 115Davis, Edwin, 302De Jong, Piet, 404Death of Socrates (painting; David, 1787), 16, 18dems (digital elevation models), 428–429Dennis, Bryan, 268

482 index

derived illustrations, concept of, 36, 413Derrida, Jacques, 240Des anciennes pompes funeralles (Jean Lemaire de

Belges, 1507), 52–53, 53Descartes, René, 332Descripcion de las antiguedades de Xochicalco

(Alzate y Ramírez, 1791), 83, 84“Descripción de Xochicalco” (Alzate y Ramírez,

1778), 78–81, 79, 81Descripción histórica y cronológica de las dos

piedras que con ocasión del nuevo empedrado que se está formando en la plaza principal de México (León y Gama, 1790), 88–91, 89

Description de l’Égypte (1809–1818), 245, 249, 252, 253, 260, 262

Desgodetz, Antoine, 4Dialogos de medallas, inscriciones y otras antigue-

dades (Agustín, 1587), 52Díaz, Porfirio, 217, 220Dick, Archibald L., 357, 358Dickinson, Emily, 387Diderot, Denis, 126, 245, 249, 250, 251Didger software, 421, 431Dieseldorff, E. P., 32digital elevation models (dems), 428–429digital illustration, 37, 413–446; advantages and

drawbacks of, 413–414, 416–420, 443–444; aerial and satellite photography, 412, 425–426, 426; drawings made from digital materials, 421–422, 422, 442–443; as dynamic research objects, 414–415; hdr (high dynamic range imaging), 422–424, 423; historical background and development of, 415–416; photography, digital, 355, 412, 421–426, 422, 423, 425, 426; qtvr (QuickTime Virtual Reality) or pan-oramic virtual reality photography, 424–425; rti (reflection transformation imaging), 424, 425; sculpture, advances in photography of, 355; technical literature on, 421. See also dimensional models; three-dimensional digi-tal illustration

dimensional models, 427–443; dems (digital elevation models), 428–429; local site con-text, 429, 430; nonphotorealistic renderings, 442–443; object scale, 440–442; photogram-metry, 427; regional scale, 428, 428–429, 429; site feature scale, 438, 438–440, 439; site scale, 430–437, 431–437; from surface point coordi-nates, 427–428

Dimmock, George, 249, 254Donnan, Christopher, 32, 35Dorenburg, José, 221Codex Dresden, 148, 166n7, 232, 235Drucker, Phillip, 297dry-plate negative technology, 363–368, 364–367Dryden, John, 160Due antichi monumenti di architettura messicana

(Márquez, 1804), 83, 84, 86, 86–87, 254–255Dumontel, Alfred, 187, 188–192, 189–191, 193, 198,

199, 202nn9–10

Dupaix, Guillermo: Antiquités mexicaines (1834), 15, 16, 17, 97–98, 211, 274n8; cartographic rep-resentation of buildings and, 290–291, 291; collections, as antecedent to photography of, 211–212, 215; New Spain, eighteenth-century illustrations of, 74, 75, 85, 86, 90, 91, 91–92, 93, 97–98, 99; public entertainment, archaeology as, 149

Durán, Diego, 48, 58, 59, 63, 64Dürer, Albrecht, 129Dzibilchaltun, cartographic representation of

buildings at, 302

EEchevarri, Pedro de, 136n21Echeverría, Atanasio, 93, 100n9Egypt: Description de l’Égypte (1809–1818), 245, 249,

252, 253, 260, 262; Napoleon’s expedition to, 15, 216, 249, 291; Valley of the Kings project, 436

Egyptian Hall, London, exhibitions in, 144–145, 145, 147, 148, 153, 154, 155

El Baúl, use of grids at, 268El Tajín: eighteenth-century archaeological illus-

trations of, 84–87, 85, 86. See also Pyramid of the Niches, El Tajín

electronic theodolite scanning, 430Elhuyar, Fausto, 96Encyclopédie (Diderot and Le Rond d’Alembert,

1751–1772), 126, 245, 249, 250, 251, 260, 261, 266engraving: copperplate engraving, introduc-

tion of prints from, 77–78, 100n2; dry-plate technology, wood engravings produced from, 363–368, 364–367; Incidents of Travel, wood versus steel engravings of camera lucida draw-ings for, 357, 357–359

Enlightenment, 8, 59, 65, 77, 107, 161, 211Enríquez, Gumesindo, 213–214Erwin, J. W., 302Esménard, Joseph-Alphonse, 162Essai sur le déchiffrement de l’écriture hiératique

de l’Amérique Centrale (Rosny, 1876), 232, 233, 245, 259

European antiquarianism and the New World, 5–9, 49–67; classical models, use and persis-tence of, 56, 63, 64; Enlightenment and, 59, 65; missionary activities in New Spain, 48, 58, 59–64, 60–62; philology, interest in, 6, 51, 55, 197; purposes of, 6–8, 6–9; Reformation and, 53, 59, 64; Renaissance, origins in, 49–54, 52–54, 59; Spain, humanism and antiquities in, 54–56; Spanish conquest of the Indies, 48, 56–59, 58; Vesuvian excavations, archaeology in New Spain influenced by, 8–9, 65

Evans, Tripp, 157, 291Expedición de Límites (1792), 93Explorations in the Department of Peten,

Guatemala, and Adjacent Region (1908), 297Explorations of the Upper Usumatsintla and

Adjacent Region (1908), 299

483index

FFahey, James, 155Fane, Diana, 144Fash, Barbara, 36, 37, 39, 449, 456–458, 457, 459,

460, 471Ferdinand and Isabella (Catholic monarchs of

Spain), 55Fernand Cortez (opera; Spontini, 1809), 161–162, 162Feyjoo de Sosa, Miguel, 115Field Museum, Chicago, 372fields of fragments drawings, 231–281; connec-

tions between natural history and archaeolog-ical use of, 260–266, 261, 263–266; defined, 232; in early modern era (fifteenth and sixteenth centuries), 246; grids, use of, 268–269, 271; hieroglyphic decipherment, importance to, 236; historical ubiquity of technique, 232–236, 233–239; history of science and, 238–240, 245; history of use in Mesoamerican studies, 249–260, 256–260; as immutable mobiles, 243–244; Lienzo de Tlaxcala and, 268–273, 269, 270, 272; modern research techniques and, 242–244; motives for and effects of using, 241–242; in natural history illustration, 244–249, 247, 248, 250–255; photography versus, 231–232, 241, 242; problematic aspects of, 230, 231–232, 238, 267–273, 269–272

Fiestas, Percy, 113Figueroa Aznar, Juan Manuel, 31First World War, initial use of aerial photography

in, 322, 350nn2–3Ford, Anabel, 302Foster, Jon, 404Foucault, Michel, 137n24, 153, 166n10, 239, 311, 325fragmented images, line drawings of collections

of. See fields of fragments drawingsfree blacks, as artisans in Trujillo, 118Fres, Erhard, 200Frézier, Amédée François, 14, 15, 115Friedrichsthal, Emanuel von, 212, 213, 361Fuseli, Henry, 16, 21

GGalindo, Juan, 255–257, 259Galison, Peter, 32–33, 289, 307, 388, 399, 400, 406,

407n2Gallegos, Ana, 269Gann, Thomas, 297García (artist), 84, 85, 98García Guerrero, José María, 467García, Manuel, 164, 167nn19–20Garcilaso de la Vega (Spanish poet), 54Garcilaso de la Vega, El Inca, 176, 195Garnier, H. del, 187, 198, 199Gateway of the Sun, Tiahuanaco (Tiwanaku):

comparison of 1877 photo and engraving, 28, 29; frontispiece of Antigüedades peruanas (1851), 176, 176–177

Gay, Claude, 175, 177, 178, 202n3, 202n5Gazeta de literatura de México, 78, 84, 86, 99gender and archaeological illustration, 33, 389,

407n3Genin, Auguste, 207, 208Geografía y geología del Ecuador (Wolf, 1892),

202n4Gérôme, Jean-Léon, 22Gibson, Sheila, 404Gil, Jerónimo Antonio, 92Gimber, Stephen H., xx, 20, 365Gimbrede, Joseph Napoleon, 159, 160–161GIS software, 428–429Global Positioning Systems (gps), archaeological

use of, 309, 427, 430, 434Globus (periodical), 372Glyph B33, Lower Ica Valley, Peru (photograph;

Ranney, 1993), 31, 33“Gnomon Mound” at Mayapan, Le Plongeon’s

depiction of, 293Gómez, José, 87Gonçalez, Pablo, 269González de Carvajal, Ciriaco, 91, 92, 96Goodwin, Charles, 288Gordon, George Byron, 283, 284, 295, 299, 310,

375–376, 376, 377, 400, 401Gottorfische Kunst-Kammer (Olearius, 1674), 109,

113gps (Global Positioning Systems), archaeological

use of, 309, 427, 430, 434Graham, Ian, 144, 297, 382, 389, 460, 463Grand Canyon at the Foot of the Toroweap—

Looking East (painting; Holmes, 1882), 392–393, 393

gravure technique, 25, 368, 369, 370–372, 371, 373–375

Great Wall of Peru, Shippee-Johnson discovery of (1931), 318, 319–322, 320, 321, 331, 343, 348–349

grids, use of, 268–269, 271Grossman, Marc, 456Grumbkow, Georges B. von, 29Gruzinski, Serge, 267–268Gunn, Wendy, 458Gurney, James, 404Gutiérrez, José, 93

HHabiti antichi, et moderni di tutto il mondo

(Vecellio, 1598), 118, 122hachured plans, 286–288, 287, 288, 290, 293,

297–302, 303, 311halftone printing, 371–372, 388, 442Halpin, John, 361Hamann, Byron Ellsworth, 3, 12, 36, 231, 236, 240,

471Haraway, Donna, 325Harley, J. B., 283

484 index

Harvard University. See Peabody Museum, Harvard University

Hatch, Rawdon Wright, 360Havell, Robert, Jr., 155Hazard, James, 286hdr (high dynamic range imaging), 422–424, 423Hemsley, W. Botting, 265Herculanaeum and Pompeii, excavations at, 8–9,

65, 92, 115, 147–148, 302, 309Heredia, Cayetano, 181Heredia, Guillermo de, 221Herget, Herbert, 386, 389, 400, 402Herrera, A. L., 265Herrera y Tordesillas, Antonio de, 252Hieroglyphic Staircase, Copan: cmhi’s three-

dimensional scanning of, 448, 461, 462, 464; Gordon’s photos of (1902), 375–376, 376, 377; Sandham’s reconstruction of (1898), 400

high dynamic range imaging (hdr), 422–424, 423

Historia de la conqvista de Mexico (Solís, 1684), 161

Historia de la Nueva España (Lorenzana, 1770), 80

Historia de las Indias de Nueva España e islas de la tierra firme (Durán, ca. 1581), 48, 58, 59–64

Historia general de los hechos de los castellanos en las islas i terra firme del mar oceano (Herrera y Tordesillas, 1601), 252

history of science: fields of fragments drawings as window into, 238–240, 245; progressive view of, 239–240, 290, 311

Hoare, Sir Richard Colt, 302Hodder, Ian, 307Holmes, William Henry: Brush and, 22, 398–399;

cartographic representations of buildings and, 299, 301, 302, 308, 309, 310; Maudslay on, 407n7; private collections in Mexico, photo-graphs of, 217, 219; reconstructions by, 389, 391–399, 393–396, 399, 400, 404, 406

Holmul, maps of, 295, 298Holstein, Otto, 334, 351n16Homenaje á Cristóbal Colón: Antigüedades mexi-

canas (Chavero, 1892), 269, 274n8Hoover, Russell, 407n11House of the Governor, Uxmal: Gimbrede’s

engraving of Catherwood drawing (1843), 159–160, 160–161; Le Plongeon photographs of (1876), 28, 30–31

House of the Masks, Kabah, Charnay’s and Catherwood’s reproductions of, 363–366, 364–366

Houston, Stephen, 33, 36, 232, 310, 387, 472Howard, Sir Robert, 160Huaca del Sol: modern reconstructions of tomb

at, 109, 112; in Trujillo del Perú (Martínez Compañón, 1781–1789), 108

Codex Huamantla, 4–5, 5, 144

Huánuco Pampa: Raimondi’s history of conquest of Peru and, 197; Raimondi’s plan of, 186

Huitzilopochtli (deity), 88, 149, 161, 162Humboldt, Alexander von: archaeology as public

entertainment and, 143; eighteenth-century archaeological illustration in New Spain and, 68, 93–96, 94, 95, 97, 100n9, 100n11; fields of fragments images published by, 255, 257, 259, 260, 261–262, 263; importance in dissemina-tion of Pre-Columbian images, 10–12, 143, 211, 212; as natural historian, 260, 261–262, 263; Raimondi’s use of images from work of, 181; Voyage de Humboldt et Bonpland (1807–1835), 261–262, 263; Vues des cordillères, et monu-mens des peuples indigènes de l’Amérique (1810), 10–12, 14, 68, 93–96, 94, 95, 211, 255, 257, 262, 274n8

Hunter, Annie, 33, 370, 389, 449Hurst, Heather, 33, 39Hutson, Scott, 21, 36, 283, 472

Iiconographic kinship charts, 36, 37Ideal Reconstruction of a Ceremony (painting;

Waldeck, ca. 1867), 163identity and nationalism in Americas, 22–23,

174–175, 210. See also Raimondi, Antonio, and creation of national discourse in Peru

Ihuatzio, map of (1778), 72–73, 73Imagini de gli dei delli antichi (Reggiano, 1626),

252imperialism, cultural/informal: cartographic rep-

resentation of buildings in context of, 303–307, 308–309; National Geographic illustrations and, 401

Inca: Antigüedades peruanas focused on, 176, 176–177; Cuzco identified as capital by Raimondi, 195; road system, Raimondi’s mapping of, 195–196

Incidents of Travel in Central America, Chiapas, and Yucatan (Stephens, with Catherwood illustrations, 1841–1844), xx, 20, 22, 25, 142, 156–160, 158–161, 257, 292, 293, 356–362, 358–362, 365

The Indian Queen (theatrical work; Howard and Dryden, 1663; musical adaptation; Purcell, 1695), 160–161

indigenous peoples of Latin America: aerial photography and modernist critique of, 332, 334; archaeological illustration, indigenous tradition of, 4–5, 5; in Atlas geográfico del Perú (Paz Soldán, 1865), 179, 180; bodies in space, indigenous depictions of, 392; European anti-quarianism and, 57, 59; Spanish missionaries and, 63; Squier’s depictions as critique of, 336, 337, 339, 340, 351n19; tombs of, in Trujillo del Perú (Martínez Compañón, 1781–1789) (see Trujillo del Perú)

485index

Indio triste (Sad Indian) (drawing; Polanco, 1794), 97, 98

Indumentaria antigua (Peñafiel, 1903), 231, 236, 237, 245, 268

informal imperialism: cartographic represen-tation of buildings in context of, 303–307, 308–309; National Geographic illustrations and, 401

Ingapirca, La Condamine’s plan and elevation of (1746), 10, 12

Inhabitant of the Cordillera of Peru (painting; Laso, 1855), iv, 23, 24

Inscriptions at Copan (Morley, 1920), 376, 378Inscriptions of Peten (Morley, 1938–1939), 376Installation View of the Exhibition Ancient

Mexico, Egyptian Hall, Piccadilly, London (lithograph; Aglio, ca. 1824), 144, 145

Installation View of the Exhibition Modern Mexico, Egyptian Hall, Piccadilly, London (lithograph; Aglio, ca. 1824), 145, 147

Isabella and Ferdinand (Catholic monarchs of Spain), 55

Izamal: Landa’s description of, 59, 61; maps of, 297

JJackson, George W., 156James, Thomas Garnet Henry, 452Jeffries, Wyman, 304–305Jelling, Denmark, excavations in (1591), 54Jelski, Konstanty, 187Jentsch, Ernst, 112, 136n12Jiménez de la Espada, Marcos, 108Johnson, George R. See Shippee-Johnson expedi-

tion over Peru, 1930sJoralemon, David, 231, 241Jordan, H., 357, 359Journal du voyage fait par ordre du roi, a

l’équateur (La Condamine, 1751), 10, 13Journal of the Society of Architectural Historians,

418Jouy, Victor-Joseph Étienne de, 162judgmental objectivity, 289–290, 307–308, 388,

400Just, Bryan R., 36, 355, 472

KKabah, House of the Masks, Charnay’s and

Catherwood’s reproductions of, 363–366, 364–366

Kaminaljuyu, use of grids at, 268Karas, Vicky, 461Keene, Arthur, 417Kehoe, Alice, 453Kelley, Thomas C., 232Kembel, Silvia R., 433–434, 434Kerr, Justin, 31, 34, 382

Kingsborough, Lord (Edward King), 145, 148, 149, 154–155, 166n7, 274n8, 291

Kircher, Athanasius, 109, 249Kiuic, cartographic representation of buildings

at, 302Klein, Chris, 404Kubler, George, 262Kuhn, Thomas, 239

LLa Condamine, Charles-Marie de, 10, 12, 13, 116La Venta, offering 5 at, 297Labna, 302, 305Laguna, Antonio, 95, 96Lake Pátzcuaro, map of (1778), 72–73, 73Lamb, John, Primus and Secundus, 155Lambert, Edwin J., 370Landa, Diego de, 59–64, 60–62, 258–259, 274n10Lanzón, Chavín de Huántar: digital dimensional

models of, 440, 440–441; Raimondi and El Perú editorial staff illustrations of, 172, 189–191, 190

Laso, Francisco, iv, 23, 24Latour, Bruno, 3, 236, 242–244Le Plongeon, Alice, 28, 30–31, 453Le Plongeon, Augustus, 28, 30–31, 257, 293, 306,

453Le Rond d’Alembert, Jean, 126, 245, 249, 250, 251Lecuanda, José Ignacio, 118–120, 135n8, 137n25,

137n29Leewenhoeck, Anthony, 247Legati, Lorenzo, 249–252Leibsohn, Dana, 232, 268Leland, John, 52–53, 55Lemaire de Belges, Jean, 52–53, 53Leo X (pope), 50León, Nicolás, 225, 226León y Gama, Antonio de, 80–81, 88–91, 89,

100nn5–7, 143, 166n1Lidar, 430Lienzo de Tlaxcala, 144, 268–273, 269, 270, 272Ligorio, Pirro, 6, 7, 51, 56, 59Linati, Claudio, 164Lindeberg, Peter, 54Lindo, Francisco, 93line drawings: badly made drawings, problem of,

232; digitally created, 421–422, 422, 442–443; as immutable mobiles, 243–244; Mesoamerican archaeologists’ fondness for, 231–232; modern research techniques and, 242–244; multidi-mensionality of sculpture, representing, 460, 463; use and abuse of, 241–242. See also fields of fragments drawings

Linnaeus, 115lintels, Yaxchilan. See YaxchilanLivy (Titus Livius), 50Llona, Emiliano, 197local site context dimensional models, 429, 430

486 index

London Charter (Denard, 2009), 420London, Ancient and Modern Mexico exhibitions

in (1824–1825), 144, 144–147, 147, 163looting, problem of, 335, 351n16, 351n18López Luján, Leonardo, 9, 69, 472–473Lorenzana y Buitrón, Francisco Antonio de, 80,

249Lorillard, Pierre, 306Loten, Stanley, 405Loubat, Joseph Florimond, 218Lovati, Lovato, 50Lynch, Michael, 308

MMachu Picchu, photography of, 31Mackey, Carol, 126Mainique Canyon, drawing by Dumontel (1880),

199, 200Malaspina, Alessandro, 84, 93, 109–110, 116,

136n20, 222Maler, Teobert: cartographic representation of

buildings by, 283, 285, 295, 297, 299, 302–303, 306, 311; private collections in Mexico, pho-tographs of, 215; sculpture, photographs of, 372–375, 373–375

malerizations, 284–285, 295maps and mapping. See cartographic representa-

tion of buildings; cartographyMárquez, Pietro [Pedro], 12, 83, 84, 86, 166n1,

254–255, 259Marschalk, Nicolaus, 56Martín, Luis de, 93–96, 95, 98Martínez Compañón, Baltasar Jaime. See Trujillo

del PerúMartínez Gracida, Manuel, 220, 221Mary Magdalene in a Landscape (painting;

Carracci, ca. 1599), 129, 131Massard (engraver), 68, 94, 95Matrícula de Tributos, 80, 249Maudslay, Alfred P.: cartographic representations

of buildings by, 282, 293–295, 296, 297, 306, 308, 310, 311; Catherwood compared, 368, 370; Charnay and, 368; fields of fragments draw-ings by, 232–236, 236, 241, 242, 260, 262, 265; on Holmes, 407n7; Hunter’s work with, 370, 389; multidimensionality of sculpture, rep-resenting, 449–450, 450, 451, 453–454; private collections, photographs of, 215; sculptures, photographs of, 354, 368, 368–372, 369, 371, 381

Maximilian of Hapsburg (emperor of Mexico), 217Maya Censer (daguerreotype; Friedrichsthal,

1840), 212, 213“Die Maya-Handschrift der Königlichen

Bibliothek zu Dresden” (Schellhas, 1886), 232, 235, 245

Maya polychrome vessel (pc.b.564) and rollout photograph, 31, 34

Mayapan, Le Plongeon’s depiction of “Gnomon Mound” at, 293

McCabe, Vinton, 456McClelland, Donna, 32, 35McReynolds, Richard, 232Means, Philip Ainsworth, 108mechanical objectivity, 289–290, 388Medici Venus (sculpture; Cleomenes the

Athenian, first century bc), 15, 17Medidas del romano (Sagredo, 1526), 246Melencolia I (print; Durer, 1514), 129Mellon, Andrew, 392Memoire sur la peinture didactique et l’écriture

figurative des anciens mexicains (Aubin, 1849), 258, 260, 274n9

“Mémoire sur quelques anciens monumens du Pérou” (La Condamine, 1746), 12

Codex Mendoza, 148, 232, 234, 236, 239, 245, 249, 252, 255, 257, 262, 268

mercantilism of nineteenth-century antiquities market, 209–211, 215–216, 217–219, 227, 306

Mérida/Tiho: Landa’s description of, 59, 62; Spanish conquest and, 57

Merwin, Raymond E., 295, 297Mexican private collections, photographs of,

207–229; Charnay’s photographs, 213–216, 214–216; classificatory schema, discerning, 208, 209, 219–221, 220, 221; collection and use of images, 206, 217, 219, 221–226, 222–225; first known photographic image of Maya artifact, 212, 213; historical antecedents, 211, 211–213, 212; mercantilism of nineteenth-century antiqui-ties market and, 209–211, 215–216, 217–219, 227; phenomenon of private gabinetes or museos, 207–211, 208, 209; Porfirio-era collections of artifacts, 217–221, 218–221; public acquisition of private collections, 207–208, 210; San Hipólito, lithograph of bas relief from (1886), 81, 82

Mexico City: Chalchiuhtlicue sculpture (engrav-ing; anonymous student from Academy of San Carlos, 1810), 68, 93, 94; early modern excava-tions at, 8–9; Key to Panorama of Mexico City (wood engraving of painting; Robert and John Burford, 1826), 154; Revillagigedo’s restructur-ing of, 87. See also Tenochtitlan

Mexico exhibitions, London (1824–1825), 144, 144–147, 147, 163

Miles, George, 159military engineering, archaeological cartography

influenced by, 302, 308–309military surveys, archaeological illustrations

from, 14–15, 15“Mis descubrimientos en México y en la América

Central” (Charnay, 1884), 214–215, 215Mitla: cartographic representation of buildings at,

299; Castañeda’s illustrations of, 15, 16, 149, 155; Charnay’s photographs of, 363; An Elevation of the Palace, Mitla (drawing; Martín and Laguna, from Humboldt’s Vues des cordillères, 1810), 93–96, 95; Holmes’ illustrations of, 393;

487index

Plan of the Palace, Mitla (drawing; Martín and Laguna, from Humboldt’s Vues des cordillères, 1810), 93–96, 95; View of the Eastern Facade of the Fourth Palace, Mitla, Mexico (photograph; Charnay, 1859), 27

Moche: Huaca del Sol, in Trujillo del Perú (Martínez Compañón, 1781–1789), 108; Huaca del Sol, modern reconstructions of tomb at, 109, 112; Sipán, modern reconstructions of tombs at, 110, 113; vessel with “Burial Theme” and rollout drawing, 32, 35

Moctezuma, 57, 59, 161, 162, 164, 269Modern Mexico exhibition, London (1824–1825),

144–147, 147, 163modernist ideology and aerial photography,

329–334molds and casts: multidimensionality of sculp-

ture, representing, 450; photographs of, 370Molyneaux, Bryan, 240, 274n2, 284Monjas building, Uxmal, southeast corner

(engraving after Catherwood daguerreotype (?), 1843), 361–362, 362

Monte Albán: cartographic representation of buildings at, 299, 302; grids, use of, 268

Montesinos, Fernando de, 176Montezuma. See Moctezumamonumental folios, 23–25, 25“Monuments of New Spain” (Dupaix, 1831), 291Monuments of Yucatan (Holmes, 1895–1897),

394–396, 399Moore, James, 417Mora, Gloria, 54Morales, Ambrosio de, 6, 54, 55, 59Morales Gamarra, Ricardo, 118Morley, Sylvanus, 308, 309, 376, 390, 400, 453–455Morris, Ann, 452–453Morris, William, 407n8Motezuma (theatrical work; de Majo and Cigna-

Santi, 1765), 161Mounds in Northern Honduras (Gann, 1901), 298Moxó y Francolí, Benito, 96, 96–97Mudge, Mark, 425Mujica, Francisco, 36multidimensionality of sculpture, representing,

449–470; artistic process, as research tool in itself, 456–458, 457, 460–461; camera lucida, use of, 453, 454; drawings, 449–450, 450, 452–458, 454, 455, 457–460, 460; molds and casts, 450; photography, 449, 451, 453–454, 460; three-dimensional optical scanning, 448, 450–452, 460, 460–467, 462, 464, 466, 467

mummies: Ancón, illustrations of mummy bun-dles from, 24–25, 25, 26, 109; Arica, Bauza’s sketches of remains from, 110; Mummy Bundle (watercolor; Dumontel, 1874), from El Perú editorial office, 187, 188; Rivero y Ustáriz and Tschudi, drawings of, 109. See also Trujillo del Perú

Mundy, Barbara, 268

El museo mexicano (Seler, 1840–1845), 211, 213Musi, Giulio de, 7Mutís, José Celestino, 135n6Musaeum metallicum (Aldrovandi, 1648), 249Mvseo Cospiano (Legati, 1677), 249–252Mydin, Iskander, 210

NNadaillac, Marquis de, 257Nakum, mapping of, 295, 297, 311Napoleon (Bonaparte), 15, 98, 152, 161, 162, 216,

249, 291Naranjo, Maler’s maps of, 295, 303National Geographic magazine, 36, 319, 322, 391,

400, 401, 403, 404, 406nationalism and identity in Americas, 22–23,

174–175, 210. See also Raimondi, Antonio, and creation of national discourse in Peru

Native American Fire Temple from Set Design for the Opera Fernand Cortez (gouache; Schinkel, 1818), 161–162, 162

Native Americans. See indigenous peoples of Latin America

natural history illustrations: connections between natural history and archaeological use of fields of fragments drawings, 260–266, 261, 263–266; fields of fragments drawings in history of, 244–249, 247, 248, 250–255; impact on archaeo-logical illustration, 12; nude entombed figures from Trujillo del Perú using conventions of, 126–129, 127, 128, 131

Naturalis historia (Pliny the Elder), 55, 245–247, 249, 260, 262, 266, 274n4

Navarrete, Federico, 268Navarro, José Mariano, 78Nebel, Carl, 144, 164Nebrija, Antonio de, 54, 55The Necropolis of Ancon in Peru (Reiss and Stübel,

1880–1887), 24–25, 25, 26, 109New Spain, conquest of: European antiquarian-

ism and, 48, 56–59, 58; Raimondi’s mapping and historical account of, 196–197

New Spain, eighteenth-century archaeological illustrations of, 8–15; Academy of San Carlos and scientific drawing, 68, 92–98, 94–97; client-patron relationships between antiquar-ians and artists, 98–99; continuity of modern projects and technology with, 69–71, 70; cop-perplate engraving and prints, introduction of, 77–78, 100n2; early maps and plans, 71–77, 72–76; El Tajín, 84–87, 85, 86; from military surveys, 14–15, 15; periodicals and journals, proliferation of, 78; from scientific expedi-tions, 10–12, 12–14; Tenochtitlan, 87–92, 89–91, 143; Vesuvian excavations influencing, 8–9, 65, 92, 115, 309; Xochicalco, 78–84, 79–83, 143. See also Trujillo del Perú

New Spain, missionary activities in, 48, 58, 59–64, 60–62

488 index

Nolli, Giambattista, 6, 9“Notas arqueológicas iv: El sueño de

Motecuhzoma” (Sánchez, 1886), 81, 82Núñez, Cristóbal, 202n8

Oobject scale dimensional models, 440–442objectivity: accuracy and, 1, 4, 32–33; cartographic

search for, 283, 289–290, 307–308; judgmen-tal objectivity, 289–290, 307–308, 388, 400; mechanical objectivity, 289–290, 388; recon-structions and staffage, 388, 399, 400, 406

Ocampo, Florián de, 55Olearius, Adam, 109, 113Olf Rudbeks Atland eller Manheim [Atlantica]

(Rudbeck, 1679–1702), 64, 65Ollantaytambo, Sun Temple at (photograph;

Squier, 1865), 28opera and theater, Pre-Columbian themes in, 148,

160–162, 162The Order of Things (Foucault, 1970), 137n24, 239Orozco y Berra, Manuel, 232, 234, 242, 260, 262Owens, John, 305“Ozymandias” (Shelley, 1818), 159

PPacasamayo, copper object found at (watercolor;

Dumontel, ca. 1874), 189Pachacamac: cartographic representation of

buildings at, 299, 302; earliest Spanish chroni-clers on visits to, 57; Raimondi’s watercolors of, 186; Rivera and Tschudi illustration, from Antigüedades peruanas (1851), 18, 22; Shippee-Johnson photos of, 339, 341, 344, 345, 346, 347; Squier’s plan of, 339, 341

Palenque: Brush paintings based on Catherwood illustrations of, 21, 22; cartographic rep-resentation of buildings at, 290, 297, 299; Charnay’s photographs of, 363; Dupaix expe-dition’s drawings of, 290–291, 291; eigh-teenth-century explorations of, 8, 10, 11, 143; Elevations of the Temple of the Inscriptions and Temple of the Cross, Palenque (drawing; Bernasconi, 1785), 8, 10, 11; Galindo’s foldout plates of site of, 257; Holmes’ illustrations of (1895–1897), 393, 395, 395–397, 396; The Palace at Palenque (aquatint; Aglio, 1830), 149, 151; Pier E, House A (engraving by Hatch and Smillie after Catherwood, 1841), 360; publica-tion of 1822 report on ruins of, 144; Waldeck lithographs of, 163

Palladio, Andrea, 6Panama-California Exposition, San Diego

(1915–1916), 400panoptic viewing, 153, 325, 343panoramas: Aglio’s panoramic migration draw-

ing (ca. 1825), 148–149, 149, 151, 154–155; House of the Governor, Uxmal, Le Plongeon’s

panoramic photographs of (1876), 28, 30–31; Panorama of Chichen Itza (illustration; Holmes, 1895–1897), 393, 394; Panorama of Uxmal (illustration; Holmes, 1895–1897), 308, 309–310, 310, 393; Panoramic View of the Valley of Mexico from Tacubaya (engraving; Clark, 1824), 145, 146; as public entertainment in nineteenth century, 148–156, 149, 151–154, 156, 157, 159–160, 160–161, 164, 324

panoramic virtual reality photography or QuickTime Virtual Reality (qtvr), 424–425

paper museums, concept of, 98, 135n4, 246Paramonga, Raimondi’s illustration of fortress

of, 197Pardo, Manuel, 186Pared con grabado, Chan Chan, Trujillo, Peru

(photographic collage; Albers, 1953), 31, 32Parte primera de la chronica del Peru (Cieza de

León, 1553), 63, 64“Past Presented: A Symposium on the History

of Archaeological Illustration” (Dumbarton Oaks, 2009), xix

Paz Soldán, Mariano Felipe, 178–181Peabody, George, 304Peabody Museum, Harvard University: cmhi

(Corpus of Maya Hieroglyphic Inscriptions program), 36, 241, 452, 461–465; informal imperialism and mandate of, 304–305; recon-structions under aegis of, 391; sculpture, pho-tography of, 372, 375

Peck, Diane Griffiths, 32Peiresc, Nicolas-Claude Fabri de, 55–56Peñafiel, Antonio, 231, 236, 237, 242, 268Pennell, Joseph, 407n7Pentland, Joseph, 177Pérez de Lara, Jorge, 382Pérou et Bolivie (Wiener, 1880), 18, 23, 28Peru. See Raimondi, Antonio, and creation of

national discourse in Peru; Shippee-Johnson expedition over Peru, 1930s; Trujillo del Perú

El Perú (Raimondi, 1874–1880). See Raimondi, Antonio, and creation of national discourse in Peru

Peru from the Air (Johnson, 1930), 326–331, 327–330

Peru: Incidents of Travel in the Land of the Incas (Squier, 1877), 335–342, 336–341

Petrarch, 50, 57Peutinger, Konrad, 52Philip II (king of Spain), 56philology, antiquarian interest in, 6, 51, 55, 197Philosophical Transactions (journal of Royal

Society, London), 245, 246–248, 247, 248, 249, 260

photogrammetry, 427photography, 25–31; albumen prints, 363; artifi-

cial lighting in the field, use of, 373; camera lucida, 356–360, 358–361, 453, 454; Charnay’s work in, 27, 27–28, 209, 213–216, 214–216, 217; comparison of 1877 photo and engraving of

489index

Gateway of the Sun at Tiahuanaco, 28, 29; critiques of new technology of, 213–214, 231; daguerreotype camera used for Incidents of Travel (1841–1844), 361–362, 362; digital, 355, 412, 421–426, 422, 423, 425, 426 (see also digital illustration); dry-plate negative tech-nology, 363–368, 364–367; etchings produced from, 214–215; first known photographic image of Maya artifact, 212, 213; gravure, 370–371; halftone printing, 371; line drawings and, 231–232, 241, 242; mechanical objec-tivity of, 290; mercantilism of nineteenth-century antiquities market and, 209–211, 215–216, 217–219, 227; multidimensionality of sculpture, representing, 449, 451, 453–454, 460; rollout photography, 31–33, 34; specific moment in time, ability to capture, 351n16; stereoscopic, 453; wet-plate or collodion camera, 363. See also aerial photography; Mexican private collections, photographs of; sculpture, printed pictures of

Pichardo, José, 84Piedras Negras: Acropolis, Piedras Negras (water-

color; Proskouriakoff, 1937), 404–405, 405; Maler’s map of, 302–303; Stela 1 (photograph; Maler, 1901–1903), 373, 374; Stelae 2, 5, and 6 (photograph; Maler, 1901–1903), 373–375, 375

Pillsbury, Joanne, xix, 1, 8, 65, 303, 350n11, 473Pineda, Antonio, 93Pinto, John, 4Piranesi, Giovanni Battista, 4, 23Pitt Rivers, Augustus Henry Lane Fox, 302, 306Pizarro, Francisco, 57, 120Pizarro, Hernando, 57Planché, J. R., 161Plano en Papel de Maguey, 144, 145Plano topográfico de la Villa de Nuestra Señora de

Guadalupe y sus alrededores en 1691, 74, 76plaster casts: multidimensionality of sculpture,

representing, 450; photographs of casts, 370Platt, Raye R., 326–329, 330Pliny the Elder, Naturalis historia, 55, 245–247,

249, 260, 262, 266, 274n4Poe, William C., 434, 436Polanco, José Antonio, 97, 97–98, 99Pompeii and Herculanaeum, excavations at, 8–9,

65, 92, 115, 147–148, 302, 309Pompeii Room, Garden Pavilion, Buckingham

Palace, London, 147–148Pongo de Manseriche (drawing; Dumontel, 1880),

199, 200Porlier, Antonio, 107positivism, 182, 210, 288, 323, 356, 372pottery sherds from Chavín de Huántar, 441–442,

442Pozzo, Cassiano dal, 56Précis du système hiéroglyphique des anciens

Égyptiens (Champollion, 1828), 258Prehistoric Ruins of Copan (Gordon, 1896), 283, 284Price, Hugh, 297

prints from copperplate engraving, introduction of, 77–78, 100n2

prisms: disciplinary needs of archaeology, serv-ing, 307–308; dominance of, 285, 311; as family of techniques, 286; flaw inherent in, 286–290, 287–289; hachured plans compared, 286–288, 287, 288, 290, 293, 297–302, 303, 311; histori-cal development of, 290–302, 291–301; nature and function of, 286; perceptions affected by methodology of, 308–310, 309–310; reasons for popularity of, 302–303; systematization, lack of, 311; theory, penetration of drawn objects with, 308

private collections in Mexico, photographs of. See Mexican private collections, photographs of

progressive view of history of science, 239–240, 290, 311

Proskouriakoff, Tatiana: as both author and illustrator, 390; fields of fragments illustra-tions in work of, 236; gender and illustration, issues of, 33; multidimensionality of sculpture, representing, 455, 456; photographs, use of, 241; reconstructions by, 18–21, 389, 404–405, 405, 419; sculpture, photos of, 376, 379–381, 380; technological innovations of, 39

public entertainment, nineteenth-century archaeological illustration as, 143–171; Aglio, work of, 144–149, 145, 147–151, 154–155, 160, 165; Bullock, William and William Jr., work of, 144–147, 145–147, 149, 153, 154; Catherwood, work of, 144, 155–160, 156–161, 164, 165 (see also Catherwood, Frederick); monumental folios, 23–25, 25; panoramas, 148–156, 149, 151–154, 156, 157, 159–160, 160–161, 164, 324; theater and opera, Pre-Columbian themes in, 148, 160–162, 162; visual culture, concept of, 144, 160, 166n2; Waldeck, work of, 144, 163, 163–164, 165

Purcell, Henry, 160Purchas, Samuel, 249Pusilha/Chumucha, maps of, 297Putnam, Frederic, 302–306Pyramid of the Moon, Teotihuacan, 5, 71Pyramid of the Niches, El Tajín: drawing by

Dupaix (ca. 1791–1804), 85, 86; engraving by García (1785), 84–86, 85; engraving from Due antichi monumenti di architettura messicana (Márquez, 1804), 84–86, 85

Pyramid of the Sun, Teotihuacan, 4–5, 71–72, 75–77

QQuickTime Virtual Reality (qtvr) or panoramic

virtual reality photography, 424–425Quirigua: Stela E, north face (engraving by

Halpin after Catherwood, 1841), 360, 361; two views of cast of Stela E, north face (gra-vure print; Maudslay, 1889–1902), 370, 371; Zoomorph P, drawings and photographs of (Hunter and Maudslay, 1889–1902), 449–450, 450, 451

490 index

RRabelais, François, 52The Raft of the Medusa (painting; Géricault,

1818–1819), 153, 165Ragvaldi, Nicolaus, 54Raimondi, Antonio, and creation of national

discourse in Peru, 173–204; independence from Spain, republican status, and self-identity, 174–175; photograph of Raimondi, 181; preparation and publication of El Perú (1874–1880), 172, 186–193, 188–192, 197; relation-ships between objects, efforts to establish, 191, 191–193, 192; scientific atlases in Peru prior to, 175–181, 176–180; state involvement in and sup-port for work of, 186–187, 197–200; text of El Perú, creation of national cartographic narra-tive in, 193–201, 194–196, 198–200; training and travels, 181–186, 182–185

Ramírez, José F., 143Ranney, Edward, 31, 33Rantzau, Heinrich, 53, 54Raphael, 50Real Expedición Botánica de Nueva España

(1787–1803), 93reconstructions, 36–37, 355–384; by Andersen,

389, 401–403, 403; by Breton, 397, 397–398; by Brush, 389, 398–399, 400; by Herget, 386, 389, 400, 402; by Holmes, 389, 391–399, 393–396, 399, 400, 404, 406; at Huaca del Sol, 109, 112; indigenous depictions of bodies in space and, 392; practitioners, recognition and prestige of, 389–390, 390; by Proskouriakoff, 18–21, 389, 404–405, 405, 419; regional and institu-tional variations in, 391; by Sandham, 400, 401; Sipán, tombs of, 110, 113; social and power relationships imposed on, 400–401, 403; by Spier, 389, 403–404, 404; staffage versus lack of staffage, 18–21, 22, 23, 392, 393, 397, 404–405, 405; tensions and ambiguities inherent in production of, 388–392, 400–401; by Vierra, 400, 407n11; Western art and artists, influence of, 392–393, 393, 398–400, 401–403. See also digital illustration

Recuay: Recuay or Moche staff finial from Trujillo del Perú, 129, 130; Raimondi’s sketches and Dumontel’s later drawings of stone sculptures from, 191, 191–192, 193

Reese, William, 159Reeves, Dache, 332, 333, 340, 343–344, 344, 351n20reflection transformation imaging (rti), 424, 425Reformation and European antiquarianism, 53,

59, 64Reggiano, Vicenzo Cartari, 252regional scale dimensional models, 428, 428–429,

429Reiss, Wilhelm, 24–25, 25, 26, 109, 193Relación de las cosas de Yucatán (Landa, ca. 1660),

59–64, 60–62, 258–259, 274n10Relación de Tequizistlán y su partido (1580), 71

relaciones geográficas: Philip II, commissioned by, 56; Trujillo del Perú in spirit of, 114

Relation du voyage de la Mer du Sud (Frézier, 1716), 14, 15

Renaissance, origins of European antiquarianism in, 49–54, 52–54, 59

Researches in the Central Portion of the Usumatsintla Valley (Maler, 1901–1903), 373, 374

Restrepo Manrique, Daniel, 114, 117, 136n15Revett, Nicholas, 23–24Revillagigedo, Juan Vicente de Güemes Pacheco

de Padilla y Horcasitas, second count of, 87, 88Rhenanus, Beatus, 52Rick, John, 36, 37, 39, 412, 422, 431–433, 439, 441,

442, 473Rick, Mathew C., 423Río, Antonio del, 8, 92, 144, 163Río Azul, Andersen’s reconstruction of early clas-

sic entombment at (1986), 403Codex Ríos, 252Ristevski, John, 435, 436, 440Rivero y Ustáriz, Mariano Eduardo de, 18, 22, 109,

175–178, 192Robert, Hubert, 1, 2, 22, 33Roberts, Jennifer, 157Robertson, Merle Greene, 33, 382Robertson, William, 249Rodríguez y Tejada, Tomás, 118Rohr, James, 428–429rollout photography and painting, 31–33, 34, 35,

390Roma triumphans (Biondo), 51Rome, antiquarianism in, 50–51Rosinus, Joannes, 56Rosny, Léon de, 232, 233, 257, 258, 259, 274n10Royal Botanical Expedition to Peru (1777–1788),

115, 135n6, 136n20rti (reflection transformation imaging), 424, 425Rudbeck, Olof, 64, 65Rugendas, Johann Moritz, 177The Ruins of Holmul, Guatemala (Merwin and

Vaillant, 1932), 295, 298Ruiz, Diego, 84Ruiz, Hipólito, 115Ruskin, John, 467

SSabatini, Francesco, 87Sabloff, Jeremy, 210, 304Sacsahumaman: from Antigüedades peruanas,

177; from Raimondi’s El Perú, 197; Squier’s survey of, 335–336, 336–338, 337

Sagredo, Diego de, 246Salisbury, Stephen, 306Salvin, Osbert, 453

491index

San Antonio Petroglyphs (travel notebook sketch; Raimondi, 1864), 185

San Francisco Mazapan, maps of, 71–72, 72San Hipólito, Mexico City, lithograph of bas relief

from (1886), 81, 82San Pedro de Lloc, tomb from, 118–120Sánchez, Jesús, 82Sanchez, Pedro, 57Sandham, Henry, 400, 401Sangallo, Giuliano de, 5Santa Rita Corozal, Gann’s map of (1901), 297, 298Sarcent, A., 364satellite photography, 412, 425–426, 426Satterthwaite, Linton, 390Saville, Marshall H., 71, 224, 225, 226, 305Schaedel, Richard, 108–109Schávelzon, Daniel, 7, 36, 77Schellhas, Paul, 232, 235, 242Schinkel, Karl Friedrich, 161–162, 162, 165Schnapp, Alain, 49, 473–474Science (journal), 245, 249, 254, 255, 260science and national identity in independent

Latin American states, 174–175scientific atlases, 175–181, 176–180; Atlas de la

historia física y política de Chile (Gay, 1854), 175, 177, 178, 202n3, 202n5; Atlas de Venezuela (Codazzi, 1840), 175, 177, 178, 202n2, 202n5; Atlas geográfico del Perú (Paz Soldán, 1865), 178–180, 178–181. See Raimondi, Antonio, and creation of national discourse in Peru

scientific expeditions, archaeological illustrations from, 10–12, 12–14, 93, 109–110, 115–116

Scott, James, 330–331The Sculptor and the King (painting; Brush, 1888),

22, 23sculpture, mapping as handmaiden to documen-

tation of, 303–307sculpture, printed pictures of, 355–384; cam-

era lucida used to produce illustrations for Catherwood and Stephen’s Incidents of Travel (1841–1844), 356–360, 358–361; Charnay’s mechanically reproduced pho-tographs, 362–368, 364–367; daguerreotype camera used to produce illustrations for Catherwood and Stephen’s Incidents of Travel (1841–1844), 361–362, 362; Gordon’s photos of Hieroglyphic Staircase, Copan, 375–376, 376; halftone printing and mass reproduc-tion, 372; institutionally affiliated research-ers, adaptation of photography to objectives of, 372–381, 373–380; Maler’s work, 355–384; Maudslay’s approach to, 354, 368, 368–372, 369, 371; in Proskouriakoff’s Study of Classic Maya Sculpture (1950), 376, 379–381, 380; in Spinden’s Study of Maya Art (1913), 376–379, 379; techno-logical developments in, 355–356, 382

sculpture, three-dimensional characteristics of. See multidimensionality of sculpture, representing

“Seeing and the Mixtec Screenfolds” (Hamann, 2004), 236, 240

Seibal, map of, 297, 299Seler, Eduard: botanical research of, 260, 262,

266; fields of fragments illustrations, use of, 232, 241, 249, 255, 260, 262, 266; El museo mexicano (1840–1845), 211, 213; photographs, use of, 206, 218, 221–223, 222, 225, 226, 228n5, 242; public entertainment, archaeological illustration as, 165

Seler-Sachs, Caecilie, 221, 222–223, 262, 266Sellen, Adam T., 27, 31, 207, 474Serlio, Sebastiano, 246Sessé, Martín, 93shadow in aerial photography, interpretation

of, 344Shapin, Steven, 307Shelley, Percy Bysshe, 159Shimada, Izumi, 302Shippee-Johnson expedition over Peru, 1930s:

Andagua Valley survey, 331–334, 333; archaeo-logical focus of, 334–335; background and experience of Shippee and Johnson, 325–326; Colca River valley, 343, 346, 347, 348, 349; Great Wall of Peru, 318, 319–322, 320, 321, 331, 343, 348–349; impact of, 31, 322–324; literature on Peru, Shippee and Johnson’s familiarity with, 351n17; modernist ideology and, 329–334; orga-nization, plan, and techniques, 326, 331, 332, 333; Pachacamac, 339, 341, 344, 345, 346, 347; pattern, flatness, and horizontality, empha-sis on, 342–349, 344, 346–349; Peru from the Air (1930), Johnson’s 1920s aerial shots from, 326–331, 327–330; Squier’s nineteenth-century survey, influence of, 335–342, 336–341; Squier’s telescoping visual structure compared to pho-tos from, 337–342, 341, 345

Shook, Edwin, 389Siculo, Lucio Marineo, 55Sierre de Guadalupe: Plano topográfico de la Villa

de Nuestra Señora de Guadalupe y sus alred-edores en 1691, 74–75, 76; Reliefs on Zacahuitzco Hill, Sierra de Guadalupe (drawing; Dupaix, ca. 1791–1804), 74, 75

Siguënza y Góngora, Carlos de, 57, 77Sipán, modern reconstructions of tombs at, 110, 113Sister Juana Magdalena (painting; Castillo, 1769),

130–131, 133site feature scale dimensional models, 438,

438–440, 439site scale dimensional models, 430–437, 431–437Six Months Residence and Travels in Mexico

(Bullock, 1824), 144, 145–147, 146SketchUp, 440Soane, Sir John, 159Smillie (engraver), 360Smith, A. Ledyard, 391Smith, Albert, 154Smith, Jean Beman, 407n11Smithson, Robert, 157Society of Dilettanti, 24

492 index

Sojourn at Tula (detail of Aztec migration panoramic drawing; Aglio, ca. 1825), 149, 151, 154–155

Solar, Antonio de, 136n21Solís, Antonio de, 161, 162Sologuren, Fernando, 209, 218–221, 220Sorrell, Alan, 36, 407n8Spain, humanism and antiquities in, 54–56Spanish conquest: European antiquarianism and,

48, 56–59, 58; Raimondi’s mapping and his-torical account of, 196–197

Sphinx mystagoga (Kircher, 1676), 109Spier, Jo, 403Spier, Peter, 389, 403–404, 404Spinden, Herbert, 236, 238, 241, 376–379, 379, 381Spontini, Gaspare, 161–162, 162Squier, Ephraim George, 28, 28–29, 186, 302,

335–342, 336–341, 345, 351n18staffage/lack of staffage in reconstructions, 18–21,

22, 23, 392, 393, 397, 404–405, 405Standard-bearers and Figures Seated in a Circle

with God Image at Center (panoramic draw-ing; Aglio, ca. 1825), 148–149, 149, 154–155

Staples, Blaise, 56, 59, 63Stegner, Wallace, 393Stela E, Quirigua: north face (engraving by

Halpin after Catherwood, 1841), 360, 361; two views of cast of north face (gravure print; Maudslay, 1889–1902), 370, 371

Stela Raimondi, Chavín de Huántar, 187–189stelae, Copan: Spinden’s composite plate of stelae

showing stylistic development (1913), 376–379, 379; Stela 12, Copan Valley (modern photo-graph), 458, 459; Stela A, south side (photo-graph; Maudslay, 1889–1902), 354, 369, 370; Stela B, east face (engraving by Dick after Catherwood, 1841), 357, 358; Stela D (engrav-ing by Gimber after Catherwood, 1841), xx, 20, 165; Stela I, Sandham’s reconstruction of fictive building with glyphs from (1898), 400, 401; Stela N, south face (engraving by Jordan after Catherwood, 1841), 357, 359; success of Catherwood’s illustrations of stelae from, 357, 358, 359

stelae, Piedras Negras: Stela 1, back (photograph; Maler, 1901–1903), 373, 374; Stelae 2, 5, and 6 (photograph; Maler, 1901–1903), 373–375, 375

Stephens, John Lloyd: cartographic represen-tations of buildings and, 291, 292, 297, 299; Incidents of Travel (1841–1844), xx, 20, 22, 25, 142, 156–160, 158–161, 257, 292, 293, 356–362, 358–362, 365; private collections in Mexico, nineteenth-century photographs of, 214; public entertainment, nineteenth-century archaeological illustration as, 142, 156–160, 158–161, 304; sculpture, production methods for illustrations of, 356–362, 358–362

stereoscopic photography, 453Stocking, George, 306

Stone Carvings from Chavín de Huántar (water-color; Dumontel, ca. 1874), 172, 189–191, 190

Stone of Tizoc, 144Stone Sculptures from Ancash (watercolor and

pencil drawings; Dumontel, ca. 1874), 191, 191–192, 193

stone tools from Chavín de Huántar, 441Storia antica del Messico (Clavigero, 1780–1781),

9–10, 11, 143, 254, 256, 261stratigraphy, 9, 10, 64, 99, 308, 323, 335, 342–343,

433Street of the Dead, Tenochtitlan, 71–72The Structure of Scientific Revolutions (Kuhn,

1962), 239Stuart, David, 236Stuart, James, 23–24Stübel, Alphons, 24–25, 25, 26, 109, 193Study for Maya Monument (drawing;

Catherwood, ca. 1842), 158, 159Study of Classic Maya Sculpture (Proskouriakoff,

1950), 376, 379–381, 380A Study of Maya Art (Spinden, 1913), 236, 238, 241,

376–379, 379Sullivan, Louis, 407Sumner, Heywood, 407n8Sun Temple at Ollantaytambo (photograph;

Squier, 1865), 28Supe, aerial photograph of port of, 326, 327Suria, Tomás de, 93

TTakalik Abaj, use of grids at, 268Talbot, William Fox, 363Taube, Karl A., 236, 238, 241Taylor, Christopher, 288Tecoh, Landa’s description of, 59Tedlock, Dennis, 232Tello Obelisk, Chavín de Huántar, 438, 439The Temple of Saturn and the Opening of the

Cloaca Maxima (painting; Robert, 1780s), 1–3, 2

Temple of the Feathered Serpent, Xochicalco: drawing by Alzate y Ramírez (1777–1778), 79, 79–80; A Facade of the Temple of the Feathered Serpent, Xochicalco (engraving; Agüera, 1791), 83, 84

Templo Mayor, Tenochtitlan, 69, 70, 467Tenenepanco, objects from (photograph and

etching; Charnay, 1880), 214–215Tenochtitlan: Calendar Stone, 88–90, 89, 100n6,

143, 144, 145, 146, 164, 165, 213; Coatlicue stone, 88, 89, 143, 144, 165; earliest Spanish chroniclers on visits to, 57; eighteenth-century archaeo-logical illustrations of, 87–92, 89–91, 143; Foundation of the City of Tenochtitlan (illustra-tion; Durán, ca. 1581), 48, 58, 59; monolith of the goddess Tlaltecuhtli, 69, 70; Street of the Dead, 71–72; Templo Mayor Project, 69, 70, 467

493index

Códice de Teotenantzin (ca. 1736–1743), 73–75, 74, 76

Teotihuacan: Avenue of the Dead, Teotihuacan (sketchbook drawing; Breton, 1896), 397, 398; cartographic representation of buildings at, 297–299, 300; grids, use of, 268; Holmes’ illustrations of (1895–1897), 393, 397, 399; indigenous representations of ruins of, 4–5, 5; Pyramid of the Moon, 5, 71; Pyramid of the Sun, 4–5, 71–72, 75–77; San Francisco Mazapan, maps of, 71–72, 72

Tepeyac, Plano topográfico de la Villa de Nuestra Señora de Guadalupe y sus alrededores en 1691, 74–75, 76

theater and opera, Pre-Columbian themes in, 148, 160–162, 162

Thévenot, Melchisédech, 249“thing theory,” 136n12Thomas, Cyrus, 165, 302Thomas, Julian, 309, 323, 342–343Thompson, Edward H., 303, 305, 306–307, 308three-dimensional characteristics of sculp-

ture. See multidimensionality of sculpture, representing

three-dimensional digital illustration: cad (computer-aided design) programs, 432–434, 433–436, 436, 438, 440; development of tech-nology for, 416, 418, 427; Lidar or Cyrax-type three-dimensional scanning, 430, 435, 436; nonphotorealistic renderings, 442–443; object scale, 440–442; rti (reflection transformation imaging), 424; sculpture, optical scanning of, 448, 450–452, 460, 460–467, 462, 464, 466, 467; site-level, 436–437

three-dimensional rotation of images: multiple views of rotated object giving sense of three-dimensional viewing, 424; removal of distor-tion via, 421

Tiahuanaco (Tiwanaku): Gateway of the Sun, comparison of 1877 photo and engraving, 28, 29; Gateway of the Sun, on frontispiece of Antigüedades peruanas (1851), 176, 176–177; looting and destruction at, 351n18

Tiho/Mérida: Landa’s description of, 59, 62; Spanish conquest and, 57

Tikal: mapping of, 286, 295, 311; reconstruction styles influenced by Tikal project, 391, 405; Temple II at, 392; Vierra’s reconstruction of, 400, 407n11; View of Tikal (reconstruction; Spier, 1975), 403–404, 404

Tiwanaku. See TiahuanacoTizoc, Stone of, 144Codex Tlaxcala, 144Tokovinine, Alexandre, 460, 463, 464, 465, 466Tolkien, J. R. R., 407n8Toluca, document using grids from (1547), 269,

271Tomasi, Jorge, 7, 36tombs: highland funerary structure with griev-

ing figure from Trujillo del Perú, 129, 130;

Huaca del Sol, modern reconstructions of tomb at, 109, 112; Pre-Hispanic Burial Chamber (travel notebook sketch; Raimondi, 1857), 184, 185; Río Azul, Andersen’s recon-struction of early classic entombment at (1986), 403; San Pedro de Lloc, 118–120; Sipán, modern reconstructions of tombs at, 110, 113; vessel with “Burial Theme” and rollout drawing, 32, 35. See also mummies; Trujillo del Perú

Topoxte, Maler’s maps of, 295, 297Torso Belvedere, Fragment of an Obelisk (drawing;

van Heemskerck, ca. 1532–1536), 5–6, 6Touton, Michelle, 438Tozzer, Alfred M., 295–297Trabulse, Elías, 73, 100n2Trachtenbuch (Weiditz, 1529), 118, 120Tramezzino, Michele, 7Trever, Lisa, 8, 12, 65, 107, 303Trigger, Bruce, 208Trujillo del Perú (Martínez Compañón,

1781–1789), 8–9, 107–140; accompanying text, lack of, 108; archaeological illustration, tomb drawings within context of, 108–114, 110–113; artists and draftsmen, 116–118, 136nn20–21; Chan Chan drawings, 108, 108–109, 118; Chimú ceramic bottle and illustration, 115, 116, 117; as documentary and collecting enter-prise, 114–118, 116, 117, 135n4, 136n14, 136n17; Huaca del Sol at Moche, 108; Huaca sita en el cerro nombrado Tantalluc (stratigraphic illus-tration), 8–9, 10, 65; Indian warrior, based on contents of an Amazonian tomb, 118, 121, 129; influence of other illustrations on, 118, 120, 122, 126–129, 130–134, 131, 133; map of diocese (1786), 114, 116; military engineering, influence of, 302; natural and moral history of Trujillo, tomb drawings within context of, 130–134, 132, 133; nude entombed figures resembling natural history illustrations, 126–129, 127, 128, 131; purpose of, 107; three-page set of burials, two men and one woman, 106, 122–126, 123–125; tomb of indigenous lord, front and back views, 108, 111, 118–120, 119; uncanny, pre-Freudian sense of, 112, 136n12; wake of Indian in Franciscan habit, 130–131, 132; wrapped Peruvian mummy with camelid, 109, 110, 129

Tschudi, Juan Diego de [Johann Jakob von], 18, 22, 109, 176–178, 181, 192

Tula: cartographic representation of buildings at, 297–299; Sojourn at Tula (panoramic drawing; Aglio, ca. 1825), 149, 151, 154–155

Tupac Amaru II, 114Tylor, Edward, 245, 257, 259Tzacauil acropolis, mapping of, 288, 289Tzintzuntzan (map, 1778), 72–73, 73

494 index

UUbico, Jorge, 407n9Uhle, Max, 31, 299, 302Ulloa, Antonio de, 115Ulloa, Jorge Juan, 115Unanue, Hipólito, 202n1uncanny, Trujillo del Perú and pre-Freudian sense

of, 112, 136n12Utcuy, Raimondi’s watercolors of, 186Uxmal: Brush paintings based on Catherwood

illustrations of, 22; cartographic represen-tation of buildings at, 285, 291–293, 292, 294, 297, 299, 301, 308, 309, 310; House of the Governor, Gimbrede’s engraving of Catherwood drawing (1843), 159–160, 160–161; House of the Governor, Le Plongeon pho-tographs of (1876), 28, 30–31; Panorama of Uxmal (illustration; Holmes, 1895–1897), 308, 309–310, 310, 393; Southeast Corner of Monjas Building, Uxmal, Mexico (engraving after Catherwood daguerreotype [?], 1843), 361–362, 362

VVaillant, George C., 295, 297Valdés, Manuel Antonio, 84Valentini, Philipp J. J., 257Valley of the Kings project, Egypt, 436van den Wyngaerde, Anton, 6, 56van Heemskerck, Maarten, 5–6, 6Vanderlyn, John, 155–156Codex Vaticanus B, 166n7, 249Vecellio, Cesare, 118, 122Velasquez, Pedro, 257Vesuvian excavations, 8–9, 65, 92, 115, 147–148,

302, 309Viaje Político-Científico alrededor del Mundo

(Malaspina expedition, 1789–1794), 93, 109–110, 116, 136n20

Victoria (queen of England), 148Codex Vienna, 166n7, 249Vierra, Carlos, 400, 407n11View of the Falls at Tivoli (drawing; Aglio, 1804),

147, 148View of Tikal (reconstruction; Spier, 1975),

403–404, 404Villacorta Ostolaza, Luis Felipe, 12, 173, 474Villela, Khristaan D., 16, 143, 474–475Viollet-Le-Duc, Eugène E., 293, 294Viramontes, Beatrice, 467Virgin of Guadalupe, 74, 75, 76Virilio, Paul, 324virtual witnessing, 307visual culture, concept of, 144, 160, 166n2Vitruvius, 56Voghtherr, Heinrich, 246

Voyage de Humboldt et Bonpland (Humboldt and Bonpland, 1807–1835), 261–262, 263

Voyage pittoresque (Nebel, 1836), 164Voyage pittoresque et archéologique dans la prov-

ince d’Yucatan (Waldeck, 1838), 163, 292Vues des cordillères, et monumens des peuples

indigènes de l’Amérique (Humboldt, 1810), 10–12, 14, 68, 93–96, 94, 95, 211, 255, 257, 262, 274n8

WWaite, Charles Burlingame, 222Waldeck, Jean-Frédéric: as academic painter,

15–16, 19; The Beau Relief, Palenque (1832), 15–16, 19; cartographic representation of buildings by, 291–292, 292, 293, 295; Ideal Reconstruction of a Ceremony (ca. 1867), 163; private collections, illustration of, 213; public entertainment, archaeology as, 144, 163, 163–164, 165, 167n20; Voyage pittoresque et archéologique dans la province d’Yucatan (1838), 163, 292

Warburton, William, 249Warren, Henry, 155, 159Weddell, Hugh A., 177, 181Weeks, Kent, 436Weems, Jason, 27, 31, 319, 475Weiditz, Christoph, 118, 120Western art and Maya reconstructions, relation-

ship between, 392–393, 393, 398–400, 401–403wet-plate or collodion camera, 363Wharton, William F., 304Wheeler, Mortimer, 307–308, 407n6Wiener, Charles, 18, 23, 28, 197Wilkins, William, 147Willey, Gordon, 210, 304Wolf, Teodoro, 202n4women and archaeological illustration, 33, 389,

407n3Woolgar, Steve, 308World War I, initial use of aerial photography in,

322, 350nn2–3World’s Columbian Exposition, Chicago (1893),

305Worm, Ole, 55, 56

XXimeno y Planes, Rafael, 96, 97, 98Xochicalco: eighteenth-century archaeological

illustrations of, 78–84, 79–83, 143; A Facade of the Temple of the Feathered Serpent, Xochicalco (engraving; Agüera, 1791), 83, 84; Humboldt’s illustration from Vues des cordil-lères (1810), 10–12, 14; Temple of the Feathered Serpent, Xochicalco (drawing; Alzate y Ramírez, 1777–1778), 79, 79–80

Codex Xolotl, 4–5, 71

495index

YYaxchilan: cmhi’s three-dimensional scanning

at, 461–463; Lintel 1 (photograph; Maudslay, 1901–1903), 373; Lintel 13 (line drawing; Graham, 1977), 463; Lintel 24 (engraving from Charnay’s photograph, 1882), 366–368, 367; Step VII, Structure 33 (photograph, drawing, and three-dimensional scan compared), 460

Young Widow at Early Classic Entombment, Río Azul (reconstruction; Andersen, 1986), 403

Young Woman Thrown into Well at Chichen Itza (reconstruction; Herget, 1936), 386, 400, 402

ZZacahuitzco Hill, reliefs on, 74–75, 74–76Zapotec urn, Boban collection (photograph; ca.

1887), 217, 219Zaventem tumulus, Belgium, 52–53, 53Zoomorph P, Quirigua, drawings and photo-

graphs of (Hunter and Maudslay, 1889–1902), 449–450, 450, 451

497

du m ba rton oa k s pr e-c olu m bi a n s y m p o s i a a n d c ol l o qu i a

PUBLISHED BY DUMBARTON OAKS R ESEARCH LIBR ARY AND COLLECTION, WASHINGTON, D.C.

The Dumbarton Oaks Pre-Columbian Symposia and Colloquia series volumes are based on papers presented at scholarly meetings sponsored by the Pre-Columbian Studies program at Dumbarton Oaks. Inaugurated in 1967, these meetings provide a forum for the presentation of advanced research and the exchange of ideas on the art and archaeology of the ancient Americas.

Further information on Dumbarton Oaks Pre-Columbian series and publications can be found at www.doaks.org/publications.

Dumbarton Oaks Conference on the Olmec, edited by Elizabeth P. Benson, 1968

Dumbarton Oaks Conference on Chavín, edited by Elizabeth P. Benson, 1971

The Cult of the Feline, edited by Elizabeth P. Benson, 1972

Mesoamerican Writing Systems, edited by Elizabeth P. Benson, 1973

Death and the Afterlife in Pre-Columbian America, edited by Elizabeth P. Benson, 1975

The Sea in the Pre-Columbian World, edited by Elizabeth P. Benson, 1977

The Junius B. Bird Pre-Columbian Textile Conference, edited by Ann Pollard Rowe, Elizabeth P. Benson, and Anne-Louise Schaffer, 1979

Pre-Columbian Metallurgy of South America, edited by Elizabeth P. Benson, 1979

Mesoamerican Sites and World-Views, edited by Elizabeth P. Benson, 1981

The Art and Iconography of Late Post-Classic Central Mexico, edited by Elizabeth Hill Boone, 1982

Falsifications and Misreconstructions of Pre-Columbian Art, edited by Elizabeth Hill Boone, 1982

Highland-Lowland Interaction in Mesoamerica: Interdisciplinary Approaches, edited by Arthur G. Miller, 1983

Ritual Human Sacrifice in Mesoamerica, edited by Elizabeth Hill Boone, 1984

Painted Architecture and Polychrome Monumental Sculpture in Mesoamerica, edited by Elizabeth Hill Boone, 1985

Early Ceremonial Architecture in the Andes, edited by Christopher B. Donnan, 1985

The Aztec Templo Mayor, edited by Elizabeth Hill Boone, 1986

The Southeast Classic Maya Zone, edited by Elizabeth Hill Boone and Gordon R. Willey, 1988

The Northern Dynasties: Kingship and Statecraft in Chimor, edited by Michael E. Moseley and Alana Cordy-Collins, 1990

Wealth and Hierarchy in the Intermediate Area, edited by Frederick W. Lange, 1992

498 dumbarton oaks pre-columbian syp osia and collo quia

Art, Ideology, and the City of Teotihuacan, edited by Janet Catherine Berlo, 1992

Latin American Horizons, edited by Don Stephen Rice, 1993

Lowland Maya Civilization in the Eighth Century AD, edited by Jeremy A. Sabloff and John S. Henderson, 1993

Collecting the Pre-Columbian Past, edited by Elizabeth Hill Boone, 1993

Tombs for the Living: Andean Mortuary Practices, edited by Tom D. Dillehay, 1995

Native Traditions in the Postconquest World, edited by Elizabeth Hill Boone and Tom Cummins, 1998

Function and Meaning in Classic Maya Architecture, edited by Stephen D. Houston, 1998

Social Patterns in Pre-Classic Mesoamerica, edited by David C. Grove and Rosemary A. Joyce, 1999

Gender in Pre-Hispanic America, edited by Cecelia F. Klein, 2001

Archaeology of Formative Ecuador, edited by J. Scott Raymond and Richard L. Burger, 2003

Gold and Power in Ancient Costa Rica, Panama, and Colombia, edited by Jeffrey Quilter and John W. Hoopes, 2003

Palaces of the Ancient New World, edited by Susan Toby Evans and Joanne Pillsbury, 2004

A Pre-Columbian World, edited by Jeffrey Quilter and Mary Ellen Miller, 2006

Twin Tollans: Chichén Itzá, Tula, and the Epiclassic to Early Postclassic Mesoamerican World, edited by Jeff Karl Kowalski and Cynthia Kristan-Graham, 2007

Variations in the Expression of Inka Power, edited by Richard L. Burger, Craig Morris, and Ramiro Matos Mendieta, 2007

El Niño, Catastrophism, and Culture Change in Ancient America, edited by Daniel H. Sandweiss and Jeffrey Quilter, 2008

Classic Period Cultural Currents in Southern and Central Veracruz, edited by Philip J. Arnold III and Christopher A. Pool, 2008

The Art of Urbanism: How Mesoamerican Kingdoms Represented Themselves in Architecture and Imagery, edited by William L. Fash and Leonardo López Luján, 2009

New Perspectives on Moche Political Organization, edited by Jeffrey Quilter and Luis Jaime Castillo B., 2010

Astronomers, Scribes, and Priests: Intellectual Interchange between the Northern Maya Lowlands and Highland Mexico in the Late Postclassic Period, edited by Gabrielle Vail and Christine Hernández, 2010

The Place of Stone Monuments: Context, Use, and Meaning in Mesoamerica’s Preclassic Transition, edited by Julia Guernsey, John E. Clark, and Barbara Arroyo, 2010

Their Way of Writing: Scripts, Signs, and Pictographies in Pre-Columbian America, edited by Elizabeth Hill Boone and Gary Urton, 2011

Past Presented: Archaeological Illustration and the Ancient Americas, edited by Joanne Pillsbury, 2012

Nineteenth-Century Photographs of Archaeological Collections from Mexico

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Transcript of Nineteenth-Century Photographs of Archaeological Collections from Mexico